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doi [email protected] i Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 16., No. 1, April 2021, p. ii ISSN 1412-4181, eISSN 2685287X https://jurnal.isi-ska.ac.id/index.php/dewaruci/

Editorial Team

Editor in Chief

Dr. Bambang Sunarto, S.Sen., M.Sn, (Scopus ID 6506877440) Indonesia Institute of the Art Surakarta, Indonesia.

Associate Editors

Professor Dr. Matthew Isaac Cohen, Royal Holloway University of London, United Kingdom. Dr. Marzanna Poplawska, Ph.D., Warsaw University, Institute of Ethnology and Cultural Anthropology, Poland. Dr. Arsenio Nicolas, Mahasarakham University, Thailand. Prof. Jody Diamond, American Gamelan Institute, United States. Christopher J. Miller, Cornell University, United States. Dr. Kamarulzaman Bin Mohammed Karim, (Scopus ID: 57197232025) Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris, Malaysia.

Editorial Board Members

Dr. Ana Rosmiati, S.Pd., M.Hum, (Google Scholar H-Index : 2) Design Departement, Indonesian Institute of the Art Surakarta,, Indonesia. Dr. Bagus Indrayana, Institut Seni Indonesia Surakarta, Indonesia. Dr. Sunarmi Sunarmi, Institut Seni Indonesia Surakarta, Indonesia. Dr. Sri Hesti Heriwati, Institut Seni Indonesia Surakarta, Indonesia. Dr. Zoelkarnain Mistortoifi, Institut Seni Indonesia Surakarta, Indonesia. Dr. Katarina Indah Sulastuti, Seni Tari Fakultas Seni Pertunjukan Institut Seni Indonesia Surakarta, Indonesia. Dr. Handriyotopo Handriyotopo, (Google Scholar: H-Index 1), Visual Communication Design Departement, Indonesian Institute of the Art Surakarta, Indonesia, Indonesia.

Layout Editors

Nila Aryawati, SE, ISI Press, Indonesian Institute of the Art Surakarta, Indonesia Agus Sutedja, Penerbitan ISI Surakarta, Indonesia.

Copy Editor

Donie Fadjar Kurniawan, Institut Seni Indonesia Surakarta . doniefadjarkurniawan(honey2), Indonesia.

IT Support

Fransisca Pramesti, S.Si, M.Eng, IT Center, Indonesian Institute of the Art Surakarta, Indonesia.

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Adangiyah

Bambang Sunarto a,1. a Editor in Chief, Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni, Jl. Ki hajar Dewantara No. 19 Kentingan, Jebres, Surakarta 57126. 1 [email protected]

This edition is the first issue of Dewa Ruci’s Journal, in which all articles are in English. We deliberately changed the language of publication to English to facilitate information delivery to a wider audience. We realize that English is the official language for many countries rather than other languages in this world. The number of people who have literacy awareness and need scientific information about visual and performing arts regarding the archipelago’s cultural arts is also quite large. The decision to change the language of publication to English does not mean that we do not have nationalism or are not in love with the Indonesian language. This change is necessary to foster the intensity of scientific interaction among writers who are not limited to Indonesia’s territory alone. We desire that the scientific ideas outlined in Dewa Ruci’s Journal are read by intellectual circles of the arts internationally. We also want to express our scientific greetings to art experts from countries in New Zealand, the USA, Australia, Europe, especially Britain, and other English-speaking countries such as the Philippines, India, Pakistan, Zimbabwe, the Caribbean, Hong Kong, South Africa, and Canada. Of course, a change in English will also benefit intellectuals from countries that have acquired English as a second language, such as Malaysia, Brunei, Israel, Malaysia, and Sri Lanka. In essence, Dewa Ruci’s Journal editor wants to invite writers to greet the scientific community at large. We are grateful that six writers can greet the international community through their articles. The first is Tunjung Atmadi and Ika Yuni Purnama, who wrote an article entitled “Material Ergonomics on Application of Wooden Floors in the Interior of the Workspace Office.” This article discusses office interiors that are devoted to workspaces. The purpose of this study is to share knowledge about how to take advantage of space-forming elements in the interior design of a workspace by utilizing wooden floors like parquet. The focus is on choosing the use of wood by paying attention to the elements in its application. This research result has a significant meaning in the aesthetics, comfort, and safety of wooden floors in the workspace’s interior and its advantages and disadvantages. The second writer who had the opportunity to greet the Dewa Ruci Journal audience was intellectuals with diverse expertise, namely Taufiq Akbar, Dendi Pratama, Sarwanto, and Sunardi. Together they wrote an article entitled “Visual Adaptation: From Comics to Superhero Creation of Wayang.” This article discusses the fusion and mixing of wayang as a traditional culture with comics and films as contemporary culture products. This melting and mixing have given birth to new wayang creations with sources adapted from the superhero character “Avenger,” which they now call the Avenger Wayang Kreasi. According to them, Wayang Kreasi Avenger’s making maintains technical knowledge of the art of wayang kulit. It introduces young people who are not familiar with wayang kulit about the technique of carving sungging by displaying the attributes in the purwa skin for Wayang Kreasi Avenger. This creativity is an attempt to stimulate and show people’s love for the potential influence of traditional cultural heritage and its interaction with the potential of contemporary culture. The next authors are Sriyadi and RM Pramutomo, with an article entitled “Presentation Style of Bedhaya Bedhah Madiun Dance in Pura Mangkunegaran.” This article reveals a repertoire of Yogyakarta-style dance in Mangkunegaran, Surakarta, namely the Bedhaya Bedhah Madiun. The presence of this dance in Mangkunegaran occurred during the reign of Mangkunegara VII. However, the basic character of the Mangkunegaran style dance has a significant difference from the Yogyakarta

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style. This paper aims to examine the Bedhaya Bedhah Madiun dance’s presentation style in Mangkunegaran to determine the formation of its presentation technique. The shape of the Bedhaya Bedhah Madiun dance style in Mangkunegaran did not occur in an event but was a process. The presentation style’s formation is due to a problem in the inheritance system that has undergone significant changes. These problems arise from social, political, cultural, and economic conditions. The responses to these problems have shaped the Bedhaya Bedhah Madiun dance's distinctive features in Mangkunegaran, although not all of them have been positive. Hasbi wrote an article entitled “Sappo: Sulapa Eppa Walasuji as the Ideas of Creation Three Dimensional Painting.” This article reveals Hasbi’s creative process design in creating three- dimensional works of art, named Sappo. He got his inspiration from the ancient manuscripts written in Lontara, namely the manuscripts written in the traditional script of the Bugis-Makassar people on palm leaves, which they still keep until now. Sappo for the Bugis community is a fence that limits (surrounds, isolates) the land and houses. Sappo’s function is to protect herself, her family, and her people. Sulapa Eppa means four sides, is a mystical manifestation, the classical belief of the Bugis- Makassar people, which symbolizes the composition of the universe, wind-fire-water-earth. Walasuji is a kind of bamboo fence in rhombus rituals. Eppa Walasuji’s Sulapa is Hasbi’s concept in creating Sappo in the form of three-dimensional paintings. The idea is a symbolic expression borrowing the Lontara tradition's idiom to create a symbolic effect called Sappo. Mahdi Bahar and his friends wrote an article entitled “Transformation of Krinok to Bungo Krinok Music: The Innovation Certainty and Digital-Virtual Contribution for Cultural Advancement.” Together, they have made innovations to preserve Krinok music, one of Jambi’s traditional music themes, into new music that they call Bungo Krinok. He said that innovation is a necessity for the development of folk music. In innovating, they take advantage of digital technology. They realize this music’s existence as a cultural wealth that has great potential for developing and advancing art. The musical system, melodic contours, musical grammar, and distinctive interval patterns have formed krinok music’s character. This innovation has given birth to new music as a transformation from Jambi folk music called “Bungo Krinok” music. Finally, Luqman Wahyudi and Sri Hesti Heriwati. They both wrote an article entitled “Social Criticism About the 2019 Election Campaign on the Comic Strip Gump n Hell.” They explained that in 2019 there was an interesting phenomenon regarding the use of comic strips as a means of social criticism, especially in the Indonesian Presidential Election Campaign. The title of the comic is Gump n Hell by Errik Irwan Wibowo. The comic strip was published and viral on social media, describing the political events that took place. In this study, they took three samples of the comic strip Gump n Hell related to the moment of the 2019 election to analyze their meaning. From the results of this study, there is an implicit meaning in the comic strip of pop culture icons' use to represent political figures in the form of parodies. That is the essence of the issue of Volume 16 Number 1 (April Edition), 2021. Hopefully, the knowledge that has been present in this publication can spur the growth of visual and performing art science in international networks, both in the science of art creation and in scientific research of art in general. We hope that the development of visual and performing art science can reveal the various meanings behind various facts and phenomena of art life. Therefore, the growth of international networks is an indispensable need. Thank you.

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Table of Contents

Editorial Team ii

Adangiyah iii

Table of Content v

Material Ergonomics on Application of Wooden Floors in the Interior of the Workspace Office 1-10 By Tunjung Atmadi and Ika Yuni Purnama

Visual Adaptation: From Comics to Superhero Creation of Wayang 11-21 By Taufiq Akbar, at. al.

Presentation Style of Bedhaya Bedhah Madiun Dance in Pura Mangkunegaran 22-36 By Sriyadi Sriyadi and R.M. Pramutomo

Sappo: Sulapa Eppa Walasuji as the Ideas of Creation Three Dimensional Painting 37-46 By Hasbi

Transformation of Krinok to Bungo Krinok Music: The Innovation Certainty and Digital-Virtual Contribution for Cultural Advancement 47-55 By Mahdi Bahar, at. al.

Social Criticism about the 2019 Election Campaign in the Comic Strip Gump n Hell 56-66 By Luqman Wahyudi and Sri Hesti Heriwati

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Material Ergonomics on Application of Wooden Floors in the Interior of the Workspace Office

Tunjung Atmadi a,1,*, Ika Yuni Purnama b,2, a Interior Design, Mercu Buana University FDSK, Jl. Raya Meruya Selatan No. 1 Kembangan, West Jakarta 11650. b Himpunan Desainer Interior Indonesia, Gedung Jakarta Design Center, lantai 7, Jl. Jend. Gatot Subroto 53, Jakarta 10260 1 [email protected] *; 2 [email protected]; * Corresponding Author

Received July 28, 2020; accepted September 3, 2020; published April 2021 ABSTRACT KEYWORDS

Workspace from an office interior and requires serious management related to its Workspace use. This research aims to use space-forming elements in the workspace’s interior Office design using wood flooring as parquet. The focus is on the choice of wood use Wood concerning the elements in its application. This research rests on the assumption Floor that wood material choice for the workspace floor has met safety, comfort, and beauty requirements. The hope is that with these three conditions’ fulfillment, the This is an open- office's activities can run smoothly, safely, and pleasantly. The method used in this access article under research is a descriptive qualitative method. An approach puts forward a the CC–BY-SA description based on field observations and documentation to describe the research license object’s situation. This study aims to reveal aesthetic, comfort, and safety studies of wooden floors in the workspace interior with their advantages and disadvantages.

1. Introduction 1.1. Background This study is based on the author’s interest in wood material related to its use for the floor in the workspace because space is forming an office element. Focus attention on whether there are problems that arise when implementing in shaping space in an office. As we all know, the office is the main support tool for someone to do their job. For that, there is a need for a clean and tidy office interior design. The office atmosphere can be more focused and concentrated because the office workspace is a room where space users will spend much time carrying out their activities. The workspace is one of the spaces to find inspiration to organize our future. Therefore, we must ensure that our workspace can support these activities properly. An important factor in creating a workspace is using wood as the work floor for our convenience work. The bed in a workspace is an important component in an office interior. Choosing wood flooring will make a perfect and elegant difference compared to other flooring materials. Using wood flooring will also get comfort and natural effects and have an expensive artistic value. Creating a comfortable atmosphere in the office’s workspace, of course, will make us more relaxed and excited in carrying out our daily work. Different design touches in the workspace will create a fresh and new feel when we work. Natural elements from wooden floors make the workspace’s interior design not boring, feels warm, and does not cause pressure at work. In this study, we focus our attention on the use of flooring materials at PT Pupuk Indonesia as a model considering the space users’ comfort and safety. Models are necessary because every creativity requires a model (Sunarto 2015, 289–90; 2020, 108–10). The material in question is warm, soft, with an attractive texture, and has extraordinary durability, and the material is wood or solid parquet. Therefore, it is very important to research parquet wood flooring in this study because wood flooring in the workspace can help solve the ergonomic problem of materials from aesthetics, comfort, and safety.

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This article has three kinds of contributions to the development of Interior Design knowledge. The first is to provide direction in applying theoretical and practical studies in the field of interior design. The next contribution is to provide material for consideration for teachers in interior design to improve design disciplines. Third, contribute ideas to improve learning outcomes and improve education quality, especially for the Interior Design Study Program students.

1.2. Problem Identification The problem is the wooden floor material applied in the workspace, which is an obstacle for users who wish to increase the comfort, safety, and aesthetics of space’s interior; however, given the floor material's nature, that impacts making noise in its use. Then, the problem arises regarding what types of wood are suitable for use as workspace floors? Moreover, what obstacles will appear in designing the interior design related to using the wood material’s comfort and safety? Given the limited time, some of the existing problems are determined only on the issues discussed in this study. The problem is limited to the wood used on the workspace floor in the office. Based on the explanation above, the writer determines the research problem to studying workspace wood flooring at PT Pupuk Indonesian in this study. 1.3. Research Urgency The urgency of research is to find new knowledge, develop knowledge and test the truth of experience. The methodology is a path that researchers must take to obtain broad and relevant knowledge (Hadi 2001, 10). This research’s urgency is important considering the research on the ergonomics of wood for office workspace floors needs to get serious attention because of its use related to aesthetics, comfort, and safety for space users in carrying out daily activities workspace. In this applied research, the author tries to solve the problems faced in the use of wood flooring in the office space of PT Pupuk Indonesia, Jakarta. This research study’s approach is descriptive qualitative, which describes the ergonomic condition of the wood on the floor of an office workspace through observation and documentation, in describing the research object, observing the problems that occur, then finding out the things that cause problems in the ergonomics of the wood flooring material. After obtaining the theories as to the basis for the research, further observations were made to find out factual data on the state of the workspace floor material, then classified the data to make it easier to identify existing problems. Furthermore, the field data obtained is then analyzed by adhering to the relevant literature related to the application of floor materials to the interior of the workspace, in general, to conclude the factors that cause the problem. In this study, the output has high urgency because it has implications for interior design education from ergonomic wood flooring research. The speed and consequences of this will appear in the conclusions presented.

2. Literature Review 2.1. Understanding of the Floor The floor is one of the most important elements in an interior. The base is the lower limit for the interior of a room. The floor stretches out horizontally. Applying various materials to the bed varies, using different floor heights and applying the form’s essence. Various building materials appear in designing a space. We need special attention in determining the building material for the floor, especially in terms of space function, user character type, atmosphere creation, safety, and maintenance. Wood is a forest product from natural resources. In this advanced technological situation, wood is a raw material whose processing to become goods is very easy (Dumanauw 1990, 1). The shape of wood has warm, soft properties and a very attractive and unique surface. Most of the solid wood floors are on the subfloor, consisting of chipboard, plywood, or hardboard (John McGowan, John & Dubern 1991, 100). Ching Francis revealed that floors are the flat, level base planes of interior space. The floor is a flat surface and is the basic surface of the inner room, is the base as the physical support, and is the visual base for the building's shape. Since the floor area supports our building activities, the

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floor must be structurally appropriate and resistant (Ching Francis 2010, 162). The following table describes the characteristics of some commonly used floor materials as follows on the next page:

INGRE No. CHARACTERISTICS STRENGTHS WEAKNESSES DIENTS 1 Ceramic Easy installation, cheap, 1. The price is relatively cheap 1. Easy to break and widely sold in stores/depots 2. Easy maintenance 2. Noisy 3. Easy to clean 4. It has a variety of sizes, colors, and patterns 5. It has stain resistance. 6. Durable 2 Granite The material is more 1. The size can be more than 60 × 1. If the granite’s quality is not exclusive, expensive 60 cm and can even reach 100 x good, the dirt will be difficult with better quality than 100 cm. to clean. ceramics 2. Not easily bouncy. 2. Requires extra care than ceramic because it is easily dull. 3. The grout joints are not too wide, 3. It takes a special knife for so the granite looks more cutting because it is hard and luxurious and looks unified. thick.

4. It Does not require special 4. Expensive. materials for installation. 5. Has high resistance and scratch 5. Colors cannot be the same. resistance. The calculation is needs. Excess can cause color differences in the combustion process. 6. Give the impression of luxury to 6. Limited colors and patterns. the house. 7. With a larger size, the room looks wider. 3 Marble The floor material is 1. Unlimited size. 1. Marble is difficult to clean genuine natural stone. when exposed to dirt. The cut shape on a large sheet has a distinctive texture. Typical motifs are quite expensive. 2. Not easily bouncy. 2. It needs extra care compared to ceramics because it is easily dull and has to be polished again. 3. The grout joints are smaller, so 3. Requires a special knife they look cohesive. because it is hard and thick. Once installed, the marble must be polished again. 4. With a larger size, the room 4. Prices are relatively looks wider. expensive. 5. Marble can store cold for a long 5. Color depends on nature. time so that it can cool the room. 6. Fireproof and better able to withstand heavy loads than other types.

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INGRE No. CHARACTERISTICS STRENGTHS WEAKNESSES DIENTS 4 Terrazzo Floor materials are 1. Has a variety of colors and 1. Must be paired by a powder, flakes, or motifs. professional in their field. fragments of granite, marble, glass, or stone. 2. It Does not cause allergies. 2. Easily mossy when exposed to water continuously. 3. Has a high enough strength. 3. It is uncomfortable to walk with bare feet. 4. Not flammable. 5 Tegel It is formed from a 1. The price is relatively cheap. 1. Floor tiles, if exposed to acid mixture of cement and (vinegar), Floor tiles will concrete sand. Soft leave an imprint /stain that is cement was poured over difficult to clean. it to make it smooth, up to 1 inch thick, heavy enough to lift. 2. Easy installation. 2. Quite heavy. 3. It Gives a cool impression. 6 Parquet Material made of wood 1. Parquet floor is softer, so it is 1. Not resistant to water, high (sawdust or synthetic safe for toddlers. absorption. wood), with cuts and thicknesses according to the length and width of the floor 2. Cleaner, dirt does not stick well 2. Requires good care. The for people with dust allergies. basic material of wood is more easily damaged mainly due to humidity and weather conditions. 3. Does not absorb cold, good for 3. Has limited variants of people with rheumatism. patterns and colors.

4. Can not be broken/cracked. 4. Installation costs are more expensive than ceramics because they are much more expensive than ceramics. 5. Cannot be stained. 5. The process must use a special blade which is quite expensive to cut granite. 6. Soundproof. 7 Epoxy An epoxy floor is a 1. Has a variety of colors and 1. Not resistant to scratches floor coating with patterns. unless there is another layer on epoxy paint, neat and top. shiny: suitable warehouse, factory, workshop, or workshop. 2. Can be made according to the 2. Easy to crack. room. 3. The surface looks neat, clean, 3. UV can cause discoloration and shiny. 4. It does not absorb water and is not slippery. 5. Easy maintenance. Fig. 1. Characteristics of Floor Materials The table above shows that wood/parquet has advantages over other floor materials from aesthetic elements; it is comfortable and safe to use. Besides, wooden / parquet floors are easy to maintain and economically affordable.

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2.2. Aesthetic Elements, Comfort and Security Interior design must contain aesthetic elements that refer to design principles such as proportion, space scale, balance, space harmony, unity and variety of space, space rhythm, space emphasis, and things such as beauty space accessories. Aesthetics is a combination of science and philosophy. The origin of the word aesthetics is from the Greek aisthetikos or aishtanomai, which means to perceive with the senses (Kellerman 1977, 18). This understanding is also related to the Greek term aesthetic, which means observation. Feldman sees aesthetics as a science of observation or science of senses, referring to sense impressions. Likewise with J. Addison, combining aesthetics with taste theory. Aesthetics, as a science, rests on observation activities using the five senses, namely (1) eyes as a sense of sight, (2) the nose as a sense of smell, (3) the ear as a sense of hearing, (4) the tongue as a sense of taste, and (5) skin as a sense of touch (Dickie 1989, 219). The beauty requirement is to create an attractive space atmosphere by processing floor materials and colors that consider function and aesthetic factors because floors are also an important design element in space. Its shape, color, pattern, and texture will determine how far it creates an impression in area, defines space boundaries, and acts as a visual base for other elements in the visible space. 2.3. Ergonomic Requirements for Public Space Floors Interior design is planning, arranging, and designing the room in a building, which meets the needs for shelter and shelter, determines and organizes activities, nurtures aspirations, and expresses ideas, actions, appearance, feelings, and personality (Ching Francis 2010, 46). Based on the standardization rules applied by the American National Standards relating to general requirements for accessible interiors (General Requirements for Accessible Interior), the general criteria for flooring for high-intensity public places include prerequisites: health and safety/health and safety, construction/construction, physical strength, and appearance/appearance (Reznikoff 1989, 206). Health and safety criteria include the following criteria: flammability, ability to reduce light reflectance, slipperiness, and surface flatness (Sri Ambarwati 2007, 21). Regarding construction engineering requirements, laying the floor is above the underlayment or cement leveling place. The floor installation is on a leveled cement surface. In other words, the floor construction’s basic character is a mixture of cement and sand, which is a reinforcing layer for the building. The floor material application is strong in withstanding many activities (Ching Francis 2010, 163). Beauty requirements serve to create an attractive space atmosphere by processing floor materials and colors that consider function and aesthetic factors because floors are also an important design element in space. The shape, color, pattern, and texture will determine how far it creates an impression in the room, defines space boundaries, and acts as a visual base for other elements in the visible space.

3. Results and Discussion From the observations made by the author, factual field data were collected, which would be the basis for analyzing existing problems. The research scope is the leadership’s office, consisting of the main director’s room, the secretary’s room, the large meeting room, the discussion room, the waiting room, and the lobby/receptionist. The following is the plan for the layout of the PT. Pupuk Indonesia is made according to needs and to function and have an attractive appearance, as follows:

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Fig. 2. Layout of Workspace (Personal Docs Resources)

Fig. 3. Floor Plan (Personal Docs Resources)

From the survey results in the field and working drawings, the authors can find physical data on the floor of the PT Pupuk Indonesia in the following table:

Room No Room Name Dimension Floor Material Motive-Color Remarks (M2) 1 Lobby/Receptionist 34,23 Marble Plain White Slab 2 1 St Living Room 15.53 Teak parquet Brown Wood Grain 15x90x190-300mm 3 2 nd Living Room 15.46 Teak parquet Brown Wood Grain 15x90x190-300mm 4 Corridor Room 33.78 Marble Plain White Slab 14.81 Granite Red Black Slab 5 1 st Secretary Room 42.08 Marble Plain White Slab 14.61 Granite Red Black Slab 6 2 nd Secretary Room 38.45 Marble Plain White Slab 14.61 Granite Red Black Slab 7 Large Meeting Room 65.404 Teak parquet Brown Wood Grain 15x90x190-300mm 8 Small Meeting Room 21.357 Teak parquet Brown Wood Grain 15x90x190-300mm 9 President Director’s 64.911 Teak parquet Brown Wood Grain 15x90x190-300mm Room 10 1 St Director’s Room 40.152 Teak parquet Brown Wood Grain 15x90x190-300mm 11 2 nd Director’s Room 44.572 Teak parquet Brown Wood Grain 15x90x190-300mm

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Room No Room Name Dimension Floor Material Motive-Color Remarks (M2) 12 3 St Director’s Room 44.32 Teak parquet Brown Wood Grain 15x90x190-300mm 13 4 st Director’s Room 46.326 Teak parquet Brown Wood Grain 15x90x190-300mm 14 5 st Director’s Room 41.013 Teak parquet Brown Wood Grain 15x90x190-300mm 15 6 st Director’s Room 41.12 Teak parquet Brown Wood Grain 15x90x190-300mm 16 Archive Room 11.56 Homogenous Plain White 1x69x60cm Tile 17 Prayer Room 9.24 Homogenous Plain White 1x69x60cm Tile 18 Toilet Room 30.358 Ceramics Plain Gray 1x69x60cm 19 Pantry 5.78 Ceramics Plain Gray 1x69x60cm 20 Mess Room 21.257 Teak parquet Brown Wood Grain 15x90x190-300mm Total 710.93 Fig. 4. Physical Data of PT. Pupuk Indonesia (Source: Personal Data)

Room No Room Name Dimension Floor Material Motive-Color Remarks (M2) 1 1 St Living Room 15.53 Teak parquet Brown Wood Grain 15x90x190-300mm 2 2 nd Living Room 15.46 Teak parquet Brown Wood Grain 15x90x190-300mm 3 Large Meeting Room 65.404 Teak parquet Brown Wood Grain 15x90x190-300mm 4 Small Meeting Room 21.357 Teak parquet Brown Wood Grain 15x90x190-300mm 5 President Director’s 64.911 Teak parquet Brown Wood Grain 15x90x190-300mm Room 6 1 St Director’s Room 40.152 Teak parquet Brown Wood Grain 15x90x190-300mm 7 2 nd Director’s Room 44.572 Teak parquet Brown Wood Grain 15x90x190-300mm 8 3 St Director’s Room 44.32 Teak parquet Brown Wood Grain 15x90x190-300mm 9 4 st Director’s Room 46.326 Teak parquet Brown Wood Grain 15x90x190-300mm 10 5 st Director’s Room 41.013 Teak parquet Brown Wood Grain 15x90x190-300mm 11 Mess Room 21.257 Teak parquet Brown Wood Grain 15x90x190-300mm Total 420.302 Fig. 5. Physical Data of Wood Floor Space PT. Pupuk Indonesia (Source: Personal Data)

The observations show that the total working floor area of PT Pupuk Indonesia area is 720 M2. In the table above, the site that uses wood/parquet and other ceramics are 710.93 M2. The use of wood/parquet flooring for workspace reaches 420,302 M2 or 60% of the total floor area, and the use of other ceramic floors for work and circulation areas is 290.93 or 40%. The following is an analysis of floor materials based on indicators of aesthetics, comfort, and safety as required by ergonomic considerations in the application of materials, as follows: 3.1. Wood Floor Materials on Aesthetic Elements A floor gave the surface of parquet sheets or wood will provide a rich, warm sheen (Richards 1997, 52). Some of the materials used for floor finishing will affect the formation of space’s atmosphere, including floor covering materials that give a warm atmosphere, such as carpets, parquet, wood paths, and wood fibers (Suptandar 1991, 29). In considering the aesthetics associated with floor materials, four things need attention. First, the application of wooden floor patterns and floor color patterns is for the workspace of the main director, directors, large meeting rooms, small meeting rooms, dining rooms, and discussion rooms covering an area of 420 M2. Second, the analysis of aesthetic elements needs to measure the pattern composition and floor color's processing. Third, the floor pattern uses a straight diagonal double brick pattern, with a regular nad, with a wood color pattern. Fourth, the wood accent can provide the perfect appearance or visualization. However, the motifs, colors, and wood accents still feel very dominant even though they are only decorative elements. The wood color’s dominance can provide a firm and formal emphasis to be suitable for office nuances. Wooden floors in the workspace can balance the room temperature and feel more comfortable on the feet’ soles because the wood has fine fibers and patterns. Besides being able to create warmth in the room, wooden floors can add to an activity’s aesthetic value in the office. Apart

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from offering the comfort and beauty of the wood texture, another advantage of wood material is that it can make the room feel warmer and natural.

Fig. 6. Floor Pattern with Wood Color Motive (Source: Private Document)

3.2. Wood Floor Materials on the Element of Comfort Wood as a floor has properties that support comfort, namely warmth to the feet (Fischer-Uhlig, Horst & Jeni 1996, 28). A good work environment will make workers feel comfortable. If workers or employees feel comfortable at work, productivity will certainly increase. Increased productivity will indirectly increase company profits. Many factors affect work comfort. One way is to create it through planning a good physical office environment (Maryati 2008, 148).

Fig. 7. Workspace with Sunlight Openings (Source: Private Document)

To understand the relationship between wood flooring and the element of comfort, we must consider several things. Performing analysis to measure the comfort element quantitatively is difficult because it involves many factors. Analyzing comfort is by looking at several things, especially from applying materials that can directly interact with sunlight entering the room. Sunlight comes in because of the window openings on each side of the building. This condition has met the criteria because there is integration with wood and textured parquet floors. This integration is necessary to not cause glare in the middle of the room, which can interfere with a comfortable view. Wooden parquet floors can absorb heat and reduce sound and bring a sense of comfort when on it (wood floor); feet will feel much more comfortable, especially when the room’s cold temperature is functioning. 3.3. Wood Floor Materials and Security Elements Floors are the flat, level base planes of interior space (Ching Francis 2010, 162). The floor is a flat surface and is the basic surface of the inner space, is the base as the physical support, and is the visual base for the building's shape. Since the floor area supports our activities in the building, the floor must be appropriate and hold constructively, as in the detailed image below:

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Fig. 8. Details of Wooden Floors (Source: Private Document) Constructive requirements in applying floor materials in the office also follow the rules and according to the specified requirements starting from the following stages: 1. Cleaning the work floor / screeding to ensure that the parquet floor is not damp and porous in the future, 2. Installation of solid wood beam bearings to connect the work floor 3. Installation of 15 mm plywood covered with wooden frames in several parts 4. Installing an underlayer between the ground floor and the wooden parquet floor keeps moisture from the bottom rising to the wooden parquet's top. Installation of teak parquet with a certain pattern 5. Each side of the wall is clamped with a hairline finish, glued together with the same material as the parquet floor/stair nosing.

4. Conclusion Based on the results of the analysis of observational data and literature data, we can conclude as follows: 1. The right interior planning in an office can create a good working atmosphere. An elegant and characteristic office interior design makes employees feel at home and makes a good impression on visiting guests or clients. One thing that should receive attention in the office interior arrangement is the floor as an element that forms space. The bed can create a workspace that reflects the owner’s identity and the company but has ideal properties according to their needs. 2. Types of flooring material selection at PT Pupuk Indonesia are homogeneous teak, marble, granite, and ceramic/tile parquet, finishing according to strength, durability, and ease of maintenance. The application of teak parquet on the side is also under its designation as a workspace area. Besides, the use of wooden parquet floors is for aesthetic reasons or the room’s beauty, and the workspace will look more natural with natural wood patterns. 3. The floor is the lowest part of the room. It functions to shape the character and support the activities in the room. As a character builder, floors also have different psychological effects, depending on the material’s use. The wooden floor will shape and create a warmer atmosphere. The room is cool as a result of the wood’s heat-saving nature. Thus, wooden parquet floors are more comfortable and softer than tiled floors and floors made of marble or granite. References Ching Francis, D.K. 2010. Arsitektur: Bentuk, Ruang Dan Tatanan. Jakarta: Erlangga. Dickie, George. 1989. Aesthetics : A Critical Anthology. New York: St. Martin’s Press. Dumanauw, J.F. 1990. Mengenal Kayu. Second Pri. Yogyakarta: Kanisius.

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Fischer-Uhlig, Horst & Jeni, Kurt. 1996. Das Buch Vom Innen Ausbau. Anbieter: Antiquariat Gertrud Thelen, (Baden-Deutschland). Hadi, Sutrisno. 2001. Metodologi Research. Jilid III. Yogyakarta: Andi Offset. John McGowan, John & Dubern, Roger. 1991. Home Decorating. Dorling: Kindersley Publisher Ltd. Kellerman, Dana F. 1977. Lexicon Webster Dictionary. The English-Language Institute of America, Inc. Maryati. 2008. Manajemen Perkantoran Efektif. Yogyakarta: UPP STIM, YKPN Yogyakarta. Reznikoff, S.C. 1989. Specification for Commercial Interiors. New York: Whitney Library of Design. Richards, Lucinda. 1997. House Beautiful: Pemilihan Dan Penggunaan Lantai. Jakarta: Gramedia. Sri Ambarwati, Dwi Retno. 2007. “Tinjauan Ergonomis Penerapan Bahan Dan Warna Lantai Koridor RSUP DR. Sardjito Yogyaakarta.” Jurnal Penelitian Saintek 12 (1): 19–34. https://doi.org/https://doi.org/10.21831/jps.v12i1.5456. Sunarto, Bambang. 2015. “Basic Knowledge and Reasoning Process in the Art Creation.” Open Journal of Philosophy 5 (5): 285–96. https://doi.org/10.4236/ojpp.2015.55036. ———. 2020. “Model and Concept in the Music Paradigm of Creativity.” Music Scholarship / Problemy Muzykal’noj Nauki, no. 3 (September): 103–13. https://doi.org/10.33779/2587-6341.2020.3.103-113. Suptandar, J. Pamudji. 1991. Desain Interior: Pengantar Merencana Interior Untuk Mahasiswa Desain Dan Arsitektur. Jakarta: Djambatan.

Biography Tunjung Atmadi SP was born on July 15 in Surakarta. Educational experience gained in design and art schools in Yogyakarta and Jakarta. He is currently working at Mercu Buana University as an interior design lecturer. As a design practitioner and joining the interior industry before teaching, the interior profession experience is very influential in pursuing interior design education. The development of interior materials and design trends for him is an interesting subject for studying design developments. For him, there is no gap between the professional world and the world of education.

Ika Yuni Purnama was born in Yogyakarta, June 26, 1966. She is an Interior Designer and Lecturer at the Jakarta Art Institute and an Assessor in Interior Design and Exhibition and Design Consultant. Winner of the top 10 of the poem with the theme of planting longing for Global Youth 2020 entitled Pucuk Merah. She is an alumnus of the Indonesian Art Institute in Yogyakarta, Gajah Mada University, and Semarang State University. Management of the Indonesian Interior Designers Association and core founder of the Green Building Council Indonesia and a member of The Indonesian Exhibition Companies Association - IECA/ASPERAPI. She joined the Indonesian Women’s Painter Association and Sanggar Bambu, writing Biographies of Kirjomulyo’s and be active at kompasiana.com. She also received an award for the Pratisara Affandi Adikarya, 1984 (painting), 1997 jewelry design, 1985 architectural sketches. She wrote poetry books entitled Tuhanku Tuhamu Satu (1983) and a book design entitled Arstistik Finish (2016). WA: 0818755017; Facebook: ika yuni purnama, and IG: ikayunipurnama

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Visual Adaptation: From Comics to Superhero Creation of Wayang

Taufiq Akbar a,1,*, Dendi Pratama a,2, Sarwanto b,3, Sunardi b,4 a Universitas Indraprasta PGRI, Universitas Indraprasta PGRI b Indonesia Institute of the Arts Surakarta, Jl. Ki Hajar Dewantara No.19, Kentingan, Jebres, Surakarta – Jawa Tengah 1 [email protected]*; 2 [email protected]; 3 [email protected]; 4 [email protected] * Corresponding Author

Received 9 Jul 2020; accepted 4 Sept 2020; published 1 Apr 2021 ABSTRACT KEYWORDS

This article reveals the concept of unifying wayang as a traditional culture with Wayang comics and films as a product of the modern culture that has given birth to new Creative Wayang wayang creations with sources adapted from “Avenger” superhero characters. Avenger Wayang Avenger is made based on the aesthetics of wayang kulit adaptively but Visual Adaptation maintains craftsmanship in wayang kulit. What is evident from the wayang kulit is Comics the traditional inlay and attributes of the purwa leather puppets. Inlay and various attributes in wayang kulit purwa are an adaptation effort to achieve a new aesthetic that is hope. This article seeks to find and provide an interpretive descriptive This is an open- explanation of the visual adaptations used by wayang avenger's work, with Erwin access article under Panofsky's iconographic approach supported by the theory of art structures and the CC–BY-SA vehicle transfer. The presentation of the Avenger Creation Puppet is a form of a license combination of traditional and modern culture. This development reflects the interplay between traditional heritage and contemporary cultural phenomena, ultimately resulting in aesthetic adaptations in wayang.

1. Introduction The development of community culture is currently heading towards a modern society that has impacted traditional culture changes. Some people's views of life and attitudes have begun to shift, tend to be easy, fast, and instantaneous. The community seems to lack any confidence in the sublime meaning hidden behind the traditional symbols. Many cultural products from Javanese traditional arts have lost their symbolic power related to noble teachings. The loss of this symbolic power is because there is an assumption that traditional art products are complicated and mystical, so there is an assumption that wayang performances are outdated and not following modern styles or trends. Byard and Jones explain that most Javanese consider wayang kulit as the most important cultural form. Wayang is said to encompass all art forms, represent Javanese culture's soul, and teach philosophical and ethical values (Byard‐Jones 2001, 43). The form is enjoyed as a means of entertainment and, more importantly, represents values, norms, and beliefs (Ghani and Ishak 2011, 2). Wayang is a great masterpiece, where the puppet becomes a symbol of a bridge that connects different cultures. The definition of culture is how a group of people develops, reproduces, and redefines a frame of reference consisting of sharing knowledge, values, beliefs, social roles, and social institutions (Storey 1993, 33). In a scholarly article, the wayang's core tradition is the wayang purwa (original wayang), using stories from the ancient Indian epics, Ramayana, and the Mahabharata tale is by far the most popular. Another wayang "branch" traditions vary these elements, such as wayang madya, telling stories from medieval romances such as the Panji and Damarwulan cycles, accompanied by the gamelan pelog (Byard‐Jones 2001). The pouring of conceptual elements in the wayang stories and characters harmonizes the cultural mix that is open to each other so that the puppets can develop along with the times. Even though they are very old, traditional, and classic, wayang kulit can survive the passage of time, adapting to the times’ ideas and needs (Bangsa 2002). Wayang kulit purwa performances today have developed both in form and function. This development results from the influence of customary heritage and its interaction with the outside

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world's phenomena, which ultimately results in adaptation to the environment and social structures (Soetarno dan Sarwanto 2010, 10). As a cultural product, we cannot separate wayang from society and its environment (Pratama 2015, 380). Therefore various types of wayang creations have emerged, each of which has creative ways, ideas/ideas, and objectives to preserve the art of wayang in this millennial era, such as the Avenger Creation Wayang. Research on the Avenger Creation Puppet (Wayang Kreasi Avenger) is very important because it can reveal one of the adaptation concepts among the many ideas, which until now has no clear knowledge. The concept of adaptation is an essential problem in Avenger Creation Puppet (Wayang Kreasi Avenger) because the form and appearance, and attributes of the puppets adapt traditional Wayang (Purwa) even though the characters draw from the superhero fictional film “Avenger.” This research aims to see the visual adaptation used to move the superhero characters in comics into wayang forms. 2. Method This study seeks to find and provide an interpretive descriptive explanation of visual adaptation in creating wayang avenger. This study uses Erwin Panofsky’s iconographic approach to support art structure theory and alih wahana (vehicle transfer) theory. The function of the two theories is to sharpen the results of identification, analysis, and interpretation. Collecting data in this study is direct or indirect to the source. Direct data collection is to obtain primary data, while indirect data collection is to get secondary data. As needed, to obtain accurate research data, this research requires data collection methods by (1) literature study, (2) field studies, (3) interviews. A literature study is a data search activity by tracking through various forms of documentation, books, articles in scientific journals, articles in magazines, seminar papers, and reports of previous research results. Field studies are observational activities that include direct observation and indirect observation. Direct observation is the observation and recording of various important things related to the object. In this place, the creative Avenger Puppet Creation occurs so that the researcher who also acts as an observer is in the same place as the research object. In carrying out observations, researchers as observers try to take notes and take pictures directly of objects. Researchers see empirically the phenomena that are the target of the study. Indirect observation is implementing observations or notes that do not occur at the creative Avenger Wayang Kreasi creation event. The interview is to use an interview guideline instrument. Based on the guideline instrument, the researcher asked questions about several keys to competent informants. An interview is a question and answer activity between researchers and sources to complement data that does not appear in literature study and observation. To discuss the visual adaptation of wayang avenger, the researchers studied it with iconography through three stages. The first is pre-iconographic descriptions, namely reading what appears to the object. The researcher’s attention is to lines, colors, shapes, techniques, and materials representing natural objects. These natural objects are humans, animals, plants, and tools. The second is iconographic analysis, which interprets conventional secondary meanings based on images, stories or literature studies, and allegories/symbols to identify the work's themes and concepts. The third is the iconological interpretation. The stage is an essential phase because it is related to the intrinsic meaning or content of a work of art. This stage requires synthetic intuitive skills to understand symbols. Intuition synthesis concerns personal psychology's essential tendencies and the artist's weltanschauung (view of life).

3. Results and Discussion 3.1. The Wayang Creation of the Superhero “Avenger” Indonesian culture manifests a unified cultural family present as a woven culture that makes Indonesians feel present as Indonesians. Indonesian culture is a series of unity between local culture/traditions and culture that comes from outside. The most dominant feature and an image are because it departs from the same root, namely the Eastern style. Wayang is the result of Indonesian culture that has gone through several morphological stages. The community is still preserving it along with the times and the people who support it. The preservation of wayang kulit does not mean that its

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development has stopped but has become a pattern in creating new wayang creations that have also enriched the Indonesian puppets’ specialties. Wayang creations that have recently received attention from young people are Wayang Avenger. The puppet creator is Is Yuniarto. Wayang Avenger is based on and adapted from the superhero “Avenger” characters. Avenger was originally a comic character, which the creators later turned into an object of expression in the film. The Marvel Cinematic Universe (MCU) debuted with a movie called Iron Man in mid-2008. It became a series of financially successful blockbuster films. The film also has a narrative link, showcasing the origins and subsequent adventures of Marvel Studios superhero characters such as Thor, Iron Man, Captain America, and the superhero team The Avengers. According to Koh, as of December 2013, the MCU is one of the highest-grossing film franchises with more than the US $ 5.6 billion in tickets sold across its eight films (Koh 2014, 485). The MCU is a series of related superhero films in the format of television shows, video games (games), and, of course, the Marvel Studios comic book series. The MCU has attracted much critical attention because of its impact on the entertainment industry (Acu 2016, 196; Lavin 1998). The highest-grossing proves that the superhero-themed film genre that Marvel Studios carry has a very extraordinary fan base because there is a personal interest in the actors and actresses. However, for Marvel comics fans, this film can bring them to see the real reality in the movie, more than just two-dimensional images like in comics.

Fig. 1. Avenger Comic Cover & Avenger Endgame Movie Poster (http://comixology.com, https://www.bbc.com/indonesia/majalah-48008865, downloaded by Akbar,1 May 2020)

The creators introduced the Avenger Wayang Design to the public through social media and turned it into a puppet in 2018. They got the opportunity from Walt Disney Indonesia to create the physical characters of shadow puppets from the Avengers characters they had previously drawn. At that time, Wayang Avenger focused on the characters Iron Man, Doctor Strange, and Nebula. They then gave the three puppets to Benedict Cumberbatch (who played Doctor Strange), Karen Gillan (who played Nebula), and Infinity War Joe Russo as the Avengers director. According to Is Yuniarto, traditional Indonesian wayang, which originates from the epic Mahabharata and Ramayana, is similar to the Avengers film in terms of its function as a medium for telling stories of heroism (Putra 2018). 3.2. Visual Adaptation of Comics, Film, Wayang Creation Avenger The pre-iconographic description stage in the “avengers” wayang creation study explores the elaboration of textual and visual aspects by describing physical identities that appear factually in wayang works. At this stage, it requires an analysis of the art structure, which includes graphical elements and organizing visual elements in observation. This elaboration requires Edmund Burke Feldman's structural theory of art. According to Feldman, an art structure can be identified by focusing on lines, shapes, colors, textures, and light darkness which is part of the object/image form (Feldman 1991, 164).

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In terms of form, wayang avenger adapted it from the form of wayang kulit purwa. Determination of the proportion of the wayang avenger's height is approximately 40 cm, starting from the top of the head to the legs using leather material. There is no high difference between the wayang putra (male wayang) and wayang putren (female puppet) characters, as is the case in the purwa wayang. Wayang avenger still maintains the art of craftsmanship in wayang kulit, namely the arrangement and possesses the traditional wayang attributes. There are adjustments to the superhero outfit with wayang clothing attributes to affect the inlay and the sunggingan (resulting from coloring activity after carving or staining activities in wayang making). The recognizable inlay in the wayang purwa also appears in the avenger puppet. In both cases, several lines are visible from a distance. These lines fill each other in the puppet's form, starting from the head to the feet. The way to make these lines is by way of inlaying so that the parts with holes resulted from the inlay/carving are visible. Of course, the inlay on the wayang avenger is not as complicated as the inlay on the wayang purwa. Inlaid on wayang avenger only uses a few basic inlays of the attributes of the puppet purwa, such as sumping, praba, dodot, cloth folds/sembuliyan, and belts. The inlay on the wayang avenger, especially on these attributes, is like that of the Wayang purwa characters. An inlay modification comes from a combination inlay to adjust the fields that look empty, such as in the clothing section. The inlay combination is perfect when combined with a good sunggingan. Sunarto, sunggingan is a traditional coloring with a color gradation technique or color grade, but each color's boundaries are visible (Sunarto 1997, 162). Sunggingan in wayang avenger, there is no level of color (gradation) as is usually the case in wayang purwa. The sunggingan in this wayang avenger adapts the colors that become the personal identity of the superhero. The color of the clothes seems to have an identity. Ironman superhero characters are identical with the colors gold, red, and silver. Doctor Strange’s signature superhero character is dark blue and red. The dominant Nebula character is in light blue and purple. The overall application of the superhero costumes' colors is an attempt to shape the wayang avenger creations. The next stage is iconographic analysis. This analysis stage interprets conventional secondary meanings based on images, stories or literature studies, and allegories/symbols to identify themes and concepts of the work (Panofsky 1955, 35). The making of Wayang Avenger is by adopting Avenger superhero characters from Marvel Comic. In recent years it has become very popular. They have captured the world community's attention because they are present in the big-screen film format by the Marvel Cinematic Universe (MCU). Since Thor's appearance in 2011, young people have been waiting for the MCU films. In 2012, the movie The Avenger first appeared by introducing a story about a team that saves the world from disaster. The Avenger's story became more interesting when the second part of the film appeared, namely The Avenger: Age of Ultron (2015), The Avenger: Infinity War (2018). The story is getting more complex in the last series, namely The Avenger: End Game (2019). This superhero film is nothing more than a manifestation of a character-based commodity concept. Films starring big actors and those produced with big budgets have been massively promoted. Films can occupy a special space above the intertextual and paratextual hierarchy among individual superheroes (Koh 2014). Wayang reflects tradition, expresses emotions and ambitions creatively through shadow communication reflected on a white screen called kelir (Ghani and Ishak 2012, 164). However, the demands of the times force the adaptation process to run without leaving tradition. The goal is that the puppet art does not disappear due to a lack of interest from the younger generation. As a cultural product, wayang must integrate its existence with society and its environment (Pratama 2015). Therefore, various types of creative wayang emerged, each of which has ways, creative ideas, and goals to preserve the art of wayang in this millennial era. Creative puppets are puppets that do not follow the standard of wayang kulit purwa in the form of stories and arrangements, either partially or completely (Pratama 2015). Long before creating this superhero avenger puppet, in 2001, Ki Enthus Susmono had also made wayang creations based on creating his characters from DC Comic superheroes, namely Batman and Superman. Ki Enthus has completed all the interstellar puppets, which he calls Planet Puppet. The puppets of Superman, Batman, Batwoman, and various Japanese manga characters allow him to compare these international icons with puppet "superheroes" such as Gathotkaca (Cohen 2007, 361). However, the wayang avenger is quite interesting because the forms

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tend to adopt the wayang purwa, adopting an inlaid system in the art of wayang craftsmanship. Meanwhile, the superhero puppets by Ki Enthus are more artistic creations that tend to have minimal inlay.

Fig. 2. Wayang Batman by Ki Enthus Susmono (Left) and Wayang Batman by Is Yuniarto (Right) (Wayang Batman by Ki Enthus Susmono - Collection of Nationaal Museum van Wereldculturen, inventory nr. TM-6330-24 (Boonstra 2019), Wayang Batman by Is Yuniarto, downloaded from Instagram @ is.yuniarto,1 May 2020)

The use of the word “creation” refers to the meaning of creativity (it can also be imaginary). That is, creation is the result of the human mind or intellect. To be creative means to produce something as a result of the thought of creating. As Clark Moustakis stated, creation is also closely related to creativity. Creativity is the experience of expressing and actualizing an individual’s identity in an integrated form concerning oneself, with nature, and with others (Munandar 2002, 18). At this point, Is Yuniarto combines two cultural products into a visual composition that young people (teenagers) will easily accept. This combined cultural product carries the theme of heroism (superhero) as a reference for shaping the wayang's character and appearance without leaving the traditional Wayang (purwa) form.

Fig. 3. Adapted Form from Comic to Become Wayang Avenger "Ironman" (Modification: Akbar, 2019)

Making wayang avenger is by adapting from comics which later turned into film media. So, there was a process of changing from comics to wayang. Damono said alih wahana (transfer of vehicles) represents a form of adaptation that changes one type of art to another (Damono 2018, 12). Alih wahana (transfer of vehicles), in particular, is always a relationship or link between media. In the development of artistic activities, it is very common for one type of art to take another art as its source (Damono 2018). In the concept of “transfer of the vehicle,” there is a phenomenon of transformation, namely the depiction of forms that emphasize the attainment of character by moving (trans = moving) a shape or figure from one object to another created thing (Sony Kartika 2017, 39). Transformation also means

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changing into something. There is an assumption that transformation transforms from a form into a new figure as the final stage of a change process.

Fig. 4. Adapted Form from Comic to Become Wayang Avenger “Doctor Strange” (Modification: Akbar, 2019)

The visualization of the character’s “wayang creations avenger” is like that in the film. According to Haryanto, the form of shadow puppets is generally a depiction of human shadows, which analytically we divided into three parts, namely: (1) the upper part, namely the neck and head, (2) the middle part, namely the body, (3) the limbs, namely feet and hands (Haryanto 1991, 31). Each of these parts always has an inlay and sunggingan pattern.

Fig. 5. Adaptation of Visual Elements on the Head (Modification: Akbar, 2019)

The puppet avenger’s visualization of Doctor Strange’s character, the top (neck head) is like a puppet alusan, has a sharp nose, gabahan eyes, and a flat face facing forward. The head does not use many accessories/attributes as in wayang purwa. However, the upper ear shows the attribute sumping (a type of jewelry worn on the ear) with an inlay like gold and a simple creation type inlay in place of Doctor Strange’s grey hair actual character.

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Fig. 6. Adaptation of Visual Elements on the Head (Modification: Akbar, 2019)

The depiction of the puppet avenger of Doctor Strange character in the middle (body) is wearing a complete distinctive outfit, namely Doctor Strange’s iconic artifacts such as (1) the Cloak of Levitation robe, (2) the Eye of Agamotto necklace, and (3) the leather belt known as the Sash of Doctor Strange. This Cloak of Levitation robe has the main strength that it can cause every wearer to fly. This robe's advantage is that the wearer does not need to know much about witchcraft or use magic to operate it. In the wayang avenger, there are clothing modifications to this clothing attribute. Depiction of a cloak of levitation robe is that of a praba, but on the shoulders, it is like using a sampur. In Wayang Kulit Purwa clothing, praba is an oversized outfit for a puppet king or patih figure. For some characters in the wayang kulit purwa, praba often means a special outfit that can make the wearer fly. Like the Cloak of Levitation, only a Sorcerer Supreme (a title for practicing magic and mysticism) can wear this robe. This robe also gives the user the ability to fly. Then, there is the Eye of Agamotto magic necklace, which has the power to manipulate time. The magic necklace's visualization in the wayang avenger is similar to kalung kebomangah in the purwa leather puppet. Furthermore, the depiction of the Sash of Doctor Strange belt is not like the shape of the belt in the wayang purwa, but rather like the Doctor Strange belt in comics or films. Doctor Strange’s puppet avenger’s visualization, the limbs (hands and feet), uses the attribute “shoulder shelves” calumpringan model on the arms. In the film, Doctor Strange wears a watch on his left hand, but the watch does not appear as a bracelet in the wayang avenger. On Doctor Strange’s right hand, there was an additional accessory, namely the magic power of the Eye of Agamotto, which was an ornate round like a mandala. At the foot, Doctor Strange appears to be wearing a model for the figures of rishis, priests, and gods. The fashion model seems from the body to the feet. The depiction of rishis figures, priests, and gods, in wayang purwa, often wears a robe with a single nine on the robe and shoes' edge. In the wayang avenger, Doctor Strange's depiction is also like a rishi or a priest's style.

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Fig. 7. Adaptation of Lower Visual Elements (Modification: Akbar, 2019)

3.3. Avenger’s Wayang Creations and Online Media The last stage in this research is the iconological interpretation stage. This stage is an essential stage, which departs from the corrected analysis at the iconographic analysis stage. This stage results from the intuition of the two stages' synthesis, revealing the meaning in Avenger’s creations. Synthetic impulse is obtained based on psychological conditions or the view of the life of the observer of the work (Panofsky 1955). Wayang Kreasi Avenger exists as a form of adaptation from traditional culture. In the past, wayang was a means or medium for spreading religion (da’wah). However, nowadays, wayang is a means of media that connects the millennial generation's insight gap and its own culture. When the current modernization went very strong, which was present through online media with all its sophistication, the media created a big change for enjoying wayang. The picture on the following page shows a change in the new way young people recognize wayang. The problem is that only some people can enjoy traditional wayang performances, that is, people who may have been accustomed to wayang performances from generation to generation. Then, what about the current millennial generation, who are more used to newly formed cultures. The image below is a simulation of how young people enjoy the wayang. With the advancement of social media development on various platforms, human interaction can occur outside its normal limits. Initially, the presentation of a puppet show complete with gamelan accompaniment and all the supporting instruments usually took place in front of the screen. Now, enjoying wayang presentations does not have to be accompanied by gamelan and all complete supporting instruments but can also be enjoyed through social media. Social media becomes a “stage” to replace color. We can see the audience's

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enthusiasm in the number of “likes” and “comments” statements printed on each social media platform.

Fig. 8. One of the Transformations to Enjoy Wayang Today (Modification: Akbar, 2019)

Wayang Avenger is a puppet that adapts a Western superhero (marvel) by applying traditional wayang's visual style. Creation and innovation do not immediately leave traditional art’s essence but reinforce a new form (novelty) (Suharson 2019, 21). Ki Djliteng Suparman supported this statement stating that creative wayang is one solution to solve the problems of wayang life today, without leaving its content (interview, 6 Nov 2019). According to Bambang Suwarno, we can no longer interfere with the argument because the wayang purwa has reached its peak of perfection. Therefore, new puppet creations must match the existing wayang, namely the wayang purwa (interview, 6 Nov 2019). So, puppets that develop up to the generation of new wayang creations need to consider still the “red thread” of the wayang’s existence not to leave its “roots,” namely wayang purwa. Wayang kulit purwa contains various teachings and ethical values sourced from several types of literature and cultural wisdom. Wayang also prioritizes value as true truth, which occupies a high- value position. The concept of truth as the true value is evident that all good knights in wayang always try to become “human defenders of truth.” Their actions in the wayang drama symbolize their efforts to eliminate evil and even untruth. The values contained in the wayang are essential in human life. The hope is that by experiencing the puppet show, the audience can absorb the values in it and can make it happen in the life of society, nation, and state. Value is the essence, and the soul is the object’s substance, where various accidents (properties/aspects) happen to be attached (Sidi Gazalba 1991, 50). Briefly, the Mahabharata tells the story of the conflict between the five Pandavas and their cousins, the Korawa, which numbered one hundred people. The conflict is about a dispute over the land and government rights of the Astina State. The climax was the Bharatayudha war on the Kurusetra field. The battle lasted eighteen days. In Avenger’s wayang creations, the puppet characters’ visualization is like the characters in the film. The Indonesian traditional wayang stories originating from Mahabharata and Ramayana's epics, as a medium for telling stories about heroism and war, have a story pattern similar to that of the Avengers film.

4. Conclusion The creation of the wayang avenger exists as the existence of its current creator. The introduction of the wayang avenger for the first time was still in the form of design through the Instagram social media account, and the realization became the form of wayang in 2018. Wayang avenger is a form adaptation to suit wayang values in a new aesthetic idea. This puppet is a medium for presenting the

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concept of values in protecting others, fighting crime and all its effects, and teaching teamwork as the main point. Therefore, the wayang avenger themes are relatively similar to those in wayang kulit purwa, namely character education for personality enhancement. One of the main themes in wayang kulit purwa is heroism, which is parallel to superhero heroism as a basic moral expression in wayang avenger. On the visual side, the concept of vehicle transfer is the main reference to transform the adjustment of visual elements. Tatahan and sunggingan play an important role in shaping the appearance and attributes of the puppets. Combining two cultural products into one visual composition contains hope to make it easier for the younger generation to live up to cultural values and wayang beauty. The wayang avenger’s contemporary format is a bridge for the younger generation to get closer to the traditional wayang kulit purwa.

Reference Acu, Adrian. 2016. “Time to Work for a Living: The Marvel Cinematic Universe and the Organized Superhero.” Journal of Popular Film and Television 44 (4): 195–205. https://doi.org/10.1080/01956051.2016.1174666. Bangsa, Buku Antar. 2002. Indonesian Heritage. Jakarta: Published by Buku Antar Bangsa for Grolier International. Boonstra, Sadiah. 2019. “Putting on a Show; Collecting, Exhibiting and Performing Wayang at the Tropenmuseum from Colonial Times until the Present.” Wacana 20 (1): 118. https://doi.org/10.17510/wacana.v20i1.730. Byard‐Jones, Tim. 2001. “Developments in Performance Practice, the Creation of New Genres and Social Transformations in Yogyakarta Wayang Kulit.” Contemporary Theatre Review 11 (1): 43–54. https://doi.org/10.1080/10486800108568609. Cohen, Matthew Isaac. 2007. “Contemporary Wayang in Global Contexts.” Asian Theatre Journal 24 (2): 338–69. https://doi.org/10.1353/atj.2007.0032. Damono, Sapardi Djoko. 2018. Alih Wahana. Jakarta: PT Gramedia Pustaka Utama. Feldman, Edmund Burke. 1991. Art as Image and Idea Atau Seni Sebagai Wujud Dan Gagasan. Edited by Sp. Gustami. Terjemahan. Yogyakarta: Fakultas Seni Rupa dan Desain Institut Seni Yogyakarta. Ghani, Dahlan Abdul, and Mohd Sidin Bin Ahmad Ishak. 2011. “Preserving Wayang Kulit for Future Generations.” IEEE Multimedia 18 (4): 70–73. https://doi.org/10.1109/MMUL.2011.70. ———. 2012. “Relationship Between The Art of Wayang Kulit and Disney’s Twelve Principles of Animation.” Revista de Cercetare Si Interventie Sociala 37: 162–79. http://www.rcis.ro/en/section1/48- volumul-372012iunie/427-relationship-between-the-art-of-wayang-kulit-and-disneys-twelve- principles-of-animation.html. Haryanto, S. 1991. Seni Kriya Wayang Kulit, Sen Rupa Tatahan Dan Sunggingan. Jakarta: PT Temprint. Koh, Wilson. 2014. “‘I Am Iron Man’: The Marvel Cinematic Universe and Celeactor Labour.” Celebrity Studies 5 (4): 484–500. https://doi.org/10.1080/19392397.2014.933675. Lavin, Michael R. 1998. “A Librarian’s Guide to Marvel Comics.” Serials Review 24 (2): 47–63. https://doi.org/10.1080/00987913.1998.10764445. Munandar, Utami. 2002. Kreatifitas Dan Keberbakatan : Strategi Mewujudkan Potensi Kreatif Dan Bakat. Cetakan ke. Jakarta. Panofsky, Erwin. 1955. Meaning in Visual Art. New York: Doubleday and Company Inc. Pratama, Dendi. 2015. “Wayang Kreasi: Akulturasi Seni Rupa Dalam Penciptaan Wayang Kreasi Berbasis Realitas Kehidupan Masyarakat.” Deiksis 3 (04): 379–96. Putra, Muhammad Andika. 2018. “Sentuhan Is Yuniarto: Komik Garudayana Hingga Wayang Avengers.” Cnnindonesia.Com. 2018. Sidi Gazalba. 1991. Sistematika Filsafat, Pengantar Kepada Teori Pengetahuan. Kedua. Jakarta: PT Bulan

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Bintang. Soetarno dan Sarwanto. 2010. Wayang Kulit Dan Perkembangannya. Surakarta: ISI Press Solo dan CV. Cendrawasih. Storey, J. Douglas. 1993. “Mythology, Narrative, and Discourse in Javanese Wayang towards Cross‐level Theories for the New Development Paradigm.” Asian Journal of Communication 3 (2): 30–53. https://doi.org/10.1080/01292989309359581. Suharson, Arif. 2019. “Estetika Dan Etika Wuwungan Rumah Tradisional Jawa Dalam Era Global.” CORAK. https://doi.org/10.24821/corak.v8i2.2794. Sunarto. 1997. Seni Gatra Wayang Kulit Purwa. Semarang: Dahara Prize.

Biography Taufiq Akbar is a Lecturer at the Visual Communication Design Study Program, Faculty of Languages and Arts at University of Indraprasta PGRI Jakarta. He completed his undergraduate education at the Visual Communication Design Study Program, University of Indraprasta PGRI, and master’s education in Product Design at Trisakti University Jakarta. His bachelor thesis, entitled “The Design of Plastic Puppets as an Effort to Introduce Wayang Art to the Young Generation,” became the starting point for him to dare to make wayang creations of the first times. The second puppet creations he created is Wayang GID (Glow In The Dark), the result of his thesis while studying for his master’s degree at Trisakti University Jakarta. He is currently looking at the Postgraduate Program at ISI Surakarta.

Dendi Pratama is a Lecturer and Deputy Dean of the Faculty of Language and Arts at the University of Indraprasta PGRI Jakarta. His main research is traditional arts and wayang kulit. He has completed his doctoral studies at the Indonesian Institute of the Arts in Surakarta with a dissertation entitled “Wanda Figure Gatotkaca in Surakarta Style Purwa Leather Wayang.”

Sarwanto is a professor of puppetry at the Indonesian Institute of the Arts, Surakarta. Undergraduate education at the Indonesian Karawitan Academy (ASKI) Surakarta in 1983, Masters Education in the Study Program of Performing Arts and Fine Arts, Postgraduate Education at UGM Yogyakarta in 1999, and Doctoral Education in the Performing Arts and Fine Arts Study Program, Postgraduate at UGM Yogyakarta as well, and earned a Doctorate in 2007. He is a puppeteer and researcher in the field of wayang. As an intellectual, his productivity is very high. The works produced include scientific works and works of art. The art-works that have been made involve manuscripts in wayang, gamelan compositions in traditional forms primarily for the Wayang world's needs. In the last two years, he has produced more than 25 Copyright certificates.

Sunardi was Bachelor's degree in Puppetry Arts at STSI Surakarta in 1995. He received his Masters in the Art Studies Program at STSI Surakarta in 2004. He is a 1661 Doctorate graduate from Gadjah Mada University Yogyakarta, which he obtained in 2012. Currently, he serves as Vice-Rector II and is active in writing scientific works in Wayang Performing Arts. He has produced several papers in research reports, books, journals, and documents on puppet values, wayang plays, puppeteers, wayang janturan, pakeliran sandosa, and art learning models, Wayang and Javanese society, wayang jokes, puppet semiotics, Islam and Wayang, puppet symbolism, and many other studies.

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Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 16., No. 1, April 2021, pp. 22-36 ISSN 1412-4181, eISSN 2685287X https://jurnal.isi-ska.ac.id/index.php/dewaruci/

Presentation Style of Bedhaya Bedhah Madiun Dance in Pura Mangkunegaran

Sriyadi 1,*, R.M. Pramutomo 2 a Master’s Art Study, Postgraduate ISI Surakarta, Surakarta and 57126, Indonesia 1 [email protected]*; 2 [email protected] * Corresponding Author

Received September 14, 2020; accepted December 22, 2020; published April 2021 ABSTRACT KEYWORDS

Bedhaya Bedhah Madiun dance in Mangkunegaran is a dance repertoire Presentation Style Yogyakarta style that successfully has absorbed from Krida Beksa Wirama during Change the reign of Mangkunegara VII. Though, based on observation, the presentation History of Dance style in Mangkunegaran has a significant difference from the Yogyakarta style. Bedhaya Bedhah This article aimed to study about presentation style of Bedhaya Bedhah Madiun Madiun dance in Mangkunegaran to determine the forming of its presentation techniques. This study uses an ethnochoreology approach with archival research methods. The results showed that the style could be change as responses to challenges or problems from the socio-cultural conditions. The forming of the Bedhaya Bedhah This is an open- Madiun dance style in Mangkunegaran does not occur in an event but is a process. access article under The presentation style formed because of a problem with the inheritance system so the CC–BY-SA that it undergoes significant changes. The problem arises from social, political, license cultural, and economic conditions. The response against those problems has to form the Bedhaya Bedhah Madiun dance characteristics in Mangkunegaran though not all were positive.

1. Introduction Bedhaya Bedhah Madiun is a dance repertoire Yogyakarta style that has developed in Mangkunegaran. This dance has name, gending, and movements almost same as bedhaya dance Kraton Kasultanan Yogyakarta style. Based on the name of the main gending that had used, Bedhaya Bedhah Madiun dance called the Bedhaya Gandakusuma dance. Bedhaya Bedhah Madiun dance in Mangkunegaran is a result of absorption from Krida Beksa Wirama (KBW) Yogyakarta. The absorption has carried out through learning system at KBW. G.R.Aj. Siti Nurul Kamaril Ngasarati Kusumawardani accompanied by several relatives and Mangkunegaran’s niyaga had been practicing every Sunday at KBW (Sriyadi and Pramutomo 2020). Bedhaya Bedhah Madiun dance first performance in Mangkunegaran had been performing on June 16, 1939 in commemoration of Tri Windu Jumeneng Mangkunegara VII (“Bedaja-Dans van zeven jonkvrouwen, uitgevoerd bij gelegenheid van het Triwindhoe-Bestuursjubeleum van Z.H. Pangeran Adipati Aria Mangkoenagara VII” 1939; Suharti 1990, 80). Based on historical reviews, the Bedhaya Bedhah Madiun dance, apart from being a repertoire of the Mangkunegaran dance, also exists in the Yogyakarta dance style. Though based on observations, the presentation style of the Bedhaya Bedhah Madiun dance in Mangkunegaran and Kraton Kasultanan Yogyakarta have significant differences. The Bedhaya Bedhah Madiun Dance presentation in Mangkunegaran is by seven dancers, while the expression in Yogyakarta is by nine dancers. The difference in the number of dancers affects the formation and floor patterns. The difference is not only in the number of dancers but also in movements, dance music, make-up, and costumes. The information above develops a problem regarding the presentation style of the Bedhaya Bedhah Madiun dance in Mangkunegaran. The Bedhaya Bedhah Madiun dance presentation in Mangkunegaran based on Yogyakarta dance style has a significant difference. This article aimed to study about presentation style of Bedhaya Bedhah Madiun dance in Mangkunegaran. This study is crucial to understand the forming of presentation techniques. This article intends to carry out the

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innovation process from the artists in Mangkunegaran. The innovation process is an adaptation of the Bedhaya Bedhah Madiun dance Yogyakarta style in Mangkunegaran because it exists in different socio-cultural conditions. The presentation style was a result of the creative process of the artists. According to Holt (2000, 85), the tone was born from the artist’s creative response to his cultural atmosphere. That caused the presentation style to have differences from time to time and from one region to another. Prabowo (2003, 3) argues that dance's presentation style has influenced the artists' views and ideas related to the era's socio-cultural conditions. Changes and adaptations in presentation styles occur to overcome socio-cultural constraints. The forming analysis of the Bedhaya Bedhah Madiun dance presentation style will be using the challenge and response theory by Arnold Toynbee. According to Toynbee (1988, 97), society's challenges will change as a result. The community response to the existing challenges is an adaptation. According to Kaplan and Manners (2000, 112–14), transformation is a process of connecting a cultural system with the environment that aims to maintain cultural continuity. Maintaining the continuity of culture has been influenced by various challenges. The artist’s response to the challenges is an adaptation process that caused a change. The factors that assume have affected the Bedhaya Bedhah Madiun dance's continuity are social, political, cultural, and economic conditions. According to R.M. Soedarsono (2003, 69), social, political, and economic factors often influence the development of art in the world. Theoretically, political, social, cultural, and economic factors influence the formation of the Bedhaya Bedhah Madiun dance presentation style in Mangkunegaran.

2. Method This study has used the ethnocoreology approach. Kurath uses an ethnocoreology system by emphasizing non-Western ethnic dance culture based on the cultural texts that gave birth to dance culture (Suharti 2015, 30). It means that dance cannot be separated from a context because dance is a local community's cultural text. The ethnocoreology approach formed from a premise borrows from various disciplines. This approach relies on qualitative data dominated by the study of literature or dance ethnography (Pramutomo, Joko, and Mulyana 2016, 17–18). In this research, literature study dominates with the archival research method. This method has used because this article is a historical research form that aims to describe the forming of the Bedhaya Bedhah Madiun dance presentation style in Mangkunegaran. Archival research is a method involving the study of historical documents. The document contents are information about an organization, an individual, and the activities carried out at a certain time. Historical archives are becoming data sources to extract data from past events (Ventresca and Mohr 2002, 1–14). Pura Mangkunegaran’s archives or documents (art records, letters, certificates, work reports, etc.), personal notes, biographies, newspapers, magazines, journal articles, and academic literature (books and research reports) had used in this study. Except those, images count as data sources too in the archival research method. Endter (2000, 20–21) argues that ideas become the documentation of an experience that can use as concrete evidence that the event is valid. According to him, images can explain people’s past lives. It means that the pictures can become a collective memory of an event that occurred in the past. In addition to conducting archival studies, the authors also conducted direct observations and interviews. Direct observation is to obtain the latest data from Bedhaya Bedhah Madiun's choreography as a continuity from the past. The use of this data is to present the current choreography of Bedhaya Bedhah Madiun. The interview explores dance artists’ records in Mangkunegaran and completes and verifies data obtained from archival sources.

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3. Results and Discussion 3.1. Absorption of Bedhaya Bedhah Madiun Dance in Mangkunegaran During the Reign of Mangkunegara VII One of Mangkunegara VII’s efforts in advancing Mangkunegaran is by developing the arts. In the development of art, Mangkunegara VII had broad views and ideas with a modern and open- minded which led to the absorption of art from outside and then innovated it. Bedhaya Bedhah Madiun dance is a result of absorption from KBW Yogyakarta. Mangkunegara VII then made several innovations in Bedhaya Bedhah Madiun dance, so it has several differences. There are two assumptions why he is innovating the Bedhaya Bedhah Madiun dance. The first assumption relates to cultural differences (dance) that trigger problems in the absorption process, while the second assumption relates to political competition through social development. Pura Mangkunegaran has a tradition with a stylistic orientation to the Surakarta style. However, specifically for the Bedhaya Bedhah Madiun dance in Mangkunegaran, the direction refers to the Yogyakarta style. This orientation creates a problem because the two types have different techniques and forms of movement. According to Simatupang (2013, 60), the habit of body condition with certain actions and states of motion will affect body movements’ intensity. Therefore, the aesthetic stability of dancers in Mangkunegara, which is familiar in the Surakarta style dance movement, makes it difficult to accept the techniques and forms of action of the Yogyakarta style. Problems arising from cultural differences (dance) between Mangkunegaran and Yogyakarta forced innovation as an adaptation. Innovations occur in techniques and movement forms that difficult to do. The creation has done under Mangkunegara VII and Gusti Timur's guidance, making it seemed luwes and comfortable in dancing it (Suharti 1990, 95). Apart from the techniques and movement forms, problems arise from the music dance have used. Gending was using is a dance musical Yogyakarta style but has a sense of working in Surakarta style. Music dance surely affects the application of techniques and movement forms, considering that its rhythm has a close relationship with the music’s rhythm. The second assumption has several opinions about culture’s development as a form of political conflict or political competition in Kraton Mataram Islam's four fractions. As quoted by Soedarsono (1997, 92) and Suharti (2015, 4–5), Anthony Day argues that political competition between the fragments of Kraton Mataram Islam led to cultural conflicts. According to Pramutomo (2010, 186), keagung-binataraan that shackled forced causes Javanese king to be creative to reflect his status as the highest individual. Bedhaya Bedhah Madiun is one of the dance repertoires in Mangkunegaran, was performing in ceremonies and state protocols. At formal ceremonies, Javanese aristocrats show their greatness and majesty by the ancient traditional methods to maintain degree and prosperity (Sumardjan 1990, 32). Be able to perform adiluhung arts, such as the bedhaya dance, to prove greatness and majesty (Poerwanto 1989; Supanggah 2000). Dance performances for ceremonial receptions and royal banquets are inherent in the prestige of social strata in Javanese’s sight (Pramutomo 2010, 114–15). This prestigious value has assumed stimulating Mangkunegara VII in innovating Bedhaya Bedhah Madiun dance that absorbed from KBW Yogyakarta. According to Lindsay (1991, 228–29), Javanese rulers appear to leave their mark on the arts that had managed, created, and developed under their protection. Those actions have been doing to show their creativity and aesthetic authority. The risk from Mangkunegara VII’s absorbing and innovating Bedhaya Bedhah Madiun dance has to admit that it is culturally subordinate to the Kraton Major. It is because as an adipati, it is not allowed to have bedhaya dance with nine dancers. It means that Mangkunegara VII should change the number of dancers from nine to seven. The dancers’ number affects the choreography because there is an omission of a section on the endhel wedalan ngajeng and endhel wedalan wingking in the bedhaya sanga dance. The positive value of Mangkunegara VII’s actions is he can show his ability to created innovation of absorption from KBW Yogyakarta as a result, so it has a different presentation style. This difference in presentation style can show the characteristics of the Bedhaya Bedhah Madiun dance in Mangkunegaran.

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Fig. 1. Lajur formation in Bedhaya Bedhah Madiun dance in Mangkunegaran (Sketch: Sriyadi, 2020)

Fig. 2. Lajur formation in bedhaya dance Yogyakarta style (Sketch: Sriyadi, 2020)

Those two assumptions about the causes of innovation seem to support each other between weakness and the desire to demonstrate creativity due to cultural competence. Different cultural (dance) problems are a weakness that could use to prove adaptive abilities by innovating Bedhaya Bedhah Madiun dance, thus forming a new presentation style. Mangkunegara VII's success in innovating is proof that Bedhaya Bedhah Madiun dances Yogyakarta style in Mangkunegaran actively obtained through the learning system KBW. That means Bedhaya Bedhah Madiun dance Yogyakarta style is not a gift or loan that only have received passively, but it’s due to internal encouragement from Mangkunegaran’s policies. It can be proving his creativity to increase his authority as the higher of the hierarchy of social strata in Mangkunegaran. The innovation of the Bedhaya Bedhah Madiun dance Yogyakarta style in Mangkunegaran is not doing totally, but partially (Soeryosoeyarso and Darmawan 1992). This partial innovation is the factor in the absence of significant differences between Bedhaya Bedhah Madiun dance movements in Mangkunegaran with Yogyakarta style. Structurally, both structure movements and the serving structure have been maintaining. The structure of the Bedhaya Bedhah Madiun dance in Mangkunegaran seems like Bedhaya Bedhah Madiun’s structure dance in Yogyakarta style, based on the notes of B.R.Ay. Yudanegara (“Badaja Bedah Madhioen,” t.t.; Kusumo 2015). In the part of mundur beksan, only the movement of lampah pocong does not apply. So, the formation that formed during mundur beksan is tiga-tiga. It is different from the Bedhaya Bedhah Madiun dance in

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Yogyakarta style that uses a lajur formation (Hastuti 1983, 16). The lampah pocong movement has generally used in bedhaya dance Yogyakarta style in the part of mundur beksan as a form of milir movement to change the formation of a tiga-tiga into lajur. The innovation of the Bedhaya Bedhah Madiun dance Yogyakarta style in Mangkunegaran does not change the structure movements series had used. It had done by changing some of the implementation techniques of pose element and movement element, forming the sequence of movements. Based on the study of photography and videography, the movement patterns between Bedhaya Bedhah Madiun dance and srimpi dances in Mangkunegaran (absorbed from KBW) with the dance of bedhaya and srimpi in Yogyakarta style has no significant difference. Photography studies show the pose element have used almost the same. Researchers assume this is because Mangkunegaran’s dancers learn directly from primary sources with a goodly learning system. The different cultural (dance) problems between Mangkunegaran and Yogyakarta can be resolving (although not completely), so they do not significantly influence presentation style changes.

Fig. 3. The pose of tinting arms in bedhaya and srimpi dance Yogyakarta style (Photo: Ical Yulianto’s Collection, Repro Sriyadi 2019)

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Fig. 4. The pose of tinting arms in srimpi (also in bedhaya) dance Yogyakarta style absorbed by Mangkunegaran (Photo: Rekso Pustoko Mangkunegaran’s Collection, Repro Sriyadi 2017)

According to Hastuti (1983), the difference in presentation style between the Bedhaya Bedhah Madiun dance in Mangkunegaran with bedhaya dance Yogyakarta style appears in the processing of movement techniques or anatomical coordination. Hastuti gave examples of some differences between Bedhaya Bedhah Madiun dance Mangkunegaran style and bedhaya dance Yogyakarta style, have obtained from R.Ngt. Waluyo Suryosuwito. Here are some of these differences, - In Bedhaya Bedhah Madiun dance Mangkunegaran style encot movement has soft accents, while in the bedhaya dance Yogyakarta style has strong accents. - The process of forming arms movements at the time of nyiku (like in nggruda and ngenceng movements) is not too stiff, in contrast with bedhaya dance Yogyakarta style. - Legs position in basic pose has a smaller volume than bedhaya dance Yogyakarta style. - In Bedhaya Bedhah Madiun dance Mangkunegaran style, laya in gending is faster than Yogyakarta, so the movement rhythm is faster. Based on data obtained from interviews with Isbandiyah, Bedhaya Bedhah Madiun dance in Mangkunegaran technically has several differences with bedhaya dance Yogyakarta style. In tolehan, the head’s position to the right or left is not nyoklek, but jejeg. It is different from the bedhaya dance Yogyakarta style, this tolehan seems like tolehan in bedhaya dance Surakarta style. Placement of the arms in trap sumping seems like in the movements series of atrap sumping, ukel tawing, and nyamber trisig. It is not sleeping with the fingers facing forward, but the fingers standing facing up. This arms position is different from the bedhaya dance Yogyakarta style. The udhet application technique is not using nyathok but kebyok, such as using sampur in bedhaya dance Surakarta style. Seblak and nglawe movements are to the side, not to the back corner like bedhaya dance Yogyakarta style. Seblak and nglawe movements look like seblak sampur movement in bedhaya dance Surakarta style. In Bedhaya Bedhah Madiun dance Mangkunegaran style, the arms movements look more flexible, it is different from bedhaya dance Yogyakarta style, which has straight (stiff) arms movements. The make-up and costume of Bedhaya Bedhah Madiun dance in Mangkunegaran has different significantly from bedhaya dance Yogyakarta style. Bedhaya Bedhah Madiun’s make-up and costume in Mangkunegaran is in tune to Mangkunegara VII’s taste (Soeryosoeyarso and Darmawan 1992, 18). With his innovations in make-up and costume, Mangkunegara VII showed his creativity and aesthetic authority. Mangkunegara VII in costume innovation tried to combine Kraton

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Kasultanan Yogyakarta, Kasultanan Kanoman Cirebon, and Kraton Kasunanan Surakarta, in order to formed his characteristics. Make-up had used in the Bedhaya Bedhah Madiun dance in Mangkunegaran is corrective make- up that beautifies the face by not using godheg and sogokan. It is different from the corrective make- up on the bedhaya dance Yogyakarta style, which uses godheg and sogokan made of velvet decorated with a gim and ketep. The outfit used was a sleeveless vest (kotangan) with a jamangan hairdo. The jamang took the style from Kasultanan Kanoman Cirebon (Soeryosoeyarso and Darmawan 1992, 18). The costume’s design used samparan, so it significantly differs from the bedhaya dance Yogyakarta style. Samparan cloth design is commonly used in the bedhaya dance Surakarta style while bedhaya dance Yogyakarta style uses seredan cloth design. Bedhaya Bedhah Madiun dance uses a samparan cloth design with the same function as the bedhaya dance Surakarta style. The winding direction in the samparan cloth design same as the winding direction in seredan, it’s different with samparan in the bedhaya dance Surakarta style. Samparan in kapang-kapang movement and sila position functioned like seredan to fulfill ethical and aesthetic values, and the direction samparan winding equated with the direction of seredan winding.

Fig. 5. Performance of Bedhaya Bedhah Madiun dance during the reign of Mangkunegara VII (Photo: Rekso Pustoko Mangkunegaran’s Collection, Repro Sriyadi 2019)

The music on bedhaya dance Yogyakarta style in the maju beksan and mundur beksan parts uses Western instruments combined with gamelan. Bedhaya Bedhah Madiun dance Yogyakarta style in Mangkunegaran does not use Western instruments on maju beksan and mundur beksan parts. Gending has used in that part is ladrang irama I using bedhug instrument. Bedhaya Bedhah Madiun dance in Mangkunegaran at the start was using kondha, but at the end of Mangkunegara VII’s reign, kondha has no longer used. Kondha conveyed about the dance genre had presented, the choreographer, a brief history of the dance, the content of the story, and the actors or dancers. Format and grammar of the kondha writing of Bedhaya Bedhah Madiun dance in Mangkunegaran resemble the writing of the kondha in bedhaya dance Yogyakarta style. During the reign of Mangkunegara VII, there were qualifications for the presentation of dance, namely those presented by putra-sentana putri (relatives) and abdi dalem. The dance of bedhaya and srimpi dance Yogyakarta style successfully absorbed from KBW is dancing by relatives. Bedhaya Bedhah Madiun dance is one of the dance repertoires. It showed from the kondha have used in the Bedhaya Bedhah Madiun dance in Mangkunegaran (“Gerongan Bedhaya” 1995). Bedhaya Bedhah Madiun dance has a different position from other dances presented by abdi dalem, affecting the inheritance system.

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During the last period of Mangkunegara VII’s reign, Mangkunegaran experienced a knock due to the Japanese arrival. The Japanese appearance influenced the intensity of dance performances in Mangkunegaran. Dancing activities in Mangkunegaran become rare. Gusti Nurul was not allowed to dance, and her fellow dancers getting married and moved to follow their husbands, so there were no longer bedhaya and srimpi dances performed by relatives. Bedhaya Bedhah Madiun dance has a function to show the crown princess's existence in Mangkunegaran, and it is getting fade. Even though dancing was prohibited, Gusti Nurul has still assigned to teach Bedhaya Bedhah Madiun dance to the abdi dalem Langenpraja Mangkunegaran (Soeryosoeyarso and Darmawan 1992, 16–17; Soemarsono, Brotohatmodjo, and Widyohamijoyo 2011, 60). This socio-political situation caused a shift in dancers. Bedhaya Bedhah Madiun dance originally has presented by relatives began to be taught to abdi dalem. The socio-political situation has worsened by the emergence of the independence revolution and Mangkunegara VII’s death on July 19, 1944 (Hermono 2014, 101–2). 3.2. Revolution of Independence and Continuity of Bedhaya Bedhah Madiun Dance During the Reign of Mangkunegara VIII The independence revolution caused the Mangkunegaran economy to decline. Significantly, the Mangkunegaran economy slumped as the central government has frozen its assets of plantations and companies. After the proclamation of independence, there was a struggle for economic resources belonging to Mangkunegaran with the central government. Jakarta District Court in 1952 decided the central government won the case of struggle financial resources. Based on Penetapan Presiden 2 July 1952 no. 224/1952 g, Mangkunegaran’s areas in the form and nature referred to as Zelbestuursregelen Mangkunegaran Staatsblad, has abolished on July 15, 1946. So, although the status of Mangkunegaran’s assets is not clear, by de facto, it has been controlled by the central government and PPRI as an official government-owned institution. They have the right to manage Mangkunegaran assets (“Keputusan Pengadilan Negeri di Jakarta Th. 1952 Tentang Pembekuan Harta Benda Milik Mangkunegaran” 1952). The elimination of the Mangkunegaran area and nationalization efforts caused all ex- Mangkunegaran assets to be frozen. Mangkunegara VIII responded by establishing several business fields to restore the Mangkunegaran economy. The Biro Pariwisata Mangkunegaran is one of the business fields have established by Mangkunegara VIII. According to Mangkunegara, there are several things that the central government cannot take over, including spiritual, cultural, and noble values , as Mangkunegaran’s views. Besides, there was Mangkunegaran’s building that is the former seat of the Kadipaten Mangkunegaran government, a collection of cultural objects, libraries, and other assets collected in Fonds van Eigendommen Mangkunegaran (“Penjelasan Mengenai SK Sri Mangkunegara VIII 19 Juli 1978 No.78/SP/78” 1978). It is, of course, can be used as capital in the Mangkunegaran economic development through tourism. Mangkunegara VIII’s responses to the weak economic situation by developing cultural tourism have positively impacted the development of art in Mangkunegaran. Mangkunegara’s success in developing tourism in the cultural field can restore an aura that the independence revolution has destroyed. Through tourism visits, the introduction of cultural products can return the image of Mangkunegaran. The establishment of Biro Pariwisata began with the establishment of the Mangkunegaran Museum in 1968. The Biro Pariwisata officially established in 1970 the services of K.R.M.H. Suseno Suryosumasto, who a relative of Mangkunegaran and the expertise of Mangkunegara VIII and the empress (Pudjiyanti 1985, 56; Mulyatno 1992, 22; Daryono 1999, 56). Since then, Mangkunegaran has been opening to the public and has received a lot of foreign tourists. In greeting tourist guests, a dance that has developed in Mangkunegaran is performing. Bedhaya Bedhah Madiun dance is one of the dance repertoires that often served as a tourist treat in Mangkunegaran (Isbandiyah, interview October 19 2019). Artwork, including dance, is a form of integrative need born and grows equal to society's interests (Jazuli 2014, 47). Changes in Mangkunegaran’s interest in Bedhaya Bedhah Madiun dance performance led to a change in presentation style. According to Soedarsono (1999, 237), the form of palace dance works that served tourists generally has a duration that is not too long. That is related to the cultural transformation that leads to industrial’s cultural life. In industrial culture, the aspect

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of time is concerned. Therefore, the presentation duration in dance takes into account because of the aesthetic moments that concentrated to enjoyed a different presentation in the concept of traditional culture. In traditional culture, an aesthetic moment can be concerned for a long time, so the duration of dance offerings at that time is generally long (Suharti 2015, 117). This adaptation is the presentation style of Bedhaya Bedhah Madiun dance in Mangkunegaran is a reduction in the presentation duration. Reducing Bedhaya Bedhah Madiun dance's duration presentation has done by not using compaction techniques but by cutting techniques. Rustopo (2001, 159) argues that compaction is an effort to harmonize dance with the concept of kemungguhan. The harmony referred to is the unity between the form and the value of its expression. Dance compaction is rearranging by minimizing repetition of motion, eliminating less significant movement, changing the tempo, and variations in space (Widyastutieningrum 2012, 29). So, compacting is rearranging a dance work without losing the essence of the dance work. Reducing the duration of the Bedhaya Bedhah Madiun dance during the reign of Mangkunegara VIII is by eliminating Beksan Pokok I. Part of Beksan Pokok I had removed because it considered insignificant, only part of Beksan Pokok II has used. Beksan Pokok I or Beksan Ketawang is the climax point of the Bedhaya Bedhah Madiun dance. However, in the bedhaya dance presentation, the Beksan Pokok I and the Beksan Pokok II each have an essence. Beksan Pokok I is a standard part (enjeran) in bedhaya dance has a symbolic abstract meaning (“Konser Tari Karaton Ngayugyokarto Hadiningrat di Gedung Kesenian Jakarta” 1988). This part contains the philosophy of life through a cycle that describes the ‘beginning’ and having to return to the ‘beginning’ (Pudjasworo 1982, 81). The technique of reducing the duration by eliminating the Beksan Pokok I also removes the main gending, which generally was using as a naming system for the bedhaya dance. It is certainly not following the norms of the previous bedhaya dance arrangements. The order of G.K.P. Mangkunegara VIII chooses the cutting techniques as the easiest and fastest way to reduce the duration of the dish by thematically staying in harmony. The Beksan Pokok II is a part that presents the story in the Bedhaya Bedhah Madiun dance (Isbandiyah, interview 19 October 2019). John Pamberton, on October 19 1976, recorded an audio performance of the Bedhaya Bedhah Madiun dance at Pendapa Mangkunegaran as part of a tour. The recordings are part of the Cornell University digital collection, and the public can access them via the Cornell University webpage. The structure of the Bedhaya Bedhah Madiun dance presentation in Pemberton’s audio recording is in line with Isbandiyah’s opinion. Isbandiyah said there was no replacement or addition to the ketawang part taken to change the dish’s duration. The reduction in time did not affect the techniques and forms of movement used previously (Isbandiyah, interview June 17 2020). The battles of Panembahan Senopati and Retno Dumilah in Bedhaya Bedhah Madiun dance has depicted through the gelar formation in the ketawang part by the roles of the batak and endhel. Based on the Rekso Pustoko document with the title “Badaja Bedah Madhioen,” script code G.17, the part of endhel shieth the patrem as a symbol of Retno Dumilah’s defeat over Panembahan Senopati. The analysis result of John Pamberton’s audio recordings shows the loss did not indicate by the role of endhel shieth the patrem but dropping it. The results of this analysis supported by Isbandiyah (interview June 17 2020), who at that time often played the role of endhel in the Bedhaya Bedhah Madiun dance. However, regarding the event when this change is not known with certainty because there is no supporting data. The symbolic change of Retno Dumilah’s defeat, from role endhel shieth patrem to become dropping it, has aligned with the accompanying sindhenan narrative text. The sindhenan narrative text used in this part is “gregel kanang keris dhawah gya sinambut.” Based on Brontodiningrat’s opinion (1981, 19–20), the battle between roles endhel and batak in parts, endhel and batak in bedhaya dance is a lust symbol in humans. In bedhaya dance Yogyakarta style, the keris war generally ended up with shieth the keris as a symbol of self-control. It is different from the Bedhaya Bedhah Madiun dance in Mangkunegaran though based on the bedhaya dance Yogyakarta style. The change in Retno Dumilah’s defeat symbolic system can provide the different views between Yogyakarta and Mangkunegaran’s people. The symbol system applied in Bedhaya Bedhah Madiun dance has a specials character that depicts Retno Dumilah’s defeat against

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Panembahan Senopati. Simultaneously, the symbol system that is involved in the bedhaya dance Yogyakarta’s style is universal. G.K.P. Mangkunegara VIII around the 1970s innovated Bedhaya Bedhah Madiun dance costume in Mangkunegaran. This innovation has carried out by changing the design clothes of the kotangan to become mekak (Isbandiyah, interview 22 June 2020). The design of the mekak clothes also applied to the bedhaya dance which has developed in Kraton Kasultanan Yogyakarta and Kraton Kasunanan Surakarta. Each palace has a mekak clothes design with different patterns. The mekak used in Bedhaya Bedhah Madiun dance in Mangkunegaran resembles the design of the mekak in Kraton Kasunanan Surakarta.

Fig. 6. Bedhaya Bedhah Madiun dance in Mangkunegaran used a mekak clothes design (Photo: Sri Rochana Widyastutieningrum’s collection, Repro Sriyadi 2020)

The tourism development in Mangkunegaran does not just deliver a positive impact on the development of the arts. It also harms the inheritance system of the Bedhaya Bedhah Madiun dance. The existence of Bedhaya Bedhah Madiun dance as a result of cuttings is more prominent. It caused the stagnation of the continuity presentation of the Bedhaya Bedhah Madiun dance with a complete duration. This vacuum shows that the Bedhaya Bedhah Madiun dance's inheritance system in Mangkunegaran is not running smoothly. The weak inheritance system getting demonstrated by the lack of Mangkunegaran’s artists who completely master Bedhaya Bedhah Madiun dance. According to Isbandiyah (interview October 19, 2019), there are only two people who can completely master Bedhaya Bedhah Madiun dance, one of whom is still active in Mangkunegaran is R.Ngt. Waluyo Suryosuwito. 3.3. The Reconstruction of Bedhaya Bedhah Madiun Dance in Mangkunegaran Sri Hastuti reconstructed the Bedhaya Bedhah Madiun dance in Mangkunegaran in 1983. The reconstruction has based on simple notes found at Rekso Pustoko and a bedhaya dance figure named R.Ngt. Waluyo Suryosuwito. In the reconstruction process, Hastuti encountered problems due to Suryosuwito’s weak health condition. Suryosuwito suffered from a minor stroke, because of that learning process did not imitate the resource person who was practicing. Learning has carried out using an approach through a system of terms based on notes from Rekso Pustoko (Hastuti 1983, 6). However, the forms and movement techniques obtained from the learning system were not much different from what Isbandiyah do. Isbandiyah actively and intensively studied with Suryosuwito before Suryosuwito suffering a stroke. Based on the analysis of the video documentation for the performance of “Tari Bedhaya Bedhah Madiun Gaya Mangkunegaran Rekonstruksi Sri Hastuti” with the support of interview data from

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Isbandiyah and Hastuti, the movements patterns used in the Bedhaya Bedhah Madiun dance in Mangkunegaran have no significant differences with the movements patterns in the bedhaya dance Yogyakarta style. Structurally, the movements series has used are not much different from the movements of the bedhaya dance Yogyakarta style. The difference is in the technique of implementing a series of motions. According to Hastuti (interview December 23, 2019), the significant difference between Bedhaya Bedhah Madiun dance in Mangkunegaran style and bedhaya dance Yogyakarta style is the power (intensity) in every implementation of the movements pattern. According to him, the Bedhaya Bedhah Madiun dance in Mangkunegaran tends to have less power than the bedhaya dance Yogyakarta style. The tempo or music of the bedhaya dance Yogyakarta style is slower than the Bedhaya Bedhah Madiun dance in Mangkunegaran, so the application of movements in the bedhaya dance Yogyakarta style requires a higher intensity. With the permission of Mangkunegara VIII, the Bedhaya Bedhah Madiun dance Hastuti’s reconstruction when presented in ASTI Yogyakarta Anniversary wore a costume from Pura Mangkunegaran. The costume used is a kotangan like that worn during the Mangkunegara VII era. However, in the costume, several components are different from the Mangkunegara VII era. Those components are (1) garudha mungkur using utah-utahan while during Mangkunegara VII did not use it, (2) did not use a brooch attached to the chest, (3) did not use a keris but using cundrik, and (4) did not use a flower kolong keris or kolong cundrik. For the kotangan clothes, Hastuti reproduces itself based on those used during Mangkunegara VII. The Bedhaya Bedhah Madiun dance's presentation structure, which has reconstructed by Hastuti, resembles the Rekso Pustoko Mangkunegaran document with the title “Badaja Bedah Madhioen” script code G.17, and “Gerongan Bedhaya Bedhahipun Madiun Gendhing Gandakusuma.” script code F.108. The difference in removing kondha in the Bedhaya Bedhah Madiun dance presentation resulted from Hastuti’s reconstruction. Bedhaya Bedhah Madiun dance was finally presented again in Mangkunegaran in 1985 during a Konferensi Pariwisata. The source or reference in the presentation is Bedhaya Bedhah Madiun dance Hastuti’s reconstructed. In the process of reconstruction, at the start, Mangkunegaran tried to build it from R.Ngt. Waluyo Suryosuwito. However, due to the informant’s poor health condition and the absence of other sources, Mangkunegaran invited Hastuti as a dancer and accompanied Suryosuwito in reconstructing Bedhaya Bedhah Madiun dance (Hastuti, interview December 23, 2019). In the reconstruction process, senior dancers who previously actively and intensively studied with Suryosuwito were not involved (Isbandiyah, interview October 19, 2019). 3.4. Social Relations between Dance Artists and the Inheritance System of Bedhaya Bedhah Madiun Dance at the End of Mangkunegara VIII’s Reign to the Beginning of Mangkunegara IX’s Reign From the end of Mangkunegara VIII’s reign until the beginning of Mangkunegara IX’s reign, there was a conflict between dance artists. The competition is regarding the forms and movements of dance that successfully have been absorbed from KBW Yogyakarta, especially the Bedhaya Bedhah Madiun dance. Each dance artist makes a believable interpretation of the form and movement techniques of the Bedhaya Bedhah Madiun dance in Mangkunegaran, though not all of the dance artists have studied directly at KBW Yogyakarta or have intensively studied this dance. This conflict began with the emergence of dance teachers who were not intensively active in Mangkunegaran (Isbandiyah, interview October 19, 2019, and Warsini, interview November 25, 2019). Poor social relations between the dance artists cause failure in the inheritance system. The collapse in the inheritance system getting indicated by a significant difference between the devisor and the heirs. The forms and movement techniques of the Bedhaya Bedhah Madiun dance performed by Isbandiyah as the heir of Suryosuwito have contras differences from the forms and movement techniques currently practiced. Failure in the inheritance system caused a loss of knowledge of the naming system in the movements series had used in this naming system, much unknown about the shape of the movements series. The response against social relationship problems between dance artists through the interpretation has a negative and positive impact. The performance's negative effect is a failure in the inheritance

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system, so the previous knowledge had developed is not conveyed to future generations. The positive impact from the interpretation is the strengthening of the difference between the Bedhaya Bedhah Madiun dance in Mangkunegaran and the bedhaya dance Yogyakarta style. The arrangement that had done brings out a significant difference between Bedhaya Bedhah Madiun dance in Mangkunegaran and bedhaya dance Yogyakarta style. This considerable difference causes the appearance of the characteristics of the Bedhaya Bedhah Madiun dance in Mangkunegaran. The interpretation of the Bedhaya Bedhah Madiun dance in Mangkunegaran is not carried out simultaneously but with a process, thus forming a presentation style as is done now. The dancers have influenced the interpretation as the main actors who perform the Bedhaya Bedhah Madiun dance. That’s an increasingly significant difference factor with the style of presentation of Bedhaya Bedhah Madiun dance by Isbandiyah and the results of Hastuti’s reconstruction. This difference also causes by the innovations made. These innovations include the arms position when trisig is with a cundrik or patrem property, the tolehan on the kapang-kapang movement the part of mundur beksan, and when trisig movement, the legs slightly bent (mendhak) when turning. Structurally, several parts of the Bedhaya Bedhah Madiun dance in Mangkunegaran have been removed and changed. It is significantly different from the presentation structure based on the Rekso Pustoko document “Badaja Bedah Madhioen.” The Significant changes do not reduce the course structure only. They were also changing the movement series that they had used. We see changes in the different series of movements in the Bedhaya Bedhah Madiun dance reconstructed by Hastuti and the existing dances. These differences exist in almost all series of movements. The most significant differences are in the movements series of panggel, ngunduh sekar, impang majeng, ukel tawing, and bangomate. In the panggel movement series, the change occurs because the initial part of the movement series removed. In ngunduh sekar sequence, the same features only found at the beginning and ending, while the middle part has differences. Almost all of the impang majeng movement series have differences, and the similarities only exist when going to the sendhi gedruk left. Ukel tawing movement series have innovated into two, namely ukel tawing and ukel tawing cathok udhet. The arms position above looks like in a movement series in ukel tawing, atrap sumping, ngenceng ukel tawing, and trisig parallel to the upper chest. It is different from what was done by Isbandiyah and the results of Hastuti’s reconstruction. The arms position while on top of the movement series is parallel to the ear (trap sumping or trap kuping). This interpretation is not in harmony with the naming system in the document “Badaja Bedah Madhioen.” Considering from naming system for a movement series that sometimes equaled with where the pose elements and movement elements have carried out, especially in the arms position above. During nyiku in the Bedhaya Bedhah Madiun, the arm poses do not form an angle of 90°, but approaches to cethik around 45° with the forearm lowered. The elements of this arm pose are rendered in a series of movements of ngenceng, nggrudha, gidrah, pacak jangga encot, kicat ngewer cangkol udhet, kicat boyong, and other similar actions. This arms position is different from the results of the reconstruction of Hastuti and that of Isbandiyah. The failure of the inheritance system affects ethical knowledge when dancing. Bedhaya Bedhah Madiun dance is a dance work that developed in the palace. As the court society's views and ideas, the ethic has influenced this dance's presentation style. The inheritance system's failure that affects ethics is in the ndodok movement technique from the lenggah sila position. The method of ndodok movement from the lenggah sila position that had carried out now does not begin with the groin being lifted. The ndodok action from the lenggah sila position starts with the legs brought together in front of the body, the part of the feet still touching the floor, then the right leg has pushed slightly forward and after that to the side. Then, The body has raised with both legs as support. The less ethical part of this technique is when the right leg is slightly pushed forward and then sideways. It is not following people’s ethics in the palace prohibited from extending their legs while sitting in front of a king or royal official. The costume of the Bedhaya Bedhah Madiun dance in Mangkunegaran changed. One of the most significant changes was to the jamang. Around the early 1990s, jamang design from Kasultanan Kanoman Cirebon no longer used to dance the Bedhaya Bedhah Madiun dance. The gold-

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plated jamang is a museum collection on display inside at nDalem Ageng Pura Mangkunegaran. Instead, the design used resembles a jamang for the lanyap character in the puppet.

Fig. 7. The costume of the Bedhaya Bedhah Madiun dance Mangkunegaran style at the time it was performed at the Mangkunegaran Performing Art in 2013 (Photo: Angga Febri’s collection, Repro Sriyadi 2020)

4. Conclusion The forming of the Bedhaya Bedhah Madiun dance style in Mangkunegaran does not occur in an event but is a process. Based on the result of the analysis, the presentation style of Bedhaya Bedhah Madiun dance in Mangkunegaran has formed as a response to a challenge. The challenges come from the social, political, cultural, and economic conditions of Pura Mangkunegaran. Challenges that show up from social, political, cultural, and economic conditions influence the Bedhaya Bedhah Madiun dance's inheritance system to undergo significant changes. The continuity of the Bedhaya Bedhah Madiun dance in Mangkunegaran is proof of success in responding to challenges, although not all responses are positive. Reference “Badaja Bedah Madhioen.” t.t. Rekso Pustoko Pura Mangkunegaran’s Collection, G. 17. “Bedaja-Dans van zeven jonkvrouwen, uitgevoerd bij gelegenheid van het Triwindhoe-Bestuursjubeleum van Z.H. Pangeran Adipati Aria Mangkoenagara VII.” 1939. Rekso Pustoko Pura Mangkunegaran’s Collection, MN. 345. Brontodiningrat, K.P.H. 1981. “Falsafah Beksa Bedhaya Sarta Beksa Srimpi ing Ngayogyakarta.” In Kawruh Joged Mataram. Yogyakarta: Yayasan Siswa Among Beksa. Daryono. 1999. “Dampak Pariwisata Terhadap Tari Tradisional di Keraton Kasunanan dan Pura Mangkunegaran Surakarta.” Thesis, Performing Arts Study Program Postgraduate UGM. Endter, Ingeborg Loni. 2000. “Community Memory Building multimedia archives on the Internet.” Thesis, Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute of Technology. “Gerongan Bedhaya.” 1995. Trans. Darweni. Rekso Pustoko Pura Mangkunegaran’s Collection, F. 11. “Gerongan Bedhaya Bedhahipun Madiun Gendhing Gandakusuma.” t.t. Rekso Pustoko Pura Mangkunegaran’s Collection, F. 108. Hastuti, Sri. 1983. “Rekonstruksi Tari Bedhaya Bedhah Madiun Gaya Mangkunegaran Tahun 1983.” Sri Hastuti’s Collection. Hermono, Ully. 2014. Gusti Noeroel: Streven Naar Geluk (Mengejar Kebahagiaan). Jakarta: Kompas. Holt, Claire. 2000. Melacak Jejak Perkembangan Seni di Indonesia. Trans. R.M. Soedarsono. Bandung: MSPI.

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Jazuli, M. 2014. Sosiologi Seni: Pengantar dan Model Studi Seni. Edition 2. Yogyakarta: Graha Ilmu. Kaplan, David, and Albert A. Manners. 2000. Teori Budaya. Trans. Landung Simatupang. Yogyakarta: Pustaka Pelajar. “Keputusan Pengadilan Negeri di Jakarta Th. 1952 Tentang Pembekuan Harta Benda Milik Mangkunegaran.” 1952. Rekso Pustoko Pura Mangkunegaran’s Collection, MN. 464. “Konser Tari Karaton Ngayugyokarto Hadiningrat di Gedung Kesenian Jakarta.” 1988. Rekso Pustoko Pura Mangkunegaran’s Collection, G. 560. Kusumo, Ditta Novita Astuti. 2015. “Analisis Koreografi Bedhaya Bedhah Madiyun gaya Yogyakarta: Rekonstruksi Juni 2014 oleh R.Ay. Sri Kadaryati.” Skripsi, Bachelor of Dance Study Program, Departeman of Dance, Faculty of Performing Art ISI Yogyakarta. Lindsay, Jennifer. 1991. Klasik, Kitsch, Kontemporer: Sebuah Studi Tentang Seni Pertunjukan Jawa. Trans. Nin Bakdi Sumanto. Yogyakarta: Gadjah Mada University Perss. Mulyatno, F. Hari. 1992. “Tari dan Pengembangan Pariwisata Istana Pura Mangkuenagaran.” Research Report, STSI Surakarta. “Penjelasan Mengenai SK Sri Mangkunegara VIII 19 Juli 1978 No.78/SP/78.” 1978. Rekso Pustoko Pura Mangkunegaran’s Collection, Archivial No. 1189. Poerwanto. 1989. “Nlusur Tari Lewat Candhi: Tari Jawa Kuna dadi Simbol Status.” Mekar Sari, 20 September 1989. Prabowo, Wahyu Santosa. 2003. “Kreativitas Tari dalam dan antar Budaya: Dataran untuk Penghayatan Nasionalitas.” In Isu dan Kreativitas Seni, Series IV:3–10. Pramutomo, R.M. 2010. Tari, Seremoni, dan Politik Kolonial II. Surakarta: ISI Press. Pramutomo, R.M., Aswoyo Joko, and Aton Rustandi Mulyana. 2016. Revitalisasi Budaya Lokal Berbasis Ekspresi Seni Komunitas. Surakarta: ISI Press. Pudjasworo, Bambang. 1982. “Studi Analisa Konsep Estetis Koreografi Tari Bedhaya Lambangsari.” Thesis, ASTI Yogyakarta. Pudjiyanti, Dwi Agustine. 1985. “Istana Mangkunegaran Sebagai Objek Wisata Budaya.” Skripsi, Akademi Kepariwisataan Indonesia Semarang. Rustopo. 2001. Gendon Humardani Sang Gladiator, Arsitek Kehidupan Seni Tradisional Modern. Yogyakarta: Yayasan Mahavhira. Simatupang, Lono. 2013. Pergelaran: Sebuah Mozaik Penelitian Seni-Budaya. Yogyakarta: Jalasutra. Soedarsono, R.M. 1997. Wayang Wong: Drama Tari Ritual Kenegaraan di Keraton Yogyakarta. Indonesian Edition. Yogyakarta: Gadjah Mada University Perss. ———. 1999. Seni Pertunjukan Indonesia dan Pariwisata. Bandung: MSPI. ———. 2003. Seni Pertunjukan Dari Perspektif Politik, Sosial, dan Ekonomi. Yogyakarta: Gadjah Mada University Perss. Soemarsono, R. Ay. Yuliastuti, R. Ay. Murni Sinaulan Brotohatmodjo, and R.P. Wishnu P.S. Widyohamijoyo. 2011. Lembar Kenangan Gusti Noeroel. Jakarta: HKMN. Soeryosoeyarso, G.R.Ay. Siti Nurul, and R.Ay. Hilmiah Darmawan. 1992. “Adaptasi Tari Gaya Yogyakarta Terhadap Tari Gaya Mangkunegaran Pada Waktu Mangkunegara VII.” In Seminar Kebudayaan Kraton Sebagai Puncak Kebudayaan Daerah Pelestarian Warisan Adiluhung Leluhur Bangsa Menyongsong Era Tinggal Landas. Wisma Kagama UGM. Sriyadi, and R.M. Pramutomo. 2020. “Absorpsi Tari Bedhaya Bedhah Madiun Gaya Yogyakarta di Mangkunegaran Masa Pemerintahan Mangkunegara VII.” Jurnal Sejarah Citra Lekha Vol. 5 (1): 28– 43. Suharti, Theresia. 1990. “Tari di Mangkunegaran Suatu Pengaruh Bentuk dan Gaya dalam Dimensi Kultural 1916-1988.” Thesis, History Study Program Postgraduate UGM.

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———. 2015. Bedhaya Semang Karaton Ngayogyakarta Hadiningrat Reaktualisasi Sebuah Tari Pusaka. Yogyakarta: Kanisius. Sumardjan, Selo. 1990. Perubahan Sosial di Yogyakarta. Trans. H.J. Koesoemanto. Yogyakarta: Gadjah Mada University Perss. Supanggah, Rahayu. 2000. “Kondisi Objektif Seni Budaya Jawa Tengah dalam Prespektif Sejarah Seni Pertunjukan.” In Seni Kita, Editor Soegeng Toekio. Surakarta. Toynbee, Arnold. 1988. A Study of History: The First Abridged One-Volume Edition, Illustrated. London: Oxford University Press. Ventresca, Marc J., and John W. Mohr. 2002. Archival Research Methods. USA: Blackwell Publishers. Widyastutieningrum, Sri Rochana. 2012. Revitalisasi Tari Gaya Surakarta. Surakarta: ISI Press. Interviewees List Kus Isbandiyah, R.Ay. (65 tahun), dancer and assisten of Mangkunegaran’s style dance teacher R.Ng. Waluyo Suryosuwito. Mlati Beningan, Mlati, Sleman, Yogyakarta. Sri Hastuti (62 tahun), lecturer of dance departement Performing Art Faculty ISI Yogyakarta and had been reconstructed Bedhaya Bedhah Madiun Mangkunegaran’s style in 1983. Mojo streets No. 22, Gendeng, Baciro Yogyakarta. Umiyati Sri Warsini, Ny.Ng. (64 tahun), pesinden, dance teacher, pengeprak, and the master of Pakarti Pura Mangkunegaran. Panti Putra, Keprabon, Banjarsari, Surakarta. Biography Sriyadi earned a Bachelor’s degree in Dance at the Indonesian Institute of the Arts (ISI) Surakarta in 2018, a Masters in Arts from the ISI Surakarta Postgraduate in 2020. He has received a Bidik Misi scholarship during his undergraduate studies and the Nusantara Writing Grant 2020 held by the Nusantara Institute for thesis writing in Masters studies. Wrote the article “Nilai Estetis Tari Srimpi Pandhelori di Pura Mangkunegaran” with Wahyu Santoso Prabowo which have published in the Journal Greget Vol. 17 No. 1, July 2018. Writing the article “Transformasi Tari Bedhaya dalam Masyarakat Jawa (Ritual, Seremonial, Hiburan)” presented at the National Archeology Seminar with the theme “Indonesia Rumah Besar Austronesia dari Masa Prasejarah Hingga Kini” which was held by the West Java Archaeological Center in November 2019. With R.M. Pramutomo wrote the article “Absorpsi Tari Bedhaya Bedhah Madiun Gaya Yogyakarta di Mangkunegaran Masa Pemerintahan Mangkunegara VII” that has published in the Journal Sejarah Citra Lekha Vol. 5 No. 1 (2020). Wrote an article “Karakteristik Tari Bedhaya Bedhah Madiun di Pura Mangkunegaran, Surakarta” which received by the NI Working Paper Series No. 6, December 2020. Since 2013 until now as a dancer, he has been a member of the PAKARTI (karawitan and dance association) Pura Mangkunegaran and Langen Praja Pura Mangkunegaran.

R.M. Pramutomo is the Vice Chancellor for Student Affairs and Cooperation at the Indonesian Institute of the Arts, Surakarta. He has a doctorate and Masters’s degree in Humanities from Gadjah Mada University, after obtaining a Bachelor of Arts in Dance from the Indonesian Art Institute (ISI) Yogyakarta. He has attended the Cultural and Performance Studies Program at the University of California at Los Angeles (UCLA), United States of America, in 2001-2002. In 2009-2010 participated in the Senior Lecturer Fellowship Program of Academic Recharge (PAR) at Leiden University, The Netherlands, and was the Head of Management of a Study Center, which he founded in 2005 called the Center of Arts Archives and Documents Studies KRT.Wiroguno, based in Yogyakarta. Experience in providing workshops and participating in various dance festivals at the national and international levels, including in America, Japan, Europe, and Australia. Writing the book Antropologi Sebagai Basis Disiplin Etnokoreologi (2005), the book Penulisan Kritik Tari (2007) with Sri Rochana Widyastutieningrum, editor of the book Ethnocoreology Nusantara: Batasan Kajian Sistematika, dan Aplikasi Keilmuannya (2007), KRT Wiroguno: Riwayat, Karya, dan Pengabdiannya (2008), wrote a book on Tari, Seremoni, dan Politik Kolonial (Volume I) (2009) and (Volume II) (2010), wrote a book Etnokoreologi Seni Pertunjukan Topeng Tradisional Surakarta, Yogyakarta, dan Malang (2012), wrote the book Langendriya: Dramatari Opera Gaya Yogyakarta (2014), wrote the book Jejak Sosio Historis Penciptaan Dramatari Jawa (2015), as well as writing several scientific articles in various research journals of universities such as UGM Yogyakarta, UNS Surakarta, ISI Surakarta, ISI Yogyakarta, ISBI Bandung, UIN Sunan Gunung Djati Bandung, Yogyakarta Muhammadiyah University (UMY), and PGRI Palembang University. Currently, the writer is a permanent lecturer at the Faculty of Performing Arts and the Postgraduate Program at ISI Surakarta.

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Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 16., No. 1, April 2021, pp. 37-46 ISSN 1412-4181, eISSN 2685287X https://jurnal.isi-ska.ac.id/index.php/dewaruci/

Sappo: Sulapa Eppa Walasuji as the Ideas of Creation Three Dimensional Painting

Hasbi a,1,*, Bagus Indrayana b,2, Dharsono b,3 a ISBI Tanah Papua, Jl. Raya Abepura - Sentani, Waena, Sentani Tim., Kota Jayapura, Papua 99225 b Faculty of Art and Design of the Indonesian Institute of Arts Surakarta, Jl Ki Hajar Dewantara No 19, Surakarta, Central Java 57126 1 [email protected] *; 2 [email protected]; 3 [email protected] * Corresponding Author

Received September 5, 2020; accepted January 31, 2021; published April 2021 ABSTRACT KEYWORDS

Lontara is a traditional script of the Bugis-Makassar community, derived from the Sappo word lontar, a type of plant in South Sulawesi, which is still used and maintained. Sulapa eppa walasuji Sappo (Bugis): fence used to limit (surround, insulate) land and houses. The Bugis- Symbolic expression Makassar community as a whole always has a Sappo / fence to protect themselves, Three-dimensional their families, and their nation. Sulapa eppa (four sides) is a mystical form of painting classical Bugis-Makassar belief that symbolizes the universe’s composition, wind- Bugis fire-water-earth. Walasuji is a kind of bamboo fence in a rhombic ritual. Walasuji comes from the word wala, which means separator/fence/guard, and suji means daughter (metaphor of something of value, which must be under protection). The research aims to create three-dimensional paintings with the idea of creation, Sappo: Sulapa eppa walasuji. The symbolic expression concept borrows the Lontara tradition’s idioms, making works of metaphorical Sappo (montage) titles; Posi’ Symbolic expressions are used as research methods to create works. Researchers borrow traditional idioms as a place of expression. Symbolic abstraction works are conceptually a form of modern art by utilizing the Lontara tradition's idiom as a basic element of preparing the work. The contextual use of idioms is no longer intact because there is a degradation in the artists’ processing when interpreting symbolic forms. The expression of tradition is no longer a thematic pouring of ideas, still, as a textual symbol offered by artists to provide freedom of interpretation, Sappo: Sulapa eppa walasuji as the idea of creating paintings. The results of the study explore the elements of form and express the message conveyed through the work of three-dimensional images with the concept This is an open- of creation, Sappo: Sulapa eppa walasuji, a work of metaphorical painting Sappo access article under (montage) title: Posi, which is essentially God, as the protector of everything from the CC–BY-SA the whole Sappo metaphor. Sappo, an idiom of tradition, is portrayed as a form of license the symbolism of reflections on researchers’ lives visualized in the entire artwork. The visual elements used, stone, wood, bamboo, and paint, are at the same time a metaphor for the universe, which is God’s creation.

1. Introduction The creation of the artwork entitled, Sappo1: Sulapa eppa walasuji2 as the idea of creating three- dimensional paintings, is focused on the process of making paintings with the concept of symbolic expression by borrowing the traditional idiom of Sappo: Sulapa eppa walasuji or the Lontara script as a basic element of the artwork. The use of the Lontara idiom no longer functions for thematic ideas of characters.

1 Sappo (Bugis): fence; Pagar/pa-gar/n which is used to limit (surround, block) yards, land, houses, gardens, and so on. See https://kbbi.web.id/pagar 2 Sulapa eppa (four sides) is a mystical form of classical Bugis-Makassar belief that symbolizes the order of the universe, wind-fire-water-ground. Walasuji comes from the word wala which means separator/fence/guard and suji which means daughter. Walasuji is a kind of bamboo fence in a rhombus-shaped ritual. The Lontara script is rooted in the beliefs and mythological views of the Makassar Bugis, who view the universe as Sulapa eppa 'walasuji (rectangular rhombus). The nature is one unit, expressed in the symbol / / = sa which means / / = seuwa (singular or one) (Mahbud 2008).

10.33153/dewaruci.v%vi%i.3234 [email protected]

37 Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni ISSN 1412-4181, Vol. 16., No. 1, April 2021, pp. 37-46 eISSN 2685287X

Lontara is a traditional script of the Bugis-Makassar people, derived from the word lontar, a type of plant in South Sulawesi, which is still used and maintained today. The Bugis-Makassar community as a whole always has a Sappo/fence to protect themselves, their families, and their nation. Lontara is a textual symbol to provide freedom of interpretation and metaphor for works of art. Lontara no longer represents itself as a script but as a symbolic form of life for the Bugis-Makassar people. Lontara describes humans as individual beings and social creatures in determining practical decisions, which help them carry out or cancel an action based on their conscience. Lontara is also present as a symbolic potential for the Bugis-Makassar community is undergoing a life process that continues to develop so that every individual must have a fence or protector of themselves, their families, and culture. The existence of each tribe has a unique perspective on themselves, others, and the universe. For the Bugis, between the Creator, His creatures, and the universe (environment) is an inseparable unity. The theme of Sappo: Sulapa eppa walasuji, in the Lontara script, is interesting because the traditional writing of the Bugis Makassar people originates from the symbol of the universe: still used today. In Sappo, humans value things, are felt within themselves, and are expressed in various art forms. In Sappo, the use of the Bugis-Makassar traditional idiom is due to its meaningful form. The artist borrows the term Sappo as a necessity to serves artwork as a metaphorical language. The borrowing was carried out because the art creator believed that Sappo (fence) had meaning, limitation, protection, but this traditional idiom represented it in expressing conscience. In Sappo, there is a meaning that humans naturally experience certain phases, happiness, sadness, anger, and suffering associated with life. Humans share inner struggles with others, the universe, and God Almighty as a protector, namely Allah SWT. Humans experience this phase in making practical decisions from certain thoughts, such as carrying out or cancel an action. The symbolization of Sappo (fence) as the main theme will be visualized in a painting. Sappo certainly doesn’t represent anyone because Sappo symbolizes an art creator and a researcher who is free to imagine. Of course, the audience also has the freedom of imagination to agree or disagree with what they understand about Sappo (fences). Humans spiritually need a wall to protect themselves, their families, culture, nation, and country. Researchers as art creators believe that humans’ protector from all human activities in the world is essentially Allah SWT. This awareness needs to be built and applied in everyday life to balance life, awareness, and enthusiasm to preserve local culture / local wisdom as a national asset under God Almighty's protection. Sappo is a manifestation that contributes to building an understanding of the individual, community, and culture. 2. Method The research aims to create three-dimensional paintings with the idea of creation, Sappo: Sulapa eppa walasuji. The symbolic expression concept borrows idioms of the Lontara tradition, making works of metaphorical Sappo (montage) titles; Posi’s symbolic expressions are used as research methods to create artworks.

Fig. 1. Conservation of basic concepts (Sony Kartika 2016, 128) Researchers borrow traditional idioms as a place of expression. Symbolic abstraction works are conceptually a form of modern art by utilizing the Lontara tradition's idiom as a basic element of preparing the work. The contextual utilization of expressions has been reduced because of the artist's processing in interpreting symbolic

Hasbi (Sappo: Sulapa Eppa Walasuji as the Ideas of Creation Three Dimensional Painting)

38 Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni ISSN 1412-4181, Vol. 16., No. 1, April 2021, pp. 37-46 eISSN 2685287X forms. The idiom of tradition is no longer a thematic pouring of ideas but as a textual symbol offered by artists to provide freedom of interpretation, regarding Sappo: Sulapa eppa walasuji of creating paintings.

3. Lontara This paper’s data sources are from various literature and scientific articles on literary studies, aesthetic culture, fine arts, and several paintings. This source review is important to avoid plagiarism of works of art and become the basis for creation, and some paintings as references and concepts of art-creation. The Lontara script is rooted in the beliefs and mythological views of the Makassar Bugis, who view the universe as Sulapa Eppa' Walasuji (rhombus quadrilateral). This nature is one unit, expressed in the symbol / / = sa which means / / = seua (singular or one) (Mahbud 2008, 21; Abd. Aziz Ahmad 2014, 12). The symbol sa is meant to symbolize the microcosm or sulapa eppa’ na taue (the human body's rectangle). So at the top of the letter/letter symbolizes the position of the head. On the right and left is the hands and the bottom ends are the feet. This letter also symbolizes seua, namely the mouth or the place where the sound comes out in the head. For it is from the mouth that everything is expressed in form = sadda or sound. The sounds are then arranged to have meanings (symbols) called = ada (words, words, decrees). From this ada (word), everything that covers the entire cosmic order (natural spirit) is regulated through ada (word or logos) (Mahbud 2008, 21). The form of the Lontara script, according to cultural observer Mattulada comes from the sulapa eppa wala suji sulapa. Wala suji comes from the word wala, which means separator/fence/guard, and suji which means daughter. Walasuji is a kind of bamboo fence in a rhombus-shaped ritual. Sulapa eppa (four sides) is a mystical form of classical Bugis-Makassar belief that symbolizes the universe’s order, wind-fire-water-ground.

Fig. 2. The arrangement of symbols of the mystical universe of classical Bugis-Makassar belief (Source: Doc. Syarif et al. 2018, modified Hasbi, 2021) On certain occasions (traditional events) among the Bugis-Makassar people, four kinds of sticky rice (sokko, songkolo) are usually served in four different colors: white, yellow, red, and black. It is said that the taste of people who take a certain songkolo color represents the character in question. Many local traditional pearls of wisdom exist among the Makassar Bugis people, and this wisdom always suggests the harmony of human life with nature, God, and the sky (atmosphere). If the four elements are not in peace, harmony, and balance, disaster will befall the entire world, including humans. Because humans are the main managers of the universe who are responsible for the use of the earth and its contents, it is only natural that almost all wisdom created by humans leads to a harmony of life with the universe (Mahbud 2008, 21–22; Syarif et al. 2018). Hurupu sulapa eppa has environmental ethics and local wisdom, including respect for nature, the principle of moral responsibility for nature, cosmic solidarity, the direction of love and concern for nature, principles "No harm," the principle of living simply and in harmony with nature, the focus of justice, the principle of moral integrity, living just, and the path of simplicity (Mahbud 2008, 22-26). The sanggit artwork is a form of symbolic abstraction, conceptionally a form of modern art by utilizing traditional idioms as the basic elements of the arrangement. The use of these idioms in context has been reduced due to the artist’s processing in interpreting forms symbolically. Traditional

Hasbi (Sappo: Sulapa Eppa Walasuji as the Ideas of Creation Three Dimensional Painting)

39 Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni ISSN 1412-4181, Vol. 16., No. 1, April 2021, pp. 37-46 eISSN 2685287X expressions are no longer a thematic pouring of ideas but as a textual symbol offered by the artist to provide freedom of interpretation. The traditional idiom that is depicted is no longer representing a particular idiom but as a form of life symbolism (Sony Kartika 2016, 117). Self-control in the Mandala (4 + 1). Javanese society's teaching in maintaining balance vertically and horizontally in Javanese culture is known as keblat papat lima pancer. Known as the four spatial dimensions classification, patterned four cardinal points with one center (4 + 1). Together means the whole, the basic unity of conflict towards control, which means that the unity that occurs because of differences and differences is the basis of strength that must be strived for as a balance, harmony in life through self-control (Sony Kartika 2007, 32–33; 2016, 113). The continuity of modern traditional culture, to draw cultural continuity from conservative and progressive cultural attitudes, must have continuity, a golden thread capable of connecting the two cultural perspectives. The cultural transformation then took place so that several alternative concepts emerged: revitalization, the idea of reinterpretation, and the idea of symbolic abstraction (symbolic expression) (Sony Kartika 2016, 102–27). Dewey distinguishes between aesthetic experiences and artistic experiences. Aesthetic experiences or art experiences are more focused on appreciating art responders, art recipients, or art appreciators. Meanwhile, the same experience can be used for art production activities or art creation. So, when done as the basis for creating works of art, aesthetic experience is called artistic experience. All of us who have created artworks have become art appreciators (Sumardjo 2000, 165). The creation of sound signs called Lontara texts, there is an assumption that comes from the beliefs and views of the Bugis people's mythology, considering this universe as sulapa eppa walasuji (rhombus). The definition of walasuji is a partition that functions as an accessory in a Bugis tribal ceremony or wedding party; it is made of bamboo, which diagonally forms a rhombus shape.

Fig. 3. Initial idea for the form of the Lontara script (Syarif et al. 2018) Figure 3 shows the production process for the / / =sa (Bugis Lontara script), taking the motif from “wolasuji” (woven bamboo specially made for tribal ceremonies). The letter / / motif (rhombus form) is a pioneer of the sulapa eppa philosophy, with its four corners illuminating frightening spiritual values. The sulapa eppa philosophy is applied in the form of a profile (dimensions) of traditional Bugis building materials that are always rectangular and square. Its function or load determines the shape of the material dimensions. Vertical load distribution, material dimensions are squares (poles), while for horizontal load distribution, material dimensions are rectangular (Syarif et al. 2018, 2–6). The Bugis community upholds the pappaseng or message. The form of pappaseng is advice and a will that contains various values of character education, lessons about human interaction ethics in dealing with parents and the natural surroundings. The Pappaseng has become a daily life guideline for the Bugis people. The values of local wisdom are stored in various media, including: oral and written. The writing media is written through the Lontara script. In this Lontara, the Bugis Makassar keeps the knowledge and wisdom of their past, including various cultural expressions (Abbas 2013, 276). The metaphor comes from the ancient Latin and Greek word metapora. 'Meta' means ‘with’ or ‘after’: 'for'/phor/phero/phore means moving and carrying something from one place to another. As a noun, metaphor can be defined as using a name, term, or phrase (a collection of words) applied to an object or action but is not interpreted literally but imaginatively. The ability to make metaphoric

Hasbi (Sappo: Sulapa Eppa Walasuji as the Ideas of Creation Three Dimensional Painting)

40 Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni ISSN 1412-4181, Vol. 16., No. 1, April 2021, pp. 37-46 eISSN 2685287X expressions is the power of the human mind and imagination in presenting new, creative ideas or offering novelty (Marianto 2019, 156–58). Marianto argues that awareness as a subject, in the field of creation, study, and management of art, a person with a subject mentality is an actor who dares to plan, seek efforts, and a way to realize what he has proposed. He is independent of others; dares to convey new ideas and initiatives. He did something new and creative, not because people ordered him, but because he thought to solve it (Susanto 2003, 4). Art is essentially an art form that is empirical and symbolic. Art is an expression of the formulation of artistic knowledge and knowledge of values. Art also has an origin, nature, type, and manner of formation. Art exists and exists because there is a process that precedes it, namely the process of creation. There is no art without a process of creation (Sunarto 2013, 25). Swasono said I am aware that the dismantling is still only on the outer shell, namely in the form, line, color, space, texture, etc. After deconstruction, I found and understood that effective dismantling comes from within "to want to change the “bold” and “fully aware” of that change, as a “basic capital” towards a “new” that's where wild ideas will emerge, which has been repressed by the dogma of rationalist identity (Swasono 2007, 135). The perspective on imagination is then deconstructed because imagination will never die and can change everything. Imagination can destroy what I have produced so far, namely (“cracked” identity). Imagination can also rebuild/construct something completely different from the original cracked imagination in spoken language or other “novelty” creations (Swasono 2007, 135–36). The term Lontara has two meanings, namely as history and science, and the second meaning is as of writing (script). Lontara script is a Bugis-Makassar script, although at first there was a separation between the two, namely that there were groups that named the Bugis script and others named the Makassar script. Still, in the end, it was agreed to be one term, namely the Lontara script (Abdul Aziz Ahmad 2014, 148). The regional script is a source of inspiration that can be used as a work of art, especially calligraphy paintings. The Lontara script can be shaped and modified according to the painter's wishes with its elastic shape. For example, the writing shape can be shortened, widened so that it looks fat, or made slim so that it looks thin. With the Lontara script, the painter can explore and improvise in creating fine artworks (Abdul Aziz Ahmad 2014, 151). The form of the Bugis and Makassar writings is the same, only differing in number. Bugis writing consists of 23 symbols and five diacritics or distinguishing marks. Meanwhile, Makassar's writing only has 19 symbols minus ngka', mpa', nra', and nca'. With five diacritics. Bugis-Makassar writing is called syllabic writing, meaning no consonant at the end of a word. The Bugis and Makassar writings have the same 5 (five) diacritical symbols: i, u, e ', o, e. The writing to write down the period (closing the sentence), the three points ( ) are used (Abd. Aziz Ahmad 2014, 13–18). The dragon figure was originally a myth that became a symbol through being translated into works of art by considering the form, content, and function of the artwork itself. In creating symbols, myths are constructed according to the symbol maker's purpose and the function of the symbols being used; meanwhile, creating works of art creates symbolic forms of human feelings. Thus, initially, the dragon figure was a myth, then the myth became a symbol of expression and a symbol for a specific purpose by its composer. Likewise, in this study of action painting creation, dragon figures are present as metaphors and symbols of individual and cultural expression (Sudarmana 2016, 29–30).

4. Results and Discussion 4.1. The Process of Artistic Creation Artists use emic and ethical data in the creative artistic process, including experimentation, contemplation, and formation (art structure). Experimentation is an activity step carried out by artists and designers in carrying out the actions of the artistic creation process (creation), which include: (1) trying some alternative materials that are suitable and matching the creative expression of the art being designed, (2) trying several alternative individual techniques which match the expression in the art that has been sketched/designed, (3) trying some alternative tools that are suitable for the expression in working art in the sketch/design, and (4) Selection of visual concepts (layout).

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Experiments will produce quality in selecting materials, techniques, tools, and structural concepts that the artist will use in visualizing the work sketch/design. Academic artists can discover the experiment's idea; therefore, creative experiments will produce various alternatives needed by the artist. Artists choose the right one and can help artists express or express their feelings individually. Contemplation is the artist's inner wandering in search of symbols (metaphors). Contemplation is carried out to seek and find symbols (metaphorical language) that will become icons in art creation’s artistic, creative process. In reflection, artists and designers will discover symbols or metaphors. The symbols will be used as the expression language and then used as the main motif, the supporting motif, and the content motif. The main motif will be the center of attention and which will be an expression of communication that is spread through the media and becomes a personal expression. The main motif is metaphorical idioms that provide highly individualized philosophical information. Figurative idioms will invite interpretation and several interpretations in the life process. There are times when metaphorical idioms are not the result of contemplation but result from natural interpretations that have undergone a process of imagination; sometimes, figurative idioms are symbols or motifs borrowed from traditional idioms or artifacts chosen as reading symbols or symbols of expression. There are times when a metaphorical idiom is a sign language that has become an agreement in society. Metaphorical presentation in art is an idiom that exists as a communication between the artist and the audience, even though it is very personal and invites interpretation. Metaphors (symbols) as personal expressions will be tied to the values and principles of structure and formation of works of art creation, and design of design works in the aesthetic of the form presented. The formation is a composition designed to get the shape or structure of the artwork. The structure is a composition that will always be related to (1) the quality of elements as designed art icons, (2) the principles of layout structure (harmony, contrast, rhythm (repetition), gradation), designed, (3) structural principles including balance (formal/informal) and an entity designed for one unit. This arrangement will produce dynamics (soft, medium, and strong) and produce a certain atmosphere.

Fig. 4. Bugis Lontara alphabet consists of 23 characters. (Doc. Hasbi, 2020) Lontara is a traditional script of the Bugis-Makassar people, derived from the word lontar, a type of plant in South Sulawesi, which is still used and maintained today. Sappo (Bugis): fence; pagar/pa- gar/which is used to limit (surround, insulate) land, houses, and so on. Sulapa eppa (four sides) is a mystical form of classical Bugis-Makassar belief that symbolizes the universe's order, wind-fire- water-ground. Walasuji is a kind of bamboo fence in a rhombus-shaped ritual. Wala suji comes from the word wala, which means separator/fence/guard, and suji tells daughter. Lontara is used as a textual symbol to give freedom of interpretation and as a metaphor for works, no longer representing itself as a script but as a symbolic form of the researcher's life. Humans as individual beings and social creatures in determining practical decisions, the reason that helps them in carrying out or canceling an action, of course, listens to their conscience. The life process that continues to develop makes every

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42 Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni ISSN 1412-4181, Vol. 16., No. 1, April 2021, pp. 37-46 eISSN 2685287X individual have a fence or protector of himself, his family, and culture. The existence of each ethnic group, each having a perspective on themselves, other people, and the universe, ultimately earns the blessing of strength, dignity, prosperity, profit, safety, and refusal of reinforcements/protection, Sappo for everyone who believes and believes in Him. The creator, his creation (human), and the universe (environment) are one unit. 4.2. Revitalizing Artwork Sketch 1. Sappo posi batu

Fig. 5. Sketch of Sappo posi, with the metaphor of Lontara / / as an idiom for the creation of three- dimensional paintings, designed with a rock medium (montage) as a medium for painting expression (Doc. Hasbi, 2020) Sketch 2. Sappo posi aju

Fig. 6. Sketch of Sappo posi, with the metaphor of Lontara / / as an idiom for the creation of three- dimensional paintings, designed with wood (montage) as a medium for painting expression (Doc. Hasbi, 2020)

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Sketch 3. Sappo posi perring

Fig. 7. Sketch of Sappo posi, with the metaphor of Lontara / / as an idiom for the creation of three- dimensional paintings, designed with bamboo as the medium (montage) as a medium for painting expression (Doc. Hasbi, 2020) Sketch 4. Sappo posi lino

Fig 8. The sketch of the Sappo posi / center, with the metaphor of Lontara / / as an idiom for the creation of three-dimensional paintings, is designed with the medium of stone, wood, bamboo, canvas (montage) as a medium for painting expression (Doc. Hasbi, 2020)

We are exploring visual elements and expressing the message conveyed through three-dimensional paintings with the idea of Sappo’s creation: Sulapa eppa walasuji, a metaphorical Sappo painting (montage) with the title; Posi Lino. Almighty Allah is essentially the protector of everything from the

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44 Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni ISSN 1412-4181, Vol. 16., No. 1, April 2021, pp. 37-46 eISSN 2685287X whole metaphor of Sappo. Sappo is a manifestation of the traditional Bugis idiom, painted as a symbol of the contemplation of life visualized in the entire painting. The visual elements used, stone, wood, bamboo, canvas/cloth, and paint, are also metaphors of the universe, which create Almighty Allah. Painting Sappo: Sulapa eppa walasuji; making a metaphor (montage) of Sappo Posi with the idea of symbolic expression borrowing the Lontara's idiom tradition ( ). The whole sketch takes the theme or message of Sappo: Sulapa eppa walasuji, among others, is Sappo posi/center, with the metaphor of Lontara / / as an idiom for the creation of three-dimensional paintings, designed with the medium of stone, wood, bamboo, canvas (montage) as a medium for painting expression. The nature of this nature, is one unit, expressed in the symbol / / = sa which means / / = seuwa (singular or one) (Mahbud 2008, 21). Observing Javanese society's teachings in maintaining balance vertically and horizontally in Javanese culture is known as keblat papat lima pancer. Known as the four spatial dimensions classification, patterned four cardinal points with one center (4 + 1). Together means the whole, the basic unity of opposition to control, meaning that the unity that occurs because of differences and differences is the basis of strength that must be strived for as a balance, harmony in life through self-control (Sony Kartika 2016, 113).

5. Conclusion Art creation is creating three-dimensional paintings with the idea of creation, Sappo: Sulapa eppa walasuji; make Sappo construction paintings (montage) of titles; Sappo posi with the concept of symbolic expression borrowed the idiom of the Lontara tradition ( ). The whole sketch takes the theme or message of Sappo: Sulapa eppa walasuji, including sketch 1, sketch 2, sketch 3, and sketch 4 is Sappo posi, with the metaphor of Lontara / / as an idiom for the creation of three-dimensional paintings, designed with the medium of stone, wood, bamboo, canvas (montage) as a medium for painting expression (Hasbi's sketch, 2020). This research explores the visual elements and to expresses the message conveyed through three-dimensional paintings with the idea of creation, Sappo: Sulapa eppa walasuji, a metaphorical Sappo painting (montage) with the title; Posi. Allah, in essence, is the protector of everything from the whole metaphor of Sappo. Sappo is a traditional idiom portrayed as a form of symbolism from the reflection of the researcher's life that is visualized in the entire artwork. The visual elements used, stone, wood, bamboo, are also metaphors for the universe that Allah created.

References Abbas, Irwan. 2013. “Pappaseng: Kearifan Lokal Manusia Bugis Yang Terlupakan.” Sosiohumaniora 15 (3): 272. https://doi.org/10.24198/sosiohumaniora.v15i3.5752. Ahmad, Abd. Aziz. 2014. “Revitalization of Local Wisdom through Typography Learning.” In Prosiding ICAAE 2014. Bandung: Universitas Telkom, Fakultas Industri Kreatif. https://openlibrary.telkomuniversity.ac.id/knowledgestock/176965.html. Ahmad, Abdul Aziz. 2014. “Melestarikan Budaya Tulis Nusantara: Kajian Tentang Aksara Lontara.” Jurnal Budaya Nusantara 1 (2): 148–53. https://doi.org/10.36456/b.nusantara.vol1.no2.a416. Mahbud, M. Asar Said. 2008. “Hurupu ’ Sulapa Eppa’, Etika Lingkungan Dan Kearifan Lokal.” Hutan Dan Masyarakat 3 (1): 1–110. Marianto, M. Dwi. 2019. Seni & Daya Hidup Dalam Perspektif Quantum. Yogyakarta: BP ISI Yogyakarta. Sony Kartika, Dharsono. 2007. Budaya Nusantara: Kajian Konsep Mandala Dan Konsep Triloka/Buana Terhadap Pohon Hayat Pada Batik Klasik. Bandung: Rekayasa Sains. ———. 2016. Kreasi Artistik: Perjumpaan Tradisi Modern Dalam Paradigma Kekaryaan Seni. Karanganyar: Citra Sains LPKBN. Sudarmana, Djaka Teguh. 2016. “Simbol Naga Cina Sebagai Rangsang Cipta Studi Penciptaan Karya Action Painting.” Brikolase: Jurnal Kajian Teori, Praktik Dan Wacana Seni Budaya Rupa 8 (1): 21–37. https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1801/1727. Sumardjo, Jakob. 2000. Filsafat Seni. Bandung: Penerbit ITB Bandung.

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Sunarto, Bambang. 2013. Epistemologi Penciptaan Seni. Yogyakarta: Idea Press Yogyakarta. Susanto, Mikke. 2003. Menimbang Ruang, Menata Rupa, Wajah Dan Tata Pameran Seni Rupa. Yogyakarta: Galang Press. Swasono, Hening. 2007. “Dekonstruksi Diri Sendiri Dalam Proses Penciptaan Karya Seni.” Imaji: Jurnal Seni Dan Pendidikan Seni 5 (2): 133–61. https://journal.uny.ac.id/index.php/imaji/article/view/6679. Syarif, Ananta Yudono, Afifah Harisah, and Moh Mochsen Sir. 2018. “Sulapa Eppa As The Basic or Fundamental Philosophy of Traditional Architecture Buginese.” Edited by R.B. Santosa, N.C. Idham, N.G. Yuli, and P.AP. Agustiananda. SHS Web of Conferences 41 (January): 04005. https://doi.org/10.1051/shsconf/20184104005.

Biography Hasbi is an artist and Fine Arts and Design teacher at the Indonesian Institute of Cultural Arts, Tanah Papua. A bachelor’s degree in Fine Arts Education has he got from Makassar State University. He is an active and productive artist in the field of creative painting. He is also involved in writing papers for various seminars. The last article he wrote in 2019 was entitled “The Application of Lontara Bugis (Tellu Cappa) Script in Installation Art.”

Bagus Indrayana is an artist in the craft that earned a doctorate in art studies from Gadjah Mada University. He is active in writing many papers and articles to be presented in various seminars and scientific journals. In 2016 he wrote an article entitled “Traditional Indonesian Toys and the Development of Batik Motifs,” published in the Journal of Arts and Humanities. He has long been active writing in Dewa Ruci’s Journal and is still actively lecturing at the Faculty of Art and Design of the Indonesian Institute of the Arts, Surakarta.

Dharsono is an artist, who obtained a doctorate in fine arts from the Bandung Institute of Technology. Now he has held the title of Professor in Fine Arts. He is among those who actively write books, some of which are Seni Rupa Modern, Budaya Nusantara: Kajian Konsep Mandala dan Konsep Triloka terhadap Pohon Hayat pada Batik, Estetika Seni Rupa Nusantara, Estetika Nusantara, dan Kreasi Artistik: Perjumpaan Tradisi dan Modern dalam Paradigma Kekaryaan Seni. Until now, he is still teaching at the Postgraduate Program at the Indonesian Institute of the Arts in Surakarta.

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46 Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 16., No. 1, April 2021, pp. 47-55 ISSN 1412-4181, eISSN 2685287X https://jurnal.isi-ska.ac.id/index.php/dewaruci/

Transformation of Krinok to Bungo Krinok Music: The Innovation Certainty and Digital-Virtual Contribution for Cultural Advancement Mahdi Bahara,1,*, Johannesb,2, Uswan Hasan c,3, Indra Gunawan, d,4, Zulkarnaine,5, Hartati, M.f,6, Fatonahg,7. a, b, c, d, e, f, g Universitas Jambi, Jl. Raya Jambi – Ma. Bulian, KM. 15, Mendalo Indah, Pos 36361, Jambi- Indonesia. 1 [email protected]*, 2 [email protected], 3 [email protected], 4 [email protected], 5 [email protected], 6 [email protected], 7 [email protected], * Corresponding Author

Received January 31, 2021; accepted February 4, 2021; published April 2021 ABSTRACT KEYWORDS

Innovation is a certainty for the development of folk music. The use of digital krinok technology is part of the creation of folk music in the sense of evolution itself. Innovation Krinok music is one of Jambi’s traditional music themes. This music genre is a Digital cultural wealth that has great potential for artistic development and advancement. Creative Musical systems, melodic contours, musical grammar, and interval patterns make Advancement up the distinctive character of krinok music. The normative freedom of the singing text’s spontaneous expression in presenting this musical entity and its changes is This is an open- the entity that colors this uniqueness. The contribution of digital technology in access article under processing krinok music has the potential for reproduction and publication as an the CC–BY-SA integral part of the creative process itself. The placement of krinok music as cultural license property is an effort to process it creatively. The result was the birth of new music as a transformation of Jambi folk music called “bungo krinok” music. This creative activity is an effort to progress the Indonesian nation’s culture.

1. Introduction The Republic of Indonesia’s Government follows up on the mandate of the 1945 Constitution Article 32 paragraph (1) “The state advances Indonesia's national culture in world civilization by guaranteeing the freedom of the people in maintaining and developing cultural values.” The Fundamental Law's follow-up is the issuance of another Law, namely the Law of the Republic of Indonesia Number 5 of 2017 concerning Culture’s Advancement. The Law includes the following considerations. a. that the state advances Indonesia’s national culture in world civilization and becomes a culture as capital to build the future and refinement of the nation in realizing national goals as mandated by the Constitution of the Republic of Indonesia; b. that regional cultural diversity is richness and identity of the country that is very needed to advance Indonesia national culture in dynamics of world development; c. that to increase Indonesia’s national culture requires strategic steps as an effort to promote culture through protection, development, utilization, and fostering to realize an Indonesian society that is politically, economically sovereign and has a cultural personality; Some of the basic thoughts above are a portrait of awareness of culture’s importance as a state investment. The goal is to build a future for the Indonesian nation that is politically sovereign, economically independent, and has an artistic personality. One of the various regional cultural arts that we can consider as an asset and can be developed and preserved is krinok music, Jambi Malay folk music. We can position the krinok music genre to reference strategic art and cultural objects for cultural advancement. With good and creative management of this music, it is hoped that it can improve the community’s welfare, especially the creative industry in art tourism. In this context, “art tourism must be broadly defined, as any travel activity that involves art, visits to see art, including

10.33153/dewaruci.v16i1.3529 [email protected]

47 Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni ISSN 1412-4181, Vol. 16., No. 1, April 2021, pp. 47-55 eISSN 2685287X activities in the form of tours, vacations or trips away from home” (Franklin 2018, 400). Therefore, art tourism is the most appropriate space for the advancement of economically valuable arts and culture. Such progress is a consequential measure, especially for innovative work. Innovative work does not stand alone but is always related to everything needed for innovation in the work itself to create innovative products of the highest degree. It is impossible to make progress without change. Change is a form of the innovation process, to a more complex, highly efficient, and needed way. One of the technological components that contribute to innovative work in advancing music is digital technology as part of the Industrial Revolution 4.0 (internet connection. Digital technology, as a product of modern technology, is a tool that helps innovation work, both production and publication needs, so that society can enjoy the product. This article tries to reveal how the latest innovation in traditional music in Jambi, called krinok music, has become the object of creativity in music creation. The innovation is based on research results that are oriented towards the paradigm of arts and culture development. So, innovation by utilizing digital technology and internet connectivity becomes a model in advancing cultural skills. Even in this new musical innovation, krinok music serves as a model. krinok music as a model is very important because it is one of the entities in developing the music creation paradigm (Sunarto 2020, 104; 2015, 285–95). krinok music becomes both an object and a model in creativity. Finally, this creativity produced new music with the krinok music genre called bungo krinok music. However, music development is not done immediately but is based on development research as a preliminary. So, bungo krinok’s musical creativity is not merely a creative activity that relies on creating, which tends to be purely intuitive. Creativity in producing bungo krinok music is based on understanding krinok music's musical nature as traditional music in Jambi. This creative activity and research’s main contribution is part of an effort to advance the Indonesian National Culture. Another gift is to dynamize the life of Jambi Malay traditional music in the dynamics of world development. Creativity surrounding traditional music is encouraged to become a systemic necessity to create innovative products that are globally competitive. 2. Method This study uses research and development methods. According to the research objectives, this choice is appropriate because the research object’s basis is the evaluation results. Gall and Borg assert that the application of evaluation in education is an entity that plays a key role in educational research and development (Gall, Meredith D., Joyce P. Gall 2003). In this krinok music research, the evaluation focuses on the music genre’s existence as a potential folk music expression for development activities. krinok music becomes musicological potential, as wealth, capital, or a source for creating “new” music. Therefore, stimulating krinok music’s progress as a regional art is very appropriate using a research and development approach.

7. 1. 2. 3. 4. effective 5. 6. criteria Improveme Finding of Product New Systematic Evaluation (quality, research design Procedure Test nt target standard, etc)

Fig. 1. Research and Development Step of Art Advancement (Music) source: (Gall, Meredith D., Joyce P. Gall 2003); summary: (Mahdi, Bahar and Hartati 2019)

At first, research and development study industrial action-based models as explained by Gall and Borg. Research and development in education is an industry-based development model. The design of new products and procedures uses the results of the investigation. Then systematically, there are testing, evaluation, and refinement activities to meet the criteria of effectiveness, quality, or similar

Mahdi Bahar et al. (Transformation of Krinok to Bungo Krinok Music)

48 Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni ISSN 1412-4181, Vol. 16., No. 1, April 2021, pp. 47-55 eISSN 2685287X standards (Gall, Meredith D., Joyce P. Gall 2003). At first fundamental steps in the research and development model explained above can be identified as in Fig. 1. The implementation of seven basic steps is: • Step 1: Research, qualitative approach, data collection, data processing, data verification; • Step 2: music design, interpretation, imagination, writing music composition design, practice trials, the form of music; • Step 3: New system of plays and presentations; • Step 4: systematic test, rehearsal • Step 5: Evaluation and correction; • Step 6: Improvement; • Step 7: Effectiveness criteria, quality: aesthetic, artistic, form, work target, and target. Based on the research process that has taken place in the research and development procedure, there are 3 (three) bungo krinok music models, namely children, adolescents, and adults. They are criteria of effectiveness, and product quality met. In step 1, the research method used was the qualitative research method. The implementation examined krinok music as part of the supporting communities’ aesthetic and cultural values. The performance is in the form of music research in the field and laboratory. After conducting step 1, the next step is music copyright engineering (development). There are processing activities in instrument engineering and processing of elements to obtain copyright from musical stuff in music. There is a novelty in music and its performances (Nurvijayanto 2018, 175). It was formulating a modus of krinok music. The most basic activity is analyzing the basic modes of scale formation. In research is to utilize digital technology devices. Measurement of pitch intervals using the KORG TMR-50 Tuner Metronome Recorder, and cent is the basis for measuring the interval distance. The formulation and formation of the notes’ sequence as a krinok music mode uses the HALION-Steinberg digital music program. How it worked was the tone based on each frequency was set using the HALION device and put on the icon of the tuts keyboard. Then there are activities for setting up a series of tones and techniques to produce a scale model in krinok music. Based on this modus, the researcher determined the music’s theme creatively to achieve 3 (three) musical work models. These three models are criteria of product effectivity and quality.

3. Discussion 3.1. Background of bungo krinok music Bungo krinok music is creative music from the richness of Jambi krinok music. This music is traditional, a cultural heritage that has existed from generation to generation, especially in the Jambi Malay community in two districts, namely Bungo and Tebo. In two districts, krinok music becomes part of their daily life contextual with tradition or their other cultural activity. They are part of people in central Sumatera, “…, are assumed to be people from previous generations who have lived for years. Based on the Bronson and Teguh Asmar excavations in the Tiangko Panjang Cave, south of Ulu Tiangko, now in Merangin District, Jambi Province, where obsidian devices are found, the C-14 calendar is around 10,000 BC…(Mahdi, Bahar and Hartati 2019). Bungo and Tebo’s people make krinok music a part of the need for certain cultural ceremonies or traditions in their environment, such as a cultural wedding or circumcision ceremonies and other cultural rituals. This music often enlivens government ceremonies and national holidays in the local area (interview with Syaiful Anwar, krinok musician, Koto Jayo, 24-04-2020). The continuity of krinok music runs from generation to generation, so musical genres are contextual in their environment, depending on other activities in people’s cultural or traditional lives. In other words, the continuity of krinok music is related to other events outside the music itself, such as cultural or

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49 Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni ISSN 1412-4181, Vol. 16., No. 1, April 2021, pp. 47-55 eISSN 2685287X traditional events in the Bungo and Tebo communities, or wherever they are, both in Jambi Province and in other regions. Krinok music is live, especially with the Bungo and Tebo people’s traditional life in its “simple” form. Four categories of theatre tradition in Southeast Asia, explained Brandon, are right for the folk theatre tradition. Brandon explained that the folk theater tradition has always been related to village life. It is linked with prehistoric animistic beliefs and rituals. Performances are given at irregular intervals and for special occasions. Performers are local villagers who act or dance as hobbies or gain prestige; they are not professionals. The community or a local sponsor provides expenses attendant upon performance; anyone may attend free of charge. Theatre forms tend to be relatively simple, and the artistic level of performance may be low (though this is not always the case)” (Brandon 1974, 80). Some of the characteristics of the folk theater tradition mentioned by Brandon above have many similarities with krinok music performance. For example, (1) traditional arts, both folk theater, and krinok music, are related to village life; (2) performance or concert is held at irregular intervals for various special purposes; (3) the perpetrator is a resident of the local village and acts as a dancer or musicians in the context of a hobby or to gain prestige; (4) they are not professionals; (4) the community or local sponsors provide various fees for the show; (5) the audience does not pay, and (6) the form of the show tends to be relatively simple, and the artistic level of the performance may be low. Let’s look further at krinok music’s position, especially in the sixth characteristic mentioned above in the present. It is necessary to make artistic “change” to avoid what is described by Nettl, who states, “as we have just indicated, a folk song must be accepted, or it will be forgotten and die. There is another alternative: its audience does not accept it. It may be changed to fit the needs and desires of the people who perform and hear it.” (Nettl, Bruno; Béhague, Gerard; Goertzen 1973, 4). krinok music is a folk theatre tradition with artistic characteristics that tend to be relatively simple. The cultural level of performance may be low. In the past, it can be ascertained that an art genre can provide art satisfaction to its audience to become traditional. The fact was that krinok music had been positioned tradition in the community environment, which “something continued or transmitted from past to present because it needed to be imitated and maintained” (Shils 1981, 12). Bahar explains, “the resistance of music in their life is probably caused by the music that exists in the period, and does not have more choice” (Bahar 2013, 8). Krinok music viewed and felt can give aesthetic satisfaction and musicological artists the environment where they played the music. On the contrary, in a global context, music's progress and development are dynamic with various choices and qualities. Theatrical packaging that requires creativity and is relevant to art can be presented by krinok music as its current portrait in the supporting community’s cultural environment is certainly not comparable. If there is no change in artistic quality in other forms, maybe what Nettle said above will become a real experience for krinok music. The lovers will leave, and eventually, this music will die, or the krinok music will be contextual forever in the environment. Suppose the wealth of musical potential of krinok music is maintained. In that case, it will compete in the artistic line of music art advancement with its present and global complexity, so the change creatively needs to be conducted. The music genre of traditional krinok music, “Bungo-Tebo,” to build the “new” cultural music is the creativity that is meant. One of the models is an arrangement of bungo krinok development of the next tune. Creative conditions for the advancement of cultural arts are possible, as explained by Machin- Autenrieth as follows. “…as “intercultural dialogue,”… . that his ensemble’s “musical language . . . is the fruit of a mutual search for a shared legacy, a Spanish-Moroccan musical heritage made with dedication and passion by people from both shores who believe in musical dialogue. [The group] is also a vehicle to develop and intensify mutual understanding, convivencia, collaboration, and solidarity” (Machin- Autenrieth 2020, 431). The advancement of krinok music can be conducted and can not be avoided from collaboration from various possible aspects of idealism and music material coming from different music cultural

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50 Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni ISSN 1412-4181, Vol. 16., No. 1, April 2021, pp. 47-55 eISSN 2685287X backgrounds. It is different with jathilan theatre having a special trancing player. So in the context of tourism, it became the main interest and did not need extra creativity, “that all aspects of performance are presented in intact condition” (Sutiyono 2018, 36). Thus creativity models can be directed to various forms of necessity and musical quality level with consideration of context condition. 3.2. The Implementation of Digital and Virtual Technology Three processes of research and development of krinok music become bungo krinok music using digital and virtual technology (internet), they are (1) the tone system formulation process, (2) digital music, (3) studio work and publication digitally and virtually as follows: 3.2.1. The Tone System Formulation Formulating a tone system requires the use of digital technology. Based on krinok tune research, people’s traditional music in Bungo and Tebo District, Jambi Province, was formulated in an invention form of tone system or modus as a basic frame framing the running of krinok melody. In the review process, which is completely digital technology, the main sound of the notes that form the basis of this melody remains and repeats itself from the course of the piece or the theme of the song itself. In addition to the number of main notes, there are also decorative tones useful for making krinok songs. Because the decorative style is an inseparable part of the krinok song character's basic pattern, in essence, the main notes based on the krinok song's melody will be the model and shape the song. The creation of new music which is based on the main tone and decorative tone, makes krinok’s song different from other songs. Determination of the pattern of steps or pitch intervals, measurements are made with digital technology tools. The main notes are formulated based on the note interval in cent units proposed by Alexander John Ellis (1814-1890), and as described by that, the cent system divides the octave into 1,200 cents 100 for each semitone of the same temper (Stock 2007, 306). The diatonic tone system is equally divided into the full 200-cent scale and the 100-cent half-tone scale (Backus, John; Baskerville 1977, 146–48; Barbour, J Murray; Kuttner, Fritz A; Conant 1958, 1). The tone system in the krinok song is to look and pay close attention to what notes go in static pitch jumps, either when the melody goes up or down and is repeated or silent during the song. Even though krinok songs are atonal songs whose pieces are not based on a certain tonica or key, such as a diatonic tone system, they have a pattern. The pattern is that the krinok song can be repeated many times by singers and even by many residents. This entity indicates a certain structure, especially the tone structure that forms the foundation of the melody.

C Dis F G Ais+34,c c CCCc

1 300,c 2200,c 3 200, c 4 334, c 5 166, c i =1200,c

1/2 1 1 1 1 4/6 5/6

Fig. 2. Main Tones of Krinok Music System

Based on the diatonic tone system model as a comparison, we can explain that somebody can describe the main tone as the krinok song’s foundation that the lowest tone or the first note is the C note, the second dominant tone (C) is Dis. The third dominant note is the F note, the fourth note is G, and the fifth note is Ais + 34, c (cent), and the next note returns to the c note (Octave). These tones are a link between the decorative tone and the main tone. The reality and character of manners and the relationship between notes are the basis of the melody that colors the song krinok. The five main tones whose formation is based on pitch intervals, namely the form and tone system, are the relationship patterns between the tones that are the basis of krinok music. The shape of the tone interval is measured in cent as follows.

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• first scale tone (1) (C) with second tone (2) (Dis) = 300,c; (11/2 ) • second scale tone (2) (Dis) with third tone (3) (F) = 200,c; ( 1 ) • third scale tone (3) (F) with forth tone (4) (G) = 200,c; ( 1 ) • forth scale tone (4) (G) with fifth tone (5) (Ais+34,c) = 334,c; (14/6) • fifth scale tone (5) (Ais+34,c) with octave tone (c) = 166,c. (5/6 ) The total number is 1200 cent. Five main tones are tone forming scale system or mode and systemic in creating krinok song, as described in Fig. 2. Besides the main tone, there are two additional tones or variations based on the existence, which is intermediate tone as follows. • between first tone (1) (C) and second tone (2) (Dis), it is the tone (D), so there is a two-tone interval form, they are: − between tone interval (C) and tone (D) is 200,c., and − between tone interval (D) and tone (Dis) is 100, c. • between fourth tone (4) (G) and fifth tone (5)(Ais+34,c), it is the tone (Gis), so there is tone interval, they are: − between tone interval (G) and tone (Gis) is 100,c., and − between tone interval (Gis) and tone (Ais+34,c) is 234,c. Based on the number of main tones and additional tones or variation, the tone in the tone system of krinok becomes seven tones in interval form itself, and tone interval in one octave = 1200, c. The picture can be seen in diagram 2 as follows

1 2 3 4 5 6 7 i

C D Dis F G Gis Ais+34c c CCCc

200,c 100,c 200,c 200,c 100,c 234,c 166,c

1 2 3 4 5 i

1/2 1/ 1 1 1 4/6 5/6 300,c 200,c 200,c 334,c 166,c

Fig. 3. Tones System krinok Music

3.2.2. Music Digitization in Recording Music The digitization process is an integral part of the transformation of krinok music to bungo krinok. Three bungo krinok music arrangements are model; children, teenagers, and adults are recorded using digital technology. The third digitization process of the model is conducted in the recording studio by processing analog music to be digital. In the digitization process, processing can be achieved everywhere, so music played can be better. Digital technology advancement becomes important in processing music copyright. If shortcomings and weaknesses felt not good enough, they can be overcome using digital technology, such as tone case, tempo, melody repetition, or vocal. The advancement of digital technology is so fast and comprehensive for processing the music to be part of music copyright creativity itself. The digital tool can be positioned as music copyright for

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52 Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni ISSN 1412-4181, Vol. 16., No. 1, April 2021, pp. 47-55 eISSN 2685287X music creators. The quality of the creator determines even music quality in mastering digital technology. Various digital models or technology can be used right now for creating maximum quality music. Two technology models have become the used music digitization foundation, and they are midi sequencing and disk-based digital audio recording. Midi sequencing is medium or means to record the voice into digital form, and disk-based digital recording is a medium or means to record or run the data music note that has been formed first. Based on two technology models, bungo krinok music is hope to be able to create. Therefore, digital technology becomes part of a music copyright tool that cannot be repaired immediately, especially related to the music industry. Creating bungo krinok was conducted by recording with track technique as explained above using model technology, which is the digital disk-based audio recording from each instrument played. Materi recorded is in vocal form. The material recorded is vocals, playing string instruments (orchestra), wind, percussion, and playing other manual musical instruments. The recording process is begun by making a notation using the software Sibelius music, and the next note is played with a musical instrument. The training process in playing music notation, either personal or together, is continued on the music studio’s recording process. A recording is conducted by track record technique, using software Apple Logic pro-X. The final result of the recording is a music record of audio data (mp3). Then bungo krinok music is achieved: children, teenagers, and adults. 3.2.3. Music Digitization in Recording Music In creating bungo krinok music, virtual technology is used and easy to reach now. The rapid technology development and advancement are that one of them is using virtual technology or virtual reality. This media transition from real life to cyberspace formed in virtual form, so everyone can see how it is. According to Puto, virtual reality is three-dimensional pictures made by computer. It looks real with helping certain tools and makes users as if involved directly in that environment (Puto 2015). This virtual technology has functioned in the creative working process of creating bungo krinok music.

Fig. 4. Bungo Krinok Cover, Which Is Uploaded On Youtube.

Virtual technology used is for finding research results, especially song tone system or krinok song played with vocal by krinok player. Analog record of krinok song is analyzed in a music studio at the Sendratasik Study Program of the University of Jambi. The technique is by comparing each tone chosen based on certain considerations. How to process is data (melody) is listened to repeatedly, and strong tones and listened tones frequently are chosen. The main tone or krinok song is based on record results and measured quantitative using the KORG TMR-50 Tuner Metronome Recorder. The tone is measured from the lowest tone to the octave tone. Because of the situation and condition in Jambi, the research team needs to work among studios for the next processing. This creativity is the first step to touch up with digital technology. In the second step, the measurement results are sent using virtual media to a West Sumatra music studio (Padangpanjang). Digital data is a measure of tones and comparisons in the form of cents. Sounding used by digital devices in a music studio in Padang Panjang. Furthermore, the sound’s digital tones from the lowest to the highest tone scale (octave) heard in the music studio in Padang Panjang are sent back to Jambi using virtual media (internet). Therefore, the second stage is to analyze the tone system in the laboratory by involving studios, researchers using digital technology and virtual technology at the same time. The second technology becomes a media unit needed to find the real tone system in the krinok song.

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The third step is to take advantage of digital and virtual technology, namely disseminating information resulting from a creative process recording bungo krinok music products via youtube media. Publication through YouTube is very effective in sharing information to know the research and development results. With this method, the results of audiovisual recordings can be enjoyed by the public without being watched directly. This media can also help to find out who and where people access this work. The use of virtual technology helps realize creative works as an extension of the theater space. Several bungo krinok music works as a result of published research that has been virtualized through the YouTube channel, as shown in Fig. 4. The fourth step is to use digital technology, namely recording the music research products of the bungo krinok model, both for children, teenagers, and adults in the recording studio. The recording uses two ways, both analog and digital. The recording object is the sound of the music as a whole, and the sound of instruments and vocals used to make this third bungo krinok music production model. Recorded storage uses digital media, and the last recording data is using the MPEG format.

4. Conclusion Bungo krinok’s music is a process for advancing culture in Jambi, Indonesia, and worldwide. This idea is a continuation of the results of research conducted by a research team from Jambi University. In this context, bungo krinok’s music is a creative manifestation of efforts to preserve regional culture. As a result, the community was presented with new musical arts built on their own culture's musical elements. The innovation of krinok music, which was transformed into bungo krinok music, originated from research on the sociology of art and ethnomusicology. The study stimulates a creative process in artistic practice, which the researchers then attempt to package folk music into music with digital and virtual technology (the internet). The initial process involves finding and deciding on a musicological framework, such as tone systems, melodic lines, and musical forms. Then the implementation of artistic creativity and innovation is carried out at the next stage. The transformation of bungo krinok can not be separated from the message or philosophy in the krinok music tradition itself, which stimulates the growth of creativity so that new music can be enjoyed or felt by the community. The birth of new music that is based on the existence of traditional folk music is a manifestation of efforts to promote culture. The advent of bungo krinok music is a portrait of the Jambi people’s spirit to continue to preserve culture while still considering creativity as the main means. References Backus, John; Baskerville, Richard. 1977. The Acoustical Foundations of Music. New York: Norton. Bahar, Mahdi. 2013. Islam Dan Kebudayaan Seni Minangkabau. Padang Panjang: SI Padangpanjang Press. Barbour, J Murray; Kuttner, Fritz A; Conant, Robert. 1958. Meantone Temperament in Theory and Practice. New York: Musurgia Record. Brandon, James R. 1974. Theatre in Southeast Asia. 2nd Print. Cambridge, Massachusetts: Harvard University Press. Gall, Meredith D., Joyce P. Gall, and Walter R. Borg. 2003. Educational Research: An Introduction, Seven Edition. Boston: Pearson Education, Inc. Machin-Autenrieth. 2020. “The Dynamics of Intercultural Music Making in Granada: Everyday Multiculturalism and Moroccan Integration.” Ethnomusicology 64 (3): 422. https://doi.org/10.5406/ethnomusicology.64.3.0422. Mahdi, Bahar and Hartati, M. 2019. “The Trace Of Animism In Art of Islamic Minangkabau Culture: Continuity And Change.” International Journal of Scientific and Technology Research 8 (10): 197– 2015. www.ijstr.org. Nettl, Bruno; Béhague, Gerard; Goertzen, Valerie Woodring. 1973. Folk and Traditional Music of The Western Continents. Edited by Valerie Woodring Goertzen. Englewood Cliffs. New Jersey. Nurvijayanto. 2018. “‘Kreativitas Dan Spritualitas Dalam Pertunjukan Goro-Goro Diponegoro Karya Mantradisi.’” Jurnal Kajian Seni 04 (2): 175.

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Puto, H.T. 2015. “Kajian Virtual Reality. Makalah Studi Mandiri Universitas Teknologi.” Yogyakarta. Shils, Edward. 1981. Tradition. First Edit. Chicago: The University of Chicago Press. Stock, Jonathan P. J. 2007. “Alexander J. Ellis and His Place in the History of Ethnomusicology.” Ethnomusicology 51 (2): 306–25. https://www.jstor.org/stable/20174527. Sunarto, Bambang. 2015. “Basic Knowledge and Reasoning Process in the Art Creation.” Open Journal of Philosophy 5 (5): 285–96. https://doi.org/10.4236/ojpp.2015.55036. ———. 2020. “Model and Concept in the Music Paradigm of Creativity.” Music Scholarship / Problemy Muzykal’noj Nauki, no. 3 (September): 103–13. https://doi.org/10.33779/2587-6341.2020.3.103-113. Sutiyono. 2018. “The Traditional Performing Arts In Agrowisata Kabupaten Sleman, Indonesia.” Journal of Art & Humanities 07 (11): 1167–9053. https://doi.org/http://dx.doi.org/10.18533/.

Biography Mahdi Bahar is a professor, chair of the Sendratasik study program, Jambi University. He is a doctor in the field of performing arts studies as well as a professional composer. He has carried out scientific research activities since the 1980s. He has produced many research works. In 2009 and 2010, every year, he has created one research work. In 2017 he made two research works as well as in 2018. His results have also been published in various scientific journals, including the Panggung Journal, the Mudra Journal, the Education and Culture Journal, and the International Journal of The Social Sciences.

Johannes is a professor in strategic management at Jambi University. It has done a lot of research. In the last five years, he has produced six research works. The works have also been published in Innovative Issues and Approaches in Social Sciences Journal and Dinamika Manajemen Journal.

Uswan Hasan is a lecturer at the Sendratasik study program, Jambi University. He has a researcher and composer who is active in producing new musical compositions. From 2015 to 2018, he has produced music works of at least ten music compositions, which are published in various venues. These works were funded by Taman Budaya Jambi, Jambi Province Culture and Tourism Office, and Direktorat Kesenian, Direktorat Jenderal Kebudajaan. Only one piece that he financed himself.

Indra Gunawan is a musician and composer at the Sendratasik study program, Jambi University. He graduated from ISI Padangpanjang in 2012 and earned a master's degree from the same institution in 2014. In 2016 he produced a musical composition entitled “Jolo,” a composition made with a meta-cultural perspective. Two years earlier, he also created a musical composition entitled “Ritual Madu Lebah.”

Zulkarnain is a lute musician, a retired civil servant who has a passion for Gambus Melayu music. While still active as a civil servant, he worked at the Department of Education and Culture, Bid. Culture of Jambi Province. Although officially he is not an academic, he is actively researching music. Productively he has produced many studies, including research on (1) Zapin Soho Music, (2) krinok Serame, and (3) krinok Dalam Zaman. Each of them is funded by the Siaka Regency Culture and Tourism Office, Taman Budaya Jambi, and the Jambi Arts Council.

Hartati is the Head Lecturer at the Sendratasik study program, Jambi University. She has expertise in make-up and clothing. He is an alumnus of ASKI Surakarta (now ISI Surakarta) who earned a Masters in Performing Arts Studies at Gadjah Mada University. In 2018 he produced research entitled "Bedana as a Jambi Malay Arab Ethnic Cultural Identity." His articles have been published in the Garak Jo Garik Journal, the International Seminar on Malay Cultural Arts entitled "Cross-Cultural Malay" organized by ISI Padang Panjang.

Fatonah is an expert in the fields of language, culture, and communication at Jambi University. He obtained a bachelor's degree in literature from Padjadjaran University in 2003, and in 2010 he earned a master's degree in communication science from the same university. In 2017 and 2018, he has carried out four research activities. His scientific articles have been published in the Tsaqofah & Date Journal, Titian's Journal, and Global Communications Journal.

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Social Criticism about the 2019 Election Campaign in the Comic Strip Gump n Hell

Luqman Wahyudi a,1,*, Sri Hesti Heriwati b,2 a Institut Teknologi telkom Purwokerto, Jl. DI Panjaitan No.128, Purwokerto 53147, Indonesia b Institut Seni Indonesia Surakarta, Jl. Ki Hajar Dewantara No. 19, Surakarta 57126, Indonesia 1 [email protected]*; 2 [email protected]; * Corresponding Author

Received September 1, 2020; accepted Marc 31, 2020; published April 2021 ABSTRACT KEYWORDS

Comic strips are a top-rated entertainment product. Supported by growing Semiotic information technology, comic strips today are very accessible to almost all people. Comic In addition to serving as a medium of entertainment, comic strips are often used as Comic Strip a means of opinion and convey criticism creatively from the comic artist. One of Social Criticism the comic strips that are vocal in expressing social criticism is Gump n Hell comic Charles Sanders strip by Errik Irwan Wibowo. This comic strip depicts political events that occur, Peirce then publishes the comics through social media. This research is qualitative descriptive research using Charles Sanders Peirce's semiotic theory to determine the meaning of social criticism in the comic strip Gump n Hell. The researcher took This is an open- three Gump n Hell comic strip samples relating to the moment of the 2019 General access article under Election to analyzed the meaning. From the study results, there was an implicit the CC–BY-SA meaning in the comic strip, namely criticizing and satirizing specific political license figures related to the phenomenon. Criticism in comics is represented subtly or indirectly through pop culture icons that become representations or parodies of exact political figures and wrapped in narratives according to political phenomena.

1. Introduction Election contestation in Indonesia is a frequent moment in the journey of Indonesia's political world. A general election is a five-yearly democratic party attended by all Indonesians to elect leaders, from regional heads to state leaders. General elections, especially during the presidential and vice- presidential campaigns of Indonesia, always create national controversies. The years leading up to the 2019 elections are an era where political campaigns have become very crowded compared to previous political years. Political campaigns in this period are pretty fierce, with a significant impact in various circles of society. The development of information technology and the post-truth era also supports this phenomenon. The post-truth era is an era where facts influence public opinion than emotions and personal beliefs. In this situation, hoax information has a much superior influence than the facts (Utomo 2017). This statement is in line with Matthew d’Ancona’s opinion that post-truth is a new age in which clandestine technologies exploit big data and social media. A climate has arisen where trust has evaporated, conspiracy theories thrive, the media's authority has wilted, and emotions matter than facts (d'Ancona 2017, 1-2). In this post-truth era, everyone is free to have an opinion and express an opinion. Throughout this campaign, many regard hoaxes as truth and see facts as lies. There are political buzzers who drive opinion to get the popular vote. The preaching of hoaxes and the dredging of opinions are shared and becomes public consumption. One example of the problem is the persecution of Ratna Sarumpaet, which caused bruises on her face. Ratna Sarumpaet's statement was a hoax intended to behead her political opponents (Medistiara 2019). Apart from hoax-related news, events and political issues during the campaign were also the subject of opinion generated and public discussion. Noises on a national scale are certainly a concern for Errik Irwan Wibowo.

10.33153/dewaruci.v%vi%i.3231 [email protected]

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Errik Irwan Wibowo is a comic artist from the online opinion comic entitled Gump n Hell. Errik Irwan made this comic strip to criticize and satirize political figures in the general election contest campaign. Gump n Hell comic strips are attractive because they have different characteristics and appeals than other opinion comics in general. Gump n Hell comic strips often slip the visualization of pop culture icons known to the public to attract the comics. Pop culture icons are celebrities, characters, or objects known in popular culture through mass media. Marcel Danesi argues that "The rules of the media, the church of pop culture has created pop icons."(Danesi 2018, 99), which means pop icons are created based on media rules. If something gets media attention, then it quickly becomes a pop culture icon. The pop culture icons in the Gump n Hell comic strips serve as an attraction for readers and serve as an entrance to the political issues brought and a parody of political figures who are the target of criticism. Besides being able to avoid frontal attacks on political figures, it can also build imagination for its readers. Communicating through image media makes one will not feel threatened for fear of associating things that are considered taboo (Novriansyah 2006, 77). Comic strip itself is a top-rated entertainment product. Supported by growing information technology, comic strips today are very accessible to almost all levels of society. Besides serving as a medium of entertainment, Comic artists often use comic strips to express opinions and creative criticism from comic artists. According to Will Eisner, this is in line with the comic function where comics are a way to speak, both as a function of entertainment and instruction (Eisner 1985, 139-146). As the narrative medium, the comic strip's sign elements certainly have the meaning that comic artists want to convey to readers. Through the comic strip signs, Charles Sanders Peirce's semiotic analysis focused on the relationship between representations and objects. Peirce classified this into three types of signs: icon, index, symbol. 2. Method This research is descriptive qualitative research with an analysis interpretation approach. Researchers collected data using several methods, namely observation used to extract data from data sources in the form of events, activities, behaviors, places or locations, objects, and recorded images (Sutopo 2006, 75). This observation technique observes and examines the comic strip's signs using Charles Sanders Peirce's semiotic to see the comic's social criticism. The semiotic study of Charles Sanders Peirce emphasizes the logic and philosophy of the signs that exist in society. Charles Sanders Peirce created a model of semiotic analysis called triangle meaning theory. This theory explains that semiotics depart from three main elements, including the representation (ground) or referred to as a sign, a physical form that the five senses can capture. The object is the social context that is the reference of the sign. The interpretant means the concept of thought of the people who use the sign. The three are interconnected and depicted in a triangular pattern (Vera 2014, 21). A ground is a subject in a triadic relationship that produces the second and third marks called objects and interprets. In a triadic relationship, a representative determines the interpretant in the same object. The triadic relationship then produced a meaning, namely interpretant (Budiman 2004, 26). In presenting the data, this study focuses on representation with objects or the category of secondness semiotics Peirce, namely icon, index, and symbol. The icon is a sign that contains a resemblance as can be recognized by the wearer. The relationship between the representative and his object has a "similarity in some qualities" in the icon. The index is a sign that has a phenomenal or existential association between the representative and the object. In the index, the relationship between the mark and its object is concrete, actual, and usually through a sequential or causal way (Budiman 2004, 30-31). Symbols are a type of sign that is arbitrary and conventional. In other words, a symbol is a sign agreed by the markers as a general reference (Budiman 2004, 32).

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3. Literature Review 3.1. Popular Culture Icons Popular culture as a culture enjoyed by the public has cultural products represented in various forms such as advertising, television, music, clothing, movies, accessories, and radio. The products of a popular culture consumed by this society give rise to a character known in society's circle, making the character an icon. In the media, some items and figures from popular culture are called pop culture icons. Pop culture icons are celebrities, characters, or objects known in popular culture and form a society or era (Danesi 2018, 112-115). It means that pop culture icons are celebrities and fictional characters or objects of popular culture products. This pop culture icon tends to be known to the public, usually around the world. Marshica Stanley, in her thesis, describes the pop culture icon are ideas, both old and new, that are at the mercy of its viewer, meaning whatever the viewer desires whenever the viewers desire it. Their images appear to the public through the media and have their images transmitted globally through the media. Popular culture icons are the best know artifacts of the contemporary world. It is partly due to their fluidity or flexibility and their ability to jump national borders with ease. An icon does not belong to just one country but the world (Stanley 2008, 8). Popular culture and pop culture icons have developed the following media and technology. It is in line with Dominic Strinati, who argues that a mass market with a business orientation produces popular culture. The development of advanced capitalism that integrates science, technology, education, and politics also supports this (Strinati 2010, 29-36). Rapidly evolving technology influence popular culture In millennials or societies born between the 80s and 90s. That generation commonly enjoys cultural products such as video games, science fiction films, animation, or cartoons. This cultural product brings out iconic characters or pop culture icons known to the public. Some examples of pop culture icons in generation Y or millennials are Darth Vader from the Star Wars movies, Michael Jackson, a pop music icon, Mickey Mouse from Disney cartoons, Doraemon, and others. 3.2. Comic Strips Comics are an effective medium for delivering information, ideas, and propaganda to readers. According to Will Eisner, this is in line with the comic function where comics are a way to speak, both as a function of entertainment and instruction (Eisner 1985, 139-146). According to Bonneff, comics are a form of literary work, namely illustrated literature (Bonneff 1998, 7). Comics have two categories, namely comic strips and comic books (Bonneff 1998, 9). Comic strips consist of several types, including serialized comic strips and cartoon comic strips (Soedarso 2015, 500). Serialized comic strips are comic strips consisting of several panels, presented briefly and continuously in each edition, thus giving rise to the reader's curiosity to follow the comic's story. Apart from serialized comic strips, there are also cartoon comic strips or opinion comics. This opinion strip comic mostly contains satire on issues that occur in society that are presented with a humorous approach. Although the delivery of this cartoon comic strip invites laughter, but the message conveyed has a serious meaning. Need to think more to be able to understand the message in this type of comic strip so that it requires a deeper study of its readers. Bonnef refers to this type of comic as an intellectual comic (Bonneff 1998, 59). In the era of the internet and technological advances, caricature publications and comic strips have undergone a drastic shift. Comic strips containing criticism or opinion comics that used to appear only in newspapers or magazines, now with the internet and social media, make the publication of comic strips more readily known to all circles, without restrictions on age, region, time, and editorial decisions. Comic genres are becoming more diverse and accessible. Comics are more accessible to personal branding and collect fanbase, all for free. This era gave rise to many new comics from various circles and ages. All have the same chance to become famous. Various genres also appeared without limitations, ranging from stories about daily life (slice of life), comedy, religious da'wah, socio- political criticism, even offensive topics such as Tribe, Religion, Race, and Intergroup (SARA) became a commonly reviewed topic. Not infrequently, the large fanbase on the internet is used by

Luqman Wahyudi & Sri Hesti Heriwati (Social Criticism in Gump n Hell Comic Strips of the 2019 Election Campaign)

58 Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni ISSN 1412-4181, Vol. 16., No. 1, April 2021, pp. 56-66 eISSN 2685287X comic artists as a medium to do propaganda and dredging opinions, propaganda in the sense of spreading the ideology of the author or comic, or even his support for a particular politics. 4. Results and Discussion 3.3. August 12, 2018 edition, "My New Deputy." This August 12, 2018 edition of the comic strip tells about the vice-presidential candidate's announcement from Joko Widodo for the 2019 General Election. Joko Widodo has announced that the vice-presidential candidate has the initials “M.” Public speculation at the time was very enthusiastic and led to Mahfud MD. However, when it becomes official, the name of KH. Maaruf Amin, the chairman of MUI (Majelis Ulama Indonesia), has appeared. The people considered him too old to work. Many of his supporters were disappointed, backed off, or chose to turn a blind eye to this moment. The comic strip uses pop culture icons from Spongebob Squarepants, Toy Story, and The Simpsons animation to represent political figures.

Fig. 1. Gump n Hell comic strip August 12, 2018 edition, "My New Deputy." 4.1.1. Data Identification and Analysis The characters like Woody, Mermaid Man, Homer Simpson, and the comic strip's supporting toys above are comic strip icons. These characters have similarities to the reference character, namely Woody, Mermaid Man, and Homer Simpson from the animated Toy Story, Spongebob Squarepants, and The Simpsons. The curtain cover is also categorized as an icon because it resembled the curtain removed at circus performances or matador shows. On the third panel to the end, there is a picture of supporters retreating into the bush. This icon of the scenes from The Simpsons animation is trending as a meme on social media. The scene is from The Simpsons episode “Homer Loves Flander,” which aired on March 17, 1994. The 3rd panel to the end is the comic strip index. The supporters of Woody retreat regularly and then disappear into the bushes after the announcement curtain is opened by Woody (who appears as the figure of Mermaid Man) instead of Buzz Lightyear as alleged by the supporters. Supporters who loudly shouted, "Buzz! Buzz! Buzz!" also an index. It is an index of supporters' belief that the candidate woody will announce is Buzz Lightyear. Buzz Lightyear is an inseparable Woody partner in the animated film Toy Story, so supporters are confident that buzz lightyear's name will appear as Woody's companion. The characters in the comic strip are symbols. These characters include Sheriff Woody, who is symbolized as the figure of President Joko Widodo. The comic artist using Joko Widodo in Woody's form is not without reason. This form is due to the similarity between the two characters, both in visual characteristics, physical forms, and character traits. Woody and Joko Widodo are both leaders. Woody is the leader of the toys in the film Toy Story, while Joko Widodo is the Republic of Indonesia's president. Both Woody and President Joko Widodo have tall skinny postures, long oval faces, and side-parted haircuts. Mermaid Man who symbolized as KH. Ma'ruf Amin figure because of the similarity of aspects in the form of physical characteristics and life history. Mermaid Man and KH. Ma'ruf Amin has the same physique as the stereotype of most older adults, with a fat, hunched posture, white hair due to greying,

Luqman Wahyudi & Sri Hesti Heriwati (Social Criticism in Gump n Hell Comic Strips of the 2019 Election Campaign)

59 Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni ISSN 1412-4181, Vol. 16., No. 1, April 2021, pp. 56-66 eISSN 2685287X and sometimes walking with a cane. As aged figures, both characters have a heyday in their youth. As a young man, Mermaid Man is a superhero figure who successfully eradicated evil in the animated Spongebob Squarepants. He is very famous among the citizens of Bikini Bottom as a superhero. Meanwhile, the old Mermaid Man who appears now is an old superhero figure who has semi- retired from his duty to eradicate evil. Despite his age being considered too old with a frail physique, Mermaid Man still has a burning passion for doing his job. It is associated with KH. Ma'ruf Amin is a cleric and figure who has been active in politics since a young age. In 2019 the name KH. Ma'ruf Amin emerged as a candidate for Vice President from Jokowi. Some people consider him too old to carry out the task at the age of 75 years. Woody's supporting toys are a symbol of Joko Widodo's supporters because Woody in the animated Toy Story is a leader and has many supporters from fellow toys. The 2019 star’s picture on the flag curtain and the pin on Woody’s chest is also a symbol. This star picture is a symbol of Woody’s candidacy for the 2019 General Election contest. The astronaut gloves mermaid man wears on his left hand are a symbol of Buzz Lightyear because astronaut gloves are part of Buzz Lightyear’s costume. This slightly visible left-hand makes supporters think Mermaid Man is Buzz Lightyear. One of the comic strip's supporting characters wears a T-shirt with the Teman Ahok logo on it. The logo of Teman Ahok is a symbol of a community organization containing supporters of Ahok (Basuki Tjahaya Purnama) who docked and became supporters of Jokowi. 4.1.2. Representation of Social Criticism in Comic From the signs seen in the comic, the comic strip depicts the moment of the announcement of the vice-presidential candidate's name who accompanied Jokowi in the 2019 General Election contest. Researchers found innuendo in the form of disappointment from supporters of Jokowi's stronghold conducted by the comic artist through pop culture icons in comics. Joko Widodo, represented by Sheriff Woody's character, is seen announcing the name of his deputy by opening the red curtain. Jokowi supporters and Ahok's supporters are very enthusiastic about this announcement because previously, Joko Widodo said that his vice-presidential candidate has M initial (Jordan 2018). Speculation circulating in the community is solid, leading to Mahfud MD's figure (Gunadha and Raharjo 2018). Like Woody, who undoubtedly partnered with Buzz Lightyear, with Woody as a representation of Jokowi, Mahfud MD is a Buzz Lightyear figure. However, when Jokowi announced the vice-president name, some supporters of Jokowi and Teman Ahok were surprised and disappointed, backed out, or chose not to comment (Aji 2018). This reaction is because the name that appears is not Mahfud MD, but KH. Ma'ruf Amin. Ma'ruf Amin is represented by Mermaid Man, an old superhero from the Spongebob Squarepants animation, who is considered too old to carry out his duties. 3.4. August 9, 2018 edition, “Kardus dan Baper” This August 9, 2018 edition of the comic strip tells about Deputy Secretary-General of Partai Demokrat Andi Arief dubbed Prabowo as a cardboard general. This mockery come out because Prabowo did not choose Agus Harimurti Yudhoyono (from Partai Demokrat) as the vice-presidential candidate and chose Gerindra’s candidate, Sandiaga Uno. Sandiaga Uno indicated giving a "cardboard" political dowry worth 500 billion to Prabowo's coalition parties such as the PKS and PAN.

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Fig. 2. Gump n Hell comic strip August 9, 2018 edition, “Kardus dan Baper.” 4.2.1. Data Identification and Analysis The comic stripe characters above, like Nobisuke Nobi, Nobita, Giant, and Suneo, are icons. The four characters' visualization has similarities to the reference characters, namely Nobisuke Nobi, Nobita, Giant, and Suneo from Doraemon comics and animations. The cardboard Giant rides on is also an icon of a tank toy because the cardboard has changed to have a similar appearance to the tank, such as there are pictures of chain wheels, barrel fire from the tank, and others. Suneo's tank-shaped toy is also an icon due to its similarity to the usual tank toys. Several panels in the comic are categorized as indexes. In the first panel, Nobisuke was getting angry and exclaiming “Kardus!” to Giant. This statement is an index of Nobisuke’s anger at Giant for not inviting Nobita (Nobisuke's son) to play together. Similarly, on the second panel, Giant replied with a shout of “Baper!” index from Giant, who is angry because Nobita involved his parents, Nobisuke Nobi. In the third panel, a picture of Giant looking at Suneo's tank toys is an index of Giant's admiration for Suneo tank toys that are much nicer and more expensive than those he rode. An index is also visible on “BREM! BREM!” sound effects, which is an index of the remote control tank's sound that was running. Sound Effects “Press... Press... Press...” is an index of a tank toy that hit and graze Giant's cardboard tank toy. In this August 9, 2018 edition of the comic strip, there are many identifiable symbols. In the first panel, a symbol is seen from Nobisuke's clenched hand upwards. This move is a symbol of anger and threat to his interlocutor, Giant. Symbols are also visible from the characters in the comic. These characters are Nobisuke Nobi, who symbolized the figure of Susilo Bambang Yudhoyono (SBY) due to the similarity of visual characteristic aspects and fatherhood. Nobisuke and Susilo Bambang Yudhoyono both have fat body shapes, rounded boxy face shapes, and side-parted haircuts. Both characters are also father figures, where Nobisuke is the father of Nobita, while Susilo Bambang Yudhoyono is the father of Agus Harimurti Yudhoyono. Giant’s character is symbolized as Prabowo Subianto because of the similarity in visual characteristics. Giant is the most feared child in Doraemon's animation. Giant has an irritable nature and often gets things done by force. This behavior was later attributed to Prabowo, who often carried away emotions and tumultuous during the 2019 election campaign. Even on several occasions, he was smashing the table and hitting supporters' hands. Suneo’s character is symbolized as Sandiaga Uno because of the similarity in character traits and his life history. Suneo and Sandiaga were both children of wealthy families. Suneo, in Doraemon's animation, is the son of the President Director of a company. Later he will continue his father's business. Suneo has luxury goods to show off to his friends and frequent holidays abroad and meet famous artists. This life history of Suneo then attributed to Sandiaga Uno, a wealthy businessman and politician from Partai Gerindra. Sandiaga Uno's wealth was listed in the 100 wealthiest people in Indonesia by Globe Asia magazine in 2018. Suneo himself is a close friend of Giant, who in this comic

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61 Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni ISSN 1412-4181, Vol. 16., No. 1, April 2021, pp. 56-66 eISSN 2685287X strip is a depiction of Prabowo Subianto. Therefore, Suneo’s character symbolized Sandiaga Uno, who became Prabowo Subianto’s partner in the 2019 Presidential Election. Nobita's character is a symbol of Agus Harimurti Yudhoyono’s figure because of Nobita's position as the son of Nobisuke, likened to Agus Harimuri Yudhoyono who is the son of Susilo Bambang Yudhoyono. Giant and Suneo's war game properties also contain symbols. In this war game, pot helmets, cardboard, remote control tank, and others symbolize the military theme that became the background of Prabowo in the past. The pot helmet used symbolizes military soldiers’ helmets; the cardboard shaped and illustrated resembling a tank symbolizes the lack of political capital that became Prabowo's vehicle to advance in the 2019 General Election. Prabowo reportedly lacked capital for campaign costs. Thus, instead of using tank toys, Giant is depicted using rough items shaped like tank- fighting vehicles. Symbols are also visible on Suneo’s tank-shaped remote control. This tank symbolizes the wealth of Sandiaga Uno offered to Prabowo Subianto as political capital. This toy is very much different from the cardboard-shaped tank ridden by Giant. The serial number UN-02 on the tank toy is a symbol from Sandiaga Uno to Prabowo Subianto’s representative due to its readability to UNO 2. The shout "Kardus!" from Nobisuke Nobi and the reply “Baper!” shouted by Giant also have a symbol. The context of the “kardus” shouting is a symbol of a tweet from Deputy Secretary-General of Partai Demokrat Andi Arief to Prabowo Subianto. Prabowo described as “Jendral Kardus” (cardboard general) because Sandiaga Uno elected to be the vice-presidential candidate of Prabowo Subianto instead of Agus Harimurti Yudhoyono in the 2019 general election. The word “Baper!” spoken by Giant is a satire on Susilo Bambang Yudhoyono because SBY expressed his heart's anxiety through Twitter. SBY's habit makes SBY nicknamed by netizens as President “baper” (carried away with feeling). 4.2.2. Representation of Social Criticism in Comic From the signs seen in the comic, the comic strip depicts the angry events of Partai Demokrat due to the election of Sandiaga Uno as a Prabowo Subianto’s representative in the 2019 General Election contest. Researchers found that comics do innuendo through pop culture icons in comics. Nobisuke’s anger represents the anger of SBY and his party towards Giant, which is a representation of Prabowo. Prabowo in this comic has a nickname “Jendral Kardus” because Prabowo did not vote for Partai Demokrat's nominated candidate, Agus Harimurti Yudhoyono (represented by Nobita character), and instead chose Sandiaga Uno (represented as Suneo). Sandiaga Uno is a candidate whom the Partai Gerindra. This candidate selection is becoming a problem for other supporting parties if all the candidates' names are only from Partai Gerindra. It later revealed that Sandiaga Uno gave political dowry to coalition parties such as PAN and PKS of 500 billion to not object to his candidacy (Facette 2018). This political dowry symbolizes a luxury remote control tank toy exhibited by Suneo (Sandiaga Uno) to Giant (Prabowo Subianto). 3.5. October 3, 2018 edition, "Persecution." This October 3, 2018 edition of the comic strip tells about hoax news about the persecution of Ratna Sarumpaet. Ratna Sarumpaet confessed to the media that two unidentified people had molested her until her face battered. However, after further investigation, Ratna Sarumpaet’s confession was merely a charade, and uncured plastic surgery scars caused her face's bruises. Later, the money used as surgery costs was the donation of victims of the sinking ship KM Sinar Bangun in Lake Toba, raised by Ratna Sarumpaet (Candraditya 2018). The comic strip uses pop culture icons of the Spongebob Squarepants animation as a representation of political figures.

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Fig. 3. Gump n Hell comic strip October 3, 2018, "Persecution." 4.3.1. Data Identification and Analysis Squidward characters in the comic strip above is an icon. This character visualization has similarities to the reference character Squidward from the Spongebob Squarepants animation. The icon also appears on the word bubble, which contains the following expressions. “Ee…Orang operasi plastik untuk mempercantik diri, tapi kok tidak jadi cantik? Tetap seperti semula.” Newspaper readers uttered this expression in comic strips, similar to the Chairman of the Advocacy and Legal Aid Agency’s expression for the Democratic Party, Ferdinand Hutahaean, when defending Ratna Sarumpaet (Candraditya 2018). Squidward's battered scenes then become handsome is categorized as an icon. This scene has similarities to the Spongebob Squarepants animation scene that become a reference, namely in “The Two Faces of Squidward.” This scene is so iconic and famous in cyberspace that it becomes memes and jokes on social media.

Fig. 4. Squidward's scene footage becomes handsome.

The comic strip index above appears in the first to fourth panels, where Squidward is depicted as handsome for being hit multiple times with a sack that reads 90 million rupiahs. The last panel of the comic, where Squidward enjoys taking selfies, is also an index. This picture is an index of Squidward, who has a handsome new face. Speech bubble “Ee…Orang operasi plastik untuk mempercantik diri, tapi kok tidak jadi cantik? Tetap seperti semula.” said by the newspaper reader is a response or index of the news readings in the newspaper.

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In this October 3, 2018 edition, there are many identifiable symbols. One of them is already seen in Squidward. Squidward’s character is symbolized as Ratna Sarumpaet. Although the two characters are not gender-related, there are similar moments and traits between the two characters. Squidward has a moment or event that can relate to the figure of Ratna Sarumpaet. Squidward has an iconic event when Squidward's face is knocked on the door many times in. “The Two Faces of Squidward’ episode. In that episode, Squidward knocked on Krusty Krab’s door to undergo surgery. When the bandages opened, everyone who sees is shocked by Squidward's face becomes handsome. This Squidward’s moment then attributed to Ratna Sarumpaet's claim to be battered by two unknown people. Ratna Sarumpaet then accused Jokowi's stronghold indirectly as the mastermind (Marison 2019). However, the play revealed and proven that Ratna Sarumpaet committed a lie. The wound she suffered was a former cosmetic plastic surgery that has not healed (Widiastuti 2018). This change in Squidward's face is later used as a symbol of facial changes in Ratna Sarumpaet. The sack that reads “Rp 90 million”, used to hit Squidward in the face, is a symbol. This sack symbolizes the amount of money Squidward (Ratna Sarumpaet) uses to beautify her face. The picture of the sack slapped on the face symbolizes the words of Ratna Sarumpaet. Ratna Sarumpaet claimed to be battered by two unknown people. Other symbols are also visible on various properties carried by Squidward, such as the Oscars. The Oscars represent the most prestigious award for the world’s film people, the Academy Award, in which there is a category of Best Actor or Actress. The Oscars held by Squidward (Ratna Sarumpaet) symbolize innuendo to Ratna Sarumpaet for her acting and actions to deceive all Indonesians. The medallion placed around Squidward’s neck is also one of the symbols. Like the Oscars, the medal is a symbol of appreciation for Ratna Sarumpaet’s acting and lies that have shocked the media. 4.3.2. Representation of Social Criticism in Comic From the signs seen in the comic, the comic strip depicts the events of Ratna Sarumpaet’s lies, in which Ratna Sarumpaet claims to have been beaten by unidentified people until her face was bruised. The researcher discovered the comic's innuendo to Ratna Sarumpaet through the pop culture icon in the comic. Ratna Sarumpaet visualized as Squidward, who was beaten with a sack that read “Rp 90 million” until his face changed. The inscription “Rp 90 million” represents Ratna Sarumpaet’s plastic surgery’s total cost derived from donations from the victims of the sinking ship KM Sinar Bangun in Lake Toba that she raised. Squidward, who brought an Oscar and an award medal, is a satire that Ratna Sarumpaet deserves credit for her acting and lies. Ratna Sariumpaet herself is the best hoax creator because the lies about the persecution he experienced have shocked the country (Widiastuti 2018).

4. Conclusion Gump n Hell comic strip is a satirical style comic strip full of criticism and subtle innuendo. Apart from being an attraction for readers, pop culture icons are also a form of satire from comic artists on the political figures represented. Pop culture icons are chosen based on similarities with political figures both physically, in character, moments, and expressions. The pop culture icons were re- visualized by Errik Irwan and associated with the issue raised.

References Aji, Setyo. 2018. “Kecewa Ma’ruf Amin Cawapres Jokowi, Pendukung Ahok Terbelah.” nasional. https://www.cnnindonesia.com/nasional/20180810185747-32-321370/kecewa-maruf-amin- cawapres-jokowi-pendukung-ahok-terbelah. Bonneff, Marcel. 1998. Komik Indonesia. Jakarta: Kepustakaan Populer Gramedia.

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Budiman, Kris. 2004. Semiotika Visual. Yogyakarta: Buku Baik. Candraditya, Vincentius Jyestha. 2018. “Ratna Sarumpaet Pakai Rekening Sumbangan Dana Korban Danau Toba untuk Transaksi Operasi Plastik.” Tribunnews.com. https://www.tribunnews.com/nasional/2018/10/04/ratna-sarumpaet-pakai-rekening- sumbangan-dana-korban-danau-toba-untuk-transaksi-operasi-plastik. d'Ancona, Matthew. 2017. Post-Truth: The New War on Truth and How to Fight Back. London: Random House. Danesi, Marcel. 2018. Popular Culture: Introductory Perspectives. United States: Rowman & Littlefield. Eisner, Will. 1985. Comic and Sequential Art. Florida: Poorhouse Press. Facette, Fersita Felicia. 2018. “Sekjen PDIP Sindir Dugaan Mahar Rp 500 Miliar.” JawaPos.com. https://www.jawapos.com/nasional/politik/15/08/2018/sekjen-pdip-sindir-dugaan-mahar-rp- 500-miliar/. Gunadha, Reza, and Dwi Bowo Raharjo. 2018. “Mahfud MD Jadi Cawapres, Jokowi: Pokoknya Inisial M.” suara.com. https://www.suara.com/news/2018/08/08/184404/mahfud-md-jadi- cawapres-jokowi-pokoknya-inisial-m. Jordan, Ray. 2018. “Jokowi: Inisial Cawapres Saya Depannya Pakai ‘M.’” detiknews. https://news.detik.com/berita/d-4156562/jokowi-inisial-cawapres-saya-depannya-pakai-m. Marison, Walda. 2019. “Gelar Demo, Saksi Menduga Ratna Sarumpaet Dianiaya Kubu Jokowi.” KOMPAS.com. https://megapolitan.kompas.com/read/2019/04/11/16545251/gelar-demo- saksi-menduga-ratna-sarumpaet-dianiaya-kubu-jokowi. Medistiara, Yulida. 2019. “Ratna Sarumpaet Didakwa Bikin Onar dengan Hoax Penganiayaan.” detiknews. https://news.detik.com/berita/d-4447564/ratna-sarumpaet-didakwa-bikin-onar- dengan-hoax-penganiayaan. Novriansyah, Yudhi. 2006. “KRITIK SOSIAL DALAM KOMIK STRIP PAK BEI.” JURNAL ILMU SOSIAL 5 (2): 77–87. https://doi.org/10.14710/jis.5.2.2006.77-87. Soedarso, Nick. 2015. “Komik: Karya Sastra Bergambar.” Humaniora 6 (4): 496–506. https://doi.org/10.21512/humaniora.v6i4.3378. Stanley, Marshica. 2008. "Characterization of Popular Culture Icons in LIFE and TIME Magazines, UNCG NC DOCKS (North Carolina Digital Online Collection of Knowledge and Scholarship)." https://libres.uncg.edu/ir/uncg/listing.aspx?id=363. Strinati, Dominic. 2010. Popular Culture. Pengantar Menuju Teori Budaya Populer. Yogyakarta: Narasi. Sutopo, H. B. 2006. “Metode Penelitian Kualitatif: Teori Dan Aplikasinya Dalam Penelitian.” Jakarta: Bumi Aksara. 2006. Utomo, Wisu Prasetya. 2017. “Selamat Datang Di Era Post-Truth - Remotivi.” https://www.remotivi.or.id/kabar/345/selamat-datang-di-era-post-truth. Vera, Nawiroh. 2014. Semiotika Dalam Riset Komunikasi. Bogor: Ghalia Indonesia. Widiastuti, Rina. 2018. “Pengakuan Lengkap Ratna Sarumpaet, Awalnya Berbohong Ke Keluarga.” Tempo. https://nasional.tempo.co/read/1132774/pengakuan-lengkap-ratna- sarumpaet-awalnya-berbohong-ke-keluarga.

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Biodata Luqman Wahyudi is a graphic designer and visual communication design lecturer at the Institut Teknologi Telkom Purwokerto. He is a recipient of a bachelor’s degree in art from Universitas Sebelas Maret Surakarta and a master of art from Institut Seni Indonesia Surakarta in fine arts studies. Paper: 2020, “Pop Culture Icons Were Representing Indonesian political figures in Gump n Hell Comic Strips.”

Sri Hesti Heriwati is a graduate lecturer at the Indonesian Institute of the Arts in Surakarta. She is a recipient of a doctorate in pragmatic linguistics at Sebelas Maret University in 2014. She is a writer in an international journal and is currently pursuing a research grant from Higher Education. In 2018 he wrote articles entitled “Imperative Speech Act in Javanese Songs” and “Semiotics in Advertising as an Effective Way of Playing Communication.” In 2017, he wrote an article entitled “Expressive Speech Actions: The Story of Dewaruci Playing the Work of the Nartasabda Dalang.”

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