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Jagad Ageng and Jagad Alit In Traditional Kayons Pandu Pramudita; Sarwanto Sarwanto; Soetarno Soetarno; Dendi Pratama
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 14, No 2 (2019)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Kayon is a shadow puppet character who symbolizes the world. In the Java world, there are two types of world concepts, namely the jagad ageng and the jagad alit. This study aims to examine the concepts of jagad ageng and jagad alit which are symbolized by the traditional kayons in purwa shadow puppets. The focus of this research study is to reveal the existence of Kayon Blumbangan and Kayon Gapuran as traditional kayons that have world essence, namely the jagad ageng and the jagad alit. Therefore, this study aims to reveal the existence and essence of Kayon Blumbangan and Kayon Gapuran as traditional kayons that store the concepts of jagad ageng and jagad alit. The method used in this research is iconography. Form theory which is divided into fields and ornament will become the main scalpel in analyzing the existence of Kayon Blumbangan and Kayon Gapuran. This research results that Kayon Blumbangan and Kayon Gapuran have the same shape structure with different widths of fields. The ornamental elements that form the kayon of the two traditional kayon are basically the same, namely forming four elements, including fire, water, wind, and earth. The four elements are the elements that make up the jagad ageng and the jagad alit. So, Kayon Blumbangan and Kayon Gapuran have a symbol of cosmological concepts regarding the concepts of jagad ageng and jagad alit.

Visual Elements of Semar Calligraphy on Cirebon Glass Painting of Kusdono’s Work Yayah Rukiah; Sarwanto Sarwanto; Sutarno Sutarno; Sunardi Sunardi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 15, No 2 (2020)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i2.3161

This research is focused on visual elements contained in Kusdono's Cirebon glass painting. To examine the meaning of visual elements, the writer uses the aesthetic approach and Erwin Panofsky's iconographic approach through 3 stages: the description of pro-iconography, iconography, and finally, iconology. The methodology used is a descriptive qualitative research method, with data collection techniques from books and journals related to the research object. The purpose of this study is to examine and uncover the meaning of Cirebon glass paintings. These research results are Semar as the principal figure in the clown who always do good, keep the truth, and obey His teachings closely related to Islam. Arabic calligraphy reinforces Semar's figure. Many use mega cloudy and wadasan ornaments in the Cirebon glass painting, which are Cirebon batik motifs. Also, the colors used are coastal colors due to the City of Cirebon's geographical location close to the beach.

Visual Adaptation: From Comics to Superhero Creation of Wayang Taufiq Akbar; Dendi Pratama; Sarwanto Sarwanto; Sunardi Sunardi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 16, No 1 (2021)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v16i1.3163

This article discusses the fusion and blending of the concept of wayang as a traditional culture with comics and films as products of contemporary culture that gave birth to new wayang creations with sources adapted from “Avenger” superhero characters. The making of wayang avenger is to maintain the art of craftsmanship in wayang kulit, namely considering the existence of attributes in traditional wayang with the necessary adjustments to the Avenger superhero outfit. Revealing the results of research on the Avenger Creation Wayang is very important because it can explain the process of changing the shape, appearance and addition of wayang attributes as a manifestation of adaptation to traditional wayang puppets, namely wayang kulit purwa. This article attempts to provide descriptive and interpretive explanations of the visual adaptation process by the creator in the formation of wayang avenger. The approach in this study uses Erwin Panofsky’s iconographic approach with the support of art structure theory and vehicle transfer. The result is the presence of Wayang Kreasi Avenger as a form of fusion between traditional culture and contemporary culture. This development shows the love of the community for the potential of influencing traditional cultural heritage and the interaction with the potential of contemporary culture which is very strong, giving rise to the idea of adaptation as a reflection of the environment and its social structure.

Struktur Dramatik Lakon “Mintaraga” Sajian Wayang Wong Sriwedari Wisnu Samodro; Sarwanto Sarwanto
PANGGUNG Vol 29, No 1 (2019): Pegeseran Estetik Dalam Seni Budaya Tradisi Masa Kini
Publisher : LP2M ISBI Bandung

AbstractThis research examines the dramatic structure of the Wayang wong Sriwedari performance in the Mintaraga story. Mintaraga story is composed of Serat Arjuna Wiwaha by Empu Kanwa and is the third part of Mahabharata Book. The Mintaraga is one of the most interesting plays to study in its dramatic structure. This research is qualitative with descriptive analysis. The concepts used in the analysis processes are the classification of characters by Sutopo, Freytag’s Pyramid, and the plotting concept by Endaswara. The results show that the Mintaraga play uses protagonist characters, antagonist, tritagonist, and some supporting or additional characters that have a function to give a clearer picture related to the story to be conveyed. In addition, the performances of Wayang wong can be divided into five acts based on the Freytag Pyramid, which includes exposition, complication, climax, resolution, and conclusion.Keywords: dramatic structure, Mintaraga story, Freytag PyramidAbstrakPenelitian ini mengkaji struktur dramatik pementasan Wayang Wong Sriwedari Lakon “Mintaraga”. Lakon “Mintaraga” sendiri merupakan gubahan dari Serat Arjuna Wiwaha karya Empu Kanwa dan bagian ketiga dari Kitab Mahabarata. Lakon Mintaraga menjadi salah satu lakon yang menarik untuk dikaji struktur dramatiknya. Penelitian ini merupakan penelitian deskriptif kualitatif yang berupaya untuk menggambarkan atau menjelaskan suatu fenomena dengan menggunakan kata-kata. Analisis data menggunakan konsep klasifikasi tokoh dari Sutopo, Piramida Freytag, dan kaidah pengeplotan oleh Endaswara. Hasil penelitian menunjukkan bahwa pementasan lakon “Mintaraga” menggunakan tokoh-tokoh protagonis, antagonis, tritagonis dan beberapa tokoh pendukung atau tambahan yang memiliki fungsi untuk memberikan gambaran yang lebih jelas terkait dengan cerita yang ingin disampaikan. Selain itu, pementasan wayang wong tersebut dapat dibagi menjadi lima babak yang didasarkan pada Piramida Freytag, yang meliputi exposition, complication, climax, resolution, dan conclusion.Kata Kunci: struktur dramatik, lakon Mintaraga, Piramida Freytag

REVITALISASI SENI TRADISI DALAM UPACARA PERNIKAHAN ADAT JAWA Sarwanto Sarwanto; Sri Rochana Widyastutieningrum; sugeng nugroho; N.R. Ardi Candra Dwi Atmaja
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT No 2 (2017): Seni, Teknologi, dan Masyarakat #2
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar

Masyarakat Jawa memiliki tradisi menyelenggarakan perayaan pernikahan sebagai tanda memasuki kehidupan berkeluarga. Masyarakat menganggap upacara pernikahan menjadi hal yang sangat penting dalam kehidupan manusia. Masing-masing daerah memiliki bentuk upacara pernikahan yang berbeda-beda, yang sangat dipengaruhi oleh lingkungan budaya dan sosial yang berlaku pada masyarakat itu. Di Jawa dikenal ada beberapa tradisi pernikahan yang sering dilakukan oleh masyarakatnya, di antaranya: upacara pernikahan adat Yogyakarta, upacara pernikahan adat Surakarta, upacara pernikahan adat Sunda, upacara pernikahan adat Banyumas, upacara pernikahan adat Madura, upacara pernikahan adat pesisir. Masyarakat Jawa yang sudah tersebar di seluruh pelosok tanah air sering melaksanakan perkawinan dengan upacara pernikahan adat Jawa. Akan tetapi bentuk upacara yang dilakukan telah mengalami perubahan, baik dalam urutan upacara maupun rangkaian upacaranya. Perubahan di dalam upacara pernikahan adat Jawa tidak dapat dihindari karena pengaruh berbagai kehidupan sosial dan budaya masyarakat. Hal ini juga dipengaruhi oleh pandangan hidup dan jiwa yang berbeda. Perubahan pernikahan adat Jawa ini juga berakibat pada perubahan bentuk seni yang biasanya menjadi bagian yang tidak terpisahkan dari upacara, yaitu karawitan dan tari. Perubahan juga tampak pada instrumen musik untuk menyertai upacara, antara lain dengan menggunakan organelektrik atau keyboard saja. Perubahan ini bagi anak-anak muda tidak menjadi masalah, tetapi bagi orang tua menjadi hal yang memprihatinkan, karena beberapa rangkaian upacara adat yang memiliki makna filosofis dan simbolis yang mendalam sertadoa yang penting untuk pengantin atau keluarga baru yang melangsungkan pernikahan telah ditinggalkan. Dengan ditinggalkannya rangkaian adat tersebut di atas, maka berbagai nilai luhur atau nilai kearifan lokal menjadi hilang. Sehubungan dengan hal tersebut di atas, ada upaya untuk merevitalisasi upacara adat pernikahan Jawa itu dengan merubah beberapa rangkaian adat denganmenciptakan beberapa karya tari, karya musik atau karawitan yang baru untuk melestarikan dan mengembangkan nilai-nilai tradisi yang melekat pada upaccara pernikahan adat Jawa.

The Landscape Perception as Pasemon Artistic in Wayang Kayon Figure Pandu Pramudita; Sarwanto Sarwanto; Soetarno Soetarno; Dendi Pratama
Mudra Jurnal Seni Budaya Vol 38 No 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i2.2096

Wayang Kayon filling is often understood as an ornament that is interpreted separately. The fillings are composed in such a way that they interact. The interaction between Wayang Kayon fillings forms landscape perception. This study aims to explain landscape perception in Wayang Kayon figures. The theory used to explain the landscapes depicted on Wayang Kayon figures is the perception theory. This research uses qualitative methods with an interpretive-iconographic approach. The Wayang Kayon filling is three composed layers of the structure, including pucukan, genukan, and lengkeh. The filling found on the pucukan Wayang Kayon is a tree of life form that is the landscape perception as mountain and forest. The filling of the genukan and lengkeh on the Wayang Kayon Blumbangan figure shows the ponds, animals, plants, and/or mythological creatures formation that are the landscape perception as an ecosystem around a water source. The filling of the genukan and lengkeh on the Wayang Kayon Gapuran figure shows the gate formation that is the landscape perception as a landscape of sacred buildings. Wayang Kayon filling is depicted through pasemon artistic concept so that it is understood as native art. This research is expected to be a guide for shadow puppet spectators to understand the Wayang Kayon figures filling and for shadow puppet artists to pay attention to the Wayang Kayon filling results creations so that the interaction between fillings still perceives the landscape.

Struktur Dramatik Lakon “Mintaraga” Sajian Wayang Wong Sriwedari Wisnu Samodro; Sarwanto Sarwanto
PANGGUNG Vol 29 No 1 (2019): Pegeseran Estetik Dalam Seni Budaya Tradisi Masa Kini
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v29i1.816

AbstractThis research examines the dramatic structure of the Wayang wong Sriwedari performance in the Mintaraga story. Mintaraga story is composed of Serat Arjuna Wiwaha by Empu Kanwa and is the third part of Mahabharata Book. The Mintaraga is one of the most interesting plays to study in its dramatic structure. This research is qualitative with descriptive analysis. The concepts used in the analysis processes are the classification of characters by Sutopo, Freytag’s Pyramid, and the plotting concept by Endaswara. The results show that the Mintaraga play uses protagonist characters, antagonist, tritagonist, and some supporting or additional characters that have a function to give a clearer picture related to the story to be conveyed. In addition, the performances of Wayang wong can be divided into five acts based on the Freytag Pyramid, which includes exposition, complication, climax, resolution, and conclusion.Keywords: dramatic structure, Mintaraga story, Freytag PyramidAbstrakPenelitian ini mengkaji struktur dramatik pementasan Wayang Wong Sriwedari Lakon “Mintaraga”. Lakon “Mintaraga” sendiri merupakan gubahan dari Serat Arjuna Wiwaha karya Empu Kanwa dan bagian ketiga dari Kitab Mahabarata. Lakon Mintaraga menjadi salah satu lakon yang menarik untuk dikaji struktur dramatiknya. Penelitian ini merupakan penelitian deskriptif kualitatif yang berupaya untuk menggambarkan atau menjelaskan suatu fenomena dengan menggunakan kata-kata. Analisis data menggunakan konsep klasifikasi tokoh dari Sutopo, Piramida Freytag, dan kaidah pengeplotan oleh Endaswara. Hasil penelitian menunjukkan bahwa pementasan lakon “Mintaraga” menggunakan tokoh-tokoh protagonis, antagonis, tritagonis dan beberapa tokoh pendukung atau tambahan yang memiliki fungsi untuk memberikan gambaran yang lebih jelas terkait dengan cerita yang ingin disampaikan. Selain itu, pementasan wayang wong tersebut dapat dibagi menjadi lima babak yang didasarkan pada Piramida Freytag, yang meliputi exposition, complication, climax, resolution, dan conclusion.Kata Kunci: struktur dramatik, lakon Mintaraga, Piramida Freytag

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