Raden Arjuna

The four personafications of begawan Wibisanas desires: Nurangga, Lodra, Sukarda andAngkara  come and meet with Raden Arjuna. All the four of them pray purified (freed) so that they may be able to return to they original realm.

Pictures from left to right : 1.Lodra 2. Nuraga 3. Angkara 4. Sukarda 5. Raden Arjuna 6. Gunungan Dahanan

Raden Arjuna

Tn the effort to obtain "Wahyu Sri Makuta Rama" Raden Arjuna Recommended  by guardian Ki Lurah Semar, to live as an ascetic on the slope of mount Kutarunggu Arjuna is trying tu purify his mind by studying self control to meditation. The other punakawan (servants). Nala gareng, Petruk and Bagong by fairfally.

Pictures from left to right : 1. Petruk 2. Nala Gareng 3. Semar 4. Raden Arjuna 4. Gunungan Blumbangan

Gatotkaca

Furthermore Bambang Sintawakaand Bambang soma Anggarjita meet with Raden Gatotkaca who is charged to guard the territory of Amarta. Raden Gatotkaca suspects the two ksatrias. His suspicion causes disagreement and a fight. Raden Gatotkaca defeated and become their assistant.

Pictures from left to right : 1. Bambang Sintawaka 2. Bambang soma Anggarjita 3. Raden Gatotkaca 4. Gunungan Kratonan.

Batara Narada

On the way Dewi Wara Sembadra and Dewi Wara Srikandi meet Batara Narada, Knowing the........Batara Narada is willing to help them

Dewi Wara Sembadra

At the garden Maduganda in Ksatrian Madukara, Dewi Wara Sembadra is attended by Dewi Srikandi and Dewi Larasati. Dewi Sembadra feels very sorry disappointed for Raden Arjuna her husband's going away from the country without having any message. She and Wara Srikandi decide to seek Raden arjuna while Dewi Larasati is given the seek at the palace.

Pictures from left to right : 1. Dewi Larasati 2. Dewi Srikandi 3. Dewi Wara Sembadra 4. Gunungan Kratonan

Wibisana

 

 

At mount Dasikna, Begawan Wibisana King of Singela wishes to maksa and tobe united his honoured master , Sri Rama Wijaya for that purpose, he has to get rid of all personal desires. However the four personifications deibes Lodra, Sukarda, Angkara and Nuraga are reluctan to be abandoned and demand perfection of which Wibisana feels incapable. They are told to ask for the help noble minded ksatria (chosen seed) Raden Arjuna.

Pictures from left to right : 1. Lodra 2. Sukarda 3. Ankara 4. Nuraga 5. Wibisana 6. Gunungan Blambangan

Adipati Karna and Batara Surya

The loss of reliable weapon, Kunta wijaya kusuma makes Adipati Karna hopless and powerless seeing this happenning
Batara Surya comes and advices Adipati Karna to get rid of his arrogrance and coceit. In order to get back his weapon. Batara Surya suggests Adipati Karna to buy it through esceticism

Picture from left to right : 1.Gunungan Blambangan 2. Adipati Karna 3. Batara Surya

Anoman and Adipati Karna

Adipati Karna succeeds to meeting Begawan Kesawawidhi and forces him to go with him to Astina and to relinguish" Wahyu Sri Makota Rama" to Prabu Kurupati at the Begawan refuses. Adipati Karna gets very angry and shoots the Begawan with his powerful weapon "Kunta Wijayadanu". However before the arrow hits Begawan , all of sudden Anoman appears and hols it back.

Pictures from left to right : 1. Adipati Karna 2.The succed weapon Wijayadanu 3. Anoman 4. Begawan Kesawawidhi

Anoman and Kurawas

 

The Kurawas led by Adipati Karna, force to enter Kutarunggu region, without purifying themselvesthrough asceticism, but they prevented by Anoman. The disagreement leads a fight and the Kurawas are defeated.

Picture from left to right : 1. Patih Sengkuni 2. Jayajatra 3.Kartamarma 4. Anoman 5.Citraksi 6. Dursasana 7.Durmagati

Begawan Kesawawidhi 

At the Hermitage Kutharunggu. Anoman epears together with 5 elements of his spiritual power. Begawan Maenaka, Gajah Situbandha, Yaksendra Jayawreka, Garuda Mahambira, Naga Kwara before Begawan Kesawawidhi asking for guidance to obtain perfectness of life in the world hereafter. The Begawan Charge them to guard mount Kutaharunggu and to climinate whoseever ties to come to him with false intention.

Pictures from left to right : 1.Yaksendra Jayawreka,2. Gajah Situbandha 3,Naga Kwara ,4. Garuda Mahambira, 5.Begawan Maenaka,6. Anoman, 7. Begawan Kesawawidhi, 8. Gunungan Kratonan.

Patih Sengkuni and Kurawas

Before the departure Patih Sengkuni gives a briefing to the Kurawas under the leadership of Adipati Karna. The briefing inform that "Wahyu Sri Makota Rama" is with Begawan (ascetic) Kesawidhi at Mount Kutharungu. Therefore the Kurawas must be able to bring the Begawan with them to Astina, gently or forcibly.

Pictures from left to right: 1.Citraksi 2. Aswatama 3. Kartamarma 4.Dursasana 5. Adipatikarna 6.Patih Sengkuni.

Gunung-gunungan

Wahyu Sri Makota Rama (Relevation of Sri Makota Rama ) is teaching about "The Principle of leadership". The Principle of leadership have essentially as their source of the characteristic of the eight elemen of nature ie ; earth, wind, water, moon, sun, sky, fire and star, known is Asthabrata.

From left to right : 1.Gunungan Kratonan/Gapuran 2.Gunungan Dahanan 3.Gunungan Blumbangan

King Kuropati and Kurawas

The news that the “wahyu Sri Makutha Rama” will be revealed has also reached the wicked Kurawas, Prabu (King) Kurupati send Adipati (King/prince) Karna to obtain the revelation and bring it to Astina. Then Adipati Karna and Kurawas set out to mount Kutharunggu

Picture from left to right :

1.Jayadrata 2.Darsasana 3.Adipati Karna 4. Pandita Durna 5. Patih Sengkuni 6. Prabu Kurupati (Duryudana), 7.Dayang

Asal-usul wayang

CHAPTER I
Origin - The proposal Puppet
Regarding the time of birth puppet culture, according to Ir. Sri Mulyono in his book Symbolism and Mysticism in the puppet (1979), estimate the puppet has existed since the time of Neolithikum, namely kira2 1500 years before Christ. His opinion was based on the writings Robert von Heine-Geldern Ph.D., Prehistoric Reasearch in the Netherland Indies (1945) and writing Prof.K. A. H. Hidding Encyclopedia Indonesia page 987.
Puppet theater is one of the oldest traditional. In the reign of King Balitung, has no hint of puppet show, which is contained in the inscription Balitung the year 907 AD, which proclaims that at the time it has been known to have been known for a puppet show. A copper plate inscription from Central Java; Royal Tropical Institute, Amsterdam, examples of this inscription can be seen in appendix Claire Holt, Art in Indonesia: Continuities and changes, 1967 Prof. translation. Dr. Sudarsono (MSPI-2000, p. 431). Written as follows:
Issued on behalf of King Balitung this text about Sangsang village, which is marked as a fief of land, whose implementation is addressed to the god of the porch in Dalinan. After the paint and decorate themselves with flowers, the participants sat in a tent overlooking sangyang Kudur celebration. "For the safety of sacred buildings and the people" show (spectacle) in Sakilan. Sang Hyang Tangkil the (Mamidu), the Nalu intone (macarita) Bima Kumara, and dancing (mangigal) as Kicaka, Jaluk intone the Ramayana; Mungmuk acting (mamirus) and droll (mebanol) / farce), the puppet show Galing (mawayang ) for the gods intone Bhimaya Kumara.
The importance of this text lies in a clear indication that in the early 10th century, the episodes from the Mahabharata and the Ramayana sung in acara2 ritual. Bimarater bayangana sebuahcerita Kumara may possibly associated with the Milky may have been demonstrated as a nteater bayangana (now Purwa). Of which puppet origins until now m still at issue, for lack of evidence to support it. Some are convinced that the original puppets with Javanese culture that since the terms are used in many terms Javanese wayang.
Dr.GAJ Hazeu, in a dissertation Biddrage tot de Kennis van het Javaansche Tooneel, (1987 in Leiden) believes that the puppet show from the original art of Java. It can be seen from the terms used a lot of uses Javanese language for example, color, blencong, mobile, kepyak, puppets. In the arrangement of the traditional houses in Java, we usually will find parts of the room: patio, pendhapa, omah buri, gandhok, sentong and room for performances ringgit (pringgitan), in Javanese wayang means ringgit.

Puppet Skin (Wayang Kulit), Java Performance Art Masterpieces

Night life in Yogyakarta would feel if you miss it by looking at the shadow puppets(Wayang Kulit). Gamelan lively rhythms combined with a melodious voice sinden will not let you fall in sleepiness. The story that brought the mastermind will bring you to come in late as to be one character in the story that was delivered. You too will soon realize how great Javanese culture in the past.

Shadow puppet show is an art that has been aged more than half a millennium. Its emergence has its own story, related to the entry of Javanese Islam. One member of the Wali Songo created by adopting Wayang Beber that developed in the heyday of Hindu-Buddhist. The adoption was done because the puppet already attached to the Javanese to become an excellent medium for spreading propaganda of Islam, while Islam prohibits art form. As a result, shadow puppets created where people can only see shadows.

Leather puppet played by a man who would be called the public's greatest entertainer in the world. How not, during the night, the mastermind behind the whole character actor playing shadow puppets who are the puppets made of buffalo skin with motifs decorated carving handicrafts decoration (carving the skin). He had to change the character of the sound, changing intonation, removing jokes and even sing. To turn the atmosphere, the puppeteer (dalang) who is assisted by musicians playing gamelan and sinden who sing Javanese songs.

The characters in the puppet the whole number in the hundreds. The puppets that are not played are put in a banana stem which is near the mastermind. When played, the puppets will appear as shadows on the white screen in front of the mastermind. The shadow is created because every puppet show using oil lamps as lighting that helps reflecting the puppets being played.

Each puppet presents a different story or play. Variety of play is divided into 4 categories: standard play, play carangan, play spin and play writing. The play has a story that grip entirely sourced in a library puppet plays while in outline only carangan only sourced the library puppet. Play spin the story did not originate on the puppet, but wearing the appropriate places in the library puppet, while the essay is entirely off the plays.

Puppet story rooted in some older books such as Ramayana, Mahabharata, Kings and Purwakanda Library. Now, there are also books containing composition plays and essays are for hundreds of years has been appreciated by the public Abhimanyu Kerem, Doraweca, Suryatmaja Thieves and so on. Among all the old books were used, the Book of Purwakanda is the most frequently used by puppeteers from Yogyakarta Kingdom. Leather puppet begins when the mastermind has issued the mountains. An all-night wayang performance Yogyakarta style is divided into 3 rounds which has 7 rows (scene) and 7 scenes of war. The first round, called pathet lasem, has 3 rows and 2 scenes that accompanied the war-gending gending pathet lasem. Pathet Sanga the second half has 2 rows and 2 scenes of war, while the Pathet Manura the third round has 2 rows and 3 scenes of war. One of the most anticipated lots of people on each puppet is because that presents a typical Java joke-joke.

Sasono Hinggil located in north square-South Square is the most frequent events held all-night wayang performances, usually held every second and fourth weeks starting at 21.00 pm. The other place is Sri Maganti Ward located at Sultan's Palace. Puppet Skin on the ward was staged for 2 hours starting at 10:00 am every Saturday with tickets USD 5000.00.

Wayang kulit

Shadow play Indonesian From Wikipedia, the free encyclopedia

 Puppet show by puppeteer leading in Indonesia, Ki Manteb Sudharsono.Is the art of traditional shadow puppets Indonesia which is mainly developed in Java. Puppet Ma Hyang comes from the word meaning toward the almighty one,

.

Shadow puppets played by a puppeteer who is also the narrator's dialogue puppet characters, accompanied by gamelan music played by a group of nayaga and song sung by the singer. Plays puppet puppeteer behind the curtain, 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 puppetfall into the screen.

To understand the story of wayang (the play), the audience must have knowledge of puppet characters whose image appears on the screen.In general, puppets took the story from the Mahabharata and Ramayana manuscript, but not be limited only by the grip (standard), the mastermind ki can also play the play carangan (spin). Some of the stories taken from the Bannerman story.Puppet show has been recognized by UNESCO on November 7, 2003, as a work of astonishing cultural narratives and stories in the beautiful and precious heritage (Masterpiece of Oral and Intangible Heritage of Humanity).  

Shadow puppets is more popular in central and eastern Java, while the puppet show is more often played in West Java Manufacture Shadow puppets made of buffalo leather that is processed into leather sheets, puppets apiece need about size 50 x 30 cm piece of skin which is then carved with the equipment used is made of an iron-pointed steel of good quality. Steel is made in advance in various shapes and sizes, there is a sharp, flat, small, large and other forms each having different functions.But basically, to arrange or make various forms of carving holes are purposely made to decay. Then performed the installation of body parts like hands, there are two connections on the hands, upper arms and elbows, how to connect it with a small screw made of buffalo horn or cow. Handle which functions to move the arm blackish color is also made from buffalo horn material and generally golden color with gold leaf paper that is taped or it could be with dibron, painted with a powder that is melted. Puppet that uses prada, the result is much better, the color can last longer than a bront.•

Leather Puppet Gagrag Yogyakarta• Leather Puppet Gagrag Surakarta• Leather Puppet Gagrag Banyumasan• Javanese Wayang Gagrag Timuran• Puppet Bali• Leather Puppet Banjar (South Kalimantan)• Puppet Palembang (South Sumatra)• Puppet Betawi (Jakarta)• Puppet Cirebon (West Java)• Puppet Madurese (extinct)• Wayang SiamShadow puppeteers who achieved legendary heyday and among others the late Ki Tristuti Rachmadi (Solo), the late Ki Narto Sabdo (Semarang, Solo style), the late Ki Surono (Banjarnegara, Banyumas style), Ki Timbul Hadi Prayitno (Yogya), deceased Ki Hadi Sugito (Kulonprogo, Jogjakarta), Ki Soeparman (Yogya style), Ki Anom Suroto (Solo style), Ki Manteb Sudarsono (Solo style), Ki Enthus Susmono, Ki Agus Wiranto. While the legendary Pesinden is deceased Nyi Tjondrolukito.• List of Figures Puppet• Ketoprak• Ludruk• Wayang puppet• Puppet peopleMastermind is the most important part in the puppet show (wayang prototype). In Java language terminology, puppeteer (barrier) is derived from the acronyms ngudhal Piwulang. Ngudhal means to dismantle or disseminate and piwulang means teaching, education, science, information. So the existence of puppeteers in puppet show not only the aspect of spectacle (entertainment) only, but also guidance. Therefore, in addition to master the techniques of puppetry as an entertainment aspect, the mastermind must be a knowledgeable and able to influence.Gagrag puppet YogyakartaIndonesian From Wikipedia, the free encyclopedia(Redirected from Shadow Puppet Gagrag Yogyakarta)Gagrag Wayang Wayang style Jogjakarta or Yogyakarta is a puppet that has a characteristic shape morphology, pattern inlay, and sunggingan (coloring) is typical. Also in Yogyakarta Gagrag Shadow Puppet show also has elements that is typical, puppet theater (the presentation of the story and its meaning), chess (narrative and conversation), musicians (gendhing, sulukan and props).Typical figures Puppet Yogyakarta• Antasena• Wisanggeni• PunokawanPuppets Gagrag puppeteer Yogyakarta• Incurred Hadiprayitno Ki (puppeteer)• Ki Hadi Sugito (puppeteer)• Ki Suparman (puppeteer)• Ki Seno Nugroho (puppeteer)• Ki Agus Wiranto (puppeteer)• Sagio (Puppet Builder)Gagrag puppet BanyumasanIndonesian From Wikipedia, the free encyclopedia(Redirected from Shadow Puppet Gagrag Banyumasan)
 

Puppet Skin Gagrag Banyumasan is one style of puppetry in Java, which is better known by the term pakeliran, and serves as an art form and used as a vehicle Klangenan to maintain the value of ethics, devotional and entertainment, the quality is always maintained and dealt with seriously by experts who understand the true. Pakeliran includes elements that is, the puppet theater (the presentation of the story and its meaning), Sabet (entire motion puppet), chess (narrative and conversation), musicians (gendhing, sulukan and props).•Populist style BanyumasPakeliran Gagrag Banyumasan, has the feel of a thick as populist character of its people, honest and forthright, and live and thrive in the former residency of Banyumas, and its expression is more free, simple, and straightforward and able to survive until today in the face of changing times, due to gain sympathy and loved people.This is different to other areas pakeliran populist style, which tends to become extinct, especially in areas close to centers of power palace, let alone Wonogiri, Sragen and Karanganyar, where the influence of puppetry as the Sultanate of Yogyakarta Sultan Palace with the founding of the art of puppetry Hambiwarakake Draft Andhalang (Habirandha (1925 )), with Pasinaoun Dhalang Kasunanan Surakarta Surakarta (Padhasuka (1923)) and the early 1920s founded the Pasinaon puppeteer Mangkunegaran Mangkunegaran (DCI), tends to suppress pakeliran populist style of its surroundings, and mejadikan its preservation is a challenge.Gagrag Banyumasan puppetry, gaining influence and have the order or the grip of the art of puppetry Surakarta and Yogyakarta, but has its own characteristics with characterizations Bawor with the song Flower cucumber and gendhing Banyumasan. Art pedhalangan Banyumasan Gagrag is then standardized and preserved by experts in the community pedhalangan Banyumas ganasidi / puppetry Banyumas former residency, which was held in Kawedanan Bukateja April 21, 1979.The development of puppetryAs with other Indonesian art of puppetry, developed since the influence of Hinduism, with the establishment of the Hindu Mataram with fiber Ramayana, the era of 898 AD in Sanskrit with a strong Indian influence, then developed in line with the use of ancient Javanese or Kawi language. Art pedhalangan entering a golden age in the era of Kadiri (1042-1222) in the reign of King Jayabaya (1135-1157), the development of writing and literary works such as fiber Bharatayuda, Hariwangsa fibers, fiber Gathutkacasraya by mpu Panuluh and Puppet Purwa which is the embryo and the development of art puppetry in the archipelago.Age of the sultanateAnother strong influence on puppetry Banyumasan, ie at the time of the sultanate of Demak (1478-1546), then Pajang Sultanate (1546-1587), until the influence of Mataram on Plered era (1645-1677) era Amangkurat Tegalarum which typically have great attention to residency Banyumas, and sent to the Ajibarang Lebdajiwa projected, to further develop the art of puppetry Gagrag Banyumasan.Influence Gagrag MataramInfluence Gagrag Mataram (Surakarta and Yogyakarta) is stronger, especially through the south coastal region, and is known to the art of puppetry Banyumas coastal or Gagrag South Mountain, its influence can be seen up to the range in 1920, and continues to grow through the mastermind Gombong breeds, namely Ki Cerma until with Ki Dhalang Menganti.Gagrag Lor MountWhile the front area Banyumas (from Purbalingga Serayu then along the River, heading toward the West), has its own pakeliran and known as Mount Gagrag Lor, as developed through the mastermind breeds Kesugihan (originally from coastal development) of which dalang Said, and continues to grow until the era dalang Parsa, dalang Sugih. However, that tends not affected coastal dhalang is dalang Waryan of Kalimanah.Up until now remained unknown and sustainable traditional art, namely Gagrag Banyumasan puppetry puppetry of South Mountain and Mount Gagrag Banyumasan Lor (Redi Kendeng).PlayPuppet Gagrag Banyumasan have characteristics in the story that further clarify the role of small people is manifested in the character clown-servants like the story Bawor Dadi Ratu, Petruk Krama and others. Besides that, the puppet Gagrag Banyumasan further highlight the role of youth in the resolution of cases and problems. Heroine Mbarang Lengger story 'which is a continuation play Srenggini Ask Rama is one concrete example that the role of you

as Antasena and Wisanggeni become very central.

Wayang kulit
puppet is one of the top of Indonesian art and culture the nation's most prominent among the many works of other cultures. Role of puppet culture including art, sound art, music, speech arts, literary arts, painting, sculpture, and art is also symbolic. Puppet culture that continues to evolve from age to age, also a lighting media, propaganda, education, understanding of philosophy and entertainment. According to research by historians of culture, culture is a culture of authentic Indonesian puppet, especially in Java. The existence of wayang already centuries before the Hindu religion into the island of Java. Although the popular puppet story in today's society is an adaptation of literary works of India, namely Ramayana and Mahabharata, both parent in the puppet story undergone many changes and additions to adapt them to the original philosophy of Indonesia.

Adjustment of the concept of philosophy is also concerned at the Java community philosophical views on the status of the gods in the puppet. The gods in the puppet is no longer something that is free from wrong, but sepertijuga other God's creatures, sometimes act wrong, and could be a blunder. The presence of characters in the puppet clown-servants deliberately created the humanists Indonesian (Javanese cultural exact) to reinforce the concept of philosophy that in this world there is no creature that is really good, and that really jahat.Setiap beings always bears the elements of good and evil.

 

In a dissertation titled Bijdrage tot het van de kennis Javaansche Tooneel (1897), the Dutch cultural historian Dr. GA.J. Hazeau demonstrate his belief that the puppet show is a native of Java. Understanding of the dissertation of Dr. puppet. Hazeau it is walulang inukir (carved leather) and seen its shadow on the screen. Thus, wayang puppet is certainly as we know it today

The origin of puppets
Regarding the origin of this puppet, in the world there is an argument, the first idea that comes puppet and l; ahir first time on the island of Java, precisely in East Java. This opinion was adopted and raised in addition to researchers and experts in the nation of Indonesia, also a result of western research scholars. Dianatara western scholars belonging to this group, is Hazeau, Brandes, Kats, Renste, and Kruyt.

The reason they are strong enough. Among them, the art of puppet is still very closely related to sociocultural and religious state of the Indonesian people, especially the Javanese. Clown-servants, the most significant figures in the puppet, namely Semar, Gareng, Petruk, Bagong, there are only puppets in Indonesia, and not in another country. In addition, names and technical terms puppet shows, all from Java language (ancient), and not other languages​​.

Wayang Kulit

Wayang kulit, shadow puppets prevalent in Java and Bali in Indonesia, are without a doubt the best known of the Indonesian wayang. Kulit means skin, and refers to the leather construction of the puppets that are carefully chiselled with very fine tools and supported with carefully shaped buffalo horn handles and control rods.

Punakawan

The stories are usually drawn from the Ramayana, The Mahabharata or the Serat Menak. There is a family of characters in Javanese wayang called Punakawan, they are , and sometimes reffered to as "clown-servant" because they normally are associated with the story's hero, and provide humorous and philosohical interludes. Semar is the father of gareng (oldest Son), Petruk, and Bagong (youngest son). These characters didnot originate in the Hindu epics, but were added later, possibly to introduce mystical aspects of Islam into the Hindu Javanese stories. They provide something akin to political cabaret, dealing with gossip and contemporary affairs.

The puppet figures themselves vary from place to place. In central Java Surakarta (Solo) and city of Yogyakarta are most famous and the most commonly imitated style of puppets. Regional styles of shadow puppets can also be found in west Java, Banyumas, Cirebon, Semarang and east Java. Bali produces more compact and naturalistic figures,and Lombok has figures representing real  people . Often modern -world objects of bicycles, automobiles, airplanes and ships willbe added for comic effect, but for the most part the traditional puppet designs have changed little in the last 300 years.

Historically< the performance consisted of shadows cast on a cotton screen and oil lamp. Today, thesource of light used in wayang performance in Java is most often a halogen electric light.