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Analisis Struktural Atas Kidung Panji Wangbang Wideya

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Analisis Struktural Atas Kidung Panji Wangbang Wideya MOIETY HINGGA MANCAPAT MASYARAKAT JAWA: ANALISIS STRUKTURAL ATAS KIDUNG PANJI WANGBANG WIDEYA Kuncoro Hadi, Alifi Nur Prasetia Nugroho Fakultas Ilmu Sosial, Universitas Negeri Yogyakarta e-mail: [email protected], [email protected] Abstrak- Kajian W.H. Rassers atas karya sastra Panji dengan menempatkan kisah itu sebagai mitologi Jawa yang khas dan lebih dalam berkaitan dengan struktur masyarakat Jawa, menjadi satu kajian dengan pendekatan antropologis struktural yang penting untuk ditelaah kembali. Tulisan ini merupakan telaah struktural atas kidung Wangbang Wideya. Kidung ini merupakan bagian dari kisah Panji. Telaah atas teks Wangbang Wideya dilakukan untuk menjelaskan struktur masyarakat Jawa. Analisis teks atas kidung ini menunjukkan formasi paroh masyarakat atau moiety, mancapat serta pernikahan eksogami seperti pandangan Rassers. Struktur- struktur itu direpresentasikan melalui hubungan konsentris para tokoh maupun kerajaan-kerajaan yang dihadirkan dalam kidung Wangbang Wideya. Kata kunci: paroh masyarakat, moiety, mancapat, panji, Wangbang Wideya THE JAVANESE MOIETY AND MANCAPAT: STRUCTURAL ANALYSIS OF KIDUNG PANJI WANGBANG WIDEYA Abstract- The study of W.H. Rassers on Panji’s literary work by placing the story as typical Javanese mythology and more deeply related to Javanese society’s structure became a study with a structural anthropological approach that is important to be re-studied. This paper is a structural study of kidung Wangbang Wideya. This text is part of the story of Panji. The study of Wangbang Wideya’s text was conducted to explain the structure of Javanese society. Analysis of the text on this kidung shows the formation of moiety, mancapat and exogamous marriages such as Rassers view. The structures are represented through concentric relationships of figures and kingdoms presented in kidung wangbang wideya. keywords: moiety, mancapat, panji, Wangbang Wideya STORIA: Jurnal Pendidikan dan Sejarah p-ISSN: 1858-2621 e-ISSN: 2615-2150 2 | ISTORIA: Jurnal Pendidikan dan Sejarah PENDAHULUAN Tengahan ini juga telah mengikis Kidung Wangbang Wideya pakem wirama Jawa Kuno yang merupakan bagian dari kisah besar masih baku dengan pakem syair Panji. Dalam catatan Zoetmulder, India (Poerbatjaraka, 1968, hlm.404). cerita asmara pangeran Kuripan yang Secara imajinatif bisa dibayangkan biasanya disebut Panji, terhadap bahwa kisah Panji ditembangkan, puteri Daha, merupakan sebuah tema dituturkan, bahkan dipentaskan di yang sangat digemari, terutama di pusat-pusat keramaian khalayak Jawa dan Bali (P.J. Zoetmulder, umum, termasuk diukirkan dalam 1983, hlm.532-536). Satu telaah relief-relief dan diletakkan di teras yang luas tentang roman Panji, W.H. candi periode Majapahit. Figur-figur Rassers—yang juga kembali ber-tekes (topi) dalam relief-relief disinggung oleh S.O.Robson— itu, dalam catatan Lydia Kieven, menyatakan bahwa tema Panji ini menunjukkan penggambaran rakyat memiliki latar belakang mitologis, jelata dan para pelayan yang yaitu perayaan atau pemujaan atas kemudian meningkat menjadi bagian bulan (W.H. Rassers, 1922, hlm.166- penanda figur pahlawan lokal (Lydia 168; S.O. Robson, 1971, hlm.12). Kieven, 2014, hlm.384). Sementara, C.C. Berg mencoba Kisah Panji ini kemudian menemukan tahun tema Panji itu menyebar ke luar Jawa, ditulis dan muncul di pulau Jawa, dengan dituturkan kembali di beberapa menyebutkan batas temporal antara negeri di Nusantara bahkan hingga peristiwa ekspedisi Pamalayu pada Asia Tenggara. Selama berabad-abad 1277 M hingga 1400 M. setelah kemunculannya di Jawa, Poerbatjaraka merevisi pendapat Panji kemudian menjadi Berg dan menyebut bahwa kisah “penghubung” beberapa kebudayaan Panji berkembang sejak masa Asia Tenggara, dimana interaksi kejayaan negeri Wilwatikta yang terjadi di kota-kota bandar (Majapahit) dan menyebar luas (peradaban pesisir) di beberapa setelahnya (Poerbatjaraka, 1968, wilayah Asia Tenggara menjadi basis hlm.403-404). Cerita Panji telah penyebarannya. (Adrian Vickers, berkembang dan memunculkan 2009) banyak varian (versi), tetapi tetap Dalam kebanyakan kisah Panji bertema tunggal, kisah pencarian sering terlihat bagian-bagian yang asmara Panji terhadap Candra menarik, termasuk dalam konteks Kirana. sejarah kebudayaan, karena bagian- Kisah Panji kemudian menjadi bagian dalam Panji memaparkan budaya tandingan (counter-culture) suatu kehidupan di kraton dan atas budaya mapan keraton dengan memperkaya pengetahuan tentang basis Jawa Kuno yang merujuk pada wayang, tarian dan musik yang budaya Sanskerta (India). Kisah ini dipergelarkan di dalam kraton. menyebar ke khalayak umum Dalam kisah-kisah Panji, unsur- menggunakan bahasa Jawa unsur romantis dicampur dengan Tengahan. Dalam catatan legenda-legenda serta deskripsi- Poerbatjaraka, bahasa ini merupakan deskripsi realistis mengenai dunia bahasa sehari-hari dan Panji Jawa orang Jawa, karena semua cerita ini ISTORIA: Jurnal Pendidikan dan Sejarah MOIETY HINGGA MANCAPAT MASYARAKAT JAWA: 3 ANALISIS STRUKTURAL ATAS KIDUNG PANJI WANGBANG WIDEYA Kuncoro Hadi, Alifi Nur Prasetia Nugroho terjadi di pulau Jawa. (P.J. antropologis sebagai representasi Zoetmulder, 1983, hlm.532-536) struktur atau klasifikasi masyarakat Kisah-kisah Panji—atau Jawa. Rassers menjadi yang pertama Robson lebih menyebutnya sebagai dalam menelaah Panji dalam “Panji Theme” daripada “Panji paradigma antropologis ini dan Cycle” (S.O. Robson, 1971, sejauh ini belum ada lagi yang secara hlm.12)—selalu dihubungkan khusus menuliskan varian kisah dengan sebuah peristiwa historis. Panji dalam telaah yang sama. Tafsir pertama, kisah Panji Menggunakan pemikiran dihubungkan dengan kisah Rassers tentang klasifikasi kehidupan Sri Kameswara dari masyarakat, tulisan ini mencoba Kadiri (Panjalu) dan permaisurinya menelaah kembali kisah Panji secara Sri Kirana dari Jenggala. Dalam struktural melalui kidung Wangbang kisah Wangbang Wideya misalnya, Wideya yang telah disunting Robson. penggambaran wilayah penting, Secara tekstual, Panji berkembang yaitu Kahuripan dan Daha serta pada abad 17 hingga 18, karena perwujudan Makardwaja (Panji) produksi teks Panji muncul secara sebagai Wisnu nampaknya telah dominan pada periode itu dalam menarik acuan secara historis tentang bentuk kidung maupun hikayat, baik masa-masa kejayaan warisan di Jawa, Bali dan tempat lain Airlangga ditambah bahwa Mpu (Melayu). Kidung Wangbang Dharmaja, selaku pujangga keraton, Wideya dipilih karena, dalam catatan pernah mengabadikan kebersamaan Vickers, kidung ini merupakan Kameswara bersama permaisurinya bagian dari produksi teks Panji dalam kakawin Smaradahana. paling awal di abad 16, sekalipun Kedua, kisah Panji dilekatkan lebih banyak muncul di Bali (Adrian dengan Arok dan Dedes berdasarkan Vickers, 2009, hlm.168) serta kemiripan dengan Pararaton. Ketiga, menurut Zoetmulder, kidung Panji dilekatkan dengan sosok Wangbang Wideya, memiliki mutu Hayam Wuruk (Prabu Rajasanagara). sastra yang baik dalam cara (W.H. Rassers, 1922, hlm. 132-161, menghadirkan kisahnya (P.J. 303-315; Poerbatjaraka, 1968, Zoetmulder, 1983, hlm.534). Dengan hlm.405-406; C.C. Berg, 1954, demikian ada detail—tokoh, nama hlm.305-307; Agus Aris Munandar, kerajaan dan jalinan kisahnya—pada 2014, hlm.6-7) kidung Wangbang Wideya. Yang menarik, Rassers tidak hanya menempatkan kisah Panji— METODE PENELITIAN dalam Hikayat Tjekel Wanengpati— Tulisan ini merupakan telaah sebagai sastra dan juga menelisik antropologi struktural. Sejauh ini, kaitan historisnya, tetapi juga penelitian atas kisah Panji hanya menempatkan kisah Panji dalam berhenti dalam tafsir historis. konteks antropologis sebagai sebuah Sementara dalam kajian filologis, mitos. Dalam konteks ini, selain Panji hanya diperbandingkan dan menempatkan kisah Panji sebagai dicari kisah Panji mana yang pemujaan atas bulan, Rassers juga kemunculannya lebih awal. berusaha melihat kisah Panji secara (Poerbatjaraka, 1968) Cerita Panji— ISTORIA: Jurnal Pendidikan dan Sejarah Vol. 16, No. 1, 2020. 4 | ISTORIA: Jurnal Pendidikan dan Sejarah yang juga memiliki unsur legenda disamping saling bekerjasama secara dan mitos—sebagai bagian dari gotong-royong tetapi juga terkadang kebudayaan Jawa, perlu untuk saling bersaing (Koentjaraningrat, ditelaah dengan pendekatan 1987, hlm.204). antropologi, dalam hal ini Konsep paroh masyarakat ini menggunakan paradigma struktural juga melebur dalam konsep seperti yang dilakukan Rassers. mancapat dalam kultur Jawa. Van Dengan begitu, bisa muncul satu Ossenbruggen menjelaskan bahwa telaah yang berbeda dan mancapat merupakan sistem federasi memperkaya telaah atas kisah Panji. antara satu desa sebagai induk Cerita Wangbang Wideya (pusat) dengan empat sub-desa yang sebagai bagian dari kisah Panji mengelilinginya (berada di barat, menggunakan alur yang sama timur, selatan dan utara). Relasi ini dengan varian kisah Panji yang lain. sejalan dengan kosmologi Jawa yang Kidung Wangbang Wideya juga mengenal konsep sedulur papat lima mengkisahkan asmara antara pancer, dimana tengah (pancer) pangeran Makaradwaja dari menjadi pusat kosmisnya (F.D.E. van Kahuripan dan dewi Warastrasari Ossenbruggen, 1975, hlm.7-10; dari Daha. W.H. Rassers Suwardi Endraswara, 2006, hlm. 54- menyebutkan bahwa kisah Panji— 56). Sementara itu, Relasi desa induk sebagai bagian dari drama Jawa dengan empat subdesa tetaplah sama mitologis—pada dasarnya dengan relasi dua desa dalam moiety merefleksikan budaya eksogami (Koentjaraningrat, 1987, hlm.204). dalam phratie (W.H. Rassers, 1922, hlm.217-218, 225; S.O. Robson, HASIL PENELITIAN DAN 1971; W.H. Russers, 1959, hlm.4). PEMBAHASAN Phratie—seperti yang
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