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All Journal Manuskripta MANUSKRIPTA
Bima Slamet Raharja
Universitas Gadjah Mada
Arts Humanities Languange, Linguistic, Communication & Media Library & Information Science

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Tinjauan Awal Naskah Sujarah Penatah (Sejarah Penatah Wayang): Naratif, Kreativitas, dan Legitimasi Bima Slamet Raharja
Manuskripta Vol 13 No 1 (2023): Manuskripta
Publisher : Masyarakat Pernaskahan Nusantara (The Indonesian Association for Nusantara Manuscripts, Manassa)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33656/manuskripta.v13i1.223

Abstract

The names of wayang puppet makers or penatah (in Javanese) are well known among puppetry aficionados in Indonesia, but little tends to be known about their biographies. It is as if their personalities are overwhelmed by the greatness of their art work. In Yogyakarta’s wayang tradition, a number of names such Resapenatas, Maraguna, Kertiwanda, Prawirasucitra, Prayitnawiguna and Bundhu are very well known. All are considered great wayang makers or artists, with distinct aesthetic styles, but almost all details of their lives are unknown. The only substantial written text to concern penatah is a manuscript titled Sujarah Panatah (A History of Wayang Carvers)written in the early 20th century in Yogyakarta. Tales about carverstake the form of wayang plays. In one play, Ki Mangunwiguna teaches his son how to make a wayang based on prior exemplars. The author of the text tries to connect factual stories and myths about the gods. As in babad stories about kings of yore, wayang makers are presented as if they are also not just ordinary people. This is a means to establish their legitimacy. They are chosen, because they are able to communicate with gods. Alongside the text are wayang-style illustrations, supplementing the creativity of the narrative. This paper will consider the factual basis and validity of stories collected in the Sujarah Penatah, the way the text understands the origins of creativity and its mode for legitimising wayang makers and the continuity of their craft.
Teks-teks Lakon Wayang Karya Ki Widiprayitna Eks-Koleksi J. L. Moens: Jembatan Masa Lalu terhadap Kajian Filologi Pertunjukan Bima Slamet Raharja
Manuskripta Vol 16 No 1 (2026): Manuskripta
Publisher : Masyarakat Pernaskahan Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33656/manuskripta.v16i1.181

Abstract

This article examines the continuity and evolution of lakon wayang texts within the J.L. Moens collection, specifically those rewritten by Ki Widiprayitna. Moens’ initiative was pivotal in documenting Yogyakarta’s puppetry traditions, drawing from ancestral guidelines like Pancakaki and Grenteng. Widiprayitna’s adaptations mirror live performances, meticulously preserving structural elements such as janturan (narrative descriptions), pocapan (dialogue), and gendhing (musical cues). These texts, including the Pakem Ringgit Purwa, serve as vital records of the transition from oral performance to written media. The inclusion of character illustrations further enhances the dramatic technicality of these records. By applying philological transcription to Widiprayitna’s work, researchers can decode the essential symbols and modes that define these standardized plays. Ultimately, this study highlights Widiprayitna’s critical role in formalizing and preserving the rich heritage of Javanese shadow puppetry for future generations. === Artikel ini membahas eksistensi, kesinambungan, dan transformasi teks lakon wayang dalam koleksi J.L. Moens yang ditulis ulang oleh Ki Widiprayitna. Upaya Moens merupakan langkah krusial dalam mendokumentasikan pengetahuan pedalangan di Yogyakarta berdasarkan pakem-pakem leluhur seperti Pancakaki dan Grenteng. Tulisan yang dihimpun Widiprayitna disusun identik dengan struktur pertunjukan asli, mencakup elemen janturan, pocapan, hingga gendhing. Proses ini menandai peralihan medium dari pertunjukan lisan ke bentuk tertulis. Teks seperti Pakem Ringgit Purwa dalam koleksi ini menyimpan detail teknis serta rekaman sejarah pertunjukan masa lalu. Kehadiran ilustrasi tokoh wayang turut memperjelas aspek dramatik dan karakterisasi dalam cerita. Melalui transkripsi filologis terhadap karya Widiprayitna, kode, mode, dan simbol penting dapat terungkap. Secara keseluruhan, studi ini menyoroti peran vital Widiprayitna sebagai produser teks standar dalam melestarikan warisan budaya wayang kulit bagi generasi mendatang.
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