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Java Leaders: Raden Adipati Cakranagara I in the Babad Bagelen Social Psychology Study Fahri Setyo Utomo; Sahid Teguh Widodo
Javanologi: International Journal of Javanese Studies Vol 6, No 2 (2023): Javanologi Volume 6 No. 2: June
Publisher : Pusat Unggulan Ipteks Javanologi Universitas Sebelas Maret

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20961/javanologi.v6i2.75586

Abstract

AbstractJavanese script is an ancient manuscript of ancestral cultural heritage in the form of handwriting which stores various expressions of thoughts, feelings, and results of past cultures. The contents of the diary text of the Babad Bagelen manuscript tell about the leading figure of the first Purwareja regent who was formerly known as the Bagelen area, namely Raden Adipati Cakranagara 1. The colonial era was full of pressure and policies that harmed the natives. This leadership attitude is in the manuscript of Babad Bagelen with the study of Social Psychology by David G. Myers. The presentation of the results of this study was carried out by analyzing the leadership attitude of Raden Adipati Cakranagara 1 which includes (1) Caring for others, (2) Reminding others, (3) Serving others, (4) Giving gifts, (5) Distributing good invitation quotes. The above data written in the Babad Bagelen manuscript shows the leadership attitude of Raden Adipati Cakranagara when he became Regent in Purwareja (Bagelen). The attitude studied through the Social Psychology approach is very suitable for revealing the problems writtenKeywords: Babad Bagelen, Raden Adipati Cakranagara 1, Social Psychology, David G. Myers
Kala Sungsang: Recording World Voices to Draw Creative Innovations in a New Normal Era Sahid Teguh Widodo
Javanologi: International Journal of Javanese Studies Vol 4, No 2 (2021): Javanologi Volume 4 No. 2: June
Publisher : Pusat Unggulan Ipteks Javanologi Universitas Sebelas Maret

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20961/javanologi.v4i2.67956

Abstract

Kala Sungsang is a term in Javanese which marks a situation where a major disaster has occurred and turned the situation upside down. The big disaster in the Javanese language itself is named by the term pageblug. That is how the Javanese people describe the covid-19 pandemic disaster that is still happening today. The form of this research is qualitative research which is considered appropriate to find a way out of dealing with a pandemic by recording the voices of the world from cultural experts around the world. Data were collected from eight informants from Indonesia, the Netherlands, Japan, India, England, America and Australia. The data analysis technique uses an interactive analysis model, by means of grouping and interpreting it carefully and thoroughly. The results showed that there was a similarity in opinion of each informant, with regard to future values and expectations. The dominant values that emerge are togetherness, persistence, improving on communication, self-strengthening, keep looking and generating new ideas, finding solutions, and always think positively. This research shows the determination and desire of world citizens to dare to face and help each other in handling the Covid-19 pandemic.
Unveiling the Forgotten Stage: Form, Function, and Cultural Negotiation in the Performing Arts of Teater Abdul Muluk, Jambi Oky Akbar; Sahid Teguh Widodo; Muhammad Rohmadi
Harmonia: Journal of Arts Research and Education Vol. 26 No. 1 (2026): June 2026
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v26i1.36161

Abstract

Teater Abdul Muluk (TAM) in Jambi remains under-researched in academic discourse despite its enduring practice and sustained preservation by local communities. Unlike Malay theatre in other regions, which has a well-established historiography and receives institutional support, TAM is often regarded as a marginal form within performing arts discourse. This research aims to re-examine this position by interpreting TAM as an active, reflective, and contextual cultural practice, a field for the production of meaning and cultural authority outside canonical centers. This study employs a critical ethnographic approach through performance documentation, in-depth interviews with multi-generational practitioners, and an analysis of performative elements, including staging structures, characterization, props, and music. The findings indicate that the continuity of TAM relies on performative negotiations that converge Malay customs, Islamic ethics, humor, and colonial memory, rather than the mere textual reproduction of the Syair Abdul Muluk. A key finding is the utilization of minimalist props, specifically the table and rattan, which serve as symbolic control centers to regulate authority, sound, the actors’ bodies, and the dramatic flow. These props establish a distinct performative character that defines Malay theater expression in Jambi. This article provides an empirical and methodological foundation for further research to uncover the dynamics of Malay theater practices in regions that have historically been underrepresented in the historiography of the performing arts.