Wayang Nusantara: Journal of Puppetry最新文献

{"title":"Aktualisasi Diri Ki Seno Nugroho: Tinjauan Pemenuhan Kebutuhan dalam Teori Motivasi Abraham H. Maslow","authors":"Elisha Orcarus Allasso","doi":"10.24821/WAYANG.V2I2.3051","DOIUrl":"https://doi.org/10.24821/WAYANG.V2I2.3051","url":null,"abstract":"The purpose of this research is to reveal self-actualization Ki Seno Nugroho as a dalang by way of examining his motivation in meeting the level of needs. Maslow’s motivational theory, especially regarding the fulfillment of needs used to analyze self-actualization Ki Seno Nugroho. This research uses ethnographic method in describing field observation and interview result. From the analysis results obtained conclusion self-actualization KiSeno Nugroho is the peak of the process of fulfillment of the needs level. Achievement of self actualization needs begins with knowing the talent and potential. Awareness of the talent possessed dreams as the highest needs and to achieve them must go through a long process. Ki Seno Nugroho has succeeded in actualizing himself and fulfilling his dream through his talent. After he succeeded in realizing his dreams in his youth to become a puppeteer favored by the public, his next dream is to keep fans and prepare the next generation in order to preserve the Javanese culture especially the puppet show. The attainment of self-actualization through the level of fulfillment of needs will continue and develop as long as it lives.Tujuan dari penelitian ini adalah untuk mengungkap aktualisasi diri Ki Seno Nugroho sebagai seorang dalang dengan cara menelisik motivasinya dalam memenuhi tingkat kebutuhan. Teori motivasi Maslow khususnya mengenai pemenuhan kebutuhan digunakan untuk menganalisis aktualisasi diri Ki Seno Nugroho. Penelitian ini menggunakan metode etnografi dalam mendiskripsikan pengamatan lapangan dan hasil wawancara. Dari hasil analisis didapat kesimpulan aktualisasi diri Ki SenoNugroho adalah puncak dari proses pemenuhan tingkat kebutuhan.  Pencapaian kebutuhan aktualisasi diri diawali dengan mengetahui bakat dan potensi yang dimiliki. Kesadaran mengenai bakat yang dimiliki melahirkan impian sebagai kebutuhan tertinggi dan untuk mencapainya harus melalui proses panjang. Ki Seno Nugroho telah berhasil  mengaktualisasikan diri dan mewujudkan impiannya melalui bakat yang dimilikinya. Setelah ia berhasil mewujudkan impiannya di masa muda yaitu menjadi dalang yang digemari oleh masyarakat, impian selanjutnya adalah mempertahankan penggemar dan mempersiapkan generasi berikutnya agar dapat melestarikan budaya Jawa terutama pertunjukan wayang. Pencapaian aktualisasi diri melalui tingkat pemenuhan kebutuhan akan terus berlangsung dan berkembang selama ia hidup.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124798019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lakon Brubuh Maèspati: Intepretasi Ulang Nilai Kesetiaan","authors":"Joko Laras Moyo","doi":"10.24821/WAYANG.V3I1.3056","DOIUrl":"https://doi.org/10.24821/WAYANG.V3I1.3056","url":null,"abstract":"Lakon Brubuh Maèspati: The work of the puppet performance is aimed at presenting one of the stories in the Maespati kingdom, which is rarely performed in Yogyakarta. This work is entitled Brubuh Maèspati. The play Brubuh Maèspati is a piece of the puppet plays that tells Harjunasasrabahu, Dewi Citrawati, Suwanda, and Dasamuka. The concept of sanggit of Soetarno et al. used as a framework for working on the playBrubuh Maèspati. Sanggit means the mastermind’s creativity related to interpretation and the cultivation of Pakeliran elements to achieve the aesthetic stability of puppet shows. The cultivation of Brubuh Maèspati begins with watching and reading plays related to the kingdom of Maespati. There were three plays which were chosen to be the basis for interpreting the values of loyalty, namely Actions Sumantri Ngèngèr,Dasamuka Gladhak, and Brubuh Maèspati. Then do the play, work on the characters, work on the scene, and work on musical accompaniment according to the Pakeliran structure of Yogyakarta. Brubuh Maèspati is a reinterpretation of the value of loyalty that is communicated by the plays that tell the Kingdom of Maespati.Karya pergelaran wayang ini bertujuan menyajikan kembali salah satu kisah di kerajaan Maespati, yang jarang dipergelarkan di Yogyakarta. Karya ini diberi judul Brubuh Maèspati. Lakon Brubuh Maèspati merupakan sanggit dari lakon-lakon wayang yang mengisahkan Harjunasasrabahu, Dewi Citrawati, Suwanda, dan Dasamuka. Konsep sanggit Soetarno dkk. dipakai sebagai kerangka pikir dalam menggarap lakon Brubuh Maèspati. Sanggit berarti kreativitas dalang yang berhubungan dengan penafsirandan penggarapan unsur-unsur pakeliran untuk mencapai kemantapan estetik pertunjukan wayang. Penggarapan Brubuh Maèspati dimulai dengan menonton dan membaca lakon-lakon yang berhubungan dengan kerajaan Maespati. Ada tiga lakon yang dipilih menjadi landasan dalam menafsir nilai kesetiaan yaitu lakon Sumantri Ngèngèr, Dasamuka Gladhak, dan Brubuh Maèspati. Selanjutnya dilakukan garap lakon, garap tokoh, garap adegan, dan garap iringan karawitan sesuai dengan strukturpakeliran Yogyakarta. Brubuh Maèspati merupakan interpretasi ulang nilai kesetiaan yang dikomunikasikan oleh lakon-lakon yang mengisahkan Kerajaan Maespati.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129979635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Perancangan Wacinwa: Sang Manggalayudha","authors":"Aneng Kiswantoro","doi":"10.24821/WAYANG.V3I1.3055","DOIUrl":"https://doi.org/10.24821/WAYANG.V3I1.3055","url":null,"abstract":"The purpose of this design work is to make Wacinwa dolls that are tailored to the interests and needs of the designer in the show. The making of puppets is motivated by the constraints in the availability of puppets for staging. Meanwhile, Wacinca is only owned by Yogyakarta’s Sonobudoyo Museum. Besides the Wacinwa doll, the collection of Sonobudoyo Museum is too small, its head is detached from the body, and it is difficult to move. The characters made are figures in working on the Wacinwa story entitled Sang Manggalayuda. The Hawkins (1991) method of designing stages isused in this work. The stages are the first stage of exploration, namely setting themes, ideas, and titles of works and thinking, imagining, feeling, and searching in order to interpret ideas and ideas. The second stage is the experimentation stage, which is trying to choose, differentiate, consider in order to find harmony and find integrity and unity in various experiments. The last stage is the formation stage, which is to determinethe form of design by combining the symbols of the results of the trials conducted. After the figures of the figures are made, the designer tries to pour into the skin media, sculpted, and given coloring just like the process of making shadow puppets (purwa). The Wacinwa replica made includes puppets from Sie Jin Kwie and Khai Sou Bun. These puppets are the result of the interpretation of the designer based on the shape of the puppet collection of Sonobudoyo Museum and images in Sie Djin Koei TjengTang’s comic works by Siaw Tik Kwie (Oto Suastika).Tujuan karya perancangan ini adalah membuat boneka Wacinwa yang disesuaikan dengan kepentingan dan kebutuhan si perancang dalam pertunjukan. Pembuatan wayang dilatarbelakangi oleh adanya kendala dalam hal ketersediaan wayang untuk pementasan. Sementara ini Wacinca hanya dimiliki oleh Museum Sonobudoyo Yogyakarta. Selain itu boneka Wacinwa koleksi Museum Sonobudoyo ukurannya terlalu kecil, kepalanya terlepas dari badan, dan sulit digerakkan. Tokoh-tokoh yangdibuat adalah tokoh dalam garap cerita Wacinwa berjudul Sang  Manggalayuda. Metode Hawkins (1991) tentang tahap-tahap merancang digunakan dalam karya ini. Adapun tahapan tersebut adalah pertama tahap eksplorasi, yaitu menetapkan tema, ide, dan judul karya serta berpikir, berimajinasi, merasakan, dan mencari dalam rangka menafsirkan ide dan gagasan. Tahap kedua adalah tahap eksperimentasi, yaitu mencoba untuk memilih, membedakan, mempertimbangkan dalam rangka mencari keharmonisan dan menemukan integritas serta kesatuan dalam berbagai percobaan.Tahap terakhir adalah tahap pembentukan, yaitu menentukan bentuk perancangan dengan menggabungkan simbol-simbol hasil dari uji coba yang dilakukan. Setelah gambar tokoh-tokoh tersebut jadi, perancang mencoba untuk menuangkan ke dalam media kulit, dipahat, dan diberi pewarnaan seperti halnya proses pembuatan wayang kulit (purwa). Replika Wacinwa yang dibuat antara lain wayang tokoh Sie Jin Kwie dan Khai Sou Bun. Waya","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"150 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133716673","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Pembelajaran Teknik Pemeranan Bagi Mahasiswa Jurusan Pedalangan","authors":"Retno Dwi Intarti","doi":"10.24821/WAYANG.V3I1.3053","DOIUrl":"https://doi.org/10.24821/WAYANG.V3I1.3053","url":null,"abstract":"This study aims to find a characterization technique that can be applied in building puppet characters by puppets students. This study uses a theater approach that is the theory of techniques of Pemeranan. Behavioral technique is a common technique that can be learned to improve the skills, acumen, and skills of a cast in the role of a drama character. The method used is the observation method involved. The results are found that as a cast, puppet pupils need to have basic capital of character and be able to master basic techniques of characterization. In relation to the role techniques that puppeteers can learn to improve their character building abilities are the techniques of breathing, vocal techniques, content-giving techniques, development techniques, peak engineering, protrusion techniques, and improvisation techniques.Penelitian ini bertujuan menemukan teknik pemeranan yang dapat diaplikasikan dalam membangun karakter tokoh wayang oleh mahasiswa Jurusan Pedalangan. Penelitian ini menggunakan pendekatan teater yakni konsep teknik pemeranan.Teknik pemeranan merupakan teknik umum yang dapat dipelajari untuk meningkatkan ketrampilan, ketajaman, dan kecakapan seorang pemeran dalam memerankan karakter tokoh drama. Metode yang digunakan adalah metode pengamatan terlibat. Adapun hasil yang ditemukan ialah mahasiswa pedalangan sebagai seorang pemeran, perlu memiliki modal dasar pemeranan dan harus mampu menguasai teknik dasar pemeranan. Adapun teknik pemeranan yang dapat dipelajari oleh mahasiswa Pedalangan untuk meningkatkan kemampuan membangun karakter adalah teknik pernapasan, teknik olah vokal, teknik memberi isi, teknik pengembangan, teknik membina puncak, teknik penonjolan, dan teknik improvisasi.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133001994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Retorika I Dewa Made Rai Mesi dalam Pertunjukan Wayang Kulit Purwa Lakon Irawan Rabi","authors":"I. P. Ardiyasa","doi":"10.24821/WAYANG.V2I2.3052","DOIUrl":"https://doi.org/10.24821/WAYANG.V2I2.3052","url":null,"abstract":"Rai Mesi is an interesting phenomenon in the world of puppetry in Bali because its presence offers a different color and is able to revive the wayang kulit purwa. It is also what makes it a legendary dalang for the people. Rai Mesi as a dalang who is good at bringing stories, always be the first choice for people who want to hold a puppet show. Each show is always packed with spectators. It is therefore not surprising that the style of Rai Mesi puppetry is still used as a reference by the young puppeteers until now. Given its capacity as the mastermind of the story, the focus of the discussion in this paper is the issue of rhetoric that focuses on the choice of words, the use of language, and the way of narration, both in narrative and in dialogue. The data used is Lakon Irawan Rabi in the form of ribbon tape recordings which are then transcribed into written form. The result of the research shows that Rai Mesi has succeeded in composing the Irawan Rabi play as a Javanese wayang kulit playwoman to play Balinese parrot leather puppets through the processing of language style, bothbeautiful language, hilarious, figurative, and alternation. In addition to processing the style of language, Rai Mesi in his speech also inserted the language outside Bali, be it the language of the archipelago and foreign languages. Rai Mesi’s rhetoric is very communicative.Rai Mesi merupakan fenomena yang menarik dalam dunia pedalangan di Bali karena kehadirannya menawarkan warna yang berbeda dan mampu menggairahkan kembali pertunjukan wayang kulit purwa. Hal ini pula yang membuatnya menjadi dalang legendaris bagi masyarakatnya. Rai Mesi sebagai dalang yang pandai membawakan cerita, selalu menjadi pilihan pertama bagi masyarakat yang ingin menyelenggarakan pertunjukan  wayang. Setiap pertunjukkannya selalu dipadati penonton. Oleh karenaitu tidak mengherankan apabila gaya pedalangan Rai Mesi masih dijadikan acuan oleh dalang-dalang muda hingga sekarang. Mengingat kapasitasnya sebagai dalang cerita, maka fokus bahasan dalam tulisan ini adalah masalah retorika yang berfokus pada pemilihan kata,  pemakaian bahasa, serta cara penuturannya, baik dalam narasi maupun dialognya. Data yang digunakan adalah Lakon Irawan Rabi dalam bentukrekaman kaset pita yang kemudian ditranskrip ke dalam bentuk tulisan. Hasil penelitian menunjukkan bahwa Rai Mesi telah berhasil menggubah Lakon Irawan Rabi sebagai lakon wayang kulit Jawa menjadi lakon carangan wayang kulit parwa Bali melalui pengolahan gaya bahasa, baik bahasa indah, kocak, kiasan, dan alternasi. Selain mengolah gaya bahasa, Rai Mesi dalam tuturannya juga menyisipkan bahasa luar Bali, baik itu bahasa Nusantara maupun bahasa asing. Retorika Rai Mesi sangat komunikatif.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"366 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124591743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sehu: Dalang Wayang Potehi (布袋戲) di Jawa","authors":"Hirwan Kuardhani","doi":"10.24821/WAYANG.V2I1.2996","DOIUrl":"https://doi.org/10.24821/WAYANG.V2I1.2996","url":null,"abstract":"Potehi is a hand-glove puppetry theatre art form, brought by the Chinese emigrant from Fujian in the sixteenth century. It used to be performed in their vessels (Jung-Jung) when they were docked. The Hokkian dialect was used at that time. As more Chinese immigrants settled down in Indonesia, they carried along the Potehi art in Java. Along the way, Potehi ceased to be performed in Hokkien dialect. Instead, it was Melayu Pasar or Melayu rendah (now Indonesian Language) being used, which was indeed the lingua franca among the Chinese community then. Nevertheless songs and poetry were still in Hokkian. Sehu called dalang Potehi. Was originally sehu as Hokkian true, a long the way sehu as Pranakan’s Tionghoa an than in this time sehu from etnic Java. The acculturation with the local society resulted in a very unique Potehi which was different from its original version. Potehi merupakan pertunjukan sarung tangan, yang dibawa para emigran China dari Fujian sekitar abad enam belas. Potehi biasanya dipertunjukkan di Jung-jung atau kapal-kapal mereka ketika sedang mendarat. Mereka menggunakan bahasa Hokkian dalam pertunjukannya. Ketika orang-orang Tionghoa menetap di Indonesia mereka membawa serta kesenian Potehi di Jawa. Pada perkembangannya pementasan Potehi tidak lagi menggunakan bahasa Hokkian melainkan menggunakan bahasa Melayu Pasar atau Melayu Rendah (sekarang bahasa Indonesia), bahasa yang sekaligus menjadi bahasa pengantar kaum Tionghoa saat itu. Walaupun untuk lagu dan syair masih memakai bahasa Hokkian. Sehu merupakan sebutan bagi dalang wayang Potehi. Awalnya sehu adalah orang Hokkian asli, pada perkembangannya adalah orang-orang Peranakan, dan saat ini sehu dari etnis Jawa. Proses akulturasi dengan penduduk setempat membuat pertunjukan Potehi menjadi unik dan berbeda dengan negeri asalnya.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122362920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Wayang Klithik Robot","authors":"Gandar Setiawan","doi":"10.24821/corak.v3i2.2351","DOIUrl":"https://doi.org/10.24821/corak.v3i2.2351","url":null,"abstract":"Wayang is a autentic culture from Indonesia. Wayang has many figure and character. It is main idea of this make the artwork. Inspiration of the artwork also from observation robot forms. Robot has the furious and futuristic form. Like the progression of technologi, form of robot also more experiencing form progression. Until now, form of robot still identic and can not losed from imajinative forms. This prossesing to make the artwork use created methode from Gustami, it is a three stages six steps creating craft artwork. First stage is eksploration consist of observation and finding refference steps. Second stage is desaigning consist of making the sketch and making the gambar teknik or modeling steps. Third stage is forming consist of create artwork and finished with value and evaluation steps. Result of visual form is a three dimension artwork with futuristic robot form. Visual form the artwork is a transformastion of futuristic wayang klithik with robot form. The puppet figures are Wrekudara and Gatotkaca Combination form is a method for impression and aesthete value of the artwork. Wayang merupakan budaya asli dari Indonesia. Wayang memiliki berbagai macam tokoh dan karakter. Wayang menjadi ide utama dalam penciptaan karya ini. Inspirasi karya juga muncul dari pengamatan bentuk-bentuk robot. Robot memiliki bentuk yang variatif dan futuristik. Sesuai dengan perkembangan teknologi, bentuk robot juga mengalami perkembangan yang lebih bermacam-macam. Sampai saat ini, bentuk robot masih identik dan tidak bisa lepas dari bentuk-bentuk imajinatif. Proses pembuatan karya seni ini menggunakan metode penciptaan dari Gustami, yaitu metode tiga tahap enam langkah dalam menciptakan karya seni kriya. Tahap pertama yaitu eksplorasi yang meliputi langkah pengamatan dan pencarian sumber pustaka. Tahap kedua merupakan tahap perancangan yang terdiri dari langkah pembuatan beberapa sketsa dan pembuatan gambar teknik ataupun model. Tahap yang ketiga yaitu tahap perwujudan yang terdiri langkah pengerjaan karya, dan diakhiri dengan penilaian juga evaluasi karya yang telah jadi. Bentuk visual yang dihasilkan yaitu karya seni tiga dimensi dengan bentuk futuristik menyerupai robot. Bentuk visual karya merupakan penggabungan antara bentuk wayang klithik dengan bentuk robot. Tokoh wayang yang dibuat yaitu Wrekudara dan Gatotkaca. Perpaduan bentuk dilakukan sebagai cara untuk memberikan kesan dan nilai estetik pada karya.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128819619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}