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It is scarce to find a village where most of its citizens are engaged in traditional wayang crafts, especially if the most residents are Muslims. Moreover, the number of puppets needed to fulfill shadow puppet shows is limited throughout the world. However, the fact shows that Butuh Hamlet has a majority of residents who work as wayang artisans and still exist today, a model for the continuation of traditional arts in facing tough challenges and is an example of the sustainability of traditional arts in facing tough challenges, both externally and internally. This sustainability can be seen in the number of residents who still pursuing the crafting profession, which craft are still the main source of income for residents. Butuh Hamlet has received the title of Kampung Berseri (a beautiful and clean village). Apart from that, they also continue to work on strengthening the wayang craft with the Among System: caring for, fostering, and sharpening each other in developing the wayang craft. The sustainability of wayang as a means of livelihood and a medium for preaching (da'wah) has made the lives of artisans better.

Contemporary art is often an alternative field of experimentation for creating works that combine traditional and modern elements. Wayang is an art form in Indonesia, that combines traditional ideas and practices with the contemporary leading to hybrid forms. This research examines hybrid aesthetics in the work of the Wayang artists, and reveals its role in producing sustainable art by using contemporary craft material. It employs qualitative research method and a case study approach. Data collection techniques included observations, in-depth interviews, documentation, and literature studies. Data was analyzed using qualitative-interactive techniques. Findings show that the aesthetics expressed by the artists through artistic idioms give rise to 'hybrid aesthetics' of Wayang. Hybrid aesthetics in an artist's work in transcending and positioning itself in the third space by actualizing the work through the mode of traditional thinking, integrating hybrid elements, and adopting aspects of memory. Hybrid aesthetics has a vital role as a sustainable art and space for civilization implementable through Wayang visuals in craft works, learning media, and awareness media. The study concludes that four unique roles support the development of sustainable art through cultural preservation. They are: artistic innovation, environmental awareness, local community empowerment, and opening intercultural dialog. Hybrid, as a strategy in aesthetics to find characteristics, knowledge, and existence, contributes to the transition of media for sustainable art by creating an open dialog space where values and perceptions of cultural heritage can be negotiated. [ABSTRACT FROM AUTHOR]

Skin diseases, such as scabies, present a significant global health concern, particularly among Indonesian boarding school students, resulting in complications, disruptions to daily life, and academic hindrances. To effectively address this issue, a health education approach utilizing Wayang videos was implemented, leveraging cultural elements for enhanced outcomes. Our research aimed to assess the impact of a Wayang educational video on scabies knowledge among Indonesian boarding school students. This study, conducted from October 2019 to October 2020, involved 447 students. Pre- and post-tests were administered to measure knowledge levels. Our findings demonstrate a significant improvement in scabies knowledge among students following the Wayang video education intervention. The bivariate Wilcoxon test identified a significant difference (p

Indonesia’s cultural acculturation and Christianity left behind by Islam are undeniable social realities that could be harmonised through puppetry. However, the propagator of Islam has used wayang (puppet) as a national symbol and original face. It has raised a polemic that involved serious conversations and sharp debates between religious and customary communities and invited the struggle of religious-cultural groups. Efforts to acculturate Christianity and culture in Java have not received serious attention. However, various opportunities could be used as media or objects of encounter such as wayang. Christian inculturation with a wayang perspective could contribute to the contextualisation of mission in Java, promoting smooth conversations with the community. This study aims to capture the potential that contributes to wayang for the mission and contextualisation of Christianity. A qualitative method with an analytical-descriptive approach was used to examine the past mission of Islam as well as wayang and model contextualisation in church traditions. The findings show that wayang is an opportunity for Christianity to take root and grow together with its culture. It must be an aim in the contextualisation mission to civilise Christianity in society [ABSTRACT FROM AUTHOR]

Indonesia is a country that has a variety of cultural arts, one of which is shadow puppetry (Wayang). Wayang, in a staged, simple, and minimalist manner, is called Wayang Climen. Wayang Climen has been performed since the COVID-19 pandemic as a solution to keep working while still complying with health protocols. Utilization through YouTube social media attracts people to watch and provide opinions through comments. This opinion is beneficial and can be used as a feasibility study through sentiment analysis information classified as positive, negative, and neutral opinions. Sentiment analysis determines a person's opinion and tendency to opinionated sentences. The methods used are Random Forest (RF), Support Vector Machine (SVM), and Naïve Bayes (NB). The dataset comes from YouTube comments of Dalang Seno and Ki Seno Nugroho. The best accuracy is generated by SVM (70.29%). The positive sentiment shows the public's appreciation for the Wayang Climen performance, which ultimately represents the performance even though it is staged densely. This research contributes to effectively utilizing digital platforms for cultural preservation and audience engagement during challenging times, demonstrating the potential for innovative solutions in traditional arts and entertainment. [ABSTRACT FROM AUTHOR]

Surono Gondo Taruno's shadow puppet (wayang kulit) performance has a distinctive cross-style, making him a famous puppeteer in East Java. Accordingly, this discussion seeks to answer the question, "What is the cross-style of Surono's wayang figures in the Wahyu Wijaya Kusuma play? This discussion uses a qualitative method with Sunardi and Umar Kayam's cross-styled approach. Observational and interview-based were analyzed descriptively and qualitatively. The study results indicate that Surono's performance uses a cross-styled approach between the Surakarta style as the dominant style and the East Java and the Yogyakarta styles as the supporters. Surono's cross-style has made his performance attractive to contemporary spectators.

Traditions of wayang puppetry in Indonesia realize what Philippe Descola refers to as an «animist ontology». Not only human figures, but also what Tim Ingold calls «nonhuman persons», including personal possessions, landforms, and animals, possess consciousness and interiority. Among wayang’s diverse story sources, the Ramayana stands out for its animistic qualities. Episodes depict interactions between humans, ogres, monkeys, deities, and other nonhuman persons, activating the potential of the medium for representing transformation and theatrically mining the suspension of natural laws. This essay, based on ongoing research into the wayang collection of Yale University Art Gallery, examines how the characters of the Ramayana reflect shifting theatrical styles and animistic beliefs. Analysis of these historical puppets is followed by an exploration of an experimental 2023 Ramayana production originated at the University of Con-necticut hybridizing wayang with the tholpavakoothu shadow puppet tradition of Kerala, India, in which the epic is retold from the perspective of the trees and wood inhabiting it.

This ethnolinguistic analysis delves into the world of Panakawan characters in the Javanese play "Semar Mbangun Kahyangan," unveiling the profound tapestry of Javanese philosophy into their portrayal. The Panakawan, celebrated for their wit and linguistic artistry, stand as iconic figures in traditional Javanese wayang (shadow puppetry) and theater. This study explored their linguistic and cultural dimensions, illuminating their role as carriers of Javanese wisdom and cultural values. Employing ethnolinguistic methods, it examined the linguistic features, discourse patterns, and cultural intricacies interwoven within the dialogues and actions of the Panakawan characters. The analysis uncovers language's role in conveying Javanese philosophical concepts, moral teachings, and the interconnectedness of life and society within the play. It dissected the linguistic strategies, humor, and linguistic playfulness of the Panakawan, revealing their capacity to impart profound philosophical messages while captivating audiences. Furthermore, this study also revealed the inseparable bond between language, culture, and the embodiment of Javanese philosophy in the play "Semar Mbangun Kahyangan.". It offers insights into the Panakawan's function as cultural emissaries and guardians of the Javanese ethos. This ethnolinguistic exploration extends an invitation to readers to uncover the concealed Javanese philosophy within the eloquent expressions and deeds of the Panakawan. It is expected to provide a significant contribution to ethnolinguistics, cultural studies, and philosophy by spotlighting the Panakawan characters' pivotal role as conduits for conveying the profound philosophy that shapes Javanese culture and character. [ABSTRACT FROM AUTHOR]

Indonesia has a rich array of Intangible Cultural Heritage (ICH) forms on which artists can draw to create new forms and variations. Among these, two of them are the sibling arts of wayang puppetry and topeng mask dance which show significant overlap in character typology, repertoire and other features. Outsiders often focus on narrative content and surmise these forms – first documented in the Hindu-Buddhist period (around the ninth century), are merely Indian materials in the Indonesian dress. However, anyone who has studied the wayang/topeng complex, knows that Indian practices, especially as we see them today, only partly inform these arts. Understanding the macrocosm via the microcosm of art is a core point of wayang/topeng. The numerology of Muslim esoteric ideas is also deeply embedded. Indigenous ideas of personhood and intergenerational links are inherent. The wayang/topeng tradition compresses cosmic conceptions into performance’s limited space-time continuum. Masking/puppetry has many layers from indigenous to internationally linked concepts, and the art has been elaborated on by thinkers of the Indonesian cultural heritage for at least a 1000 years. How and why should new generations of artist-makers keep these concepts alive as they experiment with new media and respond to changing times? What elements of design, what histories, and what ideas inform these arts and artifacts? What can be gained by using cultural heritage through the arts to envision and respond to the future? [ABSTRACT FROM AUTHOR]

This study aims to reveal the main reasons why wayang kulit (shadow puppets) and gamelan music were used again as tools of Islamic da'wah after the Wali Sanga era (Nine Saints). In Central Java (Banyumas, Solo, Demak, Pati), there has been a phenomenon of Islamic preaching and recitation performed by Kiai using wayang kulit and gamelan music. This study uses a phenomenological approach, which is to get an explanation of the apparent reality. This approach focuses on events that are seen as having an impact, polemic, and discourse on life. This study also uses a critical approach, looking critically at the phenomenon of -art- being researched to test how far the view that puts that wayang (and gamelan) is not by religious rules is accepted, rejected, and even opposed. The result shows that although da'wah using wayang and gamelan has sparked a lot of polemics, the use of wayang and gamelan music is considered more effective in spreading Islamic teachings to grassroots communities due to two factors. First, continuing the trace of tradition brought by the first Islamic missionaries in Java (Wali Sanga). Second, to make people aware, especially young santri (prospective preachers) or congregation today, realize that Islam is spread peacefully and without resistance through art. [ABSTRACT FROM AUTHOR]

The Sĕrat cariyos ringgit purwa lampahan Dora Wĕca mawi sĕkar macapat is an example of a translation of a wayang play into poetry, a popular phenomenon in the late nineteenth century. To create aesthetic effects Raden Mas Panji Arja Suparta, the author of the text, makes ample use of metaphors. Some of these metaphors are well-known literary clichés. Others, which are woven into riddles (wangsalan), bring the real world of everyday life in Java vividly into view.

Wayang (puppet shows) for the Javanese people are a source of culture and tradition, philosophical values as well as religious teachings. It developed into a means of socio-cultural-religious transformation of da’wah, especially for Sunan Kalijaga. In the wayang, some lakon (plays, scenes, episodes) are taken from the epic story of the Ramayana, Mahabharata, and other ancient literatures. Meanwhile, wayang characters that resonate the Javanese people are Punakawan. The cultural and religious transformation brought by the lakon can be seen in the meaning and naming of Punakawan. In addition, the displayed role contains an elegant religious message wrapped in culture. Employing qualitative research using the analysis method, steps taken done to write the paper are; first, observing the theological and social revolution of the Javanese society, which is animist, dynamic, and paganist towards monotheistic mysticism. The second is the shift phenomena of Javanese Hindu ideology towards the Islamization of Java through an egalitarian concept of Islam. The third is the interpretation of young people’s anxiety through the distinctive voices of criticism. The result of this research is the disclosure of written descriptions of the characteristics of the practice of Javanese society through the process of cultural and religious transformation in the interpersonal play of Punakawan.

This study explores the development of innovative wayang craft designs in Magelang, Central Java, Indonesia. This is necessary research because wayang functions as a medium of contextual communication between the puppeteer and an audience by transmitting the values of life through entertainment. However, it is rare to find all-night-long wayang performances currently; there is a considerable probability of this craft going extinct in the next few years. This is a research and development method. The type of research and development uses the ADDIE model. Data collection techniques were carried out through interviews, observations, and documentation of Wayang Godhong. The respondents were tobacco farmers and puppeteers in Magelang City, Central Java Province, Indonesia. The result led to the development of Wayang Godhong design which adopts the structures and shape of tobacco leaves. Despite the use of this leaf, the message "smoking is violated" is boldly written on its body. The researcher also implemented the Wayang Godhong product through a puppet show entitled "Smoking Violated" performed on youth and social activists in Magelang Regency. The message from the show is social criticism to the public of the prohibition on smoking in public places, which is still being violated. The results showed that the public accepted the Wayang Godhong performance and positively impacted public knowledge and awareness regarding the prohibition of smoking in public places. [ABSTRACT FROM AUTHOR]

Education and culture play an important role in developing the noble values of a nation that have an impact on the formation of human character. However, the reality is that cultural values and character are increasingly eroding based on current phenomena. For this reason, it is necessary to have teaching materials that integrate character and cultural education to prevent this from being eroded. One that can bridge between culture and character-based education is ethnomathematics. For this reason, this study aims to develop teaching materials in the form of the friend app application to improve student character education through good quality puppet characters seen from the criteria of validity and practicality. This type of research is Research and Development (R&D) which refers to the ADDIE development model (Analyze, Design, Development, Implementation, Evaluation). This research was conducted in class VIII SMP Negeri 2 Godean. In addition to students, the source of data in this study is a validator. The instruments used were the KaWan app, material expert validation questionnaire, media expert validation questionnaire and student response questionnaires. The results showed that the validity aspect was categorized as very good from the material expert and media expert validator and the practicality aspect was categorized both for small-scale trials and large-scale trials. So, KaWan apps based on character education for wayang figures to improve character education are declared suitable for use. This research will still be continued to achieve the effective criteria. [ABSTRACT FROM AUTHOR]

Pathet is one of the most important parts in a puppet performance. Unfortunately, discussions about pathets, especially from a metaphysical perspective are very rarely found so that the wayang metaphysics is not comprehensive. This study examines the metaphysical dimensions in the puppet performance pathet in Anton Bakker's metaphysical perspective, with the aim to complete the existing puppet metaphysics studies. This research uses the methodical method of assessment, namely interpretation; induction and deduction; internal coherence; holistic; historical continuity; idealization; comparison; heuristics; inclusive or analogous language; and description, and reflection. The results of this study indicate that: first, pathet is a representation of the concept of harmony in puppet shows. Pathet is a transcendental ontological norm in puppet shows. Transcendental ontological norms, in the perspective of Anton Bakker's ontology thinking, are called harmony. In other words, it can be said that the pathet is a representation of harmony or ontological norms that apply in a puppet show. All aesthetic elements of the show are returned to the pathet, and must remain in the corridor of the applicable pathet.

Wayang (puppet) is one of Javanese culture form which was originally a cult of the local religion. Wayang has a dimension of spirituality that meets cultural aesthetics. This article focuses on how wayang is used as a preaching medium in the context of the spread of Islam, especially on the Java island and the values of virtue found in wayang stories. This research is a type of library research. The data collection method used is the documentation method. The data in this study is in the form of information on the process of Islamization for traditional Javanese people; the information is from books, literature, journals, and newspapers. Meanwhile, the data analysis technique uses descriptive analysis. Through analysis of the data, the results obtained are: (1) The names of wayang characters contain Islamic philosophical meanings; (2) The wayang stories modified are packed with deep story themes containing Islamic/divine content; (3) The wayang stories had been modified by Walisanga include virtue religious values, leadership values, and human or social values. Wayang merupakan salah satu wujud budaya masyarakat Jawa yang pada mulanya merupakan pemujaan agama lokal. Wayang memiliki dimensi spiritualitas yang bertemu dengan estetika budaya. Artikel ini memfokuskan pada bagaimana wayang digunakan sebagai media dakwah dalam rangka penyebaran agama Islam khususnya di pulau Jawa dan nilai-nilai keutamaan yang terdapat dalam cerita wayang. Penelitian ini merupakan jenis penelitian pustaka. Metode pengumpulan data yang digunakan adalah metode dokumentasi. Data dalam penelitian ini berwujud informasi proses islamisasi masyarakat tradisional Jawa yang berasal dari buku, literatur, jurnal, dan surat kabar. Sementara itu, teknik analisis data menggunakan deskriptif analisis. Melalui analisis data tersebut, diperoleh hasil berupa: (1) Nama-nama tokoh pewayangan mengandung makna filosofis islami; (2) Cerita pewayangan mengalami modifikasi dikemas dengan tema cerita lebet yang memuat konten islami/ketuhanan; (3) Cerita pewayangan yang dimodifikasi para walisanga mengandung nilai keutamaan, yakni: nilai religius, nilai kepemimpinan, dan nilai kemanusiaan atau sosial.

The Tropenmuseum in Amsterdam has a rich history in collecting, exhibiting, and presenting wayang performances. This paper traces this history of collection, exhibition, and performance practice of wayang at the Colonial Institute, from 1950 known as Tropenmuseum in Amsterdam, the Netherlands, from colonial times until the present. It demonstrates the entanglement of colonial and postcolonial power structures, collection, and exhibition legacies of the colonial past. The paper will show that from the moment wayang puppets entered the museum’s collection there has been continuous interaction between collecting and exhibition practices and performance practices. The emphasis on tangible elements of performance practice in collection and exhibition practices contributed to a dominant and static understanding of wayang.

Tulisan ini merupakan bagian dari penelitian yang berjudul “Inventarisasi Istilah-istilah Seni Pertunjukan Bali dalam Karya Kesusastraan Jaman Gelgel (1401-1687) dan bertujuan untuk memperlihatkan bagaimana seni pertunjukan pada masa Bali kuno masih bertahan dan berkembang dengan baik pada masa Gelgel, setelah penaklukan Majapahit. Berbagai karya pada masa Raja Waturenggong lahir di Bali, sehingga dapat dikatakan sebagai sebuah masa keemasan bagi seni sastra di Bali. Penelitian ini menggunakan metode sejarah yaitu, yaitu melalui tahapan heuristik, kritik, interpretasi, dan historiografi. Khusus untuk artikel ini karya kesusastraan pada masa Gelgel (1401-1687) dijadikan sebagai sumber primer untuk mengetahui berbagai seni pertunjukan yang lahir pada masa tersebut. Naskah Usana Bali Mayantaka Carita yang diambil dalam buku Karya Sastra Filsafat Kakawin Mayantaka Karya Danghyang Nirartha., karya, I. B. Agastia tahun 2018 terbitan Taman Sastra Wagiswari Dharmasabha karena karya kesusastraan tersebut paling banyak menyuratkan unsur-unsur seni pertunjukan Bali. Metode yang dipergunakan adalah deskripsi analisis dengan interpretasi faktual apa adanya. Berdasarkan Kakawin Usana Bali Mayantaka Carita, dapat ditarik kesimpulan bahwa bahwa pada masa Raja Waturenggong masih terus dipertahankan dan sepertinya terdapat penambahan fungsi serta perubahan istilah terutama pada seni karawitan (instrumen).

The purpose of this study is to unfold the relations between culture and Islam in the Qur’anic perspective. This paper examines the traditions that are absorbed into the aesthetic values of Islam, namely Sedekah Laut (sea offerings) and Wayang (shadow puppet). The data were collected through observations and library studies to find out the perspective of the Quran in viewing culture and tradition. The results of this study indicated that the Quran provides spaces for humans to constantly do ijtihad (seeking) that tradition and culture (‘urf) can be positioned as a source of Islamic law (fiqh). In the meantime, the rule of ushul fiqh for this case is “all cases are basically permitted until an argument comes to forbid them.†The results of this study showed that the Javanese traditions and culture, especially Sedekah Laut and Wayang, contained the values of Aqidah (faith), Muamalah (social values), and Akhlaqul Karimah (morals). In the Aqidah value, Wayang and Sedekah Laut are positioned as symbols of obedience and gratitude to Allah SWT. In the Muamalah value, tradition can evoke the strength of the community in various fields, for example, social and economy because both traditions, especially the sea offering are able to attract people. Meanwhile, the Akhlaqul Karimah value of the sea offering is that it represents the relationship between humans and nature, while the puppet is that it becomes disposition symbols aimed at Allah SWT. Tujuan penelitian ini untuk mengungkap hubungan antara budaya dan Islam dalam perspektif al-Qur’an. Tulisan ini mengkaji tradisi yang diserap ke dalam nilai estetika Islam, yakni sedekah laut dan wayang. Data dalam tulisan ini berdasarkan observasi dan data kepustakaan untuk mengetahui perspektif al-Qur’an dalam memandang budaya dan tradisi. Hasil penelitian ini menunjukkan bahwa Al-Qur’an memberikan ruang bagi manusia untuk senantiasa berijtihad bahwa tradisi dan budaya (’urf) dapat diposisikan sebagai sumber hukum (fiqh) Islam. Dalam pada itu, kaidah ushul fiqhnya adalah “pada mulanya semua perkara diperbolehkan, sebelum ada dalil yang mengharamkannya.†Hasil kajian ini menunjukkan bahwa dalam tradisi dan budaya (Jawa), khususnya wayang dan sedekah laut terdapat nilai aqidah, muamalah dan akhlaqul karimah. Dalam nilai aqidah, wayang dan sedekah laut diposisikan sebagai simbol ketaatan dan rasa syukur kepada Allah SWT. Dalam nilai muamalah, tradisi tersebut dapat membangkitkan kekuatan publik (kelompok) dalam berbagai bidang, misalnya sosial dan ekonomi karena kedua tradisi itu, khususnya sedekah laut mampu mengundang animo massa. Nilai akhlaqul karimah dalam sedekah laut merupakan representasi dari hubungan esoterik manusia dengan alam, sedangkan dalam wayang menjadi simbol perwatakan yang mengarah kepada Allah SWT.

This study aims to find and critically analyze the first principle of harmony in the wayang performance’s concept of pathet. The wayang performance’s concept of pathet as a material object which is analyzed from the perspective of the ontology as a formal object. The methodical elements of the study used include interpretation, induction, and deduction, internal coherence, holistic, historical continuity, idealization, comparison, heuristics, inclusive or analogous language, and description. The results of the study indicate that pathet is a concept that has an important position in the performance of wayang. Philosophically, pathet has many function and meaning. First, pathet is a representation of the structure of wayang performances. Second, pathet is the reference to the sound space in musical instruments. Third, pathet is the atmosphere builder or atmosphere of wayang performances. Fourth, pathet is a guide to the mastermind in building the aesthetic of wayang performance. Pathet, in addition, to have a function also consist of philosophical meaning. First, pathet as an aesthetic manifestation in puppet shows. Second, pathet is a symbol of the stages in human life. Third, pathet as a representation of the cosmic cycle. The investigation of pathet from the perspective of ontology yields the following conclusions. First, the concept of pathet is a representation of the concept of harmony in wayang performance. “Rasa” is the first principle of harmony in the wayang performance’s concept of pathet. This “rasa” has a spiritual dimension so that the ontology of harmony, in this case, is spiritualism. The dynamics of harmony moves with the law of “empan papan”, towards the ultimate goal of reality, namely the perfection of life. Ontology of harmony in the pathet of wayang performances shows monistic-spiritualistic thinking.

Abstract: Nutrition Education Through Puppet Game To Increase Consumption Of Vegetables And Fruits In Children Kindergarten.The consumption of vegetables and fruit is one indicator of nutritional balance. The statistical data show there are 60.44% of Indonesia that are less consuming vegetables and fruit. Fiber on vegetable and fruit are very useful for the body. Efforts to improve nutritional knowledge can preserve out through media which are suitable for children, that are attractive and easy to understand such as puppet and ladders game. This research aims to analyze the influence of the nutritional education through the game puppet to increase vegetable and fruit consumption for kindergarten children (TK). This is a pre-research experiment. One group pre-post test. Data analysis in this study uses the sample of this research is the Mina Muda kindergarten children from Kabupaten Kubu Raya that accounted 33 people in accordance with population. The technique of data collection from the questionnaire is based on the direct interviews, it aims to investigate the difference in vegetable consumption on kindergarten children before nutrition education is 5,64 while after nutrition is increase to 10,85. Whereas for fruit consumption for kindergarten children before education is 5,18 whereas after education is significantly increase to 15,00. The result revealed that there is an increment of vegetable and fruit consumption after nutrition education through puppet game (p =0,000) it concludes that nutritional education through puppet gameplay on an important role to increase the consumption of fruit and vegetables for kindergarten children Abstrak: Pendidikan Gizi Melalui Permainan Wayang Terhadap Peningkatan Konsumsi Sayur Dan Buah. Konsumsi sayur dan buah yang cukup merupakan salah satu indikator gizi seimbang. Masyarakat Indonesia (60,44%) kurang mengkonsumsi sayur dan buah. Kandungan serat pada sayur dan buah sangat berguna bagi tubuh. Upaya untuk meningkatkan pengetahuan gizi dapat dilakukakan dengan media yang tepat, menarik, dan mudah dipahami bagi anak diantaranya permainan wayang. Penelitian ini bertujuan mengetahui pengaruh pendidikan gizi melalui permainan wayang untuk meningkatkan konsumsi sayur dan buah pada anak taman kanak-kanak (TK). Penelitian ini merupakan pre-eksperimen. one group pre-post test. Analisis data pada penelitian ini menggunakan uji Paired Sample T-test. Subjek penelitian ini adalah anak taman kanak-kanak Mina Muda Kabupaten Kubu Raya berjumlah 33 sesuai dengan total populasi. Teknik pengumpulan pengisian kuesioner dipilih dengan wawancara langsung, untuk melihat perbedaan konsumsi sayur dan buah. Rata-rata konsumsi sayur pada anak taman kanak-kanan sebelum pendidikan gizi 4,64 sesudah pendidikan gizi 10,85. Konsumsi buah pada anak taman kanak-kanak sebelum pendidikan 5,18 sesudah pendidikan mengalami kenaikan menjadi 15,00. Menyatakan bahwa ada perbedaan konsumsi sayur sesudah pendidikan gizi melalui permainan wayang (p=0,000). Terdapat pengaruh signifikan konsumsi buah melalui permaianan wayang f (p=0,000). Pendidikan gizi melalui permaianan wayang mampu meningkatkan konsumsi sayur dan buah pada anak taman kanak-kanak.

Diskursus wayang dan gamelan acapkali berkutat pada tinjauan historis dan filosofis bentuk seni ini sebagai sebuah media akulturasi agama dan budaya. Sayangnya, dari sisi historis, perbincangan kerap tak beranjak dari penisbatan bahkan pengultusan peran Wali Songo sebagai penggubah, pembaharu, bahkan penemu dari orkestra yang identik dengan budaya Jawa dan Islam ini. Penyaduran narasi yang sama secara berulang dengan persepektif yang tak jauh berkembang membuat pembahasan tema ini menjadi jumud. Hanya sedikit literatur yang berusaha menyisir perkembangan wayang dan gamelan pasca-Wali Songo atau bahkan mengkritisi peran Wali Songo tersebut. Buku Memaknai Wayang dan Gamelan: Temu Silang Jawa, Islam, dan Global (2018) karya Prof. Sumarsam adalah satu dari yang sedikit itu. Melalui buku setebal 346 halaman ini, Sumarsam dengan telaten menarik mula-buka keberadaan gamelan dan wayang pada masa pra-Wali Songo, menelisik perkembangannya pasca Wali-Songo hingga ke luar negeri, dan menempatkan dialektika tersebut dalam perbincangan aras budaya global.

The article focuses on theatres around the world have been closed for months or compelled to operate under new rules affecting viewers and creators. Topics include the new pandemic theatre sub-genre is being created at an accelerated pace, and the situation of theatre during the pandemic raises an increasing number of questions about how the internet influences theatre.

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Wayang is one of the main culture in Indonesia. According to UNESCO, wayang is masterpiece of oral and intangible heritage of humanity. Unfortunately, wayang is lack of preservation. This study is intended to develop student worksheet based on wayang for elementary school. Developing student worksheet based on wayang in elementary school is a new potential way for preservation. The aim of this research is to know feasibility of student worksheet based on wayang. This research design modified from development model of Borg and Gall, which was done in the ten steps of research. The result of this research: Score of material expert is 4.16 (Good), score of media expert is 4.28 (Very good), score of preliminary testing field is 4.45 (Very Good), score of main field testing is 4.46 (Very good), and operational field testing score is 4.32 (Very Good). After all step have been finished, development of student worksheet based on wayang is valid for instruction [ABSTRACT FROM AUTHOR]

Even within religion, the creativity of imagination offers an invaluable defense against the tendencies towards dogma and absolutism. It also provides spaces living and experiencing life in diverse ways. This paper discusses the different facets of creative imagination in religious art and literature forms by comparing Isaac Bashevis Singer's In My Father's Court with Wayang shadow theater in Indonesia. I will show that they possess similar features demonstrating a reflection on religious law, creativity and everyday life. In Singer's work, the synagogue is a theater, and Singer's father functions in the same way the puppet master, or Dalang. operates in Wayang theater. This allows for the negotiations between religious law and the living community. [ABSTRACT FROM AUTHOR]

Indonesia adalah negara yang memiliki berbagai macam Kebudayaan dan Kesenian. Dari bermacam kebudayaan dan kesenian yang ada, Indonesia juga memiliki berbagai macam Cerita Rakyat. Contohnya di Pulau Jawa. Masyarakat Jawa sendiri menggunakan sebuah media untuk menceritakan sebuah cerita rakyat. Media ini disebut dengan Wayang. Wayang adalah salah satu budaya yang berasal dari Pulau Jawa. Beberapa wilayah disekitar Pulau Jawa memiliki berbagai jenis Wayang. Contohnya seperti Wayang Kulit, Wayang Golek dan Wayang Orang. Wayang Golek dan Wayang Kulit dimainkan oleh seorang Dalang kecuali Wayang Orang yang dimainkan oleh aktor dan artis. Wayang digunakan Dalang sebagai media dari cerita yang dilantunkan. Cerita yang dimainkan biasanya cerita rakyat. Contohnya seperti cerita rakyat Jawa Tengah seperti Ramayana. Karakter dari cerita Ramayana banyak ditemui didaerah tertentu seperti Rama, Shinta, Anoman, Rahwana dan lainnya sesuai cerita tersebut. Permasalahan yang timbul dari hal ini yakni kurang mengertinya masyarakat akan cerita rakyat Ramayana dan kurangnya ketertarikan masyarakat untuk menonton seni wayang tersebut. Banyak juga masyarakat Jawa yang tidak mengerti cerita tersebut. Boardgame merupakan sarana yang dapat diguna- kan masyarakat untuk memahami cerita dan karakter dalam cerita Ramayana serta menarik minat masyarakat terhadap Budaya Wayang. Dengan menggunakan Artwork dan Gameplay yang dirancang sedemikian rupa untuk menarik perhatian dan minat masyarakat.

As colonial scholars at the turn of the 19th and 20th centuries surmised, the traditional Java shadow theatre, i.e. wayang kulit, probably originated from animistic rituals of prehistoric Java. According to the myth recounting its beginnings, god Wisnu, who had descended on earth as dhalang Kandhabuwana, was the first puppeteer. The story of wayang’s beginnings told in the Murwakala lakon is also a story about the birth and life of Kali, the god of time and destruction. The lakon is performed during the ruwatan ritual which is supposed to cleanse either individual people or entire communities and restore universal harmony. The real world and the world of illusion coexist in the show, and the dhalang, through the presence of the mythical dhalang Kandhabuwana on the screen, is accumulating his power, which will enable him to perform the ceremonial cleansing of the audience.

AbstrakTopeng Malang adalah salah satu jenis topeng Jawa yang berkembang di Malang Jawa Timur. Memperhatikan bentuk raut topeng yang digambarkan tergolong dalam genre tokoh-tokoh lakon Panji. Topeng berfungsi sebagai properti seni pertunjukan Wayang Topeng. Penelitian ini merupakan kajian fungsi, baik dari sisi kegunaan material dan teknik pembuatan topeng. Permasalahan penelitian ini ada 2, yaitu (1) apakah fungsi Topeng Malang, (2) bagaimana teknik dan proses pembuatan Topeng Malang. Informan penelitian adalah perajin. Teknik pengumpulan data menggunakan observasi dan wawancara mendalam. Teknik analisis adalah interpretasi simbolis. Hasil penelitian ini adalah deskripsi tentang fungsi wayang topeng sebagai alat untuk menutup wajah penari agar sebagai bentuk penyamaran bagi penari agar dapat melakukan komunikasi spiritual dengan roh leluhur untuk mengharapkan berkah kesuburan. Teknik dan proses pembuatan Topeng Malang yaitu teknik ukir menggunakan pisau pangot. Proses pembuatannya terdiri dari 4 tahap, mbakali, wiwit, meraeni, dan maesi. Tiga tahap proses ini berelasi dengan proses penggarapan lahan sawah.Kata kunci: topeng, teknik, wayang, kerajinan AbstractMask of Malang is a type of Javanese masks which develop in Malang, East Java. From the face form, the masks portray the figures from Panji tales. The main function of the masks is as a property in Mask Puppet art performance. This research is a study of functions, both in terms of material usability and mask making techniques. The problems discussed in this study are, (1) what the mask of Malang's function is, (2) how the mask making technique and process are. Research informants are craftsmen. Data collection methods are by observation and interviews. Analysis methods are by symbolic interpretation. The results of this study are description of mask puppet as an equipment to cover the dancer's face, as a camouflage in order to communicate spiritually with ancestors' spirits to ask for blessing of prosperity. The mask making techniques and processes are using carving technique by pangot knives. The making process consist of four steps: mbakali, wiwit, maraeni, and maesi. The three steps of this process are related to paddy cultivation process.

Wayang sebagai seni pertunjukan merupakan media komunikasi simbolik perilaku manusia dalam praktek agama dan budaya sudah dikenal sejak jaman pra Hindu. Ritual bayang-bayang dalam kepercayaan animisme dan dinamisme merupakan praktek budaya dan agama untuk memuja roh nenek moyang. Tulisan ini bertujuan untuk mengetahui implementasi pertunjukan wayang sebagai media komunikasi simbolik dalam praktek budaya dan agama di Bali. Permasalahan yang diangkat melalui penulisan ini adalah ingin menginvestigasi apakah pertunjukan wayang dalam praktik budaya dan agama di Bali, dipahami dan dihadirkan sebagai ujud pemujaan pada kekuatan gaib sebagai perkembangan dari tradisi pra Hindu. Metode yang digunakan untuk mengkaji masalah di atas adalah metode penelitian kualitatif dengan teori interaksi simbolik dan komunikasi. Penulisan ini ingin menunjukan bahwa wayang sebagai media komunikasi simbolik perilaku manusia dalam praktek budaya dan agama di Bali telah dilakukan sejak jaman pra Hindu dan masih dipertahankan oleh orang Bali sampai sekarang. Kekuatan gaib yang dapat mengganggu manusia masih dipercaya oleh masyarakat Bali, terutama pada anak yang lahir pada tumpek wayang, sehingga perlu diruwat (dibersihkan) gangguan itu dengan wayang sapuh leger.

Wayang tradition with its Indian epics of Mahabharata and Ramayana adaptations is the Indonesian high culture acknowledged by UNESCO since 2003. Its stories and characterizations has become philosophical, moral ethics and character learning for the young generations. Those Indian epics have acculturated in every aspect of theatrical and visual arts which are presented in shadow puppet theatre. As the part of traditional visual art, the visual aspect of wayang puppet consists of particular and systematic patterns (systems), in relation to role and characterization. In accordance with technological development, the famous epics of wayang are presented through popular modern media such as comic. Comic art is a popular media which adored by children and teenagers due to its visual narrative appeal. Many Indonesian comic artists such as Ardisoma, R.A. Kosasih, Oerip and Teguh Santosa adopt wayang epics through their own styles. The later artist, Teguh Santosa with his unique visual styles, has contributed color in wayang genre of Indonesian comic. Mostly, parallelities between Teguh’s style and the visual system of wayang role and characterization are detected. This paper discusses how visual adaptations of protagonists and antagonists wayang characters into Mahabharata comic series created by Teguh take place. Those visual adaptations are compared with the visual system of Javanese wayang puppetry, analyzed qualitative-descriptively with Sociology of Art and Aesthetical Morphology (Art Critic) methods. The results indicate that Teguh comprehends the essence of Javanese wayang’s visual aspect, since he adapted it with his own style yet still retains the visual system of Javanese wayang role and characterization. Tradisi Perwayangan dengan adaptasi wiracarita Mahabharata dan Ramayana adalah budaya adiluhung Indonesia yang sudah diakui UNESCO sejak 2003. Kisah-kisah dan penokohannya dijadikan model pembelajaran filsafat, etika moral dan karakter kepada generasi muda. Kisah-kisah tersebut mengalami akulturasi dalam berbagai aspek seni pertunjukan dan senirupa, di mana mereka disajikan dalam pertunjukan wayang kulit. Rupa boneka wayang kulit sendiri sebagai artefak senirupa tradisi memiliki pola yang khas dan sistematis, terkait dengan aspek perwatakan dan raut peranan tokoh. Seiring perkembangan zaman, kisah-kisah terkenal Perwayangan seperti Mahabharata dan Ramayana disajikan melalui media modern populer seperti komik. Komik adalah media populer yang lazim digemari anak-anak dan remaja karena memiliki daya tarik berupa narasi visual. Banyak komikus Indonesia mengadaptasi kisah perwayangan dengan gayanya masing-masing, seperti Ardisoma, R.A. Kosasih, Oerip, termasuk Teguh Santosa. Teguh Santosa (1942 – 2000) dengan kekhasan gaya visualnya telah memberikan nuansa tersendiri dalam komik indonesia khususnya genre perwayangan. Terlebih lagi penulis mendapati adanya kesejajaran pola visual antara gaya Teguh dengan pola rupa wayang kulit terkait perwatakan atau raut peranan tokoh. Tulisan ini mengkaji bagaimana adaptasi visual pada beberapa tokoh wayang protagonis dan antagonis dalam seri komik Mahabharata (1983-1985, 1986-1987) sisipan majalah Ananda dan terbitan Misurind karya Teguh Santosa. Adaptasi visual tersebut diperbandingkan dengan pola visual wayang kulit Jawa, dianalisis secara kualitatif-deskriptif, dengan pendekatan Sosiologi Seni dan Morfologi Estetik (Kritik Seni). Hasil analisis menunjukkan bahwa Teguh sebagai komikus memang memahami betul esensi rupa wayang Jawa, karena ia mengadaptasinya dalam komik dengan gaya visualnya sendiri namun tetap mempertahankan pola visual raut peranan dari wayang kulit Jawa.

ARRAY(0x557fc56828e0) [ABSTRACT FROM AUTHOR]

Wayang is one of the Javanese performing arts that has a great value in Javanese society. The aim of this research is to describe and explain the ecological concept of the wayang story in Central Java and the Special Region of Yogyakarta. This qualitative descriptive research uses an ethnographic approach. Data were collected by using domain analysis techniques, taxonomic analysis, compositional analysis, and theme analysis. Data validation uses the extra participation technique, perseverance observation, triangulation, detailed discussion, and auditing. The research found that the ecological concept in wayang stories can be found in some used term and the motto, which relates to the term 'environment conservation'. This term is found in the narration of the story and the dialog of wayang characters, and some mottos are also found that are related to the nature conservation effort. With regard to the results of this research, it can be said that the ecological concept in wayang stories also has functions relating to natural conservation and preservation for the society in Central Java and the Special Region of Yogyakarta. [ABSTRACT FROM AUTHOR]