Gebyar Jawa 2014

Gebyar Jawa menika salah satunggaling acara ingkang dipunanakaken kaliyan HIMA Basa lan Sastra Jawa saben tahun. Ing adicara sakmenika wonten kalih acara ingkang narik kawigaten para mahasiswa wonten ing Universitas Negeri Semarang. Ancasipun acara menika nuninggih supados sedaya mahasiswa Basa lan sastra Jawa saged nyengkuyung ugi semangat kangge dadosaken jurusan menika saged sami rata kaliyan jurusan lintunipun ingkang sampun majeng sakmenika.

Finalis Duta sinjang 2014 kaliyan Dosen Basa lan Sastra Jawa

                                                                Pemenang Duta Sinjang 2014

 Festival Drama 2014

wayang golek

The Wayang Golek Theater of Java
The Mahahharata tells of the conflict between the superior Pandewa brothers (Judistra, Bima, Arjuna, Nakula and Sadewa) and their hundred jealous and mendacious cousins, the Kurewas, who drive them away from their home at the court of Astina, to wander in the wild.  In the forest the Pandewas build the lovely and idealized kingdom of Amarta where the majority of the plays are set. The heroic quests, battles with vile ogres and scenes of romantic love are made all the more poignant by the knowledge that the glory and beauty are fleeting. Events are presented as taking place in Java rather than India, and the heroic Pandewas, descendants of Vishnu, are the ancestors of the Javanese kings. Many episodes have simply been invented by puppeteers over generations.
The court scenes also allow scope for the comic misadventures and intrigue of the Pandewas’ clown servants, the Punakawans:  Semar the wise, whose identity is thought to have evolved from that of the pre-Hindu Javanese god Ismaya and his sons. The inane and melancholic Gareng, with his round drooping nose, is the butt of jokes and tricks played by the sharp Petruk. Philosophical and mystical speculations made by the refined characters provide an intellectual and spiritual dimension for members of the audience with a taste for high seriousness.”
Richter describes the puppet making itself:  “Like so many other crafts in Indonesia, making wayang golek is a skill handed down through families. The master puppet-maker usually makes the head because it expresses the personality of the puppet. Ceremonies are performed before commencing a deity or a demon. A piece of light, local softwood, which is easy to carve and not too heavy to hold up during a performance, is sawed or chopped down to the right size, and the main features are roughly chiseled. After sanding, fine decorations such as the parts of a crown are carved in with more care and sanded. The smooth surface receives a coat of glue-based paint, which will enable subsequent coats to adhere well.  Lips, flowers and some bits of jewelry are painted red, as are the irises of angry characters. Blue is also used for eyes and sapphire jewelry. Fine black lines are painted for eyes, eyebrows, moustaches and wisps of hair….Bodies are often made by younger members of the family, and arms are attached at the elbow and shoulders with string so that they move easily. The shapes of hands also express character and role; those of nobles stretch out gracefully, but servants and commoners have large open palms. A rod passes from a hole in the base of the puppet’s head and down through the body to form a handle. Costumes are usually made by wives. …Since the stories portray historical and human rather than divine affairs, the puppets, like those used for history plays, are always fully clothed in Central Javanese traditional dress with batik sarongs.
Puppet body types can be identified across a spectrum which ranges from alus (extremely refined) to kasar (extremely rough and crude).  Refined, virtuous characters have small dainty bodies, slitted oval eyes with pupils shaped like rice grains, pointed noses and a modest downward gaze…  Vigorous or turbulent characters have a more direct and confrontational stare. As the personality of the puppet becomes less refined, there is an increase in size; the nose becomes heavier and blunter; eyes and pupils become larger and rounder and the gaze more aggressive; teeth and gums may be exposed in a snarl or a foolish sneer.  The more refined middle-sized puppets may represent courageous but impetuous kings and heroes; the coarser ones suggest an uncontrolled or evil nature. The largest puppets are used for those whose greatest attribute is physical strength.” Richter concludes, “It is the mixture of courtly, mystical and popular elements that allows traditional theatre to be so loved by so many people.” (sumber : http://www.marlamallett.com/puppets.htm)

Kesenian Sakera dalam Bahasa Inggris

Sakera Art

Gondanglegi, Malang | 27 Desember 2013

Indonesian art in various kinds, one of them is art that is Sakera in the Gondanglegi area Subdistrict, Malang. This art is in high demand by the public in this areas. However, most of them still didn’t know the history and development of Sakera.

According to one of the community leaders, Mr. Sukadar, mentioned that Sakera is “Satuan Keamanan Rakyat” in Indonesian or “Public Safety Unit” if in English. long time ago this Sakera charge of securing and maintaining the village, but due to the development of existing police the function of Sakera then converted into a unique art in the Karang Asem village. Actually Sakera own name already exists, then the local community to adopt it into a new meaning.

According to him, Sakera which growing in Gondanglegi area is the adopted from historical fact (legend). This legend often showed in ludruk. Ludruk was one of traditional art in East Java. It like with kethoprak, if kethoprak talked about kingdom’s story, but ludruk talked about villager who lived far from kingdom. This story tell about the heroism a person who live in Bangil, East Java resident. In this story people named Pak Sakerah and wife named mbok Marlena. Pak Sakerah always carried his trademark weapon called sickle (clurit) to oppose Netherlands. But because of this courage also pack Sakerah finally hanged by the Dutch.

The characters in the story of ludruk adopted by the community in Gondanglegi areas be the basis of the people’s armed forces (Satuan Keamanan Rakyat) or Sakera. Sakera dance moves in this is a movement similar to Pencak Silat or the movement of martial arts. This art accompanied by the Madura’s music. The typical of music which sometimes sang were Madurase, dangdut, sholawatan, depending on the event being held, but all sung in Madurase language. This art was only performed if there were special events such as the celebration of Independence Day, Islam commemorating the big day or if there were people who have the intent and desire is staged art.

One thing that makes me wonder is, why there is art smelling Madura in Gondanglegi (Java) the area which is far from the salt island. In this case, the Mr. Sukadar explained that the Indonesian political and security conditions in the period before independence was very unstable, war often happens everywhere, this meant that in the past people of Madura move to the Java island. For Gondanglegi areas appearance of Sakera because the majority of the population in Gondanglegi are Madurese people.

In the final conversation sukadar father said “I hopes to this art can continue and maintain so that the wealth of this nation is not to be lost especially taken by other countries”.

Sayida.red

Tari Lengger

TARI LENGGER WONOSOBO

 

Wonosobo menika kota alit ingkang gadhai kabudayan kathah. Salah satunggalipun Tari Lengger. Tari Lengger menika kalebet tari iongkang sakaral. Tari Lengger nyariosaken kisah asmarnipun Galuh Candra Kirana kalian Panji Asmara Bangun. Galuh Candra kiranan menika putranipun Prabu Lembu Ami Jaya panjenenganipun raja wonten ing kerajaan Jenggolo Manik. Lajeng Panji Asmara Bangun putranipunioun Prabu Ami Luhur panjenenganipun raja wonten ing kerajaan Cenggolo Pura. Kisah asmaranioun kang putra dipun wiwiti saking perjodohanipun kanjeng rama piyambak piyambak ingkang anggadhahi tujuan supados kerajaanipun dados kuat pertahananipun. Nanging usaha menbika gagal amargi Galuh Candra Kirana boten purun dipun jodokaken kalian Panji Asmara Bangun,panjenenganipun kapingin dados penari kemawon yaiku oenari lengger.

Wonten ing sawijingn dinten Galuh Candra Kirana ingkang samoun dados penari menika bvadhe dipoun tanggaop wonten ing kerajaan ipun Prabu Panji,lajeng Galuh Candra Kirana mutusaken badhe nyamar. Nyamaripun Galuh Candra Kirana menika ngagem topeng anggasalipun nari supados Prabu Panji menika boten pangertos ingkang oenari menika calon garwanipun. Naging wonten ing pertengahan pagelaran, Prabu Panji ninggali penari penari menika,Galuh Candra Kirana lajeng sumerp Prabu Panji lan kesemsem kalian Prabu Panji,lajeng mutusaken kagem bukak topengipun. Sesampunipun bukak topengipun Prabu Panji kaget pirsa penari menika inggih Galuh Candra Kirana. Prabu Panji lajeng nyedhaki Galuh lan nari bareng amargi sami sami anggadhahi rasa tresna. Saking kedadeyan menika Galuh Candra Kirana lajeng purun dipun garwa dening Panji Asmara Bangun.

Tari lengger menika tari tradisional ingkang pepasangan,lengger meniuka saking tembung lenggeran. Umba rampe wonten ing tari lengger menika wonten 120 topeng ingkang badhe dipun agem penari,lan wonten sesajen kados jajanan pasar,kopi pait,teh pait lan toya pethak. Tari lengger saged dipun ginakaken wonten ing adhicara adhicara resmi kados merdi desa,khitanan,lah sak piturutipun.

@yufitra

Tari Topeng Malangan

Tari topeng Malangan

Kutha Malang boten namung kawentar amarga udarane sing adem lan apele. Nanging, babagan kabudayan ing malang uga duwe tarian khas sing diarani tari topeng malangan. Tarian menika wis ana wiwit abad 13 masehi. Tarian menika wujud saking kepercayaan animisme lan dinamisme sadurunge agama Hindu Budha. Para penari dianggep dadi media persembahyangan kaliyan roh nenek moyang. Wong malang percaya yen sawektu tarian iku dianakake para leluhur bakal ngewebehi berkat menyang anak putune.

Carita sing digambarake sawektu pementasan yaiku caritane panji asmarabangun sing dadi peneruse Raja Keraton Daha. Panji utawa sing luwih dikenal karo jeneng Raden Inu Kertapati nglanglang buwana dadi rakyat jelata nggoleki pacangane sing jenenge Galuh Candrakirana. Akeh versi cerita sing dadi sumber pagelaran tarian menika. Ananging yen didelang ung setithik bedane. Kaya cerita ande-ande lumut lan keong mas. Kabeh cerita saka cerita panji sing wis ana ing masyarakat.

Sadurunge pegelaran tari diwiwiti, dalang maca mantra lan sajen menyang dhuwur panggung. Alasane supaya pegelaran sing dianakake bisa kaleksanan nganti gancar lan lancar ora ana alangan. Persembahan atau sesajen itu biasanya berupa kemenyan, sesisir pisang, air sari tape, bunga-bungaan, daun sirih segar, uang, nasi tumpeng, lan telur.

Pegelaran tarian menika diwiwiti saka iringan musik pambuka sing diarani Gending Giro. Kadang kala diterusake karo tari remo lan ludruk sing menghibur para pamirsa. Diterusake karo sinden sing nembang nganggo basa jawa kuna nyeritakake inti cerita sing arep dimainake. Pegelaran menika kaleksanan nganti 3 jam. Sakwise acara, sajene dimaem bareng-bareng supaya oleh barokahe rampung pagelaran.