Subordination of the Dalang Wayang Krucil in the National Political Constellation

Dalang Wayang Krucil is an important figure in practical political culture in Indonesia. In several areas in Java, especially in East Java, puppeteers are part of political forces that have very significant influence at the grassroot level. Dalang Wayang Kayu is affiliated with several political organizations that influence the ideology of this performance. In the Old Order era, there were two cultural organizations that became the shelter for puppeteers, namely Lekra and LKN. Lekra (People’s Cultural Institute) is a cultural organization under the PKI (Indonesian Communist Party), while LKN (National Cultural Institute) is under the auspices of the PNI (Indonesian National Party). The ideological confrontation between the two mass organizations affected the style of the dalang’s performances. The puppeteers under Lekra perform more populist plays, while the dalangs in LKN perform more within the context of national culture. In its development, the puppeteers, who are members of Lekra, try to close themselves off from the outside world until the end of their lives. Meanwhile, the puppeteers in the LKN continued to work until the New Order era. The subordination of puppeteers to wooden puppets is one of the factors causing the art of wooden puppets to not develop in several areas in Java. Keywords: Wayang Krucil, political constellatio

Cultural Transformation of Farmers and Cycle Panji in the Puppet Krucil

The farmer cultural system is based on tillage and planting cycles. The patterns produced from system tillage and planting cycles then form a system of civilization based on the future of the garden or tillage. The agrarian ecological system inspired cultural expression that is manifested in a variety of cultural activities. One of the cultural poducts of farmers is the stories of the wayang Krucil, who were involved in the Panji cycle. Krucil puppet art shows are cultural performances that are creative and reflect the spirit of the times. Panji stories in the puppet Krucil can be described by their constituent structures. Cultural farmers are very dependent on the presence of the sun and water, so the sun and water symbols are very dominant. The structure of peasant culture can be demonstrated by a reciprocal relationship between humans, the sun, water and air. Symbols can transform into various forms. The transformed symbols of the sun and water can be found in the model of the stage, the structure of the story, and the depiction of the characters in the puppet Krucil. Agrarian society has always had mechanisms to develop their culture, including developing cultural patterns that are different from the maritime community. Keywords: farmer culture, pennant cycle, puppet Kruci

Acculturation of the Hindu Muslim Identity in the Figure Puppet Krucil

The history of the puppet Krucil in East Java cannot be separated from the attack of the Demak on the Majapahit palace in the 15th century when Girindrawardhana ruled as the last king of Majapahit, in the Dhaha (Kediri) region. The fall of Dhaha is the starting point of the Hindu kingdom’s move into the hands of Islamic rulers, also marking the broader transition from Hindu culture to Muslim culture in the area of Majapahit. This included the Sunan Kudus policy that prohibits cow slaughter, which is widely perceived as the stimulus for the shift fron cowhide puppets into wood. The spirit of acculturation between Hindu and Muslim is embodied by the puppet figure Krucil. This article considers how Puppet Krucil become the acculturative Hindu Muslim representative, and discusses various elements including the figures, performances, narrative, and religious undertones and inflections. Keywords: Acculturation, hindu, muslim, puppet kruci

The Development of the Wayang Panji Nusantara Network Model to Strengthen the Articulation of the Panji Culture in Southeast Asia

Wayang Panji is a puppet based on Panji stories that developed in Southeast Asia. The story of Panji in the art of wayang is found in Malang mask puppet art, Krucil Kediri puppets, Madurese puppeteers’ puppets, Banjar Kalimantan puppets, Thai Siamese puppets, and wayang puppets in Kelantan Malaysia. The development of Panji culture in Indonesia has been partly through the Panji Nusantara Week activity, which is held once a year, and features performances of Panji-themed arts in several cities in Indonesia. The Panji Cultural Week, which has been held for the past few years, has yet to touch all areas of Panji-themed art, both in Indonesia and abroad. Panji wayang art, which is one of the Panji cultural products, is overlooked by practitioners of Panji culture, even though Panji wayang art is spread across several regions in Indonesia and in several Southeast Asian countries. This research sought to develop Panji-themed wayang art in the Southeast Asian region, so that it has parallels with other Panji-themed arts, through the development of the Panji wayang network in the Southeast Asian region. The Panji Nusantara wayang network aims to build cultural communication between actors and observers of Panji wayang art in the Southeast Asia region and serve as a publication media for Panji puppets for the general public. The cultural communication media was formed as a virtual collaborative performance event, while the wayang Panji publication media is in the form of a digital application-based platform that contains a database for the Panji Nusantara puppet, profiles of the Panji wayang artists, and a roster of the performance activities. This research used the Willis design development method combined with ethnographic methods. The research data were collected in East Java and Kelantan Malaysia. Keywords: Development, puppet, panji nusantara, southeast asi

Polarization of Panji Tradition in the Visualization of Archipelago Puppet: A Comparison of Panji-themed Puppet Characters in Indonesia and Malaysia

Panji-themed puppets are puppets that enact a story from the panaji chronicle. These puppets are found across the island of java and several other areas in the archipelago. Panji-themed puppets can be found in krucil puppetry in java and in siamese puppetry in kelantan Malaysia. While a krucil puppet uses a panji story as the main story, in siamese puppetry, a panji story is the branch of the story. The difference in the characters of a krucil puppet and a siamese puppet is related to the interaction of panji tradition with local traditions. Keywords: Panji tradition, puppet, Indonesi

REPRESENTASI ESTETIKA JAWA DALAM STRUKTUR RAGAM HIAS TARI TOPENG MALANGAN

Malang mask dance is an art form that develops in Kedungmonggo hamlet, Karangpandang village, Pakisaji District, Malang Regency. This research reveals decorative aesthetic structure of Malang mask dance. Qualitative data were analyzed with visual semiotics approach. This research shows that decorative aspects of Malang mask dance consist of flora and fauna structures taken from symbols in Hindu mythology. This phenomenon can be understood because the stories that have inspired mask dance come from the panji (prince) legends with Hindu background. The use of mythology symbols emphasizes the ethics of Javanese culture as the groundwork in visual process. The concept of ethics values beauty as a combination of soft and rough concepts.Keywords: Aesthetics, Malang mask dance_________________________________________________________Tari topeng Malang merupakan salah satu kesenian yang masih berkembang di dusun kedungmonggo desan Karangpandang Kec. Pakisaji Kab. Malang. Penelitian ini berupaya mengungkap sisi struktur estetik ragam hias pada tari topeng Malang. Data berbentuk kualitatif dan dianalisa dengan pendekatan semiotika visual. Hasil penelitian ini menunjukkan bahwa ragam hias pada tari topeng Malang terdiri dari struktur flora dan fauna yang dimabil dari simbol-simbol dalam mitologi agama Hindu. Fenomena ini dapat dipahami, mengingat latar belakang cerita Panji, sebagai cerita inti tari topeng Malang, mengambil latar belakang dari masa Hindu. Penggunaan simbol-simbol mitologis menegaskan kedekatan konsep etika Jawa sebagai landasan dalam proses visual. Konsep etis yang menempatkan keindahan sebagai perpaduan antara konsep halus dan kasar.Kata Kunci: Estetika, Ragam Hias, Tari Topeng Malanga

PERGELARAN WAYANG KRUCIL SELOPURO STRUKTUR KUASA ISLAM JAWA DALAM RITUAL NYADRAN

Nyadran is an annual event in the village of Selopuro, Pitu District, Ngawi Regency, East Java. This event was held on every 10th Besar or 10 Dzulhijah which contained the salvation and performance of the krucil puppet. Activities in Nyadran and the performance of wayang krucil indicate the process of acculturation between authentic beliefs and Islamic spirituality. The acculturative process appears in the conscious prayer read out by the puppeteer and also in the puppet performance ritual. Prayers delivered at the slametan ritual and at the pre show influence the concept of pantheism, or the concept of manunggaling kawulo gusti. The concept of manuggaling kawulo gusti is one of the core of Javanese Islamic teachings

Wayang krucil as identity of kejawen community

Wayang Krucil Kediri is a Wayang (puppet) art that grows in an acculturative culture because Wayang is not only part of the performing arts but also as an ideological medium. The long history of the existence of the Wayang Krucil in Kediri Regency cannot be separated from the shift in the socio-cultural situation and the development of political sects in the region. The phenomenon that encourages the practice of ideological contestation in the Wayang Krucil Kediri. This study took place in the Cipto Manunggal Mystical Society in Senden Village, Kayen Kidul District, Kediri Regency. This study uses a cultural studies approach with critical ethnographic methods. The results of this study indicate that the existence of the Wayang Krucil Kediri in the village of Senden is supported by the Cipto Manunggal Kebatinan community, which seeks to maintain the standard of Krucil Kediren's wayang, through the maintenance of the gendhing gagrak Kediren, the use of jangkep gamelan, and the maintenance of the palace-style performance model. Wayang Krucil Kediri has also become an ideological symbol of the Javanese Islamic mysticism movement as a representation of Kejawen culture

Prosiding ICAAE 2014 - THE HUMANISM PERSPECTIVE IN LEARNING INCLUSIVE ART Functioning the Art as Character and Culture Adaptation Vehicle for Students with Special needs

Inclusive art is art which is framed in the context of diversity that omits the distance of physical and culture in the way how we do enjoy it. Working activity, in the inclusive art, it has functions as a media in introducing life, culture environment, and personal character. In the learning inclusive art, it is looking forward at the value of humanism and equality, which make students understand them selves and their environment holistically. Inclusivity in art put the artistic activities and products as sub-system in building the students’ character so they can become more independent. The students with special needs need different treatment, in such kind of condition that the learning art is not only teach the ability to understand visual perception, but also more on reinforcing the personal character so they can live independently. In student with autistic case shows that the using of picture cards and the structured training can increase vocabularies and verbal communication activities. The humanism aspects can be put on the students better by using medias of art. In that point, the learning art is not only has a role as a media transfer of skills, but also has more meaning as a vehicle to understand students’ culture and environment. Functioning art as a vehicle in learning the character of local culture for students with special needs can be implemented better by using the art-teaching model with inclusive approach

Wayang Krucil as Identity of Kejawen Community

Wayang Krucil Kediri is a Wayang (puppet) art that grows in an acculturative culture because Wayang is not only part of the performing arts but also as an ideological medium. The long history of the existence of the Wayang Krucil in Kediri Regency cannot be separated from the shift in the socio-cultural situation and the development of political sects in the region. The phenomenon that encourages the practice of ideological contestation in the Wayang Krucil Kediri. This study took place in the Cipto Manunggal Mystical Society in Senden Village, Kayen Kidul District, Kediri Regency. This study uses a cultural studies approach with critical ethnographic methods. The results of this study indicate that the existence of the Wayang Krucil Kediri in the village of Senden is supported by the Cipto Manunggal Kebatinan community, which seeks to maintain the standard of Krucil Kediren's wayang, through the maintenance of the gendhing gagrak Kediren, the use of jangkep gamelan, and the maintenance of the palace-style performance model. Wayang Krucil Kediri has also become an ideological symbol of the Javanese Islamic mysticism movement as a representation of Kejawen culture