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Lakon Jurnal Pengkajian & Penciptaan Wayang
Published by Institut Seni Indonesia Surakarta
ISSN : -     EISSN : -     DOI : -
Core Subject : Education,
Education
Arjuna Subject : -
Articles 124 Documents
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Ciri Khas Pedalangan Gaya Kerakyatan Subgaya Ngawonggo Pulung Wicaksana Nugraha
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

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.
Karakter Tokoh Gatutkaca Dan Dadung Awuk Dalam Wayang Sebagai Pijakan Penciptaan Tari Gatutkaca Dadung Awuk Gaya Mangkunegaran Aminudin; Kuncoro, Bimo; Wijayanto, R. Danang Cahyo
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

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.
Sosio Psikologis Dalam Implementasi Fungsi Seorang Dalang Padnobo, Halintar Cakra; Nurnani, Dewi
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

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.
Nilai Kehidupan Dalam Penciptaan Karya “Darmaning Satriya Pinandhita” Wijaya, Indra Danar; Asmoro, Purbo
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

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.

Page 13 of 13 | Total Record : 124

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