Harmonia: Journal of Arts Research and Education 20 (1) (2020), 19-28 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v20i1.17525

Javanese Cultural Paradoxism: A Visual Semiotics Study on Purwa Characters of Satria and Raseksa Figures

Slamet Subiyantoro1, Kristiani Kristiani2, Yasin Surya Wijaya1

1Departement of Fine Art Education, Universitas Sebelas Maret , 2Departement of Economic Education, Universitas Sebelas Maret Surakarta, Indonesia

Submitted: January 4, 2020. Revised: March 9, 2020. Accepted: July 4, 2020

Abstract

This study aims to explore the paradoxical character values on visual semiotics wayang purwa of Raseksa and Satria profiles. Satria and Raseksa figures were selected using a purposive sampling technique, through wayang Pandavas and Kuravas. The study was designed with qualitative re- search approach; the data were collected using the techniques of interviews, observation, and document analysis. The data were analyzed following the steps of data reduction, data display, and verification. The results of the research revealed that inwayang , the Raseksa and Satria figures represent a paradoxical representation of both the external structure and the inner structure. The outer structure is in the form of wayang purwa visual elements, which turns out to be the opposite shape from both Pandavas and Kuravas figures. The inner structure is more about the insepara- ble meaning and value from the outer structure. In semiotics, the visual element (outer structure) of Pandavas and Kuravas figures can be represented or interpreted based on their values and meanings (inner structure) in addition to show a conflict of meaning. The paradoxical cultural value in Javanese culture is essentially learning experienced-based humanity values manifested through puppet characters. This is exemplified by the Islamic example of the Prophet Muham- mad and its mandatory and impossible natures. The wayang Satria may represent the obligatory nature (good character), and wayang Raseksa represent the impossible (bad character) of humans.

Keywords: Cultural Paradoxes; Visual Semiotics; Wayang Satria; Wayang Raseksa

How to Cite: Subiyantoro, S., Kristiani, K., Wijaya, Y. S. (2020). Javanese Cultural Paradoxism: A Visual Semiotics Study on Wayang Purwa Characters of Satria and Raseksa Figures. Harmonia: Journal of Arts Research And Education, 20(1), 19-28.

INTRODUCTION (Widjajanto, et al., 2009). Wayang is made of carved skin; thus, when exposed to Literally, the word wayang was de- light, shadow puppets will appear on the rived from ancient Javanese, which me- screen. Puppet is a typical combination of ans shadow (Supendi, 2007). various arts in the form of fine arts, -per consists of two words, Wayang and Kulit; forming arts, and music. Fine art in wayang wayang is Javanese word meaning shadow can be observed based on the essence of or ghost, kulit means leather, and added wayang in the form of carvings on the skin together it translate as shadow from leat- and painted with sungging techniques. her. So the wayang kulit is a two-dimension Performing arts through wayang perfor- puppet, made of buffalo or goat leather, mances are nothing but role-plays and sto- like paper dolls but with arms that swivel ries played by a dhalang. While the art of

 Corresponding author: E-mail: [email protected]

19 20 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 19-28 music that is applied is an accompaniment wayang has been used as a medium for in- played during the wayang performance. culcating values to the people; it reminds Many people across countries espe- humans to live consistently according to cially those of South East Asian countries their nature, rules and norms agreed upon know very well wayang. International- in the society. ly, wayang purwa has been recognized by Being a cultural art heritage, wayang UNESCO as the Masterpiece of Oral and kulit purwa experiences backwardness Intangible Heritage of Humanity, a grand from its supporting society environment. masterpiece of local human heritage, Puppet culture has rarely been staged in which greatly contributes to shaping the public as a performance art, one of the high value of human civilization (Nurgiy- leading reasons is due to numerous prolife- antoro, 2011). Wayang Purwa, in addition to rated alternative entertainment and varied being a spectacle, the wayang play reflects information which literally have replaced life guidance derived from stories, charac- people’s interest, moreover the youth who ters, and visual structures. Wayang Purwa have been greatly influenced (Purnama, is made by skilful handcraft with well- 2010). Thus, it is unsurprisingly the cul- prepared and philosophically designed tural events such wayang performance is cultural art. A wayang is a representation more preferably by those the older gene- of mainly human characters and the physi- ration. Ironically, the older generation too cal words and every part of the puppets/ would reluctantly teach their descendants wayang design reflects symbolic significan- on the importance of traditional art, more ce (Widjajanto, et al., 2009). During, before specificallywayang purwa. and after the performance a special ritual The character values cultivation may​​ ceremony is always held. traditionally passed from generation to ge- The stories narrated in wayang purwa neration through cultural art, one of which are inspired from is sourced from wayang kulit purwa. This is and Mahabarata epic stories (Saptodewo, in line with Pramono, Suyanto & Wahida 2014). Even though the wayang kulit uses (2017) puppet is not only one source of the shadow puppets, the story was not deri- search for values that​​ are indispensable for ved from both Mahabarata and Ramay- the survival of the nation, but the puppet is ana.There are varied types of wayang or also one of the rides or educational tools of puppets in Indonesia, i.e., wayang golek, wa- good character. The extracted values ​​may yang beber, wayang suket and so forth. Those be sourced from stories, character traits, varied types of wayang share different sto- to the visual semiotic structure of each ries, characters, and even visual forms. character empire where the wisdom and There are tens or even hundreds of fi- arrogance of kings in various kingdoms gures in wayang purwa, but in general only become a discussion of good and bad va- consists of two poles, namely the Satria/ lues ​​(Sutarso & Murtiyoso, 2008). Satria noble and Raseksa figures. Both poles are and Raseksa figures in wayang purwa are a the wayang both good and antagonistic or representation of the nature of good and evil characters. This is where the value of bad. Both of these qualities will always Javanese cultural character lies in the soul exist and contradict each other in human of the Wayang Purwa traditional art. The life. The task of humans is to choose and figure is a representation of the Javanese select those good qualities to obtain a well- society lives where humans innate natu- balanced, peaceful, and harmonious lives. re consist of black and white or good and This paper deliberately choose a the- evil. The shadow puppet show includes me “Javanese Cultural Paradoxism: Visual many fundamental values in human life, Semiotic Studies in Wayang Purwa of Satria some of which are recognized as social, and Raseksa Figures”, which aimed at ex- cultural, performance and religious values ploring the value of wisdom and badness (Sudarsono, 2014). In Javanese society, in wayang purwa through semiotic visual Slamet Subiyantoro et al., Javanese Cultural Paradoxism: A Visual Semiotics Study ... 21 structures. Paradoxism is in visual struc- riani (2012) explored on Javanism public ture forms between the noble and Raseksa exorcism ‘ruwatan massal ‘through wayang figures. The typical parts ofwayang Satria’s kulit performance. Subiyantoro and Zain- shape are different from those of Raseksa’s nuri (2017) examined the religious values ​​ parts of shape. The paradox shape is, there- in Wayang Sadat and their relevance in fore, followed by the paradoxical character learning fine arts in schools. Each symbol value. Thus the character values found can structure in the wayang sadat reflects Isla- be a valuable learning for human beings mic values. This value is quite relevant to throughout generations, and people who the 2013 curriculum in addition to be used would exalt the traditional noble values in- as a source of learning in fine arts learning. herited from their great ancestors through Based on the results of several pre- wayang purwa. vious aforementioned studies, it shows Practically, the objectives of this stu- that in general, shadow puppets have been dy can be used as a reference for readers, examined from several aspects of puppet the general public, and the academic world aesthetics, the value of guidance and spec- in introducing Wayang Purwa in terms of tacle, puppets as the development of cha- form and meaning structure reflected wit- racter, and the significance of puppets on hin. In principle, this study is also benefi- the world of education. Thus, examining cial as a good source of character educati- wayang purwa from the perspective of the on for young people, as this study presents Satria and kurawa profiles has not yet been the principles and meanings of Wayang explored in depth. Wayang Purwa consists Kulit Purwa. In addition, this study is one of many figures divided into two divisi- of the attempts to introduce and conserve ons, namely the profile ofSatria and Rasek- cultural heritage, namely that of Wayang sa. Satria and Raseksa are the representation Kulit Purwa. Despite Wayang Kulit Purwa of Javanese culture about the value of good ‘s life, it seems to have less attention and and bad when excavated from its structure began to be forgotten by generations. both the external structure (visual) and the Among the studies related to wa- inner structure (meaning). Understanding yang purwa were a study conducted by art and culture is not only in the visible (vi- Arifin (2002) on wayang kulit, wayang kulit sual), but there is something behind that is seen as an effective medium of charac- which appears in the form of meaning and ter education inculcation since it reflects philosophy. noble values. Sarwono (2005) examines In the concept of balance, good and the Kawung Motive as a Symbolism of the bad will always exist, it is impossible to Abdi Dalems’ Clothing in the Wayang Ku- unite them; however, the two are side by lit Purwa of Surakartan Style. Additional- side, depending on how humans take si- ly, Hadipriyono (2014) discusses puppet des whether towards good (Satria) or bad aesthetics, puppet aesthetics, who con- (Raseksa). Satria figures become human cerned on shadow puppets instead of its symbols which manifest kindness, respon- aesthetics, face color, facial expressions, sibility, andhap asor modesty’, simple, mo- body style, etc. Another study conducted dest, wise, and are a manifestation of the by Suyami (2006) highlights on puppet va- perfect human nature. Whereas the Rasek- lues ​​reflected in the puppet which is wort- sa figure is a symbol of fear, badness, evil, hy of being a spectacle, guidance and role lust, and a description of behavior that model. Further study was conducted by humans should not have. Characters ref- Nurgiyantoro (2011) on puppets and the lected from wayang purwa are a description development of national character. The re- of the human’s characters and deeds, each sults of the study emphasized that puppets of which has consequences. All cultures essentially have good values ​they are ​ref- generally share figures both fictitious and lected in the figure characters, stories, and real figures as role models and where in Ja- various other supporting elements. Tjinta- vanese culture particularly reflected in the 22 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 19-28 puppet characters. In there is also a Raseksa. The data were collected by app- figure of the Prophet Muhammad who has lying the methods of interview, observa- a mandatory nature as things to be imita- tion and document analysis techniques. ted and impossible traits that the prophet The interviews were conducted with Dha- might not have. lang or experts in the field of puppetry. The significant difference in this stu- Observation was conducted to wayang ku- dy lays on the object of the wayang purwa, lit performances, and document analysis which are the Satria and Raseksa figures concerns photo analysis, wayang literatu- who represent the paradoxical values of re, or direct shadow puppets. The studied good and bad. The puppet is, therefore, ex- wayang figures are the Raseksa and Satria plored from their value of cultural charac- which were selected by purposive samp- ters reflected through the visual structure ling technique. The figures of Satria were of the puppet using a semiotics perspec- among others; Pandavas Lima figures, tive. Thus this study has its own specific while the Raseksa figures were drawn from differences from the others. several Kuravas figures. The data followed Semiotics theory will be used in this the flow models of analysis procedures of analysis to answer the problems. Semiotics data reduction, display, and verification, is focused on visual semiotics, considering or conclusion. The used flow model of ana- the object of study is the visual structure lysis in this study is adapted to the strategy of wayang purwa. Linguistically, semiotics used, which is a single case strategy. is derived from the Greek word of semei- on which means “sign”. The term semeion RESULT AND DISCUSSION seems to have been derived from hypoc- ratic or asclepiadic medicine with its at- Puppet has been recognized by tention to symptomatology and inferential UNESCO, the world’s institution, as one of diagnostics. (Sobur, 2004). Semiotics is, le- the world heritages. According to Widja- xically, a branch of science that deals with janto, et al., (2009) wayang is a popular the study of signs and everything related form of entertainment. Sometimes it is to signs, such as the sign system and the an ancient heritage, a reminder of an age sign processes (Zoest, 1993). According to long past, some time a medium for con- Ferdinand de Saussure, a sign is an insepa- temporary artists experiments with shape, rable part of two areas, such as a piece of color, and movement. For countries it has paper, which is a signifier in the outward been used to relate myth and legend and form or expression and a signified to exp- enact simple traditional farces. Wayang is lain concepts and meanings (Piliang, 2010). a cultural representation of the Javanese Signifier and the signified are interrelated society which is expressed through fine means that the outward form or expressi- arts, music, literature, and performances. on is related to the meaning or concept in- For Potgier and Brits (2014) puppets have fluencing each other and are inseparable. been implemented for different purposes Wayang purwa of Satria and Raseksa profi- and areas, such as theater, education, the- les will later be examined using a semiotic rapy, and politics. In addition to being a approach based on visual structure (appe- spectacle, wayang reflects noble values and arance) and invisible structure (meaning). traditional guidance, which is why wayang purwa produces paradox figures between METHOD Satria and Raseksa groups. Puppet show is a form of symbolic delivery of messages This study was designed with a qua- (Sudarsono, 2012). In between the two fi- litative research method with a single case gures it lays a good inclination, the figure embedded strategy. This case was cho- is represented with Satria puppet and the sen since the object is the Javanese Purwa other is the opposite called Raseksa. Both puppet characters, namely the Satria and good and bad already exist and become Slamet Subiyantoro et al., Javanese Cultural Paradoxism: A Visual Semiotics Study ... 23 the God’s destiny on earth. The human symbol is a thing or situation which is the task is simply to sort out and choose the mediator of understanding towards object virtues and omit badness as a life lesson. and human life always associated with One of the paradoxes of Javanese symbols (Randiyo, 2011). The visual struc- culture are illustrated in both Satria and ture of the Pandavas and the Kuravas is Raseksa characters. Satria and Raseksa figu- quite significantly different from each ot- res have been well-recognized to people in her in terms of the shapes of the eyes, nose, common, especially when other figures like mouth, head, face, face color, direction fa- Pandhawa and Kuravas were mentioned. cing, hand position, and clothing. These figures are conflicting or paradoxi- In the Javanese Purwa puppet show, cal figures in nature. Understanding both the Pandhawa Lima figures who hold pro- art and culture certainly may be insuffi- tagonist role which consists of 5 characters, ciently to only focus on what appears, one they are , Werkudara, Puntadewa, should deeply observe on invisible things Nakula, and Sadewa. While the antagonist behind, in addition to the outer and inner is Kuravas who represents a very large structures. Sukarma and Lestari (2015) number, reaching 99 figures. However, in emphasized the relationship between ex- this study only 5 figures are going to pre- ternal and internal structures in case they sented, namely Buto Cakil, Buto Terong, are combined they will give birth to in se- Dursasana, Kumbakarna, and Sengkuni. parated forms and meanings like the ele- Based on the visual analysis on the ments of birth and mind in humans. Thus two different puppet characters above, in part of understanding the paradoxical then the structure of Pandavas puppet sha- forms in Pandavas and Kuravas puppets, pes’ figures are in contrast to the Kuravas they need to be seen from the physical or puppet’s. The visual analysis are illustra- visual aspects in addition to the non-phy- tively described by the puppet shapes in sical aspects or meanings. Table 1. Based on the Table 1 and Table 2 Paradoxes In Terms of Visual (Outer analysis results, generally, there are a lot Structure) of paradoxical visual structures between Purwa puppet shadow is a typical vi- Pandavas and Kuravas figures. The gene- sual art. The fine art material subjects are ral shape of Pandavas’s eyes is gabahan like closely related to visual aspects such as a grain of , in contrast to Kuravas cha- color, line, shape, texture, and the value in racter which generally shows telengan or which they are closely related to means or bulging eye shape. The Pandavas puppet’s symbols (Subiyantoro & Zainnuri, 2017). nose is mostly a wiry nose where the shape Visual structure is a physical structure, is pointed like a wulent knife in an obli- therefore, the shape can be physically felt que position while the Kuravas has a lar- by human’s five senses, and each structu- ge pangotan-nosed and eggplant-rounded re is symbolic and reflects a meaning. A nose. All the Kuravas puppets’ mouth is

Arjuna Werkudara Puntadewa Nakula Sadewa Figure 1. Visual Representation of Pandhawa Wayang Figures 24 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 19-28 different from those of Kuravas with a ty- Paradoxical Structure In The Perspective pical prengesan. Prengesan mouths a typical Of Meaning (Inner Structure) open-mouth shaped where the teeth and In line with Sukarma and Lestari’s even fangs of the puppets are visible. The opinion (2015), the outer and inner struc- heads of Pandavas figures luruh or look ture of a wayang is inseparable and inter- down, and some are in a sloping position connected. Thus, in an attempt to explore or facing forward. The Kuravas puppet’s the underlying meanings of Pandavas and position is to look up or face forward and Kuravas puppets shapes, a researcher, the- slightly upward. All Pandavas’ faces are refore, needs to be focused on the external calm in black while the Kuravas are fierce or visual structures of those characters. In or creepy in red and white. All puppet pur- representing the meaning in visual struc- wa Pandavas figures face to the right while ture, one should study the science of sign, Kuravas puppets face to the left. Pandavas the so called semiotics. The word “semio- hand positions vary from straight, tics” was derived from the Greek’s word kerik, and tightly closed. However, all Ku- semeion which means “sign” or seme equal- ravas puppet hand positions are malang ke- ly means “the interpreter of signs (Mudjio- rik or transversal, flaky or opened and bent no, 2011). Representation or interpretation like challenging positions. The last para- is part of seeking for meaning through the doxical form is in outfit shapes. In general, existing sign system. Signs are the media the clothes worn by the Satria puppet are we use in our efforts to find a way in the simple clothes, not even wearing clothes. world, in the midst of humans, and along In contrast to the Kuravas puppets who with the humans (Mudjiono, 2011). Bar- wear clothes that are all luxurious and bieri (The visual structure of the Pandavas complete. and Kuravas puppets becomes a sign and

Buto Cakil Buto Terong Dursasana Kumbokarna Sengkuni Figure 2. Visual Descriptions of Kuravas Wayang Figures

Table 1. The Visual Structure of Pandawa Lima Wayang Shapes Puntadewa Werkudara Arjuna Nakula Sadewa Ayes Gabahan Telengan Gabahan Gabahan Gabahan Noses Wali Miring Tumpul Dempak Wali Miring Wali Miring Wali Miring Mouths Mingkem Mingkem Mingkem mingkem Mingkem Heads Luruh Luruh Luruh Longok Longok Faces Calm Calm Calm Calm Calm Facial Black Black Black Black Black colors Direction Right Right Right Right Right Hands’ Straight Malang tight Straight Straightly Straightly positions tight tight Outfits Simple Simple Simple Simple Simple Source: The Results of Literature Study Analysis) Slamet Subiyantoro et al., Javanese Cultural Paradoxism: A Visual Semiotics Study ... 25

Table 2. The Visual Structure of Kuravas Wayang Shapes Buto Cakil Buto Terong Dursasana Kumbakarna Sengkuni Eyes Kedhelen Plolot Plolot Plolot Sipit lengkung Noses Pesek Bulat Terong Pangotan Pangotan Pangotan Mouths Prengesan Prengesan Prengesan Prengesan Mingkem Heads Ndangak Luruh Ndangak Longok Ndangak Faces Fierce Fierce Fierce Fierce Tranquiling Facial colors Red White Red Red Red Direction Left Left Left Left Left Hands’ positions Malang Kerik Malang Kerik Malang Kerik Malang Kerik Malang Kerik Outfits Luxurious Luxurious Luxurious Luxurious Luxurious (Source: The Results of Literature Study Analysis) in certain representations which generate are usually inclined to bow as rice is filled, certain related meanings). unlike the case with the Kuravas wayang used to recognize whose head position tends to look like rice signs, which was why in every aspect of that does not contain or is foam. The head their cultural lives, they always intersect looks up to mean people who are arrogant with signs and meanings, one of which and not knowledgeable. The nature of is manifested in the art of wayang purwa. wise, humble, arrogant is reflected in both All puppets came to life as characters, and the Pandavas and Kuravas puppets’ sha- they can portray different personalities, pes of face. The Pandavas puppets show a share various traits, and they cross all cul- calm face and manifest in itself patient cha- ture (Potgier & Brits, 2014). racter. These philosophically means any Every sign and meaning in the puppet bad circumstance should be faced calmly, always represents a character value. Pan- patiently, and think for the way out. While davas puppets tend to be gabahan and te- the Kuravas with a ferocious face or as if to lengan which represent a common sense show an angry or emotional face. that the Javanese people are the people of The paradoxical nature of patience patience and rich with wisdom in leading and anger is also shown from the facial the paths towards goodness. Unlike the color, which is black and red. Pandavas Kauravas which illustrated with eyes as puppet manifest a good character which if being angry, suspicious, even cunning. is symbolized from the direction facing to- Pandavas Walimiring’s puppet nose ref- wards the right. While the puppet Kuravas lects a humble meaning, which shows is a symbol of angkara or evil, it is identi- common human nature of being modest, fiable from position of the puppet which shows no arrogance compare to the Ku- is facing towards the left. The hands and ravas character. The Pandavas puppet’s clothes position of the two wayang purwa mouth is all closed, which symbolically reflect a conflicting meaning. Pandavas represents a quiet personality. Being quiet puppet hand positions tend to be straight, culturally means to be wise and only good which simple worn outfits. A wise and un- and useful words should ideally produce pretentious personality whose look and by one’s mouth. Unlike the figure of Kura- life principle show no extravagant and lu- vas with a typical prengesan mouth, which xurious but in simple, innocent, and mo- represents a big mouth character, laughing dest. Unlike the arrogant people who tend a lot, and greedy. to show off their luxurious things to other Humility in Pandavas puppets are people know and are impressed with what visible from the puppet head’s position that person has. which tends to fall or bow. People who live Wayang or puppet is a figure made up life with good hearts and knowledge by the Javanese community as a guideli- 26 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 19-28

Table 3. Signs and Meanings on Pandavas and Kuravas Wayang Figures Shapes Pandhawa Kurawa Shapes/Signs Meanings Shapes/Signs Meanings Eyes Inclined Gaba- Be patient & see inclined to be glared, Angry, suspi- han & Telengan goodness kedelen & sipit leng- cious & cun- kung ning Noses Walimiring Modest Pug, pangotan &Egg- Arrogant & plant round haughty Mouths Mingkem Quiet Prengesan Big mouth, laughing & greedy Heads inclined to Modest, andhap Inclined looked up Arrogant, & Luruh asor& knowl- &longok Fool edgeable Faces Calm Patient Fierce Scary & Angry

Facial colors Black Grief, patient red Fierce Direction Right Goodness Left Evil Hands’ posi- inclined to Wise Malang kerik arrogant, tions straight & tight haughty Outfits Simple Simple and Luxurious Rich-like & ar- homely rogant (Source: The Results of Literature Study Analysis) ne in running life a noble human being. sidiq (truthful and honest), trustful (trust- As in Islam there is a prophetic figure like worthy), tabliq (convey), and fatanah (in- the Prophet Muhammad, who plays a role telligent and wise), additionally, there are model for mankind who qualifies with also 4 the impossible nature of him, they both the obligatory (good) and impossible are kadzib (lie), khiyanat (betrayal), khitman (bad) nature. The obligatory nature of the (hiding), and baladah (stupid) (Mansyur, Prophet Muhammad associated with 4 2013). Both the obligatory and impossible noble traits, sidiq (truthful and honest), nature of the Prophet is a representation of trustful (trustworthy), tabliq (convey), and the wayang Satria and Raseksa figures. fatanah (intelligent and wise), additionally, there are also 4 the impossible nature of CONCLUSIONS him, they are kadzib (lie), khiyanat (betra- yal), khitman (hiding), and baladah (stupid) Based on the results and discussion (Mansyur, 2013). Both the obligatory and above, a conclusion can be derived that the impossible nature of the Prophet is a repre- characters in Raseksa and Satria wayang fi- sentation of the wayang Satria and Raseksa gures reflect the Javanese noble cultural va- figures. lues ​​, which in their typical shapes are pa- Puppet is a figure that is made by the radoxical in terms of external and internal Javanese community as a guideline in run- structures. The external structure concerns ning life a noble human being. As in Islam visual elements representation which ap- there is a prophetic figure like the Prophet parently show the opposite physical sha- Muhammad, who plays a role model for pes between the Pandavas and the Kau- mankind who qualifies with both the ob- ravas characters. The shapes of the eyes, ligatory (good) and impossible (bad) na- nose, mouth, head, face, facial color, di- ture. The obligatory nature of the Prophet rection facing, hand position, and clothing Muhammad associated with 4 noble traits, tend to show the opposite character bet- Slamet Subiyantoro et al., Javanese Cultural Paradoxism: A Visual Semiotics Study ... 27

Table 4. The Obligatory and the Impossible Nature of the Prophet Muhammad PBUH The Prophet’s Obligatory Nature The Prophet’s Impossible Nature The Satria Wayang Figures The Raseksa Wayang Figures Sidiq Truthful and Honest Kadzib Liar Amanah Trustworthy Khianat Hypocritical Tabliq Delivering knowledge Khitman Hiding Fatanah Clever & Wise Baladah Stupid (Source: The Results of Literature Study Analysis) ween one character to the other. The inner refully select and choose those qualities. It structure is more about the meaning and commonly happened to people in falling value where they both inseparable from into bad character due to the circumstan- the outer structure like in a human and his ces and inadequate guidance. Thus, the soul. In semiotics, the visual elements (ex- nation’s character building is a joint task ternal structure) of the Pandavas and the of both the society and the government Kauravas are represented or interpreted in to realize the more advanced nation and terms of their values ​​and meanings (inner people with cultured characters. structure) and show a conflict. The parado- xical cultural value in Javanese culture is a ACKNOWLEDGMENTS learning process for human beings which is manifested in the puppet characters. Si- We would like to thank the Rector milarly to Islamic religion, which places of Universitas Sebelas Maret of Surakarta the Prophet Muhammad p.b.u.h along through the Head of LPPM who has given with his obligatory and impossible nature. his trust and chance by funding our rese- Puppet Satria can represent the compulso- arch through Education, Social and Huma- ry nature (good traits) and puppet Raseksa nities grant. represent the other around, the impossible traits (bad traits) of human beings. REFERENCES Despite the fact that wayang or puppets have been internationally recog- Arifin, F. (2002). Wayang kulit sebagai me- nized, it seems that the people and gene- dia pendidikan budi pekerti. Janta Ju- rations of the nation do not seem to have rnal Sejarah Dan Budaya, 8(1), 75–81. a deep understanding of the art of wayang Hadiprayitno, K. (2014). Estetika wayang. purwa. They merely know that wayang is Jurnal Budaya Nusantara, 1(1), 31–39. an entertaining art media without neces- Brits, J. S., Potgieter, A., & Potgieter, M. sarily need to know the manifested essen- J. (2014). Exploring the of puppet tial values. The rise of deviations, moral shows in presenting nano technol- degradation, and criminal acts are results ogy lessons in early childhood edu- of the generation’s ignoranceas the society cation. International Journal for Crose- bearers to cultural values inherited from Disciplinary Subjects in Education, their ancestors. Further studies should 5(1), 1798–1803. take the opportunity in implementing the Lestari, W. (2015). Representasi nilai-ni- cultural values ​​in wayang purwa into the lai tari reog turonggo seto di desa generation of character education. Wayang Wonorejo, kecamatan Pringapus, Purwa needs to be socialized in the realm kabupaten . Jurnal of Edu- of education, considering that educati- cational Research Dan Evauation, 4(1), on mainly serves function as the agent of 65–71. character building after the family. In this Mansyur, A. Y. (2013). Personal prophetic world, there are absolute good and bad leadership sebagai model pendidi- qualities, and the task of humans is to ca- kan karakter intrinsik atasi kosupsi. 28 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 19-28

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