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 Wayang Purwa Characters of Satria and Raseksa Figures Slamet Subiyantoro1, Kristiani Kristiani2, Yasin Surya Wijaya1 1Departement of Fine Art Education, Universitas Sebelas Maret Surakarta, Indonesia 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). Wayang kulit 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 specifically wayang 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 Hinduism Ramayana 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).