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All Journal Gelar : Jurnal Seni Budaya Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Lakon Jurnal Pengkajian & Penciptaan Wayang
Catur Nugroho
Program Studi Pedalangan Jurusan Pedalangan Fakultas Seni Pertunjukan ISI Surakarta
Arts Humanities Education

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KELAHIRAN SEMAR; REPRESENTASI NALAR JAWA (SEBUAH ANALISIS STRUKTURALISME LEVI STRAUSS) Catur Nugroho; Heddy Shri Ahimsa-Putra
Gelar : Jurnal Seni Budaya Vol 14, No 2 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (913.096 KB) | DOI: 10.33153/glr.v14i2.2079

Abstract

Penelitian ini berusaha untuk mengungkap model struktur pada lakon Laire Semar yang secara khusus bermuarapada pencapaian makna kelahiran Semar. Penelitian ini menggunakan perspektif strukturalisme Levi-Straussyang berkembang dalam disiplin ilmu antropologi budaya untuk memahami model struktur berpikir orang Jawayang terdapat dalam lakon Laire Semar. Berpijak pada rangkaian peristiwa serta relasi yang muncul dapatditarik beberapa simpulan penting ke arah pemaknaan Semar. Pertama, lakon Laire Semar menampilkanadanya pertentangan antara sinkretisme Jawa-Hindu dan Jawa- Islam. Pertentangan inilah yang kemudianmenempatkan nalar Jawa pada posisi “antara” (liminal), yaitu adanya konsep sak madya yang mengarahpada pencapaian keselarasan. Kedua, lakon Laire Semar menunjukkan adanya sistem klasifikasi simbolikdalam budaya Jawa. Klasifikasi berunsur dua dapat dicermati pada adanya klasifikasi kosmologi mengenaioposisi sukma dan wadag. Klasifikasi ganda-tiga dapat dipahami pada rangkaian peristiwa kelahiran Tejamaya,Ismaya, dan Manikmaya. Adapun klasifikasi berunsur lima yang merujuk pada konsep keblat papat limapancer terimplikasi pada keberadaan Ismaya yang mampu “mengendalikan” empat unsur yang mengelilinginya,yaitu Sang Hyang Wenang, Sang Hyang Tunggal, Tejamaya, dan Manikmaya. Ketiga, kelahiran Semarmerupakan jawaban atas sumpah Sang Hyang Tunggal, yaitu berwujud sukma dan raga serta pada tataranyang lebih dalam perannya sebagai pamong sejati membawa pada kewenangannya atas tri loka. Keempat,kelahiran Semar adalah representasi idealisme nalar Jawa sak madya atau yang tidak berlebihan. Konsekuensilogis dari idealisme ini ialah terciptanya keselarasan dan keharmonisan. Semua ini terimplikasi pada kapasitasIsmaya atau Semar. Oleh karena itu, Semar adalah representasi nalar Jawa.Kata kunci: lakon Laire Semar, Strukturalisme Levi-Strauss, makna, kebudayaan Jawa.
GARAP KARAWITAN PAKELIRAN; PAKELIRAN SANDOSA LAKON KEMBANG KUDHUP PUPUS (Perspektif Estetika Pakeliran Nuskma dan Mungguh) Catur Nugroho; Ananto Sabdo Aji
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 21, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v21i2.4118

Abstract

This research discusses the work of karawitan pakeliran in a Pakeliran Sandosa with story Kembang Kudhup Pupus, which is explored through the basic aesthetic perspective of pakeliran, namely the concept of nuksma and respectively. The purpose of this discussion is to understand the extent to which an element of performing karawitan pakeliran can determine the achievement of an aesthetic puppet show. The results of the analysis show that the work of karawitan pakeliran in Pakeliran Sandosa Lakon Kembang Kudhup Pupus can be understood to reach the aesthetic level of pakeliran respectively. This can be seen through the creation of accuracy, harmony, and appropriateness between the composition of the performance karawitan pakeliran including gendhing and tembang to the needs of the events of the play and the inner atmosphere experienced by the puppet. As for the achievement of the aesthetics of pakeliran nuksma which is able to motivate the effect of catharsis for the admirer in the framework of karawitan pakeliran can be felt through the pattern of melody and gendhing songs and songs arranged in such a way; by paying attention to the compatibility between vocal techniques, beats, and musical graphic arrangements that are oriented to the dynamics of the gendhing sense.
Konsep Garap Pakeliran “Wayang Tunggal” Lakon Sudamala Sajian Ki Purbo Asmoro (Relevansi Wayang Sebagai Doa Dalam Fenomena Covid19) Catur Nugroho
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v18i1.4103

Abstract

This study discusses the wayang performance which is only performed by a dalang alone. The show was referred to as “Wayang Tunggal”. The focus of this research is Wayang Tunggal, Sudamala play, Ki Purbo Asmoro’s presentation. This performance was interesting because it appeared against the backdrop of the Covid-19 pandemic situation. The Sudamala play is a Ruwatan play which means story as a prayer. This study uses an interpretive descriptive concept to discuss the concept of working on pakeliran, including elements of chess, sabet, and pakliran karawitan. The Covid-19 pandemic virus forces almost all elements of life to avoid crowds, while maintaining a safe distance. The single shadow puppet show by Ki Purbo Asmoro is an expression of a very sad reality for both the public in general and the artists in particular. Sudamala’s play is an expression of prayer and hope that the world situation will recover soon, so that everyone can carry out their activities as usual.
Children's theater performance "Buta Grana Ireng" reinterpretation of Sudamala story in Demping Village Bagong Pujiono; Handriyotopo Handriyotopo; Catur Nugroho; Tatik Harpawati; Delfin Febriansyah; Dela Cahyaning Permata; Arieska Wulandari
Gelar : Jurnal Seni Budaya Vol. 21 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v21i2.5044

Abstract

Demping, as a tourist village located in Karanganyar Regency, Central Java, has a variety of exciting tourism potential, both natural and religious. The lives of people who are predominantly Hindu still adhere to customs and various activities of religious traditions that are in synergy with their natural beauty. One thing that attracts attention is the public's trust in Sudamala's story. Sudamala tells the story of Durga, ugly and evil until she becomes the beautiful and kind Goddess Uma. Starting from this story, this research attempts to develop it into a children's theater performance by highlighting the values of the Sudamala story. The approach used is a deconstruction perspective from "sanggit" reinterpretation, namely, re-understanding the meanings contained in the story of the Sudamala text with a new meaning. Through this analysis, we can understand in depth the contents of Sudamala's literary works, which are then worked out skillfully in the theatrical work of Buta Grana Ireng children. In the end, the reinterpretation of sanggit in the theatrical performance of the Buta Grana Ireng children was generally able to increase the appreciation of the new theatrical work from the reinterpretation of the Sudamala story at the Sukuh temple and became a new performance work in the Demping Tourism Village.
Garap Sanggit Pakeliran Padat Lakon Bima Bungkus Sajian Ki Bambang Suwarno Catur Nugroho; Yudha Ibnu Mutaqin
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i2.5856

Abstract

This research departs from the assumption that “sanggit lakon” is one of the main elements of work in Pakeliran Padat. The forms of Pakeliran Padat have room for creativity and expression that is broad, complicated, and/or even limitless. The puppeteer as the main creator has the freedom to work on the sanggit lakon based on his sensitivity and accuracy in observing the phenomena that occur. This research aims to find out what is related to Sanggit Lakon Bima Bungkus in Pakeliran Padat. This is important as a stimulant for artistic research studies, especially discussions regarding concepts and work in Pakeliran Padat. Ki Bambang Suwarno’s lakon Bima Bungkus was chosen as a case study research object which was deemed representative of the analysis needs. The approach used is the basic concept of Pakeliran Padat, the concept of sanggit garap lakon, the basic aesthetic concept of puppetry nuksma and mungguh, as well as the application of hermeneutics analysis. The qualitative descriptive data analysis method is carried out by observing the validity of the data through data triangulation and method triangulation. It is hoped that the collection of appropriate data through literature study, interviews and observations will be able to explain the work of the lakon Bima Bungkus in Pakeliran Padat presented by Ki Bambang Suwarno. Based on the discussion that has been carried out, it shows that the pakeliran padat of Ki Bambang Suwarno’s lakon Bima Bungkus is produced using the concept of pakeliran padat. The garap lakon is presented in a complex manner with a focus on Bima’s characterization as the main character. Garap catur includes janturan, pocapan, and ginem and also implements the concept of garap padat, namely conveying it effectively, efficiently, and focusing on the main problem of the scene. Garap sabet presents thematic puppet movements which represent garap padat. Through thematic sabet, events of lakon can be visualized through a series of unique, distinctive and meaningful wayang movements. Meanwhile, garap karawitan pakeliran presents musical compositions that are packaged for the needs of the events of lakon, although the vocabulary for the musical compositions still comes from traditional musical compositions.
Co-Authors Ananto Sabdo Aji Arieska Wulandari Dela Cahyaning Permata Delfin Febriansyah Handriyotopo Handriyotopo Heddy Shri Ahimsa-Putra Pujiono, Bagong Tatik Harpawati Yudha Ibnu Mutaqin