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Eddy Pursubaryanto
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“Kancil the Mousedeer of Sumatra” and “Kancil Saves the Rainforest of Sumatera”: an American Perspective Eddy Pursubaryanto
Humaniora Vol 21, No 3 (2009)
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1848.715 KB) | DOI: 10.22146/jh.976

Abstract

Tulisan ini melihat bagaimana Tamara Fielding, seorang story teller dari Amerika, menyajikan dua episode cerita kancil versi Indonesia lewat acara TV "Tell Me a Story". Analisis berdasarkan konsep fungsi seni pertunjukan dan bagaimana sebuah sajian untuk publik Amerika diberi makna dengan perspektif Amerika. Dalam episode "Kancil the mousedeer of Sumatra" Tamara Fielding menyuarakan nilai kesetaraan setiap makhluk hidup dan lewat episode "Kancil Saves the Rainforest of Sumatra", dia mengingatkan pentingnya menjaga hutan hujan dari pembalakan liar.
Seni Pertunjukan Wayang Kancil dan Kemungkinan Pengembangannya di Indonesia Eddy Pursubaryanto
Humaniora No 3 (1996)
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2046.964 KB) | DOI: 10.22146/jh.1941

Abstract

Tulisan ini merupakan usaha untuk merekam dalam bentuk tulis peristiwa kebudayaan yang berujud pertunjukan Wayang Kancil di Daerah IstimewaYogyakarta (DIY) mulai tahun 1980 sampai sekarang. Pembatasan waktu inidisebabkan karena tahun itulah awal muncul kembalinya Wayang Kancil diYogyakarta. Di dalam pencatatan ini penulis selalu mengamati pementasan-pementasan yang dilakukan olen rekan-rekan dalang Wayang Kancil. Di samping itu, penulis juga mencatat pertunjukan-pertunjukannya sendiri karena ia juga terlibat secara aktif dalam memainkan Wayang Kancil dari tahun tersebut sampai sekarang. Untuk melengkapi catatan itu, telah diadakan pengecekan kepada seorang nara sumber yaitu Ki Ledjar Soebroto sebagai pencetus penggalian kembali Wayang Kancil di Yogyakarta.
Berbahasa Inggris Melalui Teater Wayang Eddy Pursubaryanto
Gelar : Jurnal Seni Budaya Vol 5, No 1 (2007)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2438.499 KB) | DOI: 10.33153/glr.v5i1.1235

Abstract

This article presents an example of how a script of Wayang Kulit in English version  is used to provide more English exposure for English learners. It offers a strategy for  English instructors and anyone who is learning English.
RUWATAN: A RITUAL IN TRANSITION Eddy Pursubaryanto
Gelar : Jurnal Seni Budaya Vol 4, No 2 (2006)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1694.177 KB) | DOI: 10.33153/glr.v4i2.1213

Abstract

"Where are you going, Wayang?" This question was raised by the late Umar Kayam in 1969 (Kayam 1981: 129-135) in his article as a speculative note after a Wayang Festival in Jakarta in the same year. In the article he pointed out that when the Wayang Festival started, Wayang was already very old and weak, because it had undergone a very long journey through various eras and dimensions, Its presence in its old age and at the crossroad of a changing society must have created one or two consequences. The first, Wayang was forced to arrive at new idioms. The second, it must shift emphasis, such as including new images or new identifications because at this point the time and language dimensions had so demanded. He was also predicting that the audience would change and the new audience would have different perceptions towards the characters in Wayang in general [including Wayang Kulit]. They would humanize the characters more. The audience probably would no longer use Wayang as a frame of reference in their life. Wayang would become a modern drama that avoided giving advice, but it would provide several alternatives of life. When future audiences went to a Wayang Kulit, they would no longer search for any symbolism in it. They would rather prepare to enjoy "aesthetical experiences which are full of pleasure". His writing was like a warning about the life of Indonesian Wayang if it wanted to survive and cope with the modernization era where the agricultural life was bit by bit replaced by urban life. However, Umar Kayam did not specifically look at the future Wayang Kulit in the context of ritual ceremonies, such as Ruwatan. Therefore this paper will look at some tendencies at its performance today, especially in the so-called Ruwatan Masa/(Mass Ruwatan), a new trend in Indonesia. This paper has used the data from various written resources, interviews with dalang ruwat(a dalang who has the right to perform a ruwatanceremony), and several families that participated in ruwatan. Beside that, I was involved through participatory observation as a member of the Organizing Committee of a Ruwatan Massal, and as pengrawit (gamelan player) in both regular performances and some ruwatanceremonies.
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