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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Panggung JPK (Jurnal Pancasila dan Kewarganegaraan) Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Wayang Nusantara: Journal of Puppetry Jurnal Pengabdian Seni Jurnal Kajian Seni ESENSIA: Jurnal Ilmu-Ilmu Ushuluddin
Junaidi Junaidi
Jurusan Pedalangan Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta
Religion Arts Humanities Education Social Sciences

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Leadership characters in shadow puppet show Junaidi, Junaidi
Harmonia: Journal of Arts Research and Education Vol 17, No 2 (2017): December 2017
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v17i2.7731

Abstract

Good leadership characters have been conveyed through the art of puppet. However, in practice, many of us have encountered the opposite fact. This study aims to analyze the leadership characters in the art of puppet. This research is a descriptive qualitative research which uses hermeneutical method to analyze the data gathered from the library research and field study. The data then passes data reduction step, data classification, and data verification. The results show that leadership characteristics in puppet can be formulated into five leadership concepts: (1) dwikridha, (2) tripakarti, (3) caturtama, (4) pancapratama, and (5) hasthabrata. If these five concepts of leadership are known, understood, and done well, our beloved country, Indonesia, will reach welfare together.
Dalang Anak dalam Pakeliran Wayang Kulit Purwa Gaya Surakarta Junaidi -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 11, No 2 (2010): Desember 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v11i2.509

Abstract

Young Puppeteers on Solonese Wayang Performance. The aim of these research are to identify the structureof story, shadow puppet forms, and young puppeteer’s motivations in pakeliran of Surakartanese purwa shadowpuppets. This research applies multidiscipline approach, encompassing puppetry dramaturgy, iconography,physiognomy, and ethnochoreology, in order to study the stories, shadow puppets, and motivations. The pakeliranof purwa shadow puppets by young puppeteers performed in short time, short structure, skillful technique, andchildish characteristic are a puppetry learning medium for children, appreciation of puppetry since early ages, andan effort of future art life continuity. In addition, the motivation of young puppeteer tends to be intrinsic which isbased on the pleasant feeling in conducting non-commercial and profane activity.
Hubungan Wayang dan Gending dalam Pakeliran Wayang Kulit Purwa Gaya Surakarta Junaidi Junaidi; Asal Sugiarto
Wayang Nusantara: Journal of Puppetry Vol 2, No 1 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/wayang.v2i1.2998

Abstract

Dalang when displaying the puppet characters are always supported by the musical, so the concept of relationship must be known in order to avoid incorrect installation. During this time, only disclosed the names, shapes, make signs, playing with, notations balungan, and functions, but the underlying reasons association has not been described in detail, resulting in the replacement of the pair resulting in the incongruity and crisis gending pakeliran knowledge and techniques . The goal is to know about the underlying reason for the installation of a puppet with the musical in every scene. The method used is descriptive identification, based on the literature data and field observations, while the discussion used the theory of functions gending in pakeliran, namely as an illustration, framed, and unifying. The result is the installation of a puppet with the musical based on the shape and character. Dalang ketika menampilkan tokoh wayang selalu didukung oleh gending, sehingga konsep hubungannya harus diketahui agar tidak terjadi salah pemasangan. Selama ini, hanya diungkapkan tentang nama-nama, bentuk, tanda isyarat, garap, notasi balungan, dan fungsinya, tetapi alasan yang mendasari keterkaitannya belum dijelaskan secara detail, sehingga terjadi penggantian pasangan yang berakibat pada ketidaksesuaian dan krisis pengetahuan serta teknik gending pakeliran. Tujuan tulisan ini adalah ingin mengetahui tentang alasan yang mendasari pemasangan wayang dengan gending dalam setiap adegan. Metode yang digunakan adalah penelitian deskriptif identifikasi, berdasarkan data pustaka dan pengamatan lapangan, sedangkan pembahasannya digunakan teori fungsi gending dalam pakeliran, yaitu sebagai ilustrasi, pembingkai, dan penyatu. Hasilnya berupa pemasangan wayang dengan gending berdasarkan bentuk dan karakter.
Wayang Multi-Level Linguistic sebagai Pendidikan Karakter Berbasis Nilai Pancasila Bayu Aji Suseno; Junaidi Junaidi
JPK (Jurnal Pancasila dan Kewarganegaraan) Vol 6, No 1 (2021): Januari
Publisher : Universitas Muhammadiyah Ponorogo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24269/jpk.v6.n1.2021.pp68-77

Abstract

Penelitian ini bertujuan untuk meningkatkan budi pekerti bangsa Indonesia di lingkungan lembaga pendidikan formal melalui media wayang. Dalam mencapai tujuan penelitian tersebut dilakukan metode ceramah dan demontrasi dengan menggunakan landasan teori fungsional sosial atau sistem sosial Talcott Parsons. Hasil dari penelitian ini menunjukkan bahwa wayang menjadi media multi linguis (bahasa daerah dan nasional) dan multi level (jenjang usia dan tingkat pendidikan) yang berdasarkan semboyan Bhineka Tunggal Ika dalam wadah Negara Indonesia dan nilai-nilai yang terkandung dalam Pancasila, yaitu: Nilai Ketuhanan, Nilai Kemanusiaan, Nilai Kesatuan, Nilai Kebijaksanaan, dan Nilai Keadilan. Dalam suatu pertunjukkan wayang mengajarkan nilai tidak secara dogmatis (harus diterima kebenarannya) dan teoritis sebagai suatu indoktrinasi (paham kebenaran hanya dari satu sisi), tetapi secara demokrasi dan kongkret dengan menghadirkan kehidupan tokoh-tokoh sebagai teladan yang nyata. Wayang multi-level linguistic menjadi media pendidikan karakter sebagai rujukan bagi tenaga pendidik (guru) dan peserta didik (siswa) pada lembaga pendidikan di seluruh wilayah Indonesia.Wayang Multi-Level Linguistic as Character Education Based on Pancasila Values. This study aims to improve the character of the Indonesian nation in formal educational institutions through wayang media. In order to achieve the research objectives, lectures and demonstrations were carried out using the social functional theory foundation or Talcott Parsons' social system. The results of this study indicate that wayang is a multi linguist (regional and national language) and multi level (age level and education level) media based on the motto of Bhineka Tunggal Ika in the Indonesian State container and the values contained in Pancasila, namely: Divine Value, Humanity Value, Unity Value, Wisdom Value, and Justice Value. In a puppet show teaches values not as dogmatic (the truth must be accepted) and theoretically as an indoctrination (understanding the truth from one side only), but democratically and concretely by presenting the lives of the characters as real role models. Multi-level linguistic wayang has become a character education medium as a reference for educators (teachers) and students (students) in educational institutions throughout Indonesia
Wayang untuk Dalang Multi Level Usia Sebagai Wahana Pelestarian Seni Tradisional Junaidi Junaidi; Bayu Aji Suseno; Abdul Aziz
Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Vol. 2 No. 1 (2018): April
Publisher : Universitas Muhammadiyah Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22219/satwika.v2i1.7019

Abstract

Penelitian ini bertujuan untuk melestarikan wayang tradisi melalui dalang berbagai usia. Wayang tradisi bersifat mono level dan diformat untuk dalang laki-laki dewasa, sehingga kurang sesuai dengan dalang multi level usia. Mengapa model wayang format multi usia dapat dijadikan sebagai wahana pelestarian wayang tradisional? Jawaban pertanyaan ini dapat diperoleh melalui perancangan model wayang berukuran fisik dan jiwa dalang berbagai level usia. Metode eksperimen digunakan untuk menciptakan wayang multi format, sedangkan pembahasannya berdasarkan teori struktur. Lima macam format boneka wayang kulit purwa dapat dihasilkan untuk diterapkan kepada dalang anak-anak, anak, remaja awal, remaja akhir, dan dewasa, yaitu: (1) Wayang kaper, untuk dalang tingat anak-anak; (2) Wayang kidangkencanan untuk dalang tingkat anak; (3) Wayang jaranan, untuk dalang tingkat remaja awal; (4) Wayang banthèngan, untuk dalang tingkat remaja akhir; dan (5) Wayang gajahan, untuk dalang tingkat dewasa. Kelima jenis wayang ini dapat dipakai sebagai wahana untuk pelestarian seni tradisional, karena memiliki kesesuaian format fisik dan jiwanya.
Pelatihan Pertunjukan Wayang Berorientasi Multilevel Generasi Junaidi Junaidi
Jurnal Pengabdian Seni Vol 2, No 1 (2021): MEI 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jps.v2i1.5737

Abstract

Latar belakang masalah yang mendasari kegiatan ini adalah seniman dalang belum memahami dan menguasai bidang seni wayang untuk format masyarakat kekinian yang berorientasi multilevel generasi dan multifungsi yang salah satunya untuk media pelestarian budaya dan Pendidikan nasional. Oleh karena itu, solusi yang diberikan adalah mengajarkan pengetahuan seni wayang beserta teknik penyajiannya bagi seniman multiusia di wilayah Dusun Kaliurang Timur. Tempat  kegiatan di rumah Mbah Carik Kaliurang Timur atau Pendapa Budaya Kaliurang. Penyuluhan ini diikuti sejumlah 24 peserta, terdiri atas 1 orang pemain wayang usia tua, 1 orang pemain wayang usia muda, dan 22 pengrawit.  Hasil yang telah dicapai adalah munculnya model pertunjukan wayang multilevel dan kondisional, yakni pementasan untuk dalang muda dan dewasa dengan mengambil cerita sekitar wilayah, yaitu Cerita Gunung Merapi dan Tlaga Putri.
Dalang Anak dalam Pertunjukan Wayang Junaidi Junaidi
Jurnal Kajian Seni Vol 1, No 1 (2014): Jurnal Kajian Seni Vol 1 No 1 November 2014
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1704.25 KB) | DOI: 10.22146/art.5878

Abstract

Puppeteer puppet show presenter child as interesting to study, because adultsusually do, so there is a discrepancy between the condition of the child and puppet show format. Child Puppeteer appears in different areas, both in Java and the surrounding territory. Motivation theory is used to solve the presence of children in the puppet show, while the methods of qualitative research, based on fi les from the literature review and field observations. The results can be found that the child puppeteer motivation is internal and external, as an educative motive, preservation, and development of the art of puppetry to the next generation.
Perubahan Balungan Lampahan dalam Pakeliran Wayang Kulit Purwa Gaya Surakarta Junaidi Junaidi; Bayu Aji Suseno
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 2 (2020): November 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1231.822 KB) | DOI: 10.24821/dtr.v3i2.4422

Abstract

The Changes on Balungan Lampahan in Pakeliran of Purwa Puppet of Surakarta Style.This research aims to increase the appreciation of the shadow puppet purwa pakeliran according to the times and society. Balungan lampahan as the basic framework, is static and never to be changed, but then it is dynamic and full of changes. The method used is descriptive comparative, while data analysis is based on the structure theory of the wayang play by Alton L. Becker and Arnold Hauzer's social change. The results can be found in three forms of balungan lampahan namely: (1) overnight, (2) compact, and (3) solid. Change is partial and total due to changes in the society that supports wayang, namely as the art of royal ritual traditions (monarchy and ritualism) turning into modern art and entertainment (modern and profane). Thus, the change in balungan lampahan represents changing times and society, so it needs to be appreciated by the puppeteers for the pakeliran.Keywords: changes; balungan lampahan; pakeliran; shadow puppets; Surakarta style
Format Pertunjukan Cerita Wayang untuk Dalang Anak Junaidi Junaidi
PANGGUNG Vol 21, No 2 (2011): Simbol, Dokumentasi, dan Pengaruh Eksternal Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (0.002 KB) | DOI: 10.26742/panggung.v21i2.2139

Abstract

Writing an article titled "The Story Puppet Show Format to Dalang Children"aims to offer a special puppet play structure concept to mastermind the child, in order to serve as the medium of continuity and development of puppet art for future generations. So far, the play is shown by the mastermind of children still using the packaging story to mastermind an adult or older, so there are some things that can not be understood and displayed in both the masterminds of the child, because the demands of philosophy and technique-oriented adult size. The foundation of the theory used is the structure of puppet plays and psychological developments of children, while the descriptive analytical method used. The result of such thinking plays puppet concept pertujukan format that can be used as a reference puppeteer for children.Keywords: format, stories, puppets, and the mastermind of children.
Form, Materiality, and Symbolism in Non-Arabic Muslim Arts: A Case Study from Indonesian Wayang Performance Lutfianto Lutfianto; Junaidi Junaidi
ESENSIA: Jurnal Ilmu-Ilmu Ushuluddin Vol. 23 No. 2 (2022): Lived Islam and Theologized Social Thought
Publisher : UIN Sunan Kalijaga Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14421/esensia.v23i2.3212

Abstract

The puppet theater becomes a popular form of cultural expression in the Muslim world, even though wayang performances are not considered a central part of Islamic theology. Wayang performances are seen as having a spiritual significance among Indonesian Muslims for centuries.  Such puppet theater incorporates forms, styles, and elements of Islamic spirituality and traditional Javanese cultural practices into its narratives. The article pays attention to the idiosyncratic forms, elements, and meanings of contemporary wayang through the craftsman’s framework. The analysis takes into account the formulation and presentation of the wayang in contemporary Indonesian art, focusing on the creation of “Wayang Kekayon Khalīfah Paraga Umar ibn al-Khaṭṭāb.” This wayang is associated with the figure of 'Umar b. Khaṭṭab (d. 644). Umar is a historical figure who played a significant role in the early history of Islam and is revered for his wisdom and leadership by most Muslims. The discussion argues that the materiality of puppets in the non-Arab Muslim world not only functions as a traditional form of entertainment stimulating the sense of “fun” but also as complex semiotic experiences between a dhalang (wayang puppeteer) and his audiences using signs of two-dimensional buffalo leather and its silhouettes.
Co-Authors Abdul Aziz Asal Sugiarto Bayu Aji Suseno Lutfianto Lutfianto