Article Per Year (5 Year)
p-Index From 2020 - 2025
0.778
P-Index
This Author published in this journals
All Journal Bakti Budaya: Jurnal Pengabdian kepada Masyarakat Jantra Jurnal Kajian Seni Jumantara: Jurnal Manuskrip Nusantara Terob : Jurnal Pengkajian dan Penciptaan Seni
Rudy Wiratama
Universitas Gadjah Mada
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

Published : 5 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 5 Documents
Search

 1 
Cerita “Sunan Têmbayat” sebagai Sumber Penggubahan Motif Batik Ciri Khas Desa Jarum di Kecamatan Bayat, Kabupaten Klaten Wisma Nugraha Christianto; Rudy Wiratama
Bakti Budaya: Jurnal Pengabdian kepada Masyarakat Vol 3, No 1 (2020)
Publisher : Faculty of Cultural Sciences

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (428.114 KB) | DOI: 10.22146/bb.55503

Abstract

AbstractTěmbayat, or well-known as Bayat in Klaten Regency is a region which has a rich tradition, religious and historical value according to Javanese perspective. One of its main factors is the presence of the saint Sunan Těmbayat’s graveyard site and some other shrines, supported by some folktales which have flourished there for generations. Bayat’s geographical condition which lies on the karst land on the foot of Sewu Mountain can’t make its society depend on agricultural sectors, so Bayat people nowadays are much known as entrepreneurs and craftsmen such as batik home industry. This article will show the results of “Pengabdian Kepada Masyarakat” (Social Responsibility Program) of  Javanese Program of Language and Literature Department in Faculty of Cultural Sciences, Gadjah Mada University, which assisted the villagers of Jarum, Bayat county, Klaten Regency as one of prominent batik industrial centers. The main output of this program is to compose a new traditional-based batik pattern related with stories about Sunan Těmbayat or Ki Agěng Pandhanaran as a local specialty through textual and contextual approaches on both written and oral literary sources.-----------AbstrakWilayah Těmbayat atau yang lebih dikenal sebagai kecamatan Bayat di Kabupaten Klaten merupakan sebuah daerah yang kental dengan nilai tradisi, sejarah, dan religi di mata orang Jawa. Salah satu faktor pendukung dari fenomena ini adalah keberadaan situs sejarah makam Sunan Těmbayat dan beberapa petilasan lainnya di daerah ini, yang didukung dengan berbagai folklor yang meliputinya. Kondisi alam wilayah Bayat yang terdiri atas tanah kapur di kaki Pegunungan Sewu menjadikan masyarakatnya tidak dapat menggantungkan diri dari sektor pertanian sehingga orang-orang Bayat identik dengan kaum pedagang dan perajin, yang salah satunya dalam bidang industri batik yang kini bergerak menuju skala nasional. Artikel ini menguraikan hasil-hasil kegiatan Pengabdian Kepada Masyarakat Program Studi Sastra Jawa, Departemen Bahasa dan Sastra, Fakultas Ilmu Budaya, Universitas Gadjah Mada yang berbentuk pendampingan terhadap masyarakat Desa Jarum, Kecamatan Bayat, Kabupaten Klaten sebagai salah satu sentra industri batik yang menonjol. Luaran utama dari kegiatan ini adalah terciptanya sebuah pola batik bercorak tradisi terkait dengan cerita “Sunan Těmbayat” atau “Ki Agěng Pandanaran” sebagai ciri khas setempat melalui pendekatan tekstual dan kontekstual terhadap sumber-sumber kesusastraan tertulis maupun lisan.
REPRESENTASI IDENTITAS ORANG JAWA DALAM CERITA PANJI VERSI WAYANG GEDHOG Rudy Wiratama
Jantra. Vol 14 No 2 (2019): Seni Pertunjukan
Publisher : Balai Pelestarian Nilai budaya Daerah Istimewa Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (388.323 KB) | DOI: 10.52829/jantra.v14i2.98

Abstract

Wayang Gedhog is a genre of puppetry which once ever enjoyed its popularity in Java, particularly in Surakarta and Yogyakarta until the beginning of 20th century. Its Panji-themed lakon is always for all time identified with court traditions. It implicitly reflects the social order and paradigm of the members of this political institution from its court aristocrats to low-ranked officials. Wayang Gedhog is undergoing an era of change where the life of performing arts is rapidly developing. Using Homi Bhabha’s theory about Self Identification, this research aimed to reveal how far the lakon and artefacts of Wayang Gedhog represents today’s Javanese thoughts and manners and the factors that have influenced the matters. The data were collected from: 1) the information gathered especially from the courtiers, as seen from the social, cultural, religious and political aspects, 2) library research, and 3) puppets of Wayang Gedhog of Surakarta style. This research has found that Wayang Gedhog as a performing art does not only function as an entertainment or aesthetical presentation, but also record the efforts of the Javanese living in the courts to redefine their concepts of self identity.
Cerita Panji sebagai Repertoar Lakon Wayang Gêdhog Gaya Surakarta Telaah Struktur Teks, Makna dan Kaitannya dengan Pertunjukan Rudy Wiratama
Jurnal Kajian Seni Vol 5, No 2 (2019): Jurnal Kajian Seni Vol 5 No 2 April 2019
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (746.643 KB) | DOI: 10.22146/jksks.46736

Abstract

Panji stories which based on the romance-adventure of Panji, the crown prince of Jenggala who searches his lover, Galuh or Candrakirana, has inspired a vast range of art forms in Indonesia, from dances, songs to puppetry. Wayang gědhog is one of surviving art forms concerning Panji theme, born around 15th century and developed in Javanese courts until now, despite of its lack of popularity compared with the Mahabharata and Ramayana-themed wayang purwa. Wayang gědhog in two Javanese courts in Surakarta, Kasunanan and Mangkunagaran, has flourished time by time with their own unique characteristics, which are rarely known nowadays. This uniqueness wasn’t only caused by the past values of Panji stories’ setting contexts, but also related with some actual factors which are relevant in the era of those Javanese courts. This article would discuss about Surakartanese wayang gědhog’s development history, narrative structure, meanings and the relations between Surakartanese Panji-themed stories with its performance.
Resepsi dan Transformasi Narasi Serat Menak Yasadipuran dalam Penciptaan Wayang Menak Gaya Surakarta Wiratama, Rudy
Jumantara: Jurnal Manuskrip Nusantara Vol. 15 No. 2 (2024): Desember
Publisher : Perpustakaan Nasional RI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37014/jumantara.v15i2.5192

Abstract

Serat Menak is a grand corpus of Javanese-Islamic text that is adopted from the Islamic epoch, Qissa-I Emir Hamza or Hikayat Amir Hamzah, which has widely spread in Asian region in the middle of second millenium CE. The popularity of Serat Menak made this text has many variants, and the one which is largely recognized was Yasadipura I (1729-1803)'s version which was composed in the beginning of Surakarta era. The text of Serat Menak Yasadipuran then become very well-known in Java, and became the inspiration for some branches of performing arts, such as wayang, whether in its kulit, golek, krucil, or wong formats. One of these wayang genres that took its repertoire from Menak tales was wayang kulit menak, which was introduced in Surakarta in the first quarter of 20th century, the creation of Sutarja Truna Dipa (STD) which has not being scientifically studied yet until this present day. This article aims to identify how far was the relation between STD's Surakarta wayang kulit menak with Serat Menak Yasadipuran, using Wolfgang Iser's Rezeption Aesthetic approach to obtain the reception and transformation patterns from textual narratives to visual forms. The result of this research concluded that STD's Surakarta wayang menak was a living artwork which evolving along times. On the other side, STD as the implied reader has been consistent in recepting Serat Menak Yasadipuran with some additions and adaptations, which was done to fulfil the needs of performance. Innovations done by STD to his wayang menak creation were not limited in the term of transformation from textual to visual media, but also filling the gaps (leerstellen) with the rich formal interpretation, which are completing the narrative of Serat Menak, so it will be more interesting to be played. 
Wayang Gajah Mada In Visual And Performing Arts: Research-Based Innovation of Javanese Puppetry and its Reception in the Academic and Artistic Environments Rudy Wiratama; Sindung Tjahyadi
Terob : Jurnal Pengkajian dan Penciptaan Seni Vol. 14 No. 2 (2024): April
Publisher : Sekolah Tinggi Kesenian Wilwatikta Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20111/terob.v14i2.68

Abstract

Wayang Gajah Mada (WGM), named after its main character and also the initiator university, was one of a few Javanese puppetry which used historical chronicles as its repertoire.This genre of wayang was designed from 2017 and has been performed several times both inside and outside the Universitas Gadjah Mada with various formats, from pakeliran multimedia to a conventional pakeliran semalam (all-night performance). Aside of its particular repertoires that depicted the biography of Mahapatih Gajah Mada, the team of Universitas Gadjah Mada also designed a special figures for the performances, which formed a new kind of puppet genre. The challenge began when it came publicly through many occasions, such as FGDs, national seminar, and the performances themselves. As a new puppet genre, both in visual and performance terms, the WGM have to proof its relevancy and significance to both of the academic and artistic societies, so it could guarantee its own sustainability for a long time. This article aims to answer: (a) what is the main concept of WGM both in visual and performative context, and also (b) how was the reception of both academic and artistic environments concerning the creation of this new puppet. Using the interview and observation methods, this article finds that WGM having a “Nusantara” concept both in visual and performative ways, and it received a good receptions from both academic and artistic environment which used the puppets in their performances. But despite of these positive reviews, it needs to struggle for its continuity in the future.
Co-Authors Sindung Tjahyadi Wisma Nugraha Christianto