HARMONIA : Journal of Arts Research and Education 16 (1) (2016), 30-37 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v16i1.6148

Building Creative Art Product in Jombang by Conserving Mask Puppet

Setyo Yanuartuti Department of Music, Dance, and Drama Education Faculty of Languages and Arts, State University of Lidah Wetan Campus, Surabaya 60213, E-mail: [email protected]

Received: Maret 28, 2016. Revised: April 23, 2016. Accepted: May 24, 2016

Abstract

Building creative industry is one the effort chose to keep up with the ongoing of era development. Traditional art is one of the resource to produce creative art products. Gate Duwur Mask Pup- pet is a mask performance in Jombang Regency East that contains local wisdom. The local wisdom was one of the creativity sources to develop creative art products in Jombang Regency because maintaining Jati Duwur Mask Puppet performance was hard in the middle of the fast society development. The transformation of the source culture (mask puppet) to become the cur- rent target culture is one of the efforts made to build creative art. The research on mask dance conservation on mask puppet performance in Jombang was needed. The research method used was an art development through conservation. There were three products of mask dance created as a result of this research. The dances were Gladhen dancers – a couple dance, Mbanmban mask dance – a theatrical group dance, Maduretno-citralanggenan dance – a dance fragment. These mask dance products were a creative realization of a mask performance originated from mask puppet. The community and mask, puppet performer agreed to the development of mask dance to become a more creative art product that could be enjoyed by the young generation.

Keywords: art; mask puppet; local wisdom

How to Cite: Yanuartuti, S. (2016). Building Creative Art Product in Jombang Regency by Conserving Mask Puppet. Harmonia: Journal of Arts Research And Education, 16(1), 30-37. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6148

INTRODUCTION leration and exploitation (Zaman, 2012: 1). The creative industry is derived from the The economic creative era has been person’s ideas. The idea is a renewable planned by Marie Elka as the minister of resource that is based on science and crea- trade of Indonesian Republic since 2009. tivity to produce creative ideas that can be She said that economic creative is a new used in the creative industry. era of economy that intensified the infor- Artists are the resource of creative mation and creativity based on idealism ideas. The earlier artists had created art and the stock of knowledge from the hu- works both individually and communal- man resource as the main production fac- ly. The communal art such as traditional tor in the economic activity (Hastuti, 2012, art performance was created based on the p. 71). The creative industry is an industry need of the people at that time. Along the that relied on individual creativity, talent, time, most of the traditional art performan- and potential to create prosperity and also ce cannot survive. Globalization has facili- job opportunity through intellectual acce- tated easy ways for human to fulfill their

30 Setyo Yanuartuti, Building Creative Art Product in Jombang Regency by Conserving ... 31 need, including the need of entertainment. was to produce more interesting creative A traditional art performance that dance. previously became the source of informa- tion and entertainment has been replaced METHOD by digital arts. Traditional art performan- ce requires specific place and time to per- This research was an art develop- form. The people wanting to watch the mental research. The material object of this traditional performance have to make the research was the Mask Puppet in Jombang time and come to the place for the event. Regency. This research was done in the la- While, art digital can be accessed and wat- boratory study of music, dance, and dra- ched anytime. The performance can be ea- ma department Faculty of Language and sily accessed from the TV’s and internet, so Art Unesa and Mask Puppet group dan- the people can watch the variety of perfor- ce studio in Jati Duwur Village Jombang. mances in their own home. The primary source of data was collected This research was a part of a research from interviews with such persons. They discussion about dance conservation of are Moh. Yaud, Saripan, Supriyo, and Su- Jati Duwur Mask Puppet performance in marmi. The secondary source of data was Jombang as an effort to build creative in- printed documents, for example, final pro- dustry. Mask Puppet can only be found in ject written by Hariyati, dissertation writ- Jati Duwur Village. The unstable condition ten by Setyo Yanuartuti, The History of of Mask Puppet was the reason why this Jombang Culture book; Jati Duwur Mask research was conducted. In a performance, Puppet performance audiovisual docu- there must be actors, the object of the per- mentation lakon Patah Kuda Narawangsa formance, audience, and setting. Moreo- (published in 2012) and Wiruncana Murca ver, a performance has to show a readable (published in 2013). The method of con- impression or sign that can be interpreted servation was transformation one. The re- (Cahyono, 2016:22-36). Mask puppet is a searcher was the active participant of this traditional performance that contains local research because the creative idea was the wisdom. In the performance elements, the researcher’s idea based on the interpreta- local wisdoms contained were the values tion when interviewing and observing the of life, such as a spiritual value, philoso- source person and the Mask Puppet per- phical value, cultural value, social value, formance. The method of analyzing data educational value that is relevant to the for this research was interactive model. lifestyle of the people in Jombang. Those values can be found in Mask Puppet per- RESULT AND DISCUSSION formance because Mask Puppet is one of the stories from Cerita Panji. The story Jati Duwur Mask Puppet performance as told through Mask Puppet was taken from creative resource cerita panji and cerita babad. Cerita panji is Art performance was one of develo- an eminent Indonesian story that flourish ped subsectors in the creative economy in not only in Indonesia but also in Asia. The Indonesia (Deperindag, 2014). In showbiz; values of life are contained in the plot, the the creative activity was related to content dance movement, and the back sound mu- development effort, performance produc- sic or gendhing. Thus, the plot of the story, tion, for example, puppet performance, dance movement, and back sound can be ballet, traditional dance, contemporary used as the source of inspiration to deve- dance, drama, traditional music, theater, lop creative product. music, including opera, ethnic music, de- Building creative product by conver- sign, and performance costume producti- sing was chosen as an effort to re-introduce on, stage setting, and lighting (Sari, 2014, the local wisdom to the young generation. p. 4). The expectation of this conservation effort Puppet performance was an art per- 32 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 30-37 formance that was rich of values, both life menginginkan seorang wanita yang lain value and aesthetic value as well as artistic sebagai istri dan atau karena sang put- value. Therefore, puppet performance was ri oleh sesuatu sebab, menghilang dari a resource in creative economic develop- keraton dan ternyata tak diketemukan ment in Indonesia. Puppet performance kembali. Sang pangeran kehilangan kekasihnya dan dengan bersedih-hati was a very complex performance because ia pergi mengembara untuk mencari it was a multidimensional performance. kekasihnya yang dikiranya masih hi- Puppet performance contained more than dup....baik pangeran maupun putri da- one element of arts, and one of the perfor- lam petualangannya sering mengubah mances that contained more than one ele- namanya,...pada akhir keadaan menja- ment of art is mask puppet performance. di jernih kembali, dan sang pahlawan Mask puppet performance could be found dengan sang putri, yang rupa-rupanya in various areas of Java such as West Java, sudah ditakdirkan menjadi suami-iste- Central Java, Yogyakarta, and . ri, lalu melangsungkan pernikahannya Jati Duwur Mask Puppet was Mask (C.C. Berg, 1985, pp. 87-88). Puppet from Jati Duwur village Jombang Cerita Panji contained Javanese local Regency. Mask puppet was mask perfor- values. Those values were built based on mance that is managed by a puppeteer, the life of the farmer. Those values are at- and the dancer dances in accordance to tached to the character of The Hero/Pan- the puppeteer’s dialog. The intermedia- ji who was very resilient, humble, kind, ry media were stories, dance movement, ascetic, etc. In his research, Barried et al the shape of the mask, music accompani- (1987) showed that Panji was the icon of ment or back sound music, and costume. superhero. The stories of Panji always The story told through the dance was ceri- showed the noble personality of super- ta panji and cerita babad. The power of the hero. These personalities could be found character in the story was realized through in every story and era. Those characters the mask iconography, dance movement, were the gorgeous appearance, humble and costume. Gendhing or the back sound attitude, unyielding volition, great digni- was the music that sets the mood and the ty, and bravery in facing the danger. Panji dynamic of the plot. The elements of the was also portrayed as someone who loved performance are the source of inspiration his people, fair, honest, pious, and patient. and creativity. The physical appearance of Panji matched Cerita panji was known as an origi- his great personality. Physically, he was as nal Javanese story that flourished across handsome as a love god attracting anyone the nation including Cambodia and Thai- he met, and no one could not compete with land. It could be found in Indonesian mask him (Baried, et al, 1987, pp. 197-198). performance. The main character of cerita The main character of Panji in Mask panji could also be found in oral story. Ce- Puppet performance was similar to the rita panji had picked the interest of the fo- main character of Patah Kuda Narawangsa, reign and local researchers. C.C Berg is one Wiruncana Murca, and Panji Krama. The of the researchers that had analyzed cerita structure of the story was built through panji and he said that: ....Lakon Panji adalah cerita yang mengi- the plot, the characters, setting in the per- sahkan ada seorang pangeran dari Jeng- formance. They offered various interpreta- gala (Koripan) dan seorang putri dari tions that could be developed into a mask Daha () yang ditakdirkan untuk dance. Seen from the chin, the shape of menjadi suami-isteri. Pada permulaan Jombang mask was similar to the shape of cerita keluarganya mendesak untuk mask, but the upper ornament was melangsungkan perkawinan itu, akan similar to Madura mask. This showed that tetapi tiba-tiba ada rintangan, misalnya Jombang mask had a different shape from karena sang pangeran sudah menentu- the other masks in East Java. The shapes kan sendiri kawan-hidupnya dan tidak Setyo Yanuartuti, Building Creative Art Product in Jombang Regency by Conserving ... 33 of this mask could be used as the source resource that not only renewable but also of inspiration and creativity to develop the unlimited, those resources were idealists, art works that were suitable for the current talent, and creativity. In creative industry, trend. creativity held central role as the main Based on the observation, the sig- resource because human creativity would nature movement in mask, puppet per- continue to develop alongside with the hu- formance could be found in Klana dance man itself. and war movement. The simplicity of the The creation of artwork was a crea- movement offered the opportunity for de- tive process done by the artist in realizing velopment to create a more interesting mo- their ideas. The creation of an artwork vement. The war movement, for example, could be a completely new creation or a could be used as an inspiration to be de- creation based on the existing art tradition. veloped into dance fragment in the form Dharsono (2013, p. 4) explained that there of wirengan type of dance or couple dance were three concepts of creation based on about war or war simulation. the existing art tradition. They are revitali- Analyzed, from the back sound or zation, reinterpretation, symbolic abstrac- gendhing used was Eastern Javanese gen- tion. Revitalization was an art conservation ding like what was used in Kulit Puppet concept using an artwork creation method Performance, such as Cek-dong, , and that could be done by developing the vital tandakan. The fun and fast rhythm of Gand- elements. Reinterpretation was an art de- hian stimulated the creative effort to crea- velopment method that was done by using te a high dynamic art work. For example, art tradition as the source of inspiration dances creation that had strong and agile and aspiration. Symbolic abstraction was character. It showed that gendhing could be an exploitation of tradition icon as a perso- used as the source of inspiration and crea- nal expression symbol. Symbolic abstracti- tivity to develop mask dance. on was a modern art development concept The various elements in the mask using tradition icon or sign as someone’s puppet performance were the source cul- personal expression symbol to create an ture (Pavis, 2001: 134). So, when Jombang art work. The three concepts of art work mask performance was not enjoyed by the creation were a conservation method that people, the artist could develop the crea- could be done as the effort to conserve the tive sources inside the elements of make art so that it could survive in the middle of puppet performance to create a creative fast society development. artwork product. Not only in the deve- The result of conservation through lopment of the dance, the mask puppet art work tradition development was that performance also offered others creative creative art product could be produced art product develpment such the develop- through an art conservation process. Based ment of creative mask, gending creation or on the identification of the life values, aest- creative music, etc. hetic values, or artistic values contained in the mask puppet performance, the conser- Creating creative art product through vation could be done by using revitaliza- Jombang Mask Puppet conservation tion, reinterpretation, or symbolic abstrac- Creative industry was started from tion method. The conservation that had the exploration of creativity and talent been done by the researcher was creating to create a job opportunity (Deperindag, a mask dance based on the values in Jom- 2007). Creative industry was actually a bang mask puppet performance. The tar- realization of the effort to find a continuo- get of this conservation was the creation of us development in which it was one of the mask dance as a couple dance and group economic climate that has renewable and dance. This mask dance was creative art competitive resource. The message of cre- product which in the process of transfor- ative industry was the exploitation of a mation was called as the target culture (Pa- 34 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 30-37 vis, 2001, P. 134). The target culture was the by colliding one left or right leg of the dan- goal or objective of an art work creation. cer to another dancer then jumped. These The mask dance in the form of coup- war movements were adopted in Gladhen le dance in this conservation was called dance to strengthen the character of Jom- Gladhen dance. The type of Gladhen dance bang mask puppet movement pattern. The was wirengan. Heroism dances was usually Gladhen dance was created by developing categorized in a dance group called wrong cangkolan-kopyokan and jaguran movement and pavilion. Beksan wireng was dance that pattern, and also the creation of wireng showed heroism elements, while pethilen dance structure such as maju gending, solah, was a dance that described the war bet- perang and mundur gending. ween the puppet characters or babad story (Clara, 1991, p. 52; Sumarni, 2004, p. 59-75; Supriyanto, 2010, p. 176-182). Gladhen mask dance in this conser- vation was developed from war move- ment of Jombang mask puppet. Gladhen mask puppet was couple dance that belon- ged to putra gagah style. This dance desc- ribed the guards of the Javanese kingdom in the middle of war training. In the per- formance of mask puppet could be found war movement patterns such as cangkolan, kopyokan, and jaguran. Cangkolan-kopyokan movement was a war movement pattern Figure 1. The example of Gladhen dance that united one arm of the two dancers by movement (doc. Setyo, 2014) hooking the tip of the dancer’s finger. Me- anwhile, the other arm of the dancers was Group dance created for this rese- spread while moving their wrist. Jaguran arch was Mbanmban mask dance and movement was a war movement pattern Maduretno-citrolangenan dance fragment.

Figure 2. The shape of the mask and the character of emban in Jombang mask puppet (Doc. Setyo, 2014) Setyo Yanuartuti, Building Creative Art Product in Jombang Regency by Conserving ... 35

Mbanmban mask dance was a dance inspi- Murca (Yanuartuti, 2015, p. 375). Based on red by the character of emban in Jombang those stories, the researcher developed the mask dance performance. The character of interpretation of the story and related it emban, in this performance was the palace with Serat Kuda Narawangsa compiled by servant and portrayed by a beautiful prin- Moelyana and Indriani (1983). cess mask and gecul. It was a round white The result of the interpretation could mask, with tidy hair adorn with flowers. be used by the researcher to develop the The shape of the eyes was kolikan and the material of dance fragment entitled Madu- shape of the lips were nyebek smile. retno-Citralangenan. The story of Maduret- The shape of emban mask was inspi- no-Citralangenan was developed from the red by the creation of mbanmban mask dan- story of Patah Kuda Narawangsa after Patah ce, the interpretation of the shape of the Kuda Narawangsa run away to the forest mask was that a servant was an honest, because he could not cope after knowing simple, and entertaining character. This that Panji Inukertapati married the fake interpretation was used as the material to Dewi Sekartaji (the impersonation of Thot- create mbanmban mask dance. The Mbanm- hok Kerot). Maduretno was the fake name ban mask dance was a comical theatrical of Raden Panji Inukertapati after Patah dance. The characteristics of this dance Kuda Narawangsa left him. After that Cit- were light, agile, and entertaining, it is ralengganan which was also the fake name suitable to the function and role of emban of Dewi Sekartaji in the forest after esca- character in the mask puppet performan- ping from Patah Kuda Narawangsa. The ce. The following were emban mask in the story became the inspiration of Maduretno- mask puppet performance and the examp- Citralengganan dance fragment. That was le of dance movement in mbanmban mask the summary of the story that was develo- dance. ped into the dance fragment. In Cerita Panji Kuda Narawangsa, it was told that after Dewi Sekartaji left him. Raden Panji Putra became disconcerted. Therefore, he went after her to the forest with his brothers. In the middle of the fo- rest, Panji met Brahmana Sukarti and was advised to disguise himself and went to Urawan Kingdom (his father’s land) be- cause the kingdom was attacked by Sang Klana Sawandana who wanted to take Dewi Sekartaji (Panji’s wife), his fake name was Undhakan Maduretna. Figure 3. Mbanmban dance In different places, Dewi Sekartaji disguised herself as Ni Citralengganan. In Dance fragment was also created in the forest, Citralengganan suffered greatly, this conservation as a small description of then Tumenggung Subanggita (the neigh- Jati Duwur mask puppet. The dance frag- boring palace guard) brought her to King ment was theatrical dance presenting a Klana Sawandan. Even though he did not short story. The short story in this fragment know that she was Dewi Sekartaji, he was was a small part of a story. In the creation very happy to welcome the princess. process, the researcher tried to find a sto- In Urawan Kingdom, the king orde- ry that had been done in Jati Duwur Mask red the guards to seek for help to strengt- Puppet Performance. Cerita Panji that had hen the force, not long after that came been successfully revitalized in Jati Duwur Undhakan Maduretna and his brothers to Mask Puppet in 2000-2012 was the tale help and join the force. Undakhan Madu- of Patah Kuda Narawangsa and Wiruncana retna was sent to face Klana Sawandana. 36 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 30-37

The war between Klana Sawandana and conservation effort, but also as the effort Undahakan Maduretna happened, and to build the art creative product so that it Maduretna won the war. At night, Madu- could not be enjoyed only by the people retna checked the condition of the garden, in Jombang. As a proof, this mask dance he saw a princess in distress and she even had been performed in Singapore in 2015. wanted to commit suicide because she did The art works with short duration were an not want to become Klana Sawandana’s artistic product that could be performed wife. Citralengganen missed Panji Putra anytime and anywhere without removing and she said to herself “have your high- the local wisdom. ness ever dreamt? If you die who will take me?” while crying she kept calling for CONCLUSION Raden Panji. Undhakan maduretna who disguised himself as a god stood behind Art is a product of any art performan- the princess and said to himself “the jewel ces that contain aesthetic characteristics. of the earth, you are my only lover. Why Art was born out of a deep feeling of its do you look so broken and ask for death creator. Since the beginning, art was born to the God?”. Approaching her, then God from the hands of creative artists through a said “what do you want, my grandchild?”. spiritual process and a profound thought. Hearing the voice, Citralengganen was In the middle of ongoing era development, surprised and turned her body while loo- a modern creative touch technique was king down and said that she wanted to needed. Touch technique and creative pro- die if she could not meet Panji. The God cess of traditional performance can produ- advised her to be patient and told her that ce creative art products containing local she would meet Panji, but he asked her to wisdom that can be enjoyed by the modern give Sasra Ludiro ring, when she gave it to people. him, he squeezed her fingers. The princess seems to dislike the God. The God asked REFERENCES her not to hesitate to look at him, so she looked and stared at him closely. When Baried, S. B. (1987). Panji: Citra Pahlawan their eyes met, it was like a lightning strike Nusantara. Jakarta: Departemen Pen- and melted both of their hearts. didikan dan kebudayaan. The story of Maduretno and Citro- Berg. C. C. (1927). De Middel Javanche His- lengganen was an interesting story to be toriesche Traditie. Snatpooort: Uitge- used as the material for the short dance verij C.A. Mees. fragment story. The researcher hoped that Cahyono, A. (2016). Tanda dan Makna this dance could be used as a small illustra- Teks Pertunjukan Barongsai. Mudra tion of a Jombang Mask Puppet Perfor- Jurnal Seni Budaya, 31(1), 22-36. mance. There was no dialog in this dance. Dharsono. (2007). Budaya Nusantara. Band- The creation of this dance was one of the ung: Rekayasa Sains. effort to re-introduce the puppet mask to Dharsono. (2007). Estetika. Bandung: the young generation. So that the young Rekayasa Sains. generation could understand the local wis- Dharsono. (2014). Seni Lukis Wayang. Sura- dom inside a traditional performance. karta: ISI Press. The effort to produce the creative Emigh, J. (1996). Masked Performance. Penn- art products was needed especially the sylvania: The University of Pennsyl- art creative products that contained local vania Press. wisdom. The art performance conservati- Hastuti, D. L. (2012). Solo, Kota Budaya on like mask puppet was one of the effort Menuju Kota Desain, Bagian dari Jarin- to save the traditional art form extinction. gan Kota-kota Kreatif UNESCO. Paper The conservation in the form of mask dan- preaented on Seminar Nasional Per- ce development could not only be used as guruan Tinggi Dalam Era Ekonomi Setyo Yanuartuti, Building Creative Art Product in Jombang Regency by Conserving ... 37

Kreatif. Surakarta: ISI Press. Sumarni. (2004). Mangkunegaran Wireng Murgiyanto, S. (2004). Tradisi dan Inovasi, Dance 1757-1987: A Historical Study. Beberapa masalah Tari di Indonesia. Ja- Harmonia Journal of Arts Research and karta: Wedatama Widya Sastra. Education, 5(3), 48-60. Nanang, Yanuartuti, S. & Ilahi, N. (2012). Supriyanto, M. (2010). Pencak Silat dalam Sejarah dan Budaya Jombang. Jom- Tari Wireng di Surakarta. Jurnal Hu- bang: Dinas Pendidikan Kabupaten maniora, 22(2), 176-182. Jombang. Yanuartuti, S. (2015). Revitalisasi Pertun- Pavis, P. (2001). Theatre At The Crossroads of jukan Wayang Topeng Jati Duwur Culture. New York: Routledge. Jombang Lakon Patah Kuda Nara- Sari, R. (2014). Ekonomi Kreatif: Konsep, wangsa. Disertation. Surakarta: Post Peluang, dan Cara Memulai. Re- Graduate Program, ISI Surakarta. trieved from http://staff.uny.ac.id/ Zaman, B. A. (2012). Jurus Cendekia Dalam sites/default/files/pengabdian/ Industri Seni: Menyiasati Ekonomi annisa-ratna-sari-msed/makalah- kreatif – seni – Pariwisata. Paper pre- ppm-kelompok-2014-annisa.pdf. sented on Seminar Nasional Pergu- Soedarsono, R. M. & Tati N. (2011). Dra- ruan Tinggi Dalam Era Ekonomi Kre- matari di Indonesia, Kontinuitas dan atif. Surakarta: ISI Press bekerjasama Perubahan. Yogyakarta: Gajah Mada dengan Pasca Sarjana ISI Solo.7 De- University. cember 2012.