Bagong Figures

Sebagai seorang panakawan yang sifatnya menghibur penonton wayang, tokoh Bagong pun dilukiskan dengan ciri-ciri fisik yang mengundang kelucuan. Tubuhnya bulat, matanya lebar, bibirnya tebal dan terkesan memble.
Gaya bicara Bagong terkesan semaunya sendiri. Dibandingkan dengan ketiga panakawan lainnya, yaitu Semar, Gareng, dan Petruk, maka Bagong adalah sosok yang paling lugu dan kurang mengerti tata krama. Meskipun demikian majikannya tetap bisa memaklumi.
Beberapa versi menyebutkan bahwa, sesungguhnya Bagong bukan anak kandung Semar. Dikisahkan Semar merupakan penjelmaan seorang dewa bernama Semar Batara Ismaya yang diturunkan ke dunia bersama kakaknya, yaitu Togog atau Togog Batara Antaga untuk mengasuh keturunan adik mereka, yaitu Batara Guru.

Petruk Figures

According to puppetry, he was the son of the giant priest in the monastery and located in the sea named Begawan Salantara. Previously he was named Bambang Pecruk Panyukilan. He was fond of joking, either by words or conduct, and liked to fight. He was a select duel / magic at his residence and the surrounding area. Therefore he wanted to travel and to test the strength of his power.

On the way he met Bambang Bluluktiba Sukodadi of asceticism that goes from padepokannya on the hill, to try immunity. Because it has the same purpose, then there is a duel. They fought a very long time, hitting each other, wrestle, pull-pull, kick, kick, stomp-stomping, until his body became totally disabled and changed from the original form is handsome. The fight was then separated by Smarasanta (Semar) and accompanying Bagong Ismaya Batara. They were given advice and counsel so that eventually they give themselves and learn to Smara / Semar and serve Sanghyang Ismaya. Thus the events recounted in the play Batara Ismaya Krama.

Due to changes in the shape of each was then renamed. Bambang Pecruk Panyukilan be Petruk, while Bambang Sukodadi be Gareng.

Gareng Figures

Gareng, adalah salah seorang tokoh wayang punakawan mempunyai nama asli Bambang Sukadadi yang merupakan tetua dari ketiga putra Semar yang lainnya (Petruk dan Bagong). Wataknya yang sopan dan halus dalam bertindak menjadikan Gareng menjadi tokoh yang dihargai. Gareng di berikan amanah menjadi seorang penasehat para Pandawa.

Gareng mempunyai tubuh yang tidak sempurna, wajahnya jelek dan matanya juling. Gareng mempunyai watak yang selalu bergembira mengeluarkan aura yang positif. Dalam setiap lakon pewayangan, Gareng selalu menjadi penengah ketika adik-adiknya salah paham. Bahkan Gareng pernah menyelamatkan Petruk, ketika Petruk lupa setelah menjadi raja.

Gareng, mempunyai nama lain yaitu Nala Gareng yang berarti kering, hatinya yeng kering dengan godaan nafsu dunia. Atau Pancalpamor yang berarti menolak terjerumus keduniaan.

Tokoh Gareng mempunyai wajah yang jelek, terutama matanya yang juling. Ini menunjukan bahwa tokoh Gareng tidak suka melihat keburukan, matanya selalu terjaga dari pemandangan yang menggoda pada dunia.

Tanganya yang ceko atau patah, merupakan penggambaran bahwa Gareng tidak suka mengambil hak orang lain, tidak suka menggunakan kekuasaan yang diberikan dengan semena mena. Tangannya terjaga dari segala sifat iri dan sombong.

Kakinya yang pincang, merupakan penggambaran bahwa Gareng mempunyai sifat yang berhati-hati dalam melangkah. Segala tindak tanduknya selalu diperhatikan benar dampak baik dan buruknya. Tidak suka tergesa-gesa dan melangkah tampa tujuan.

Tokoh Gareng hanya sebuah perumpamaan tentang sifat manusia. Yang perlu menjadi pertanyaan bagi kita : Apakah kita masih harus diperingatkan dengan cobaan? Apakah kita akan bertaubat setelah Allah swt memberikan bancana kepada manusia, dengan musibah dan bencana. Seperti Gareng, matanya juling tanganya patah, kakinya pincang dan buruk rupa.

Apa harus dipatahkan dulu tangan kita, ketika salah menggunkan kekuatan dan kekuasaan? Apakah harus dirusak wajah dahulu, ketika sombong dengan kecantikan dan harta?
Benar memang, segala bencana di nusantara ini akibat ulah manusia sendiri yang tidak memperhatikan tingkah lakunya. Teramat lupa dengan yang menciptakan dan pemilik jagat raya ini..

Semar Figures

Indonesia is a country rich in art and cultural traditions of the adi superb. One is wayang.Umar Kayam in his book Public Art Tradition says that the puppet is the result of an entrenched culture of the past is in the Java community. Judging from its social function puppets serve as an integral tool in the past. Puppet is a collective creation (which comes on the Mahabharata and the Ramayana) and is a hold life of the Javanese (1981, h.129-135)Puppet is an ancestral cultural heritage that has survived for centuries to experience growth and changes to reach its present form. In the puppet show can be captured a wide range of knowledge, philosophy of life and cultural values ​​of the various elements of art are integrated in the art of puppetry. World's cultural treasures and the puppet is not the source of endless for those who want to dig. World of puppetry also attracted the attention of scholars to examine in accordance with their respective disciplines.One of the characters in the puppet is Semar. Semar is a very mysterious character, as the name suggests means Semar vague Semar is the panakawan elders. Panakawan consists of Semar, Gareng, Petruk and Bagong. Panakawan puppet performances are the result of processing of Javanese artists. MPU Panuluh Kediri XII century royal poet (year 1188) were the first to show character in literature gubahannya panakawan Ghatotkacasraya.Tokoh Semar is also present in the Sudamala Tegalwangi Sukuh and Temple 1370 years. Semar figures and other panakawan Indonesia is the original product. Panakawan figures will not be found in the Ramayana and the Mahabharata. Panakawan word comes from the word "pana" which means correct or wise and understand the word "friend" which means friend. Thus "panakawan" means the wise friends. Panakawan function not only limited to be funny, entertaining warrior lord and relieve tension. In particular carangan they play the main character. Semar for example the main character in the play Semar sue or Semar Ask Good, Semar Papa, Semar Mbarang magic. Petruk was a major figure in the play Petruk Dadi Ratu
A. Semar origins in the puppet playSemar in the puppet by the puppeteer Pocung as illustrated by the following song.Semar iku dudu dudu spur wadonkalamun jalua, jaja Mungal lir pawestriyes estria akekuncung gegombakan(Semar was not women but not menIf he stands out like a woman's chestIf she berkuncung and bergombak)At a time when the world is empty there are no occupants. Sang Hyang Wenang Sang Hyang has a single child. Sang Hyang Sole have three children: Tejamantri, Ismaya and Manikmaya. At first they can live in harmony, but in the end a dispute arises regarding inheritance. Who will dominate the future of the universe and celestial. Because the dispute still not finished, Manikmaya suggested that race was held supernatural powers. Anyone who can swallow a mountain and then purge that will rule in heaven Jonggring Salaka. The proposal was agreed. First Tejamantri trying to swallow the mountain but did not succeed even rips her mouth, then replace Ismaya who tried to swallow the mountain and he managed to swallow it so it forms a big belly and tip of the mountain was thrust into the abdomen so that her butt bigger. These events create a 'fault' and was forced to Sang Hyang Wenang come to make a decision: Tejamantri and Ismaya no right to become king of heaven and should come down to earth with the task of maintaining order and a civil Manikmaya offspring. Manikmaya became king in heaven. In his role on earth is known as Semar Ismaya and Tejamantri known Togog. Difference between Togog with Semar is Semar guiding the virtuous knight and uphold truth and serve the party Togog greedy, evil but rich always lose against a good side. After the dispute Ismaya (Semar) and Tejamantri (Togog) apparently lost splendor as a god.2. Semar, humans and godsSemar is human as well as gods. It could be said Semar descendants of the gods, son of Sang Hyang Single, uncle of the gods in heaven. Semar have supernatural powers of gods and supernatural powers. But he was man who lived in Mayapada and serve the ksatria.Konsepsi is called the god of mengejawantah.Kedudukan Semar is a god and man Semar well recognized by his lord. Realizing that the excess Semar bendoronya respect him. Semar mention of the Pandavas as Kakang (brother) while the descendants of the Pandavas called as Uwa (great uncle). They are not ashamed to ask for guidance and advice to Semar. Advice from Semar usually always obeyed otherwise woe to them. This is apparent in the play-play Quick Buwana, Semar Yellow, Papa Semar3. Semar is the peopleFor fans of puppets, Semar is the epitome of sound carrier sound rakyat.Meskipun formal position is the man / the people of the knights are low, especially when angry rages Semar no one warrior, even a god king who could deal with it. According to Franz Magnis Suseno in the puppet, Semar and other panakawan symbolizes the people of Java. Semar it would appear in a strong understanding and mendalamdiantara manyarakat Java, namely, that in contrast to the outward impression, it is the people and the environment instead of the palace which is the real source of strength, fertility and wisdom of the Java community. (Puppet Man and Call, 1991, p. 37)At Semar selfless attitude, rame ing gawe (do not expect strings attached, aggressive in work) done perfectly. As a man he was entirely free from self-interest. Semar is recognized as a symbol of sovereignty puppet. Semar existed throughout zaman.Semar serve Arjuna Sasrabahu GAAP, Patih Sumantri, Rama, Pandu, the Pandavas even as the son of Abhimanyu and Gatotkaca Pandavas. Similarly there are people of all time, whoever the leader. In human history, there is no state that did not have the people. People's holds the highest authority of a country. Semar position as a symbol of people have inspired the poet N. Riantiarno to write a play entitled Semar sue. The manuscript was first printed in November 1995 by the Cultural Landscape Foundation Publishers Yogyakarta. The contents of the script play itself is in accordance with the political climate of Indonesia is messy. Just as in the original play Semar sues where Semar angry and sued his lord, the manuscript of this play had become a symbol of popular resistance against the rule of Soeharto Indonesia arbitrary. Presumably there is no other puppet characters are more than Semar Indonesia.

The Wayang (Puppet) Myth

Human tend to identify their self with personality admired and idolized, reflect and exemplifies the attitude, behavior.

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Commentary on contemporary puppet

Emigration from Kartasura Kasunanan palace to the village of Solo (Surakarta now) brought progress in the art of puppetry as well. Which is the art of puppetry arts with the main character pakeliran dalang is an art form combined elements of art inlaid decoration (fine arts) with a puppet show accompanied by gending (rhythm) gamelan, colored dialog (anta-discourse), presents the play and pitutur (instructions) in the philosophy of human life.
The art of puppetry can be held in the form of puppet prototype, against a background screen (screen) with the main story of the Mahabharata and Ramayana source, comes from India. But there is also a prototype with a leather puppet theater stories gleaned from the teachings of Buddhism, such as stories related to ruwatan ceremony (purification of human beings). Leather puppet prototype typically takes all night.
During Sri Susuhunan 10, in Solo founded where staging puppet people, namely in Sri Wedari which is a form of puppet stage with the players consisted of those who portray the characters puppets. Both the story and the dialogue is carried out by each player itself. This show was held regularly every night. Variations in other forms of wayang puppet show that is made ​​up of wooden dolls.
Chinese artists who are also sometimes held in Solo Chinese puppet show called Puppet Potehi. With stories of China and China's distinctive musical accompaniment. There is also a puppet in the shape beber a painted sheet of cloth and told by the puppeteers, the story ranges from the palace Kediri, Ngurawan, Singasari (The play of Panji). Puppet klitik is the media type the characters puppets made ​​of wood, the story is taken from the end of the Majapahit tripe (Dharmawulan story). Sometimes used to make a puppet of the grass, called grass puppet (puppet suket).
Javanese people have a kind of traditional art that can live and grow up now and be able to touch hearts, and soulful, which is the art of puppetry. Apart from being a powerful communication tool and a means of understanding life, for the Javanese wayang is the symbolism of the views of Javanese life on matters of life.
World of the puppet as if the Java is not only dealing with general theories about human beings, but rather models of life and human behavior is described concretely. Essentially contain conception puppet art that can be used as a guide the attitudes and actions of a particular social group.
Conceptions are organized into cultural values ​​are implicit and reflected in the elements of his stories, whether in view of the attitude towards the nature of life, origin and purpose of life, human relationships with God, man's relationship with the environment and man's relationship with another man.
Wayang puppet performances especially are often associated with traditional ceremonies: marriages, births salvation, moving house, circumcision, etc.. Usually presented in the stories that interpret the celebration meant, for example in the story that captured marriage celebration "Kromo Parto" (marriage Arjuno), a celebration of the birth story of Abhimanyu was born to be shown, if applicable, take the story "Muwa Kala" (Ruwatan).
After the puppet was widespread at the time of the Mataram kingdom, in the 18th century AD, R.Ng.Ranggawarsito, an illustrious poet of Surakarta who compiled a book on the history of puppetry are summarized in the King Library Purwa fibers which in the subsequent development of a reference to the masterminds .
In Those days many were produced literature submer That puppet theater stories in the puppet show increasingly Become Diverse prototypes. While the puppet theater in Yogyakarta area comes from the Fibers Purwakandha written during the reign of the kingdom Hamengkubuwono V Ngayogyakarta.