Ethical Values of Malangan Shadow Puppet Show from East Java in the Lakon of Kalakerna Gugat

HARMONIA : Journal of Arts Research and Education 14 (2) (2014), 107-114 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v14i2.3292

ETHICAL VALUES OF MALANGAN SHADOW PUPPET SHOW FROM EAST JAVA IN THE LAKON OF KALAKERNA GUGAT

Sudarsono Indonesia Institute of Arts, Surakarta, Jl. Ki Hajar Dewantara 19 Surakarta, Indonesia E-mail: [email protected]

Received: September 22, 2014. Revised: October 5, 2014. Accepted: November 13, 2014

Abstract

There are many values which an artist wants to express through a shadow puppet show in order to attract the attention of the audience. Malangan shadow puppet show acts not only as an entertainment but also as a guidance for character education. In the story of Kalakerna Gugat, ethical and aesthetic values in the story are in the form of etiquette in the dialogues or the characters. The value of having rights after completing duties becomes guidance for nobleness. Equality between rights and duties demanded by Kalakerna and propriety of characters are expressed straight to the point and they are easy to understand as well as entertaining. Impropriety in the world is critically corrected. Bethara Guru Dewa, the tritagonist, felt that he made a mistake by arranging life unjustly so that he was reminded by Kalakerna and had to agree with his request to keep the justice and preserve the world.

Keywords: aesthetic values; ethical; kalakerna gugat; malangan; shadow puppet

How to Cite: Sudarsono. (2014). Ethical Values of Malangan Shadow Puppet Show from East Java in the Lakon of Kalakerna Gugat. Harmonia: Journal of Arts Research and Education, 14(2), 107-114. doi:http://dx.doi.org/10.15294/ harmonia.v14i2.3292

INTRODUCTION ce value, and religious value. In a show which is held in the interest of an institu- Lakon (story) of a shadow puppet tion, ethical value is emphasized so that it show is a construction of scene structure is understood by all the audience. Enter- which elaborates a sequence of intercon- tainment value is important in every pub- nected events. Lakon of Malangan shadow lic show because the show must be inter- puppet show is different from Surakartan esting and entertaining so that it can make pakeliran. In terms of acts or pathet pakeli- them happy and refresh their minds after ran, Malangan style consists of five acts, working hard all day long. Ethical value in namely Talu pathet sepuluh as the first, pa- lakon Kalakerna performed in ISI Surakar- thet wolu as the second, Pathet Sanga as the ta was carefully portrayed. For example, third, Pathet Wolu miring as the fourth, and in the first jejer in the hermitage in Ga- pathet serang as the fifth. jahmungkur cave, Begawan Kumbareksa The Malangan shadow puppet show was visited by his three children, Raden contains various fundamental values in Wongsatanu, Tanujanma, & Gajahsena. At human life, some of which are known as that meeting, Begawan Kumbareksa asked character education value known as ethi- them why they came to the cave. After his cal value, entertainment value, performan- three children told him what they felt, Be-

107 108 HARMONIA : Journal of Arts Research and Education 14 (2) (2014): 107-114 gawan Kumbereksa granted their request. or etiquette in social life. As an order, the Then, his three children left to each of their show demonstrates norms and rules which own destination. In the firstjejer there were should be done. Ethical values are often ethical values from a Begawan (a priest called as etiquette, philosophy of attitude, in Hindu) and his three children. The co- or moral philosophy. Etiquette is also kno- ming of Kalakerna after the three children wn as the theory of a good life and the the- left made Kumbareksa surprised. Kalaker- ory of good and bad. Virtues are intended na wanted to criticize Gods in the heaven to be the means of reaching prosperity and for being unjust. Kalakerna wanted to show happiness. Good things should be reached how unjust the rights, duties, and justice by doing something good. Human beings of Gods were. He said, “salahe barang sing must behave well according to the norms ora bener, ning benere barang sing boten sa- in each society. lah” (the fault belongs to what is wrong, There are two kinds of virtue. The and the goodness belongs to what is not first is extrinsic virtue, which is a means wrong) (Sudarsono, 2004, p. 142). of achieving something like money, cars, Ethical values in lakon Kalakerna Gu- job, or physical appearance. The second is gat was very interesting for being examin- intrinsic virtue, which is good by itself. It ed. The problems were how the analysis comes from good attitudes, such as justi- of the characters was and how the ethical ce, harmony, happiness, safety, peace, and values in the story were. humanity (Subandi, 2011, p. 71). There are often differences of social Ethical and Aesthetic Values norms, attitudes, and views when an indi- Value is the idealization of good in- vidual is in a society. Those differences can tention desired by human beings to reach lead to disputes and conflicts. Every mem- nobleness. Ethical values are related to ber of a society has social responsibilities in virtues and good attitude, which repre- addition to personal ones. Norms in social sent the whole personality. For Javanese relationship prevent conflicts of interest. people, the values are reflected in attitude If someone does wrong, others can decide and personality in social life. Ethical va- that he is wrong and he will be punished. lues are the standard of human attitude. He can apologize and fix everything. How- According to Suseno (1996, p. 39) there are ever, if someone violates moral norms or two principles which define social patterns etiquette, he will be declared as an immo- in Javanese society, namely harmony and ral person. Violating social norms is diffe- respect. Harmony means living peacefully rent from violating moral norms. Immoral without any conflicts and being united to people will be expelled from his society, help each other. Respect means that eve- and this kind is punishment is more severe ryone must behave properly according to since it is related to his personality. his/her rank, for a society is arranged in Every individual has rights in the so- a hierarchy and everyone must follow and cial life, but he also has some duties to do. keep it. Someone with higher social rank Rights are demands of every human being should be respected by those from lower which need to be achieved by hard work. ranks (Suseno, 1996, p. 60). According to Kamus Besar Bahasa Indonesia The guidance for proper attitude (2001, p. 382) right refers to correct, belon- is often given through a shadow puppet ging, authority, demand, rank, power to show. As a performance, shadow puppet do something because of the constitution, show has aesthetic values which please and authority to take legal action. Rights and entertain its audience. The show has are gained after someone has completed values of entertainment, guidance and his/her duties. If he/she does not perform order (Solichin, 2007, p. 75). As an enter- his/her duties, it will be difficult for him/ tainment, the show entertains people. As her to get his/her rights. Human rights guidance, the show gives ethical values are inherent rights of all citizens because Sudarsono, Ethical Values of Malangan Shadow Puppet Show From East Java In The Lakon 109 of their nature as God’s creation. Human be considered unethical. In lakon Kalakerna rights must not be taken away from any- Gugat, many characters behaved different- way even by a country. One of the examp- ly because they thought that certain ethical les of human rights is the right to live. values had to be kept, like how Kala Kerna Obliged means something which asked Bethara Guru Dewa for his promise. must be done and cannot be ignored. Whi- Nearly similar moral values were also rep- le duty means something which is obliged resented by almost all characters: antago- to do, an obligation (KBBI, 2001, p. 1266). nists, tritagonists or protagonists. In a bigger society like a country, the duties of the citizen must be performed. In Etiquette is a Moral Principle in Shadow relation to social life, if rights and duties Puppet Shows have been completed, there will be harmo- In Javanese people’s view, etiquette ny, peace, and justice. Justice comes from is often related to aesthetics and logic. A the word just. Moral justice means balance, good thing is considered correct, and it is equality, and harmony. To be just means also considered beautiful. Javanese peop- to be equal in terms of rights and duties. le consider that God, society, the universe, The manifestation of justice in social life is and human beings are a unity (Ciptoprawi- social justice, where there are balance and ro, 1986, p. 22 & Suseno, 1996, p. 85). Life is harmony between rights and duties. Justi- aimed to achieve perfect happiness. In or- ce of an individual occurs between physi- der to do so, there are various ways depen- cal and mental abilities, between the role ding on someone’s ability. A knight has to as an autonomous individual and a perfect perform his duty to achieve the perfection creation of God, and among the elements and be united with the Creator, while a of human soul such as ratio, feeling, and priest isolates himself in a hermitage and desires, among material elements such live peacefully. In order to reach the goal as earth, fire, water, and wind, as well as of life, etiquette is needed, as illustrated in between plants with no souls and animals a shadow puppet show (Abdullah, 1986, p. which have souls but are limited to desi- 31 & Suseno, 1996, p. 161). res and abilities to move only. The human There are two life principles of Java- being must be just for him/herself, society, nese people, namely harmony and respect. and God. By doing so, he/she will be hap- Harmony means ”the state of being har- py and prosperous. monious” and peaceful without any disputes and conflicts, and being united to help Etiquette in Shadow Puppet Show each other (Suseno, 1996, p. 39). The de- Besides being normative, etiquette is mand for harmony is an entire principle of practical. In a shadow puppet show, ethi- social order. Something which can lead to cal values are represented in the etiquette disputes and conflicts must be prevented. of characters, respect to the other charac- A conflict occurs if there is a conflict of -in ters, the language used by each character, terest. Kalakerna opposed the Gods because and the story from bedol kayon (begining of of a conflict of interest. Meanwhile, respect the puppet show to tancep kayon (ending is based on the idea that all relationships of the puppet show). Good persons will in a society are in a hierarchical order and be respected, and the bad ones will be dis- every individual has his/her own position graced. Placing two hands in front of the so that he/she must act according to that forehead and bowing head is an ethical be- position. Ambition, competition, impolite havior. Younger characters should respect behavior, and desire for personal advan- the elders, and children should respect tages and power, which can lead to con- their parents. Etiquette must be compre- flicts, disharmony, and contradiction, hended by every character and it does not must be prevented and eliminated (Suse- need any written rules. If someone does no, 1996, p. 60). War is an effort to stop a not behave in certain ways, he/she will conflict and maintain order to achieve har- 110 HARMONIA : Journal of Arts Research and Education 14 (2) (2014): 107-114 mony of life. (a battle), pathet serang is played and this is the last act until tancep kayon. The Structure of Lakon Malangan shadow puppet show ge- Shadow puppet shows from East nerally refers to the structure of conventio- Java usually begin with tabuhan Gendhing nal stories or lakon passed down genera- Lancaran Giro Endra Laras Slendro Pathet tion to generation. A master puppeteer is Wolu. Gendhing Giro or nguyu-uyu for Sura- generally imitated by his cantrik (appren- kartan style is a Gendhing for welcoming tice) continuously. Lakon Kalakerna Gugat incoming characters and it is widely used performed by Paimin Nyata Carita at Au- in the area of East Java. Gendhing is usually gust 12, 2004 in Pendopo of Sekolah Tinggi arranged from other Gendhing gagahan and Seni Indonesia (STSI) Surakarta was a con- then it ends with Gendhing Surabayan for ventional story learned from his teacher. accompanying Ngrema dance. If Ngrema dance is not performed, the dalang (puppe- METHOD teer) changes it with beksan Golekan. After the dance, the puppeteer enters the sta- This study applied qualitative met- ge and Ayak-ayak Sepuluh (talu) is played, hod supported by historical method, lite- and the puppeteer prepares himself. Af- rature study, and field observation. Quali- ter Ayak-ayak Talu is finished suwuk( ), the tative method emphasizes textual analysis puppeteer gives a sign called dodogan, and (lakon Kalakerna Gugat) and contextual ana- Gendhing Gondokusuma with Pelungan da- lysis (ethical and aesthetic values of the lang is performed to accompany the first characters). The object of this study was Jejer. After Gending Gondokusuma stops, the Lakon Kalakerna Gugat performed by Pai- play moves to the act Pathet Wolu which min Nyata Carita at August 12, 2004 in begins with suluk Sendhon Pathet Wolu. Pendopo of Sekolah Tinggi Seni Indonesia After the first Jejer has been finished (STSI) Surakarta. pocopan Gapuran is played, followed by su- The data of this study consisted of waka padupan. Suwaka padupan is followed primary sources, namely lakon Kalakerna by Suluk Gurisa Pagelaran Njawi, Gendhing- Gugat and related documents and relevant an, and Janturan Prajurit Pagelaran Njawi. key-informant, and secondary sources sup- In jejer sepisan, if there is a character comes porting the primary sources, such as rele- and a conflict occurs, that character is the vant literature and supporting informants. one who starts a war. In the second Jejer, The data were collected through the coming of that character is followed by observation, interview, and documenta- a group of Magang or Demang, and the tion. The data were validated through war begins. The first part of the war con- data triangulation as what is usually done sists of two acts, namely the battle of the in qualitative research. The data triangu- main characters and the battle of srayan. lation in this study was based on Patton After the first part of the war, the thirdjejer , (cited from Soetopo, 1980), which used va- jejer pandhita, begins. In the third jejer, the rious data sources to collect similar data. puppeteer plays a priest or and Bambangan Data analysis was conducted toge- in a hermitage. The third jejer begins with ther with the data collection process by the act Pathet Sanga, which usually starts reducing and classifying the data through with the appearance of Semar & Bagong. the analyses of the domain, taxonomy, and The third jejer ends and is continued components as well as themes found du- with the fourth jejer, which is usually a ring the process. This was done to make repetition of the first jejer in order to find a thorough description and describe the the resolution. In the fifth jejer the antago- meaning of the research focus. The desc- nist who caused the conflict appears. This ription which developed from the themes jejer starts with Pathet Wolu miring, as a eventually showed the interaction of emic- transition to pathet serang. In Perang Brubuh ethic perspectives or vice versa (Spradley Sudarsono, Ethical Values of Malangan Shadow Puppet Show From East Java In The Lakon 111

1979; 1980). The data analysis process con- support Kalakerna’s attitude. The main sisted of three steps as a system, namely supporting characters were BetharaWisnu, data reduction, data presentation, and con- Bethara Besuki, and Dewi Sumaliwati who clusion. Those three steps were done in an eventually became Kalakerna’s wife. Consi- interaction with the data collection process dering the characterization, the characters as a cycle (Milles & Huberman, 1992). in a shadow puppet stories are tokoh pilih (flat character) because characters in such RESULT AND DISCUSSION a story are symbolical. Some important characters who de- The Analysis of Ethical Values of the fined the plot and the structure of the sto- Characters in the Story ry were Kalakerna, Bethara Guru, Bethara Kalakerna’srola as the protagonist Wisnu, Bethara Besuki, other Gods, Suma- was reflected in the first act to the last. In liwati and Prabu Jalawikrama. If classified the first act, the characteristics of Kalaker- based on the types of character, Kalakerna na developed. At the first time he -beha was protagonist who made the plot by ex- ved softly in jejer, and then he became a pressing the main problem in an expres- firm person in order to seek justice to the sion ”salahe barang sing ora bener, lan benere Gods. This characterization was expressed barang sing ora salah” and sought justice to through pocapan and his thought and de- the Gods. Such expression was spoken af- sire. His intention was reflected in the ter the scene of Paseban Njawi, where Kala- scene after paseban Njawi to the scene of the kerna wanted to go to the Heaven to ask the Gods with the monologue from Kalakerna. question. Kalakerna wanted to demand his The second type of character is the rights after completing his duties. Rights antagonist, the one who is against the pro- and duties are the main parts of etiquette. tagonist and causes a conflict. In lakon Ka- The antagonists were Prabu Jala- lakerna Gugat, Prabu Jalawikrama was the wikrama and Megaremeng. The appe- antagonist appearing in the climax where arance of the Gods such as Bethara Endra, the soldiers of Megaremeng kidnapped Brama, Yomodipati, and Bethara Sriyono Sumaliwati, who would be Kalakerna’s who came into conflict with Kalakerna in wife. With the blessing from Bethara Guru, Perang Gagal was meant to test Kalakerna’s Jalawikrama could be defeated and Suma- spirit. The characteristics of Bethara Endra liwati could be saved by Kalakerna. On the and other Gods were expressed through way back, Kalakerna met Sumaliati’s brot- their actions following the order of Betha- her, Sumalintana. After that, the three cha- ra Guru Dewa. In their utterances, Bethara racters then came to Sumalidewa. Because Endra and other Gods prevented and op- of his victory, Bathara Guru Dewa gave posed Kalakerna. Being unable to stop Kala- Kalakerna Mustika Kumlawene Rejeki as a re- kerna going to the Heaven, those Gods told ward. Bethara Guru. The characteristics of Bet- Tritagonist is the one who helps me- hara Guru were expressed in his actions. diate between the antagonist and prota- He told BetharaNaradha to meet Bethara gonist. In the story, this role was held by Wisnu and Bethara Besuki to keep Kalaker- Bethara Guru Dewa. He confessed his mis- na away from the Heaven. Bethara Wisnu take and offered a solution by promising and Bethara Besuki had more characteris- to give punishment. The characteristics of tic portrayal than Bethara Endra, Bethara Bethara Guru were expressed through his Brama, Bethara Yomodipati and Bethara utterance, feelings, and action. Sriyono. Bethara Wisnu and Be-thara Be- Supporting characters are those who suki were ordered by Bethara Naradha to are indirectly involved in the conflict, but stop Kalakerna and protect the Gods who they are needed in a story. The supporting were defeated by Kalakerna. The presence characters in Kalakerna Gugat were Endra, of Betharawisnu and Besuki emphasized Brama, Yomodipati, and Sriyono, who the personal interest of both characters 112 HARMONIA : Journal of Arts Research and Education 14 (2) (2014): 107-114

(envy). One of them wanted to be a dalang Jalawikrama and Dewi Sumaliwati. Sup- while the other one did not want to be the porting characters played their roles when puppet in Marcapada in the age of Purwa- Bethara Guru Dewa wanted Bethara Wis- carita. It was expressed through the scene nu and Bethara Besuki to keep Kalakerna of kahyangan Nguntara Segara in which the- away. The one who won would have the re were Wisnu and Besuki. right to be the dalang in the time of purwa. As the tritagonist, Bethara Guru BetharaWisnu could take Kalakerna to Bet- could solve the problem faced by Kalakerna hara guru so he deserved to be a dalang. and the Gods. Bethara Guru made a pro- Wisnu was united with Kresna and be- mise to grant all requests from Kalakerna. came the protector for Puntadewa all the The story puts an emphasis on the personal time. problem of Kalakerna, who sought justice to the Gods. Kalakerna played an important Analysis of the Ethical Values in the Sto- role in defining the plot and the structure ry entirely because he always appeared in all The dialogue between Begawan scenes, either directly or indirectly. By op- Kumbreksa and his three children repre- posing the Gods in order to seek justice for sented a warm relationship with respect him, Kalakerna became an outstanding cha- and harmony which reflected attitudes rarter who sought justice based on correct with high ethical values from each cha- argumentation. The ethical value was ha- racter. The role of a king played by Tanu- ving rights of prosperity after completing janma had to protect his people. The role duties. Completing duty starts from a long of priest played by Wongsontanu gave en- struggle and ends with having the rights lightenment for those who needed it. The such as prosperity, happiness and power, role of the one who wanted to have a luxu- wife, and fortune. rious life played by Gajahsena also had his The characteristics of Bathara Guru own place. After the three children left, the were reflected in the scene of the Heaven. fourth child, Kalakerna, came. He asked for The story reached its climax when the blessing to go to the Heaven in order to Gods were defeated by Kalakerna, and in seek justice to Bethara Guru Dewa. the end he granted all the requests from Kalakerna. Bathara Guru chose to grant al The scene of Rapat Kepanasan those requests because he realized his mis- Kalakerna was intercepted by the takes of being unjust. As the reincarnation Gods. Bethara Endra and other Gods for- of Bethara Darma, Kalakerna was always bade him to go the Heaven, and then a miserable, while Wisnu was always hap- battle occurred. All of them were defeated py for being a great king. Kalakerna as the by Kalakerna. Bethara Naradha came to one who sought justice and Bethara Guru Bethara Guru and told him about this de- Dewa as the one who solved the problem feat. This scene was also called Perang Ga- were the main characters in the story. In gal. Kalakerna won the battle because he order to redeem his mistake, Bethara Guru was the reincarnation of Bethara Darma, Dewa told BetharaDarma that he would who had a higher rank. The battle was a be united with the knight who became a test for Kalakerna’s intention. king in the time of Mahabarata and was united with the holy white-blooded king The scene of Bale Marcukundhamanik named Puntadewa. He was also given a Bethara Guru Dewa accepted Na- holy king’s robe, prosperity, and a noble radha. After Naradha told him about what woman to be his wife. had just happened, Guru Dewa ordered The supporting characters were him to ask for help to Wisnu and Besuki in those who were indirectly appeared in the Kahyangan Nguntara Segara. conflict, but they were needed in the story; such as Bethara Wisnu, BetharaBesuki, Sudarsono, Ethical Values of Malangan Shadow Puppet Show From East Java In The Lakon 113

The scene of Kahyangan Nguntara Segara The scene of the journey Bethara Wisnu was in front of Be- Sumalintana was told by his parents thara Besuki. They expressed their feelings to find Sumaliwati, who was kidnapped to each other and then a conflict happened by Prabu Jalawikrama. He ran into Dewi between them, but there was no winner or Sumaliwati and Raden Kalakerna in his loser. After that, Naradha came and bro- way, and then they talked to each other ke up the fight. Naradha told them that and went back home to meet Prabu Suma- according to the order from Bethara Guru lidewa. Dewa, the one who could defeat Kalakerna would be a dalang sejati (puppet master). The scene of Kahayangan Mercukundha: Then, both of them left to fightKalakerna . In Bethara Guru Dewa would give the battle, BetharaBesuki was defeated so wedding presents to Kalakerna and Dewi- that he would not be a dalang, and this ref- Sumaliwati and especially for Negara Pur- lected fairness. Bethara Wisnu then fought wacarita. They were given Mustika Kumla- Kalakerna using matakaji Sukma Mangantra- wene Rejeki. antra. Wisnu and Bethara Darma talked Almost in all scenes and dialogues to each other, and after knowing each of there were ethical values related to rights their intention, they came to Bethara Guru and duties, justice and prosperity, and re- Dewa to express what they wanted. ward and punishment. Lakon Kalakerna After knowing what was happe- Gugat contains lessons about good atti- ning, Bethara Guru confessed his mistake tudes. of being unjust by not giving Darma his rights after completing his duties. Darma CONCLUSION asked for his rights and justice to Bethara Guru Dewa, which had to be given after Lakon Kalakerna Gugat had many et- he completed his duties. Darma said the hical values. The values were in the cha- expression salahe barang sing ora bener, ning racterization, which were classified into benere barang sing boten salah (Sudarsono, three types. The protagonist was Kalaker- 2004, p. 142). Next, Bethara Guru gave him na, the antagonist was Jalawikrama, and what he wanted. At the end of the conver- the tritagonist was Bethara Guru Dewa. sation, Bethara Guru Dewa ordered Kala- The ethical values could be observed in kerna to take back his would-be wife who the dialogues between characters. In the was kidnapped by Jalawikrama. beginning, the principles of respect and harmony were embodied in the different The scene of Pertapan Magaremeng views of the characters which completed Prabu Jalawikrama was confused be- each other. The three children of Wiku cause of the effect of Aji Puter Giling, and from Gajah Mungkur met Kumbareksa, then Raden Kalakerna came and told him followed by the fourth child, Kalakerna. about the purpose of his coming to Mega- All of them were good to each other and remeng heritage. They fought in a battle respect each other. Sang Wiku gave a good and Prabu Jalawikrama was killed. The example and motivated them to work hard analysis showed that the ethical value of and supported through the prayers. Won- the scene was pepatah sadumuk batuk sanjari sotanu wanted to be a good priest, Tanu- bumi, which means that one must fight to jan wanted to be a good king, Gajahsena the end. Because kidnapping someone’s wanted to be rich, while Kalakerna wanted would-be wife, Jalawikrama lost his life as prosperity and happiness after completing the punishment. Kalakerna met Dewi Su- his duties. Kalakerna wanted to respect et- maliwati, and then they fell in love with hical values. In his journey, Kalakerna faced each other. Kalakerna held her hand and many problems and challenges. How-ever, took her to Bethara Guru Dewa. he eventually had a chance to meet Betha- ra Guru Dewa and express his view that 114 HARMONIA : Journal of Arts Research and Education 14 (2) (2014): 107-114 ethical values had not been prioritized in Randyo, M. (2011). Makna Simbolis Lakon the case that Wisnu always had a chance to Kangsa Adu Jago Dalam Pertunju- be a king without being a common person, kan Wayang Kulit Purwa. Harmonia: while Darmanever enjoyed the results of Journal of Arts Research and Education, his hard work and struggle. He did not get 11(1), 17-26. his rights even though he had completed Rustopo. (2012). Seni Pewayangan Kita his duties. Good things like duties or de- Dulu, Kini dan Esok, Bunga Rampai. votion are things which need to be done, Surakarta: ISI Press Solo. but they can also be used to get rewards Soetarno. (2005). Pertunjukan Wayang dan from the Gods, such as prosperity and Makna Simbolisme. Surakarta: STSI happiness. Kalakerna protested because the Press. Gods were unjust. After doing good things Solichin, Waluyo & Sumari. (2007). Men- he should have received rewards. At the genal Tokoh Wayang. Surakarta: CV end of the story, Bethara Guru Dewa reali- Asih Jaya. zed that ethical values had to be followed Solichin. (2010). Wayang. Masterpiece Seni in ruling the world. Rights must be given Budaya Dunia. Jakarta: Sinergi Persa- after duties have been completed, and the datama Fondation. principles of respect and harmony must be Solichin. (2010). Barathayuda Suluhan highly regarded to keep the world peace- Gatutkaca Gugur Sebagai Pahlawan. ful. Finally, Kalakerna, who was a good, Harmonia: Journal of Arts Research and righteous, and devoted man, got his re- Education, 9(2), 102-109. wards like power, prosperity, and a noble Solichin. (2011). Deskripsi kualitatif seb- woman. At the age of Purwacarita, Kala- agai Satu Metode dalam Penelitian kerna would be a king with a holy robe, a Pertunjukan. Harmonia: Journal of loyal wife, and a great fortune. Arts Research and Education. 9(2), 173-179. REFERENCES Sudarko. (2003). Plot Wayang Purwa dan Pandangan Hidup Orang Jawa. Har- Ciptoprawiro, A. (1986). Filsafat Jawa. Ja- monia: Journal of Arts Research and karta: Balai Pustaka. Education, 4(3), 203-211. Amir, H. (1991). Nilai-nilai Etis dalam Wa- Sudarsono. (2010). Garap Lakon Kresna yang. Jakarta: Pustaka Sinar Hara- Dhuta dalan pertunjukan wayang pan. kulit Kajian Tekstual Simbolis. Har- Jazuli, M. (2003). Dalang Negara dan Ma- monia: Journal of Arts Research and syarakat Sosiologi Pedalangan. Sema- Education, 12(1), 75-86. rang: LIMPAD. Suparno, S. (2009). Pakeliran Wayang Purwa Jazuli, M. (2011). Sosiologi Seni. Surakarta: Dari Ritus Sampai Pasar. Surakarta: UNS. Press. ISI Press Solo. Ratna, K. (2010). Metodologi Penelitian Ka- Suparno, S. (2007). Seni Pedalangan Gagrak jian Budaya dan Ilmu Sosial Humaniora Surakarta. Surakarta: ISI Press. Solo. pada umumnya. Yogyakarta: Pustaka Suseno, F. M. (1996). Etika Jawa Sebuah Pelajar. Analisa Falsafi tentang Kebijakasanaan Miles, M. B. & Huberman, A. M. (1988). Hidup Jawa. Jakarta: Gramedia Pusta- Qualitative Data Analysis. Translated ka Utama. by Tjetjep Rohendi Rohidi. Jakarta: Sutopo, H. B. (1989). Peranan Pendidikan UI Press. Seni Masa Kini. Paper presented in Murtiyoso, B. S., & Suyanto. K. (2007). Teori Seminar of Fine Arts Education in Pedalangan Bunga Rampai Elemen Ele- IKIP Semarang. men Dasar Pakeliran. Surakarta: ISI .