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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 97 Documents
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KARAWITAN WAYANG GOLEK MENAK YOGYAKARTA VERSI KI SUKARNO Aji Santoso Nugroho
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 11, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (888.223 KB) | DOI: 10.33153/lakon.v11i1.2149

Abstract

The presentation of karawitan wayang Golek Menak Yogyakarta of Ki Sukarno style is notdifferent from karawitan Wayang Kulit Yogyakarta. Issues of this article include what thestructure, the form, garap, and the function of karawitan presented by Ki Sukarno is. Theresearch aims to describe the structure, the form, garap, and the function of karawitan presented by Ki Sukarno. Based on the qualitative approach through musicology analysis of garapkarawitan, the finding shows that there is a difference between the presentation of laya orrhythm and kendhangan pattern that is ater-ater of wayang movement, ater-ater of bukaplayonand suwuk playon. Laya or rhythm is used by referring to dance karawitan and kendhanganpattern for Wayang Golek Menak contains vocabularies of dance movements. The gending usedin Wayang Golek Menak has gending baku of Ketawang Gending Kabor Topeng, Ayak-ayakKembang Jeruk, Playon Kembang Jeruk, Playon Gegot, and Playon Gambuh. The function ofkarawitanWayangGolekMenak is as a sign of the scene changing, the scene nuance, the dramatic element, the character’s characteristic, and the characteristic of wayang movement. Thepresentation structure of Wayang Golek Menak Yogyakarta refers to the structure of WayangKulit Purwa Yogyakarta. The difference lies on the dance movements before the war and thescene of gecul war.Keywords: karawitan, wayang golek menak, structure, function.
INOVASI ARTISTIK DAN APPROPRIASI KULTURAL SENI PERTUNJUKAN TRADISI TERHADAP BUDAYA GLOBAL Isa Ansari
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 11, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (443.207 KB) | DOI: 10.33153/lakon.v11i1.2150

Abstract

This paper aims to analyze the relationship between tradition and contemporary conditions,especially with the implementation of the AEC (Asean Economic Community). The problems ishow-cultural trendconducted by the local communities related to the interaction with the globalculture in the context of art.Usingcultural adaptation concept on the ecological anthropologyperspective. This approach is theorized that the process of adaptation is an active humansaction by using the power of reason while physically works in order to take advantage of thenatural resources. From visual observation of the socio-cultural phenomenonand a review ofseveral books, the research result at least there are some propensity adaptations made bytraditional artists, artistic innovation, cultural appropriation, and cultural delocalization.Keywords: Artistic inovation, cultural-appropriation, delocalization.
ERAN SEMAR, GARENG, DAN PETRUK DALAM PERTUNJUKAN WAYANG KULIT PALEMBANG LAKON PRABU UKIR GELUNG NEGAK BLABAR KAWAT J., Johansyah; I Nyoman Murtana
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 11, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (409.71 KB) | DOI: 10.33153/lakon.v11i1.2151

Abstract

In responding to the cultural and traditional development in Palembang, the writer tries to analyzean interesting phenomena on wayang kulit performance in Palembang involving theater Dulmulukartists appointed by the dalang to take the roles of Semar, Gareng, and Petruk in lakon PrabuUkir gelung Negak Blabar Kawat. The research is analized by using the theories of dramaturgi,role, structure, and creativity. The data is collected by using descriptive analysis method. Thefinding shows that the performance gets a good respond from the audience because of thepresence of Semar, Gareng, and Petruk. Their presence in the performance has made achange to the performance structure and has given a good enthusiasm to the audience.Keywords: wayangkulit Palembang, Semar, Gareng, Petruk, role.
KAJIAN SOSIOPRAGMATIK TINDAK TUTUR ASERTIF DALAM ADEGAN LIMBUKAN S., Suratno
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 11, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (777.391 KB) | DOI: 10.33153/lakon.v11i1.2152

Abstract

This study aims to describe the verbal interaction behavior in the dialogue of two female panakawanin wayang purwa performance by Ki Purbo Asmoro. The analysis is focused on (1) identifying thekind of assertive speech act, deciding the dominant speech act, (2) conveying the speechimplicature and describing the implementation of assertive speech act in relation to Grice’s cooperative principles. The findings include once, the assertive speech act consists of: a. informing, b.telling, c. thinking, d. convincing, e. responding, f. ensuring, g. confirming, h. estimating, i.remembering, and j. implicating. The dominant assertive speech act from all the kinds is “informing” speech act. Secondly, based on the dominant conventional implicature and thirdly, there isintentionally infraction of Grice’s cooperative principles in order to get the audiences’ sympathy aswell as to make them happy, and also to convey the explicit speech and to fulfill the politenessprinciples.Keywords: assertive speech act, implicature, and implementation.
KAJIAN ESTETIKA PERTUNJUKAN WAYANG KULIT LAKON SALYA BEGAL SAJIAN PURBO ASMORO S., Sugimo; S., Soetarno
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 11, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (706.283 KB) | DOI: 10.33153/lakon.v11i1.2153

Abstract

This research was to gain an understanding of the form of the performance of the story SalyaBegal, the values it contained, and the treatment of the various elements of the performance ofSalya Begal by Purbo Asmoro. The study used an analytical descriptive method and an approachbased on the aesthetics of the art of puppetry. The data was collected through indirect observation, a bibliographical study and interviews. The results of the research showed that the form ofthe performance of Salya Begal by Purbo Asmoro was a condensed performance of shadowpuppet theatre, containing the essence of the story which carried weight and depth of meaning.The values contained in the story of Salya Begal include: loyalty, affection, heroism, humanitarianism, harmony, and justice. The arrangement and treatment of the performance of SalyaBegal not only paid attention to its visual or entertainment aspects but also placed strongemphasis on its important spiritual values, while at the same time taking careful consideration ofits aesthetical values. Hence, it can be said that the aesthetical values found in the treatment ofdialogue in Purbo Asmoro’s performance of Salya Begal contain messages which can enrichspiritual experiences, broaden perceptions, and increase human pride and dignity, which in turnwill bring greater stability to people’s lives.Keywords: aesthetical values, Salya Begal.
REVITALISASI DAN INOVASI WAYANG LANGKA MELALUI PERANCANGAN MODEL PERTUNJUKAN WAYANG GEDOG GARAP RINGKAS S., Sunardi; Bambang Suwarno; Bagong Pujiono
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 11, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (716.65 KB) | DOI: 10.33153/lakon.v11i1.2154

Abstract

This writing is meant to explore and identify wayang gedog; to design a model of wayang gedogshort performance; to compose and publish a guidebook for a practice of wayang gedogperformance; to socialize the short performance of wayang gedog for social appreciation; and tomake a learning media of wayang gedog in VCD. The research targets include identification ofwayang gedog life and derivation; composition of a model design for wayang gedog shortperformance; composition and publication of a guidebook of wayang gedog performancepractice; socialization of a model of wayang gedog short performance to society; composition ofa learning media of wayang gedog in VCD; and publication of this article in an accredited journal.This research applies descriptive qualitatif method and act analysis. The ways executed includelibrary study; observation and documentation; interview; descriptive qualitative analysis;designing a model; trying out the model ; evaluation and model improvement; learning mediapacking; and socializing the model of wayang gedog short performance to the society.Theanalysis shows that revitalization and innovation on the short wayang gedog can be divided intothree variant including: lakon Jaka Bluwo with a palace aesthetic model; lakon Angreni with a“new” aesthetic model (academic); and lakon Sekar Tanjung with a ruralaesthetic.Keywords: revitalization, innovation, scarce wayang, wayang gedog performance, society.
ARAKTER TOKOH KARNA DALAM CERITA PEWAYANGAN VERSI JAWA DAN SUNDA Timbul Subagya
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 11, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (866.897 KB) | DOI: 10.33153/lakon.v11i1.2155

Abstract

The community of wayang (puppet) lovers often idolizes the characters of Mahabharata andRamayana stories. One of the idolized characters is Karna. The idolizing of Karna focuses on hiscourage in defending Korawa in the War of Bharatayuda. In Indonesia, wayang grows in severalareas with their own characteristics that create their own tradition or version of wayang. Thereare similarities as well as disparities among the traditions including the character of Karna inJavanese and Sundanese wayang as well.Keywords: puppet, Karna, Javanese, Sundanese.
MAKNA PERTUNJUKAN WAYANG KRUCIL DALAM BERSIH DESA MANGANAN JANJANG Budi Utomo; S., Sarwanto
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 12, No 1 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (590.235 KB) | DOI: 10.33153/lakon.v12i1.2156

Abstract

The meaning of krucil puppet show in the ceremony of puryfying village Manganan Janjang. Thepurpose of this study is to describe and to understand the meaning of krucil puppet show in aseries of Cleaning Village Manganan Janjang. The problems studied include: what the meaning ofa krucil puppet show in a series of purifying Village Manganan Janjang is? Research materials arecollected through library study, interview, and direct observation to the puppet show in a series ofpurifying Village Manganan Janjang with title Bedhah Medhayin at June 6, 2013, by Ki Lamto thepuppeteer. This study uses the analysis of the meaning by using descriptive interpretativemethod. The results showed that: The meaning of the show related to the meaning of title, andthe meaning of the symbol. The meaning is related to meaning symbol contextual of the show.Keywords: Krucil puppet, manganan Janjang, the meaning.
LAKON JAKA BLUWO KARYA BAMBANG SUWARNO DALAM PARADIGMA STRUKTURALISME LÉVI-STRAUSS Eko Prasetyo; S., Sarwanto
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 12, No 1 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (885.439 KB) | DOI: 10.33153/lakon.v12i1.2157

Abstract

This research is based on the assumption that lakon Jaka Bluwo by Bambang Suwarno inwayang gedhog performance represents the Javanese knowledge sourced from mythology thatis universally received to interpret their world, both microcosm as well as macrocosm. For thereason, it needs to gain the messages contained in the wayanglakon. The material objectchosen in the research is lakon Jaka Bluwo that is one of Panji stories which is often presented inwayang gedhog and wayang topeng performance. The research aims to convey the messagescontained in lakon Jaka Bluwo using the paradigm of Levi - Strauss structuralism. The result ofresearch shows that the structuralism analysis produces a new meaning out of the meaning inlakon Jaka Bluwo. The meaning is a deep structure which is different from the performance aswell as dramatic structures which are empirically understood. Lakon Jaka Bluwo is guessed to bea Javanese way to describe the various knowledges about the balanced principles of human livesthat is one who is able to do the inner and outer dutiesequally.Keywords: Lakon Jaka Bluwo, Bambang Suwarno’s work, structuralism, Levi-Strauss.
PENGALAMAN KETUBUHAN SEBAGAI KONSTRUKSI TEKSTUR PERTUNJUKAN TEATER KALANGAN REMAJA Isa Ansari
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 12, No 1 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1016.207 KB) | DOI: 10.33153/lakon.v12i1.2158

Abstract

This article aims to provide a description about the existence of a tradition as the realityexperienced by adolescents and presented in a theatrical performance. The quistion is how theJavanese tradition experienced by adolescents and applied in a theatrical performance? Toanswer of this, the reseacher has used Bruner’s theory on the anthropology of experiance anddramatic structure from George Kernodle. Collecting datas is done by observation of differentform of theatre performance by teenegers and interviews to the actors and theatre director.The reseacher conclude that mental disposition and muscle memory was experianced by actorsand directors which is expressed in dialog, mood, and spectacle through theatre performance.Keywords: Javaness tradition, Structur, Mental Disposition.

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