Silang Budaya Dalam Seni Pertunjukan Oleh : Jefri Eko Cahyono

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Silang Budaya Dalam Seni Pertunjukan Oleh : Jefri Eko Cahyono Silang Budaya dalam Seni Pertunjukan Oleh : Jefri Eko Cahyono Cina dan Jawa, merupakan dua etnis yang tidak pernah berhenti untuk saling berinteraksi. Kedua etnis ini memiliki keunikan dalam interaksi budayanya. Interaksi pada keduanya saling mengisi kekurangan dan kelebihna tanpa mengilangkan identitas aslinya. Entis Cina dan Jawa selalu hidup berdampingan, hal ini dikarenakan adanya rasa saling menghormati dan keharmonisasian dari dua etnis besar ini. Sejak tahun 1740 orang Tionghoa dan Jawa sudah berinteraksi dan hidup berdampingan dengan membawa kulturnya masing-masing. Dalam kata lain, pada pertumbuhan dan perkembangan di Jawa, etnis Cina selalu menyertai dan ikut berpartisipasi dalam pengembangan dan perubahan di Jawa. Dalam sejarah perubahan Jawa, sampai terjadinya Palihan nagari, ialah Mataram dibagi menjadi dua, yang kita kenali sebagai Kasultanan Ngayogyakarta dan Kasunanan Surakarta, etnis Cina menetap di dua wilayah masing-masing serta mendapat peran yang berbeda. Dari segi kebudayaan, keduanya terus menjalankan apa yang sekarang kita kenal sebagai persilangan, bahwa kultur Jawa dan Cina saling mengisi dan menghidupi. Dari sejumlah persilangan antara Cina dan Jawa, khusuanya di Yogyakarta, salah satunya bisa kita kenali melalui kesenian dan Wacinwa, kependekan dari Wayang Kulit Cina-Jawa adalah salah satu bentuk dari persilangan itu. Wayang Kulit Cina Jawa (Wacinwa) yang dipamerkan dalam Pameran Temporer yang diselenggarakan oleh Museum Sonobudoyo ini merupakan bentuk silang budaya antara kebudayaan Cina dan Jawa. Wayang Cina - Jawa diciptakan oleh Gan Thwan Sing (1895 – 1967) di Yogyakarta tahun 1925. Angka tahun pembuatan dapat diketahui dari tulisan yang ada di wayang gunungan koleksi Uberlingen. Pada gunungan tersebut terdapat tulisan “Dibuat oleh Gan Thwan Sing, 1925, Yogyakarta”. Wayang ini dibuat dengan cara memadukan budaya Cina dan Jawa. Sejauh ini hanya ada 2 (set) wayang kulit Cina-Jawa di dunia. Kedua set wacinwa tersebut awalnya merupakan milik Chineesch Institut Yogyakarta. Saat ini satu set disimpan di Museum Sonobudoyo Yogyakarta dan satu set lagi disimpan di Universitas Yale (Amerika) milik Dr. Walter Angst. Wayang ini bisa sampai ke Jerman dan saat ini di Amerika dikarenakan dibawa atau dibeli oleh Dr. F. Seltmann pada sekitar awal tahun 1960-an ketika ia sedang berkunjung ke Yogyakarta. Setelah F. Seltmann meninggal tahun 1995, wayang tersebut dibeli oleh Dr. Walter Angst, kemudian sepeninggalan Dr. Walter Angst satu set Wacinwanya di hibahkan ke Univeritas Yale, Amerika. Satu set Wacinwa koleksi museum Sonobudoyo terdiri atas 165 an tokoh wayang dan potongan karakter kepala. Saat ini keseluruhan wayang tersebut telah dibuat replikanya dan dapat dipentaskan. Bila dibandingkan dengan wayang kulit pada umumnya, ukuran Wayang Cina Jawa ini memiliki bentuk yang relatif kecil dan ukuran paling tinggi hanya mencapai 68 cm, atau sebesar wayang Kidangkencanan (wayang untuk dimainkan anak-anak). Wayang Cian Jawa koleksi musem Sonobudoyo ini sangat unik. Hal ini dikarenakan kepala tokoh dari wayang tersebut dapat diganti-ganti disesuaikan dengan karakter yang dikehendaki dalam pertunjukannya. Pemasangan gapit pada tokoh wayang hanya sampai pada leher bawah atau sejajar pundak. Ujung atas gapit benangnya agak longgar sehingga ada celah atau ruangnya. Kepala seorang tokoh dapat dilepas dan dipasang dengan kepala tokoh yang lain. Orang-orang Cina mempunyai identik dengan dunia dagang, sehingga terasa sedikit aneh ketika melihat orang Cina peranakan tidak bersentuhan dengan dunia dagang, lebih-lebih malah memilih dunia seni, seperti Gan Thwan Sing. Ketika Gan Thwan Sing pindah di ke Yogyakarta pada awal abad ke-20, ia lebih senang bersentuhan dengan dunia pertunjukan. Sebagai bentuk uapaya dalama mengembangkan bakatnya, Gan Thwan Sing belajar seni pedalangan dan pertunjukan. Menurut Gan Thwan Sing Yogyakarta merupakan tempat yang tepat untuk mengembangkan dan memperdalam kecintaannya pada kesenian, khususnya seni pertunjukan. Sebagi sebuah bentuk rasa cintanya terhadap kesenian, khusunya seni pertunjukan, lahirlah wayang kulit Cina-Jawa merupakan akhir dari pengembaraan Gan Thwan Sing di dunia pertunjukan. Hal ini yang kemudian melahirkan satu gagasan perpaduan antara tradisi Tiongkok dengan tradisi Jawa, yang mana kedua tradisi itu saling menghidupi. _______________________ Tulisan ini diolah dari buku katalog seri Pameran Wayang Cina Jawa sebagai Silang Budaya Museum Sonobudoyo tahun 2014 Cultural Crossing in the Performing Arts By: Jefri Eko Cahyono Chinese and Javanese, are two ethnic groups that never stop interacting with each other. These two ethnicities are unique in their cultural interactions. The interaction between the two of them complement each other's shortcomings and advantages without losing their true identity. Entis Chinese and Javanese always live side by side, this is due to the mutual respect and harmony of these two major ethnicities. Since 1740 Chinese and Javanese people have interacted and lived side by side by bringing their respective cultures. In other words, in growth and development in Java, ethnic Chinese always accompany and participate in development and change in Java. In the history of Javanese change, until the occurrence of Palihan nagari, Mataram was divided into two, which we recognize as the Ngayogyakarta Sultanate and the Surakarta Kasunanan, ethnic Chinese settled in two respective regions and received different roles. From a cultural perspective, the two of them continued to carry out what we now know as a cross, that Javanese and Chinese cultures complement and feed each other. From a number of crosses between Chinese and Javanese, especially in Yogyakarta, we can identify one of them through art and Wacinwa, which stands for Chinese-Javanese Wayang Kulit, which is one form of this cross. The Javanese Chinese Wayang Kulit (Wacinwa) exhibited at the Temporary Exhibition organized by the Sonobudoyo Museum is a cross-cultural form between Chinese and Javanese culture. Wayang Cina - Jawa was created by Gan Thwan Sing (1895 - 1967) in Yogyakarta in 1925. The number of years of manufacture can be seen from the writings in the Uberlingen collection of wayang gunungan. On the gunungan there is the inscription "Made by Gan Thwan Sing, 1925, Yogyakarta". This puppet is made by combining Chinese and Javanese culture. So far there are only 2 (sets) of Chinese-Javanese shadow puppets in the world. Both sets of discourse originally belonged to Chineesch Institut Yogyakarta. Currently one set is kept at the Sonobudoyo Museum in Yogyakarta and another set is kept at Dr. Yale University (America) owned by Dr. Walter Angst. This puppet can reach Germany and is currently in America because it was brought or bought by Dr. F. Seltmann in the early 1960's when he was visiting Yogyakarta. After F. Seltmann died in 1995, the puppet was purchased by Dr. Walter Angst, then Dr. Walter Angst, a set of his discourse on a grant to Yale University, USA. A set of Wacinwa, the Sonobudoyo museum collection, consists of 165 wayang figures and head pieces. Currently all these puppets have been replicated and can be staged. When compared to leather puppets in general, the size of the Javanese Chinese Wayang has a relatively small shape and the highest size is only 68 cm, or as big as the Kidangkencanan wayang (wayang for children to play with). The Wayang Cian Jawa collection of the Sonobudoyo museum is very unique. This is because the head of the character from the puppet can be changed according to the desired character in the show. The installation of the gapit on the puppet characters only reaches the neck below or parallel to the shoulders. The top end of the thread gap is slightly loose so that there is a gap or space. One character's head can be removed and attached to another character's head. Chinese people have synonymous with the world of commerce, so it feels littleIt is strange to see that peranakan Chinese have not had any contact with the world of commerce, even more so have chosen the art world, such as Gan Thwan Sing. When Gan Thwan Sing moved to Yogyakarta in the early 20th century, he preferred to be in touch with the world of performance. As a form of effort to develop his talents, Gan Thwan Sing studied puppetry and performance arts. According to Gan Thwan Sing Yogyakarta is the right place to develop and deepen his love for the arts, especially the performing arts. As a form of his love for the arts, especially the performing arts, the Chinese-Javanese shadow puppet was born, which was the end of Gan Thwan Sing's journey in the world of performance. This then gave birth to an idea of a fusion of Chinese traditions with Javanese traditions, in which the two traditions mutually support each other. _______________________ This paper was processed from the catalog book series of the Javanese Chinese Wayang Exhibition as a Cultural Crossing of the Sonobudoyo Museum in 2014 .
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