WAYANG KULIT IN NGANJUK
CHAPTER I
Indroduction
·
Background
The culture of Indonesia has been shaped by long interaction
between original indigenous customs and multiple foreign influences. Indonesia
is centrally-located along ancient trading routes between the Far East and the Middle
East, resulting in many cultural practices being strongly influenced by a
multitude of religions, including Hinduism, Buddhism, Confucianism and Islam,
all strong in the major trading cities. The result is a complex cultural
mixture very different from the original indigenous cultures.[1]
Examples of cultural fusion include the fusion of Islam with Hindu
in Javanese Abangan belief, the fusion of Hinduism, Buddhism and animism in Buddha,
and the fusion of Hinduism and animism in Kaharingan; others could be cited.
Indonesian art-forms express this cultural mix. Wayang, traditional
theater-performed puppet shows, were a medium in the spread of Hinduism and
Islam amongst Java villagers. Both Javanese and Balinese dances have stories
about ancient Buddhist and Hindu kingdoms, while Islamic art forms and
architecture are present in Sumatra, especially in the Minangkabau and Aceh
regions. Traditional art, music and sport are combined in a martial art form
called Pencak Silat.[2]
Nganjuk region is administratively under the East Java province,
but the social and cultural life of society closer to the behavior of social
culture of Central Java. One indication of the most quickly be felt in the said
language is a dialect of their daily lives (Javanese) which are generally feel
no different from the Surakarta. In other words, in general do not communicate
with the public Nganjuk Timuran Java language, but using the Java language with
a particular accent Middle Javanese Surakarta. AS the people of Central Java,
the public likes to watch Nganjuk and shew a variety of traditional performing
arts of Java. That's why since the past until now in the public life Nganjuk
variety of performing arts. However, there are three types of performing arts
are regarded as typical or original Nganjuk namely: Mung DHE, Sandhur, and
wayang Timplong.[3]
·
History
of Wayang kulit
Wayang kulit is the traditional art of Indonesia is primarily developed in Java.
Wayang kulit comes from the word 'Ma Hyang' which means to the spiritual
spirit, god, or God Almighty. There are also puppet is a term that defines the
Java language which means 'shadow', this is because the audience can also watch
the puppets from behind the screen or just imagined it. Shadow play puppeteer
played by a narrator who is also a puppet characters dialogue, accompanied by
gamelan music played by a group of nayaga and song sung by the singer.
Mastermind behind the shadow puppet play screen, the screen is made of white
cloth, while the lights flashed behind electric or oil lamps (Blencong), so
that the spectators who were on the other side of the screen can see the shadow
puppet who falls into the screen. In order to understand the story of wayang
(theater), the audience must have knowledge of puppet characters whose image
appears on the screen.
Wayang
Kulit is a unique form of theatre employing light and shadow. The puppets are
crafted from buffalo hide and mounted on bamboo sticks. When held up behind a
piece of white cloth, with an electric bulb or an oil lamp as the light source,
shadows are cast on the screen.
Wayang
Kulit plays are invariably based on romantic tales, especially adaptations of
the classic Indian epics, "The Mahabarata" and "The
Ramayana". Some of the plays are also based on local happenings (current
issues) or other local secular stories. It is up to the conductor or Dalang to
decide his direction.[4]
The Dalang is
the genius behind the entire performance. It is he who sits behind the screen
and narrates the story. With a traditional orchestra in the background to
provide a resonant melody and its conventional rhythm, the puppeteer modulates
his voice to create suspense thus heightening the drama. Invariably, the play
climaxes with the triumph of good over evil.
CHAPTER II
DATA ANALYSIS
·
The Philosophy
Wayang Kulit in Nganjuk
Widayat Djiang originally Tjioe Djiang Bian is one of the Peranakan
Chinese shadow play puppeteer who survived until now. He became a cultural
bridge between the Java community, the Peranakan Chinese, and Chinese. He was a
performer in the Java language capable of manners, the Hokkien dialect, and
interspersed with the words in Mandarin.[5]
Widayat Djiang born to totok (Sin Keh) Tjioe Kok Hin and women of
patrician RA Djuariah Paku Alam, Yogyakarta. Therefore, since childhood Djiang
familiar with Chinese and Javanese culture.
Family taught him to close the two cultures. The mother was given a
Chinese name, Ong Kim Hwa (Kim Hwa means golden flower). His father is also a
fan of puppet pushed close to the performers Djiang Javanese literature. Djiang
including watching a puppet show routine, especially with his mother.
Growing up, a number of authors in the Java language publications
such as Panjebar Spirit (1950 until the 1960s) became colleagues Djiang. He
also diligent penance and appreciate the teachings of Javanese mysticism.
Puppets since childhood viewing habits make life Djiang not separated from the
puppet.
"According to tradition in the villages when it is, there is every
birth have always held a puppet show. One day the family 'gave' me to the
mastermind Soemomardjan, from Leiden Holland man who married a Javanese woman,
"the story Djiang, who lived in the village of Amethyst, District Pace,
District Nganjuk.[6]
Since then,
in the 1950s, the mastermind Soemomardjan Djiang studied. No wonder if the
mastermind Soemomardjan legacy is a collection of his puppet purwa to Djiang.
Puppet collection is from the 19th century with a special feature of
"weakening" or where the foot pads his puppet figures tread the earth
with the use of three colors, namely red, white, and blue. These three colors
represent the flag of the Kingdom of the Netherlands.
"Look
there Rood (red), wit (white), en blauw (and blue). This type of puppet is no
longer made after Indonesia's independence, "said Djiang while
displaying rare collections ever offered is a museum in Leiden. "Never
will I loose, this is something very precious," he said.
Different
the original mastermind of Java in general, armed with science Thauw Kun or
Chinese martial arts from his father, in a performer Djiang combines the
ability to work with the rotary motion of the hand puppet-style "master
kungfunya". "How to move the puppet child like this can be regarded
as the uniqueness of the Peranakan Chinese-Javanese puppeteer," he said.
·
Cultural Association of Nganjuk
Widayat
Djiang Ratnawati married Ida when she was in junior high school Nganjuk (now in
junior high I Nganjuk). Graduated from junior high Nganjuk, family and
colleagues seeker of Javanese culture encourages Djiang to join the Cultural
Association of Surakarta (HBS).[7]
HBS is
the name of the person who gave birth to many artists, like painters and Dullah
Jeihan and puppeteer Ki Anom Suroto. "He (Ki Anom Suroto) that my friend,"
said Djiang, who is also familiar with the puppeteer Ki Manteb Sudarsono.
After
his education at HBS, started getting bids Djiang a performer. He told me, the
first time an order is a performer to come up during President Sukarno's
Jakarta Republic of Indonesia decided to get out of the United Nations and the
spirit Ganefo (Games of the New Emerging Forces), after the Asian Games (1962),
in Jakarta rose.
Normally
a puppeteer who also adherents Kejawen, prepare yourself Djiang offerings and
often fasted 40 days for staging can take place smoothly. However, life as a
puppeteer with a background of half Chinese and Javanese Djiang have to make a
winding road.
When the
incident erupted G30S, Djiang too "down". He was difficulty in
obtaining permits a performer and there are various other provisions required.
At 1965-2004, or for about 39 years, had never held a staging Djiang like a
puppeteer.
"I
can only a performer on the simple events in the villages around the village of
Amethyst," he said. After the new reform movement, precisely in 2010, he
was a sort of official letter to the mastermind.
·
The Tradition of a Performer
In order
to survive, Djiang also take care of business parcel delivery services in the
city Nganjuk. Although not on stage, he's still caring for a collection of
leather puppets. Winds of change in 1998 to reopen the opportunity for Djiang
to perform a performer.
Existence
as the mastermind of the Peranakan Chinese-made Dahlan Iskan Java (now
Minister for State Owned Enterprises) and menanggapnya in Japan as performing
at the Flower Street, Chinatown district in Surabaya.
Afterwards,
asked to appear Djiang include a performer in the 600 year commemoration of
Zheng He's Expedition at Tay Kak Sie Temple in Semarang.
"I'm
a performer at the time of Semarang, on a replica of Zheng He's ships. I want
to preserve the Chinese-Javanese puppetry is unique with multilingual
narration, "he said. At that time, she performed with accompaniment
sinden, one of which came from Japan.
Unfortunately,
of nine children, none of which would continue the tradition of a performer.
Therefore, Djiang expect at least one of 10 grandchildren want to be the
mastermind.
He
called the name of one of his grandsons, Yoga Rizky (15), who seems interested
in becoming a puppeteer. "She is most often accompanied my performances.
He is also keen to watch a puppet show all night long, "Djiang story,
which in old age remains a performer hoping to Jakarta, especially in Bentara
Culture Jakarta.[8]
·
How to make Wayang Kulit
Fineness
and elevation of art work printed on a hand puppet temperaments. Characteristic
thoroughness and preparation represents the height of artistic creation.
Temperaments or statues of the skin is usually done wayang than cow leather.
Value
and quality oxhide let meets the specifications and criteria puppet artisans.
Cow leather of choice compared with the skin of the bull, because larger and
softer. Skin - This skin may be found by buying rather than butcher Tempatan or
at slaughter. Sculpture puppets made of leather is more durable and resistant
to exceed 100 years if cared for properly.
The
ancient notion, still held strongly by the makers of sculpture, shadow play
must keep close track of each sculpture is made of leather instead of wood or
other. There is still believed that, if left to children or anyone playing with
shadow puppets and puppet actually change their statue with wooden puppets. Can
deter children from diseases such as puppet statue believed to have its own
guardian.[9]
1. For skins that have been selected, the initial
work that needs to be done is to issue overage meat and fat attached to the
tetragonal field, which is made of wood or reed stems. Work is to facilitate
the selection of skin and fat attached to meat overage was scraped with a
"knife look" or identified with the name "guardian knife"
rigor becomes the main character to avoid an erosion of work to be easily torn
skin, also to make sure the skin is completely clean.
2. The skin
is so dry cleaned dried for two or three of, depending on weather conditions.
The skin is usually dried in the sun at some distance from home to avoiding
foul odors. Once the skin is quite dry, erosion carried out with a knife
expression.
3. Having
scraped clean of hair, the skin is washed and dried for the second time. After
drying the skin dry, puppet builders will start melakar statues are going to be
puppets.
4. Usually
lakaran puppet characters, made on white paper tipis.Although basic puppet
characters, the characters, ancient Malay shadow play, skill and creativity is
very necessary to create a puppet character is smooth and attractive.
5. Clasification
of patterns and motifs should be made regularly and in accordance with the
puppet character created. Usually Malay shadow puppet character size ± 71 centimater
length and width not more than 30 centimeters. Lakaran on paper that has been
provided so it would cut out or cut to follow the profile. Lakaran puppet
builders then put it on the skin by using glue. commonly used glue made from
starch or glue that can dissolve in water.
6. Lakaran
paper attached to the skin and then carved to follow lakaran. When finished
sculpting, lakaran white paper that is still attached to the skin removed or
washed. to mastermind their use of fine copper berus and water to scrub and
clean the paper attached to the skin.
7. The
washed skin to dry. Puppet characters, so it will be strengthened with the
blade of bamboo. diraut bamboo flat round shape and tapered base section
fastened upright in the middle of the statue puppet. Bamboo is a
"bone" to the statues of the puppet. Pemacak bone will be cut in half
from tip to approximately 30.5 inches from the base. Puppet so it is flanked by
statues of the parts are then tied with thread at a distance of approximately 5
centimeters.
8. In addition to the bamboo can be used as the
bones to the puppet sculptures, wood and buffalo horn can also be used. for
wood and buffalo horn hard to come by and difficult to set up, the main choice
thorny bamboo puppet craftsmen. In addition to easily get thorny bamboo are
also durable and lightweight. Color also plays an important role in puppet
form. He can give difference between a gentle temperaments and characters,
fierce.
BIBLIOGRAPHY
http://Wikipedia, the free encyclopedia.htm
http://Wayang - Wikipedia, the free encyclopedia.htm
http://wayang kulit.htm
[1] http://Wikipedia,
the free encyclopedia.htm/
[2] http://Wikipedia,
the free encyclopedia.htm/
[4] Wayang
- Wikipedia, the free encyclopedia.htm
[5] http://indonesiaproud.wordpress.com/
[6] http://indonesiaproud.wordpress.com/
[7] http://indonesiaproud.wordpress.com/
[8] http://indonesiaproud.wordpress.com/
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