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The aesthetics of virtual wayang performances during the covid-19 pandemic Sunardi Sunardi; Jaka Rianto; Katarina Indah Sulastuti; Tatik Harpawati; Purbo Asmoro; Ranang Agung Sugihartono
Gelar : Jurnal Seni Budaya Vol 21, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v21i1.4571

This paper discusses the aesthetics of virtual wayang performances by puppeteers. The problems studied are: (1) why puppeteers have a new tendency to perform virtual wayang; and (2) the aesthetic style of the virtual wayang performances. Data collection methods by interviews with puppeteers, literature studies about virtual wayang, and observations of wayang virtual performances by puppeteers were analyzed by aesthetic theory. The study results showed that puppeteers used digital platforms to maintain their profession's continuity and economic living conditions. The tendency of virtual wayang to give rise to an aesthetic style of digital puppets is known as aesthetics of taste, with the orientation of wayang performance to meet public tastes. The conclusion results state that the aesthetic style of the virtual wayang performance: (1) the camera as a representation of the audience's eyes; (2) puppeteers are required to be creative, innovative, and productive; (3) the audience has the freedom to determine their tastes; and (4) the importance of collaboration that must be carried out by the puppeteer.

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.

From Moral Teachings to Entertainment: Dysfunction of the “Pakem” Rules in Wayang Purwa Performances in the Contemporary Era Bagong Pujiono; Iwan Budi Santoso; Dru Hendro; Tatik Harpawati
Jurnal Kawistara Vol 16, No 1 (2026)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/kawistara.115839

The dysfunction of the “pakem” rules in contemporary wayang purwa performances has become a significant phenomenon that has changed the face of this traditional art. Pakem, which should serve as a guideline for the narrative, characters, plot, dialogue, and ethics of the performance, has shifted from its role as an aesthetic standard toward more pragmatic and market-oriented considerations. This shift has caused the dysfunction of the “pakem” rules in wayang performances, which previously upheld traditions and noble values, to now be more oriented towards entertainment and market demands. This study aims to analyze the impact of the dysfunction of the “pakem” rules on the quality of wayang purwa performances in the contemporary era, focusing on three main aspects: the simplification of sulukan, the shift of authority from the dalang to guest stars, and extreme changes in performance style. Qualitative data obtained through in-depth interviews with puppeteers, musicians, and art observers were used to analyze this phenomenon. This analysis is also supported by relevant literature to provide a broader context for the changes occurring in puppetry practices. The results of the study show that the dysfunction of the “pakem” rules tends to influence the perceived quality of wayang performances, leading to the loss of the cultural and aesthetic depth that has been the identity of wayang purwa. This decline in performance quality also reflects a shift in orientation from moral teachings to mere entertainment. Therefore, further research is needed to enrich our understanding of wayang performances in the contemporary era, especially in efforts to revitalize pakem and reinforce traditional values in wayang performances.

From Moral Teachings to Entertainment: Dysfunction of the “Pakem” Rules in Wayang Purwa Performances in the Contemporary Era Bagong Pujiono; Iwan Budi Santoso; Dru Hendro; Tatik Harpawati
Jurnal Kawistara Vol 16, No 1 (2026)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/kawistara.115839

The dysfunction of the “pakem” rules in contemporary wayang purwa performances has become a significant phenomenon that has changed the face of this traditional art. Pakem, which should serve as a guideline for the narrative, characters, plot, dialogue, and ethics of the performance, has shifted from its role as an aesthetic standard toward more pragmatic and market-oriented considerations. This shift has caused the dysfunction of the “pakem” rules in wayang performances, which previously upheld traditions and noble values, to now be more oriented towards entertainment and market demands. This study aims to analyze the impact of the dysfunction of the “pakem” rules on the quality of wayang purwa performances in the contemporary era, focusing on three main aspects: the simplification of sulukan, the shift of authority from the dalang to guest stars, and extreme changes in performance style. Qualitative data obtained through in-depth interviews with puppeteers, musicians, and art observers were used to analyze this phenomenon. This analysis is also supported by relevant literature to provide a broader context for the changes occurring in puppetry practices. The results of the study show that the dysfunction of the “pakem” rules tends to influence the perceived quality of wayang performances, leading to the loss of the cultural and aesthetic depth that has been the identity of wayang purwa. This decline in performance quality also reflects a shift in orientation from moral teachings to mere entertainment. Therefore, further research is needed to enrich our understanding of wayang performances in the contemporary era, especially in efforts to revitalize pakem and reinforce traditional values in wayang performances.

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