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All Journal Jurnal Kajian Seni Jumantara: Jurnal Manuskrip Nusantara MANUSKRIPTA
Naufal Anggito Yudhistira
Universitas Indonesia
Arts Humanities Education Languange, Linguistic, Communication & Media Library & Information Science Social Sciences

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Jejak Seni Pertunjukan dalam Hikayat Banjar: Silang Budaya Jawa dan Banjarmasin Naufal Anggito Yudhistira
Jurnal Kajian Seni Vol 8, No 2 (2022): Jurnal Kajian Seni Vol 8 No 2 April 2022
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/jksks.71475

Abstract

Abstract Hikayat Banjar contains traces of ancient arts around Banjar kingdom. In this work, the poet states that the customs in Banjar have their roots in Majapahit in many times. The artistic traces of this text also show a connection with Javano-Balinese art. The aims of this research to reveal the past art forms that contained in Hikayat Banjar and see their relationship with Javanese art. The approach of this research is culture as text. In Hikayat Banjar there are various types of traditional music, dance, and traditional drama. These art forms show a similar pattern with Javanese and Balinese art, especially from the palace. These performing art in Hikayat Banjar show the relationship between Banjarese and Javanese arts. From a musical point of view, gamelan in Hikayat Banjar is closely related to the karawitan tradition in Javanese courts. The dance in Hikayat Banjar shows similarities to the wireng genre in Java. The form of theatre in the Hikayat Banjar separated in two kinds, the drama that played by humans and puppets. This traditional theatre form has a close relationship with Javanese and Balinese arts in the past. Despite having the same artistic roots as Java and Bali, the arts in Banjar developed in the different situations and conditions. The relationship between Javanese and Banjar arts also related to the migration from Java to Banjarmasin in the 17th century.Keywords: Hikayat Banjar, performing art, karawitan, dance, traditional theatre. AbstrakHikayat Banjar memuat jejak kesenian kuno Banjar dan sekitarnya. Dalam karya ini, penyair berkali-kali menyatakan bahwa adat di Banjar berakar dari Majapahit. Jejak kesenian dari teks ini juga menunjukkan adanya kaitan dengan kesenian Jawa dan Bali. Penelitian ini bertujuan untuk mengungkap bentuk kesenian masa lalu yang tertuang dalam Hikayat Banjar dan melihat kaitannya dengan kesenian Jawa. Penelitian ini berpegang pada pendekatan bahwa kebudayaan adalah teks. Dalam Hikayat Banjar terdapat berbagai jenis karawitan, tari, dan drama tradisi. Bentuk-bentuk kesenian itu menunjukkan adanya kesamaan pola dengan kesenian Jawa dan Bali, khususnya dari lingkungan istana. Jejak-jejak itu menunjukkan hubungan antara kesenian Banjar dengan Jawa. Dari segi seni musik, gamelan di Hikayat Banjar terkait erat dengan tradisi karawitan di istana-istana Jawa. Seni tari dalam Hikayat Banjar menunjukkan kemiripan dengan genre tari wireng di Jawa. Bentuk teater dalam teks Hikayat Banjar ada yang dimainkan oleh manusia dan ada yang menggunakan wayang. Bentuk teater tradisi itu memiliki kedekatan dengan kesenian Jawa dan Bali pada masa lampau. Walaupun memiliki kesamaan akar kesenian dengan Jawa dan Bali, kesenian di Banjar berkembang mengikuti situasi dan kondisi yang berbeda. Pertalian kesenian Jawa dan Banjar terkait dengan adanya perpindahan penduduk dari Jawa ke Banjarmasin pada abad ke-17.Kata Kunci: Hikayat Banjar, seni pertunjukan, karawitan, tari, drama tradisional.
Ungkapan Sejarah-Simbolik Prabu Airlangga dalam Kakawin Lambang Pralambang Naufal Anggito Yudhistira; I Made Suparta
Jumantara: Jurnal Manuskrip Nusantara Vol 13, No 1 (2022): Juni
Publisher : Perpustakaan Nasional RI

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (711.543 KB) | DOI: 10.37014/jumantara.v13i1.1512

Abstract

Kakawin Lambaᶇ Pralambaᶇ is an Old Javanese poet in the bhāṣa genre written in Lombok and contained in a manuscript coded CP.25 LT-223, in FSUI collection. This work contains lyrics with erotic-romantic themes, although there is a symbolic story of King Airlangga. The purpose of this study is to reveal the content of the text through philological work and identify the symbolic elements of King Airlangga in it. This research is qualitative research using a philological method based on one manuscript or codex unicus. This study also uses a reception approach. After doing philological work on the text, it can be seen that KLP is framed in the kakawin meter, has 8 chapters, has a romantic-erotic theme, and has a uniqueness in the form of a symbolic story of King Airlangga. The symbolism related to King Airlangga can be seen from the mention of his name, his majesty, to the sraddha ceremony being discussed. The element is seen as a collective memory stored in the text. The conclusion of this research is that the symbolic image of King Airlangga in the Kakawin Lambaᶇ Pralambaᶇ text is a form of collective memory in Old Javanese literature in Lombok.
Membaca Kembali Keberagamaan Gender dan Orientasi Seksual dalam Kesusastraan Jawa Tradisional Naufal Anggito Yudhistira
Manuskripta Vol 15 No 2 (2025): Manuskripta
Publisher : Masyarakat Pernaskahan Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33656/manuskripta.v15i2.193

Abstract

Gender and sexual orientation diversity existed in many societies around the world and has been recognized in Javanese literature for a long time. This study aims to present a new perspective on understanding LGBTQ+ content in Javanese literature. This research uses comparative literature method with a lesbian-gay criticism approach. The texts that were compared in this research include Ślokāntara, Wṛhaspati Tattwa, Kuṭaramānawa, Wirāṭaparwwa, Sĕrat Cĕnthini, Pakĕm Ringgit Gĕdhog, Panji Jayakusuma, Panji Kuda Narawangsa, Panji Bĕdhah Bali, and Panji Murtasmara.. From the texts that were compared, various forms of gender diversity, sexual orientation, and narratives about same-sex love were found. LGBTQ+ elements show the relationship between the existence of masculine and feminine elements in one body. LGBTQ+ in Javanese literature is seen as a deficiency that is inherent in humans. Even so, LGBTQ+ is a condition that has been destined by God. In certain matters, such as the existence of neutral gender in Javanese-Balinese literature, it cannot be separated from the religious-mystical aspect. === Keragaman gender dan orientasi seksual merupakan salah satu bagian dari kehidupan masyarakat di seluruh  dunia dan telah sejak lama dikenal dalam kesusastraan Jawa. Penelitian ini bertujuan untuk mengemukakan sudut pandang baru dalam memahami muatan LGBTQ+ di dalam karya sastra Jawa. Metode yang digunakan dalam penelitian ini yaitu menggunakan sastra bandingan dengan pendekatan kritik sastra lesbian-gay. Teks yang dibandingkan meliputi Ślokāntara, Wṛhaspati Tattwa, Kuṭaramānawa, Wirāṭaparwwa, Sĕrat Cĕnthini, Pakĕm Ringgit Gĕdhog, Panji Jayakusuma, Panji Kuda Narawangsa, Panji Bĕdhah Bali, dan Panji Murtasmara. Dari teks-teks yang dibandingkan, terdapat berbagai bentuk keragaman gender, orientasi seksual, dan narasi tentang cinta sesama jenis. Unsur-unsur LGBTQ+ memperlihatkan relasi keberadaan unsur maskulin dan feminin dalam satu tubuh. LGBTQ+ dalam karya sastra Jawa dipandang sebagai suatu kekurangan yang melekat pada manusia, tetapi juga dipandang sebagai takdir. Dalam hal tertentu seperti keberadaan gender netral dalam kesusastraan Jawa-Bali tidak dapat dilepaskan dari aspek religius-mistik.
Co-Authors ., I MADE SUPARTA