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<![CDATA[Estetika Mendhalungan Pertunjukan Wayang Kulit Banyumasan Lakon Srikandhi Mustikaningrat Sajian Bagas Kriswanto ]]>
<![CDATA[Willy Setia Budi]]>;
<![CDATA[Wicaksono, Andi]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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<![CDATA[This study aims to reveal the aesthetics mendhalungan on the Banyumasan style puppet show Srikandhi Mustikaningrat presented by Bagas Kriswanto. This research is expected to enrich the elements of performance aesthetics, and can be used as reference material for similar studies. The characteristic of Banyumasan style lies in the elements of pakeliran work, namely catur, sabet and pakeliran music. In this regard, the play Srikandhi Mustikaningrat in Banyumasan style presented by Bagas Kriswanto is explored using the theory of performance aesthetics which aims to describe the performance aesthetics with the concept of mendhalungan. This research uses the qualitative method by Moleong, which uses literature review, observation, interviews, transcription, and data analysis. To analyze the aesthetics of this performance using the concept of mendhalungan proposed by Bagong Pujiono. This research shows that the achievements of the mendhalungan concept were successfully presented by Bagas Kriswanto. This is proven by achieving harmony between the five elements in one performance.]]>
<![CDATA[Resepsi Wahyu Dunung Raharjo Dalam Pertunjukan Wayang Pamarta Lakon Katresnan-ku Tanpa Wates Dari Kitab Injil ]]>
<![CDATA[Widawati, Seruni]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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<![CDATA[Wayang has a history related to part of the worship ritual of a particular belief or religion. It turns out that currently wayang is still used by the Christian community which then makes wayang that is specifically created to spread religious values, namely to proclaim the teachings of Christ. One of the wayang used for the preaching of Christianity is Wayang Pamarta. The Lakon chosen in this study is Katresnan-Ku Tanpa Wates by Wahyu Dunung Raharjo. This lakon is very interesting because it is a new lakon adapted from the Gospels of Matthew, Mark, Luke, and John then realized into a wayang performance using the concepts of garap pakeliran. The purpose of this study is to examine the aesthetic reception carried out by the creator to reveal the reader’s response to the Gospel, in this case Wahyu Dunung Raharjo with an active reaction applied to the wayang pamarta performance. This study uses a qualitative method with a sanggit approach and active reception. The results of the sanggit analysis were then re-analyzed with the concepts underlying the creation or arrangement of lakon wayang by Sumanto, namely: tutug, mulih, and kempel. The lakon Katresnan-Ku Tanpa Wates is the result of ‘reading’ or ‘receiving’ a sermon delivered by Pastor Petrus Agung, then undergoing a thought process until it is realized into a work of art of wayang pamarta performance. This process is carried out by interpreting sources and then producing sanggit by adding, subtracting, and innovating. The tutug criterion is reflected in the completion of the lakon events. The mulih criterion is seen in all the problems faced by the main character being resolved. The kempel criterion is seen in the intertwining of the problems of some characters presented in the lakon Katresnan-Ku Tanpa Wates.]]>
<![CDATA[Nilai Budi Pekerti Dalam Garap Catur Lakon Pandawa Matirta Sajian Cahyo Kuntadi ]]>
<![CDATA[Purnama, Putra Widhi]]>;
<![CDATA[Harpawati, Tatik]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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<![CDATA[Garap lakon (lakon treatment) Pandawa Matirta contains moral values. This study attempts to describe the moral values found in the shadow puppet performance Lakon Pandawa Matirta presented by Cahyo Kuntadi. Moral values can be seen from the garap lakon including janturan and ginem. This study uses the theory put forward by Zuriah. The research is qualitative with data collected through literature studies, interviews, and observations on social media. The results of the study indicate that there are moral values, namely (1) the relationship between humans and God including: knowing God as the creator, God as the giver (love, affection), God as the giver of rewards (good and bad), and worship as communication with God; (2) Moral values of human relationships with humans include: greeting when meeting, not making fun of someone beyond the limit, not being prejudiced, not offending their feelings, not slandering without evidence, always maintaining their good name, and helping someone in difficulties; (3) moral values related to human relations with the environment, namely caring for flora and fauna; and maintaining environmental cleanliness.]]>
<![CDATA[Ciri Khas Pedalangan Gaya Kerakyatan Subgaya Ngawonggo ]]>
<![CDATA[Pulung Wicaksana Nugraha]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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<![CDATA[This research entitled “Ciri Khas Pedalangan Gaya Kerakyatan Subgaya Ngawonggo” (Typical Characteristics of Folk Puppetry in the Ngawonggo Substyle) aims to identify the characteristics of folk puppetry in the Ngawonggo substyle. The approach used is qualitative analysis with descriptive methods through field data analysis. The research results show that the Ngawonggo substyle has its own characteristics. Firstly, the puppeteers of this substyle have descendants from the palace who have maintained the tradition of puppetry from generation to generation. Secondly, there is a standard Lakon consisting of seven series with the character Gatotkaca always playing a role in it. Thirdly, there is a Gatotkaca-Baladewa war scene before entering the line. This war scene uses udanegara or ethics in playing it.]]>
<![CDATA[Karakter Tokoh Gatutkaca Dan Dadung Awuk Dalam Wayang Sebagai Pijakan Penciptaan Tari Gatutkaca Dadung Awuk Gaya Mangkunegaran ]]>
<![CDATA[Aminudin]]>;
<![CDATA[Kuncoro, Bimo]]>;
<![CDATA[Wijayanto, R. Danang Cahyo]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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<![CDATA[Gatutkaca Dadung Awuk Dance at Pura Mangkunegaran is a dance work created during the era of Mangkunegaran IV with its creator NN. In its development, this dance was reconstructed by (the late) Rono Suripto in the 1990s as an appreciation of special dance in Mangkunegaran and often used in welcoming guests. The main objective of this study is to examine the character of Gatutkaca and Dadung Awuk in wayang as a basis for the creation of the Gatutkaca Dadung Awuk Dance Mangkunegaran Style. The method used to analyse this artwork is the Hawkins method of creating artwork; namely: exploration, improvisation, and formation or composition. The Gathutkaca figure became an idol because of the personality inherent in him. Gatutkaca is the son of Werkudara (father) and Arimbi (mother). Gatutkaca is a knight and is the king of the Pringgandani kingdom who has a gagah anteb (dashing) character. One lakon of wayang performances entitled Parta Krama tells about the marriage of Arjuna (his uncle). Gatutkaca is asked to look for a dowry and he met Dadung Awuk. Dadung Awuk is a giant with the characteristics of rongeh, glece, brayak, and cakrak. In this meeting, a war occurred because the dowry for Arjuna’s marriage was guarded by Dadung Awuk, namely Kerbau Pancal Panggung (White lower legs). A creative idea emerged because of the meeting in Pura Mangkunegaran, that is a work of the Gatutkaca Dadung Awuk Dance.]]>
<![CDATA[Sosio Psikologis Dalam Implementasi Fungsi Seorang Dalang ]]>
<![CDATA[Padnobo, Halintar Cakra]]>;
<![CDATA[Nurnani, Dewi]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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<![CDATA[This article analyzes the relationship between social-psychology and puppetry, by examining how the five socio psychological elements—attitudes, beliefs, emotions, habits, and desires—influence the character of a dalang and the quality of wayang performances. Based on social psychology theories, this article shows how these elements shape the behavior patterns of a dalang in carrying out his profession and interacting with the audience. The dalang, as the center of a wayang performance, is required to understand and apply these five elements in order to achieve perfection in the performance and to create a harmonious relationship with the audience. The theories used in this article include the basic concepts of general psychology explained by Irwanto et al. (1991), the influence of trust and emotions in social interactions, as described by Sujanto (1993) and Damajanti (2006). Apart from that, the importance of socio-psychology in creating quality art is also highlighted, with. It is hoped that this article can provide deeper insight into the importance of understanding socio-psychology for dalang and audiences in creating meaningful performances.]]>
<![CDATA[Nilai Kehidupan Dalam Penciptaan Karya “Darmaning Satriya Pinandhita” ]]>
<![CDATA[Wijaya, Indra Danar]]>;
<![CDATA[Asmoro, Purbo]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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<![CDATA[Anoman or Hanuman is a popular figure from the great epic Ramayana who is known by many groups. He took the form of a white monkey with extraordinary powers that were once said to be able to burn down the Alengka Kingdom and lift a mountain. Not only in the Ramayana, the character Anoman also appears in the Mahabarata stories. As told in the Mahabarata, Anoman met his apprentice brother, Raden Werkudara or Bima, who was also a student of the wind god, Batara Bayu. In the Javanese Pedalangan story, Anoman’s story even continues until the Middle Ages, namely the era of the Pandava descendants in the Kingdom of Kediri. It is said that Anoman, who was elderly by the name of Resi Mayangkara, tried to reconcile the Pandawa descendants until he met his death. The work methods used are orientation, exploration and observation. The data collection technique used is literature study. The concept used to compile this work is the concept of solid packaging. The result of this work is a work entitled Darmaning Satria Pinandhita.]]>
<![CDATA[Estetika Mendhalungan Pertunjukan Wayang Kulit Banyumasan Lakon Srikandhi Mustikaningrat Sajian Bagas Kriswanto ]]>
<![CDATA[Willy Setia Budi]]>;
<![CDATA[Wicaksono, Andi]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
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<![CDATA[This study aims to reveal the aesthetics mendhalungan on the Banyumasan style puppet show Srikandhi Mustikaningrat presented by Bagas Kriswanto. This research is expected to enrich the elements of performance aesthetics, and can be used as reference material for similar studies. The characteristic of Banyumasan style lies in the elements of pakeliran work, namely catur, sabet and pakeliran music. In this regard, the play Srikandhi Mustikaningrat in Banyumasan style presented by Bagas Kriswanto is explored using the theory of performance aesthetics which aims to describe the performance aesthetics with the concept of mendhalungan. This research uses the qualitative method by Moleong, which uses literature review, observation, interviews, transcription, and data analysis. To analyze the aesthetics of this performance using the concept of mendhalungan proposed by Bagong Pujiono. This research shows that the achievements of the mendhalungan concept were successfully presented by Bagas Kriswanto. This is proven by achieving harmony between the five elements in one performance.]]>
<![CDATA[Resepsi Wahyu Dunung Raharjo Dalam Pertunjukan Wayang Pamarta Lakon Katresnan-ku Tanpa Wates Dari Kitab Injil ]]>
<![CDATA[Widawati, Seruni]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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<![CDATA[Wayang has a history related to part of the worship ritual of a particular belief or religion. It turns out that currently wayang is still used by the Christian community which then makes wayang that is specifically created to spread religious values, namely to proclaim the teachings of Christ. One of the wayang used for the preaching of Christianity is Wayang Pamarta. The Lakon chosen in this study is Katresnan-Ku Tanpa Wates by Wahyu Dunung Raharjo. This lakon is very interesting because it is a new lakon adapted from the Gospels of Matthew, Mark, Luke, and John then realized into a wayang performance using the concepts of garap pakeliran. The purpose of this study is to examine the aesthetic reception carried out by the creator to reveal the reader’s response to the Gospel, in this case Wahyu Dunung Raharjo with an active reaction applied to the wayang pamarta performance. This study uses a qualitative method with a sanggit approach and active reception. The results of the sanggit analysis were then re-analyzed with the concepts underlying the creation or arrangement of lakon wayang by Sumanto, namely: tutug, mulih, and kempel. The lakon Katresnan-Ku Tanpa Wates is the result of ‘reading’ or ‘receiving’ a sermon delivered by Pastor Petrus Agung, then undergoing a thought process until it is realized into a work of art of wayang pamarta performance. This process is carried out by interpreting sources and then producing sanggit by adding, subtracting, and innovating. The tutug criterion is reflected in the completion of the lakon events. The mulih criterion is seen in all the problems faced by the main character being resolved. The kempel criterion is seen in the intertwining of the problems of some characters presented in the lakon Katresnan-Ku Tanpa Wates.]]>
<![CDATA[Nilai Budi Pekerti Dalam Garap Catur Lakon Pandawa Matirta Sajian Cahyo Kuntadi ]]>
<![CDATA[Purnama, Putra Widhi]]>;
<![CDATA[Harpawati, Tatik]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
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<![CDATA[Garap lakon (lakon treatment) Pandawa Matirta contains moral values. This study attempts to describe the moral values found in the shadow puppet performance Lakon Pandawa Matirta presented by Cahyo Kuntadi. Moral values can be seen from the garap lakon including janturan and ginem. This study uses the theory put forward by Zuriah. The research is qualitative with data collected through literature studies, interviews, and observations on social media. The results of the study indicate that there are moral values, namely (1) the relationship between humans and God including: knowing God as the creator, God as the giver (love, affection), God as the giver of rewards (good and bad), and worship as communication with God; (2) Moral values of human relationships with humans include: greeting when meeting, not making fun of someone beyond the limit, not being prejudiced, not offending their feelings, not slandering without evidence, always maintaining their good name, and helping someone in difficulties; (3) moral values related to human relations with the environment, namely caring for flora and fauna; and maintaining environmental cleanliness.]]>
