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INDONESIA
Lakon Jurnal Pengkajian & Penciptaan Wayang
Published by Institut Seni Indonesia Surakarta
ISSN : -     EISSN : -     DOI : -
Core Subject : Education,
Education
Arjuna Subject : -
Articles 144 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.
Garap Sanggit Pakeliran Padat Lakon Bima Bungkus Sajian Ki Bambang Suwarno Nugroho, Catur; Mutaqin, Yudha Ibnu
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i2.5856

Abstract

This research departs from the assumption that “sanggit lakon” is one of the main elements of work in Pakeliran Padat. The forms of Pakeliran Padat have room for creativity and expression that is broad, complicated, and/or even limitless. The puppeteer as the main creator has the freedom to work on the sanggit lakon based on his sensitivity and accuracy in observing the phenomena that occur. This research aims to find out what is related to Sanggit Lakon Bima Bungkus in Pakeliran Padat. This is important as a stimulant for artistic research studies, especially discussions regarding concepts and work in Pakeliran Padat. Ki Bambang Suwarno’s lakon Bima Bungkus was chosen as a case study research object which was deemed representative of the analysis needs. The approach used is the basic concept of Pakeliran Padat, the concept of sanggit garap lakon, the basic aesthetic concept of puppetry nuksma and mungguh, as well as the application of hermeneutics analysis. The qualitative descriptive data analysis method is carried out by observing the validity of the data through data triangulation and method triangulation. It is hoped that the collection of appropriate data through literature study, interviews and observations will be able to explain the work of the lakon Bima Bungkus in Pakeliran Padat presented by Ki Bambang Suwarno. Based on the discussion that has been carried out, it shows that the pakeliran padat of Ki Bambang Suwarno’s lakon Bima Bungkus is produced using the concept of pakeliran padat. The garap lakon is presented in a complex manner with a focus on Bima’s characterization as the main character. Garap catur includes janturan, pocapan, and ginem and also implements the concept of garap padat, namely conveying it effectively, efficiently, and focusing on the main problem of the scene. Garap sabet presents thematic puppet movements which represent garap padat. Through thematic sabet, events of lakon can be visualized through a series of unique, distinctive and meaningful wayang movements. Meanwhile, garap karawitan pakeliran presents musical compositions that are packaged for the needs of the events of lakon, although the vocabulary for the musical compositions still comes from traditional musical compositions.
Penciptaan Lakon Pancakusuma Labuh dalam Upaya Penyampaian Nilai-nilai Keteladanan Seorang Negarawan Mukti Wicaksono, Muhammad Setyo Mukti Wicaksono; Harti, Sri
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i2.5857

Abstract

Pancakusuma Labuh is a creation that raises the issue of nationalism with the figure of Pancakusuma. The creation of this work aims to offer ideas as a mirror of life that upholds exemplary values in the life of the nation and state. Moreover, this creation intends to increase the vocabulary of garap lakon Pakeliran. In the process of creating, the creators use the concept of pakeliran padat and the aesthetic concept of nuksma and mungguh as a frame for the performance. To create the artwork of Pancakusuma Labuh, Alma Hawkins’ method of work creation was used, that is exploration, improvisation, and creation of artworks. The result of this artistic work is a wayang kulit performance lakon Pancakusuma Labuh which actualizes exemplary values in the form of nationalism values, bawalaksana values, and dedication values.
Martabat Manusia dalam Mahabarata Episode Pandhawa Dhadhu Triyogo, YB. Rahno
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i2.5860

Abstract

The dice game episode in the Mahabarata epic, in the Javanese wayang tradition, is known as lakon Pandhawa Dhadhu. It is called that because the tool used is called ‘dhadhu’. This episode tells the story of gambling between the Pandhawa and the Kurawa which had an impact on the erosion of human dignity at the lowest level. This happens because as the betting items are not only worldly possessions, but also human gamblers. It is said that in this game the Pandhawa always lost so that their wealth ran out. Because of his uncontrolled lust, Puntadewa placed his four brothers and himself at stake, as did Draupadi. The game ends when the Pandhawa have nothing to bet on. As a result of their defeat, they had to accept the consequences of becoming Kurawa slaves. The peak of tension occurred when Dushasana dragged Draupadi by grabbing her hair and pulling the cloth covering her private parts to strip her naked. In this episode, the treatment occurred beyond the limits of human values, which resulted in the abuse of human dignity. This article was written in order to provide a reaction to an extraordinary story that touches the deepest human values, namely the value of humans as a noble creation. Its glory should be maintained, cared for and developed so that it becomes more dignified, but what happens is just the opposite. Appreciation of this dice game episode is carried out based on moral values and cultural values that have been upheld since the beginning, namely the value of humans as noble creatures because they are equipped with reason, thoughts, conscience and feelings. The steps taken to produce a good article are to pay close attention to the development of the conflict plot which of course gives rise to tensions experienced by the story actors which ultimately have an impact on the reader or audience.
Gaya Bahasa Personifikasi dalam Novel Drupadi Karya Seno Gumira Ajidarma Nurnani, Dewi
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i2.5861

Abstract

The article entitled “ Gaya Bahasa Personifikasi Dalam Novel Drupadi Karya Seno Gumira Ajidarma (Personification Language Style in the Novel Drupadi by Seno Gumira Ajidarma)” attempts to describe the personification language style that is dominantly used by the author in expressing his thoughts and ideas in the novel Drupadi. Apart from that, the influence of the personification language style on Drupadi’s story as outlined by the author in the novel is also the focus of the analysis. This research uses a qualitative descriptive method with a structural (intrinsic) approach. Data was obtained through literature study and interviews. The results of this research show that the dominant personification language style used by the author in the novel Drupadi gives a beautiful, dramatic and lively impression so that it attracts the reader’s attention and interest. Apart from that, the personification language style also helps and gives space to the reader’s imagination in capturing and understanding what the author wants to express. The readers will be able to judge or conclude that the literary work or novel is good, interesting, or impressive, and so on.
Penyusunan Lakon Sudarsana Labuh Sebagai Media Penyampai Nilai-nilai Kemanusiaan Widyastoto, Pranowo Aryo; Harti, Sri
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i2.5862

Abstract

The article with the title Penyusunan Lakon Sudarsana Labuh Sebagai Media Penyampai Nilai-Nilai Kemanusiaan (Preparation of Lakon Sudarsana Labuh As A Medium For Transmitting Human Values) is an effort to explore the human values contained in the character Sudarsana as outlined in the wayang madya performance. This research uses the pakeliran padat concept approach and the theory of sanggit lakon, the idea of Sugeng Nugroho, which is used in the creation of lakon “Sudarsana Labuh”. Sudarsana, the main character in this work, is one of the children of Parikesit who lives with Begawan Druwasa, his grandfather, in the Jatipitu hermitage. One day he wanted to serve the country but experienced various problems that arose both from within and outside himself. Sudarsana’s efforts in resolving these various problems ultimately became a ground for interpretation to explore human values, in this case selfless sacrifice. The preparation of this work went through 3 stages, namely orientation, observation and exploration. Orientation includes searching for information both verbally and in writing. Observation is an in-depth observation carried out by the writer to adjust the theme, main idea and lakon, and exploration, namely pouring everything obtained in the previous stages into a script and wayang performance. The results of the observations are (1) Sudarsana’s sincere desire to defend the Yawastina State, (2) Sudarsana’s sacrifice in protecting the state which is symbolized by saving the king from danger, (3) Sudarsana’s motivation to defend the state.
Pemasangan Mikrofon untuk Instrumen Rebab pada Gamelan Wayang Wasono, Adi
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

Article with the title “ Pemasangan Mikrofon untuk Instrumen Rebab Pada Gamelan Wayang (Installation of Microphones for Rebab Instruments in Gamelan Wayang)” are various possibilities that can be applied in selecting the type of microphone and its placement on the ricikan rebab (rebab string) so that it can be used as an alternative in installing it. Installing microphones is part of the sound system work. Considerations for sound system work are usually based on room conditions, number of spectators and noise levels. Sound system devices are used to convey the sound of instruments to the musicians, to the audience, and to the performers on stage (dance, dhalang, theater). The amplification of all instruments and the human voice is the overall reference. A harmonious musical connection of course requires a quality sound system. One instrument that really needs attention is rebab. Musically, the rebab has a very important role in wayang performances, namely as a pamurba for songs. The source of the sound comes from the strings that are rubbed with a bow with an acoustic chamber in the form of wood which is made concave and covered with thin skin and a string is attached as an intermediary between the strings and the skin. The condition of this rebab organ gives it its own character. The frequency produced by the rebab sound is approximately 160 Hz and above. The microphone installation that is often used is the dynamic Shure SM57 type, and other types of microphones that have been used are the AKG C535, AKG SE-391B with condenser type. As technology develops, new microphone products are discovered that are more suited to the needs of rebab sound amplification. Explorations have been carried out so that several types and brands of microphones can be considered for use on rebab instruments.

Page 13 of 15 | Total Record : 144

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