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All Journal Abdi Seni Gelar : Jurnal Seni Budaya
M. Randyo
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KRESNA GUGAT DALAM PERTUNJUKAN WAYANG KULIT PURWA GAYA SURAKARTA M. Randyo
Gelar : Jurnal Seni Budaya Vol 11, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (212.465 KB) | DOI: 10.33153/glr.v11i1.1437

Abstract

Kresna Gugat (Krishna sues) play is one of carangan leather puppet performance contains valueof justice. The main character in the plays has the character of a wise and determine the course ofthe next play. Krishna in his young likes to study to many Begawan /experts have an eyesight assharp as gods. Krishna in Kresna Gugat Play is a symbol that represents a range characters whokeep the world. The problem of this study is namely how is the structure of scene play and itssymbolic significance. The analysis showed that in the world there is a treatment that is less fair,which will make a destructive to the nature. Due to the lack of fair , unwise, there was negligence ofruler world namely Guru Dewa. The symbolic behavior that let Sela Mustaka, the king of MelasaPurathat is reign in border forest Trajutrisna means underestimates the power of Undraprasta led byPunta Dewa. The king of Melasa Pura is an enemy who infiltrated the border of Indraprasta andDwarawati that cause conflict. The tragedy of power struggle between Indraprasta and MelasaPura interesting to be revealed because of Krishna. The result belong to Pandawa who are knight,symbol of justice and dedication to help re settle Indraprasta from enemy interference. ThroughKresna Gugat the peace of the world can be sued because of the false and mistake from theleader.
PEMBINAAN SULUKAN, DHODHOGAN, DAN KOMBANGAN GENDING IRINGAN PAKELIRAN DI PADEPOKAN SENI SAROTAMA SEBAGAI UPAYA PENINGKATAN UNSUR IRINGAN PAKELIRAN M. Randyo
Abdi Seni Vol 2, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3995.334 KB) | DOI: 10.33153/abdiseni.v2i1.73

Abstract

A studio as a media of gaining knowledge and arts training as well as practicing needs a serious care because the young generation’s attention towards traditional arts, especially puppetry , today, is decreasing. Studio Sarotama is one of the existing studios which gives dance, karawitan (Javanese traditional music), and puppetry training. Studio Sarotama has existed for about 15 years up to 2010 with about 16 up to 20 students concentrating on dance, karawitan, and puppetry. They study in yunior as well as senior high school. The studio’s  achievement needs to be increased by developing through Pengabdian Pada Masyarakat (dedication to society). This is supposed to give knowledge and/or practice in puppetry especially accompaniment. The aim will be catched by appreciation, discussion, and demonstration. Based on the method used, it can be seen that the students are able to manage materials of  sulukan, dhodhogan and keprakan in accordance to the performance. The performance that is accompanied includes the scenes of paseban jawi, continued by budhalan wadya and jaranan. Dhodhogan and keprakan are covering keprakan kiprah of puppet, dhodhogan sirep gendhing, keprakan sisiran, and gejogan. The scene of abur-aburan Gathutkaca uses sulukan, ada-ada, palaran and sisiran keprakan, dhodhogan to start accompaniment, and dhodhogan geteran for ada-ada. The scene of war includes the war of Susarma and Abilawa, Rajamala and Abilawa, the scene of perang gagal and perang kembang which mostly use keprakan for example: gejogan, sisiran, platukan, cecrekan.Key words : studio, art, puppetry, accompaniment.
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