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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

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.

PERTUNJUKAN WAYANG GOLEK MENAK LAKON ADAM MAKNA KAWEDHAR SEBAGAI BENTUK AKULTURASI CERITA LOKAL JAWA Pujiono, Bagong; Wicaksono, Andi
Acintya Vol. 14 No. 1 (2022)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v14i1.4322

ABSTRAKTujuan utama penelitian ini, yaitu menciptakan dan mempergelarkan wayang golek lakon Menak lakon Adam makna Kawedhar sebagai bentuk akulturasi cerita lokal masyarakat Jawa. Cerita kepahlawan Amir Hamzah, paman Nami Muhammad SAW disisipi dengan cerita asal-usul kitab Betal Jemur Adam Makna. Dalam kehidupan nyata, kitab ini oleh orang Jawa digunakan untuk menamai sebuah buku primbon. Target penelitian, yaitu: (1) terciptakannya struktur pertunjukan wayang golek lakon Menak Sarehas; (2) terciptakannya naskah pertunjukan wayang golek lakon Menak Sarehas; (3) tersediakannya vokabuler catur, sabet, dan iringan pertunjukan wayang golek lakon Menak Sarehas yang mudah dimengerti generasi muda; (4) tersajikannya pertunjukan wayang golek lakon Menak Sarehas garap padat secara online di channel youtube); (5) terbit artikel ilmiah pada jurnal nasional terakreditasi; (6) terdokumentasikannya satu bentuk pertunjukan wayang golek lakon Menak Sarehas; dan (7) diperoleh 1 sertifikat HKI. Metode penciptaan dan penyajian meliputi: (1) observasi untuk menentukan struktur pertunjukan; (2) eksplorasi menyusun naskah lakon; (3) menyusun vokabuler gerak, catur, dan iringan; (4) merancang struktur pertunjukan, sabet, catur, dan iringan; (5) penyajian wayang golek lakon Menak Sarehas; dan (6) evaluasi hasil penciptaan. Hasil penelitian berupa naskahwayang golek lakon Adam Makna Kawedhar yang dipergelarkan pada event Hari Wayang Dunia VII ISI Surakarta yang disiarkan melalui ISI TV channel. Kata Kunci: wayang golek, Menak Sarehas, akulturasi, primbon.

Simulating Reality: An Exploration of Autoethnography, Deconstruction and Reconstruction in Epic Theater Creation Darius, Nanda; Bagong Pujiono
Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Vol. 1 No. 1 (2024): Proceeding to The 1st International Conference on Arts, Media, and Culture (ICA
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar

The migration to Tanjungpinang brought the author consciously into a space of simulation. This movement is a 'self-turn away' from the dynamic productivity of the metropolitan city to the quieter rhythm of a small town. In this new environment, the author not only wanders but also integrates into the rhythm of the local community, experiencing time differently. Isolation from the bustle of the metropolis became a deliberate choice, providing distance and space for deep introspection. Using the method of otoethnography and the anthropological insights of Erving Goffman, Richard Schechner, and Augusto Boal, the author interrogates himself and develops a new concept called epic theater work. The epic is not a Brechtian notion that creates a critical distance for reflection and analysis. Rather, it involves the director's fusion of deconstructed and reconstructed realities into an epic theatrical performance with substance. The resulting method of creation offers theater directors a way to discover themselves and their work through certain stages, namely using intuition over conventional knowledge, rejecting traditional plots and structures, acting as the ultimate experimenter, integrating dynamics, deconstructing the script, encouraging engagement and surprise within themselves and the artistic team, and aiming for a surprising and exciting performance.

MORAL VALUES IN THE STORY OF NAAMAN SANG SENOPATI: A DISCOURSE ANALYSIS OF JAVANESE FOLKLORE Widaningrum, Seruni; Pujiono, Bagong
JUPIIS: JURNAL PENDIDIKAN ILMU-ILMU SOSIAL Vol. 15 No. 1 (2023): JUPIIS (JURNAL PENDIDIKAN ILMU ILMU SOSIAL) JUNE
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/jupiis.v15i1.43850

Wayang wahyu grows and develops among Catholics as a proclamation of church teachings. Church teachings have moral values that need to be instilled in humans for character education. Dalang presents a reflection of a life that is full of moral messages through the drama of the Wayang wahyu so that the delivery of moral messages becomes familiar to the Javanese community. This study aims to reveal the moral values contained in Lakon Naaman Sang Senopati. This research uses a qualitative descriptive method with a value analysis approach. The results of this study can be concluded that the Wayang Wahyu performance is an effort by Catholics to bring their teachings closer to the Javanese community, especially Catholics. The performance of Naaman Sang Senopati contains moral values that are useful for building the character of Catholics. The result of this study is that this performance is full of values of religiosity, trust, self-surrender, nationalism, obedience, universality, and love. The puppet revelation performance of the play Naaman Sang Senopati implies a moral message, namely: religious, trust, self-surrender, nationalist, universal, obedient, and love. These values are in accordance with the morals that must be shown as Catholics. Because by implementing these values, peace and harmony between religious communities can be realized. Naaman™s attitude of respecting other people™s principles and not imposing the beliefs of his king is a reflection of the principles of Catholics in Indonesia, namely 100% Catholics and 100% Indonesians. Being 100% Catholic is manifesting the law of love; while 100% of Indonesia is creating harmony between religious communities, solidarity, working together, helping each other, and taking part in nation-building programs. These values are expected to form a national character full of morality.

Visualization of the Nyadap Kawung Process in the Hideung Geulis Theater Performance in the Banceuy Traditional Village, Subang Cahyani, Sinta Rizki; Pujiono, Bagong; Dayari, Achmad
Wacana : Jurnal Bahasa, Seni, dan Pengajaran Vol 9 No 1 (2025): April 2025
Publisher : Universitas Nusantara PGRI Kediri

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29407/jbsp.v9i1.3

Banceuy Subang Traditional Village is a traditional village that still maintains traditional values passed down from ancestors such as the tradition of the kawung nyadap process or commonly known as sugar palm tapping. In Banceuy, there are still some people who tap kawung trees to take field water and process it into palm sugar. Each process of tapping a kawung tree has an interesting meaning that can be visualized through a theatrical performance. To organize the formation of the visualization of the nyadap kawung process, it is supported by Gustav Freytag's dramatic structure theory which includes five elements, namely exposition, complication, climax, reversal, deoument. This research uses a qualitative approach. In research, a qualitative approach can be taken through observation, interviews and literature studies. The results of this research present a visualization of the process of tapping kawung into theater characters, there are three main figures visualized, namely 1. Hideung Geulis as a kawung tree, 2. Asep as a tapper of kawung trees and 3. Traditional Leader as an elder who perform the nyadap kawung ritual.

Exploring Cultural Authority: The Dichotomies of Zikir Songs in the Malay Community of West Kalimantan Ansari, Isa; Fauziyah, Nur; Pujiono, Bagong; Bugov, Dobrin Tsvetanov; Puspitasari, Elis
Resital: Jurnal Seni Pertunjukan Vol 26, No 1 (2025): April 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i1.15027

This article examines the reproduction of cultural authority within the Sambas Malay culture, emphasizing the distinctions in the utilization of songs for performing dhikr or barzanji in broader terms. This issue is approached through a multidisciplinary lens that integrates aspects of cultural studies, ethnomusicology, and symbolic capital. This research is qualitative because it explores the complex relationship between the dhikr practices of the community, resulting in narrative data. The data was collected through interviews and participant observation, which included engaging with the dhikr participants during their rituals and practices. The process of data analysis occurs in three distinct stages. Initially, data reduction is conducted to arrange the data in a more structured manner. The second point presents the reduced data thematically in a table that includes images, text quotes, and snippets of dialogue. Data verification was conducted to reach conclusions. The process of interpretation involved restating and reflecting on the data in light of the prevailing socio-cultural context. The findings suggest that the dichotomy acts as a means for dhikr practitioners to recreate cultural authority, aiming to reshape the Sambas Palace's influence over those who engage with traditional songs. This reproductive process occurs through inversion and reinforcement.

Children's theater performance "Buta Grana Ireng" reinterpretation of Sudamala story in Demping Village Pujiono, Bagong; Handriyotopo, Handriyotopo; Nugroho, Catur; Harpawati, Tatik; Febriansyah, Delfin; Permata, Dela Cahyaning; Wulandari, Arieska
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

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.

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