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Journal articles on the topic 'Mythology, Javanese'
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Dove, Michael R. "The Agroecological Mythology of the Javanese and the Political Economy of Indonesia." Indonesia 39 (April 1985): 1. http://dx.doi.org/10.2307/3350984.
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Wessing, Robert. "Dislodged tales: Javanese goddesses and spirits on the silver screen." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 163, no. 4 (2008): 529–55. http://dx.doi.org/10.1163/22134379-90003694.
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Indonesian films and television shows often feature popularly though only superficially known figures from Javanese mythology, including the Goddess of the Southern Ocean Nyai Roro Kidul and her counterpart the Queen of the Snakes Nyi Blorong. In this study I examine the effects of placing the stories about these entities in ‘media space’ (Sen and Hill 2000:199), thus removing them from the local context that in the past infused them with its truth, and making possible their apposition to other truths and values that were previously unconnected to them, and may or may not be congenial with them.
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Hastuti, Hastuti. "MITOLOGI JAWA DALAM CERITA CALON ARANG KARYA PRAMOEDYA ANANTA TOER." Ksatra: Jurnal Kajian Bahasa dan Sastra 2, no. 2 (January 18, 2021): 131–40. http://dx.doi.org/10.52217/ksatra.v2i2.708.
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This study aims to describe Javanese mythology in Pramoedya Ananta Toer's story of Calon Arang. The method that will be used by researchers in this research is descriptive method. From the research results in the novel Cerita Calon Arang by Pramoedya Ananta Toer, there are three mythologies. First, belief in mantras, the second is offering rituals, and the third is ritual worship.
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Roibin, Roibin. "MITOLOGI RELIGIUS DAN TOLERANSI ORANG JAWA: Telaah Pemikiran Benedict Anderson." El-HARAKAH (TERAKREDITASI) 10, no. 1 (January 8, 2018): 75. http://dx.doi.org/10.18860/el.v10i1.4600.
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<p class="Bodytext20">The national revolution has brought effects on many aspects including the changing process of Javanese syncritism and relativism into the tolerance of Javanese. Anderson argues that Javanese relativism should not be understood as the tolerance toward public differences by ignoring races, colors, and beliefs. In fact, Javanese relativism does not bring any effect on other ethical groups in Indonesia. Therefore, the idea of openness and tolerance which has been admired from Javanese value is just like chauvinism cultural terminology. Javanese cultural behavior still becomes a mystery as its practice of tolerance measured by the wish and propinquity to its culture. The term of tolerance which becomes a pride and an ideology for Javanese people, in fact, shows the opposite situation as the practices of religiousness are still measured by social hierarchy. This character is inseparable from what is called a rigid religious mythology. It, then, offers much particular morale structure with diverse forms.</p><p class="Bodytext20"> </p><p class="Bodytext20">Revolusi nasional telah membawa dampak pada banyak aspek termasuk perubahan proses sinkritisme dan relativisme Jawa menjadi toleransi orang Jawa. Anderson berpendapat bahwa relativisme Jawa tidak boleh dipahami sebagai toleransi terhadap perbedaan publik dengan mengabaikan ras, warna, dan kepercayaan. Kenyataannya, relativisme Jawa tidak membawa dampak pada kelompok etis lain di Indonesia. Oleh karena itu, gagasan keterbukaan dan toleransi yang dikagumi dari nilai Jawa sama seperti istilah budaya chauvinisme. Perilaku budaya Jawa masih menjadi misteri karena praktik toleransinya diukur dengan harapan dan propimquity terhadap budayanya. Istilah toleransi yang menjadi sebuah kebanggaan dan ideologi bagi orang Jawa, pada kenyataannya, menunjukkan situasi yang berlawanan karena praktik religiusitas masih diukur dengan hierarki sosial. Karakter ini tak terpisahkan dari apa yang disebut mitologi religius yang kaku. Kemudian, ia menawarkan banyak struktur moral tertentu dengan beragam bentuk.</p>
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Romadi, Bayu, Suyitno Suyitno, and Edy Suryanto. "NOVEL DUA IBU KARYA ARSWENDO ATMOWILOTO : KAJIAN ANTROPOLOGI SASTRA, NILAI PENDIDIKAN KARAKTER, DAN RELEVANSINYA SEBAGAI BAHAN PENGAJARAN SASTRA DI SMA." Basastra: Jurnal Bahasa, Sastra, dan Pengajarannya 6, no. 2 (December 6, 2019): 53. http://dx.doi.org/10.20961/basastra.v6i2.37670.
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<p><em>Data collection techniques used in this study are documentation and in-depth interviews with informants. Data validity uses data triangulation and theory triangulation. Analysis techniques using interactive models. The main data of this research was obtained from the novel Dua Ibu by Arswendo Atmowiloto with a thickness of 300 pages. The novel is studied with a literary anthropological approach. Based on this approach, it was found that: (1) the complexity of ideas which included human relations with nature, with others, and the nature of human life; (2) the complexity of the activities that exist in Javanese society in the Dua Ibu novel; (3) the complexity of cultural results in the form of cultural results in the form of language, forms of knowledge, forms of technology, and forms of eye search; (4) the value of character education contained in the Dua Ibu novel; and (5) its relevance as literary learning in high school. The cultural life described by the author is dominated by Javanese cultural customs, namely Solo. Analysis techniques using interactive models.Conclusions from this study indicate that elements of mythology, philosophy, and Javanese culture can be used as a reference to educators, especially in Central Java for the basis of an approach to strengthen the value of the character of students and character that is in accordance with Javanese culture.</em></p><p align="left"> </p>
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Hoekema, Alle G. "‘A Wound in the Heart’." Exchange 43, no. 2 (May 12, 2014): 132–52. http://dx.doi.org/10.1163/1572543x-12341314.
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Abstract This article reflects on the role of religion as one of four, interconnected layers in the contextual novels of the candid and controversial Indonesian author Ayu Utami (b. 1968). Next to important gender issues, substantial critique of Indonesian politics, and attention to Javanese culture and mythology, her Christian background is present, in varying density, in all novels she has published so far. This can be proved by numerous quotations from the Bible and even by the fact, that the main protagonist of her largest novel so far is given an almost Messianic status. In her earlier novels, Ayu Utami seems to distance herself from patriarchic, institutional Catholicism. However, in her most recent, autobiographical, novel she makes clear, why and under which conditions she is able to return to her maternal faith.
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Basthomi, Imam. "Millennial Generation's Views On The Myth Of “Jilu Marriage” In Nganjuk East Java." Dialog 43, no. 2 (December 21, 2020): 225–34. http://dx.doi.org/10.47655/dialog.v43i2.390.
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One of Indonesia’s attractive cultures is available in the Javanese culture, especially in marriage tradition. Javanese marriage has been practiced in the forms of ritual or traditional ceremonies one of which is Jilu marriage. Jilu marriage is a customary law that prohibits a marriage between the fisrt child and the third child. Javanese people believe that the transgression of this law may bring about misfortune. This study explores how millennial generations view this tradition This research was conducted by using qualitative and quantitative approaches. Methods of collecting data include interview, literature review, and questionnaire. Quantitative data relies upon the statistic method while qualitative data is analyzed by reducing, exposing, and making conclusion. The study found that the mythology of Jilu marriage derives from Javanese ancestors’ beliefs that regard number 3 as sacred number. Interestingly, millennials views of this can be categorized into three groups: those who believe, those who do not take it into consideration, and those who are neutral.
Salah satu budaya di Indonesia yang menarik untuk dikaji adalah budaya Jawa. Salah satunya terletak pada bidang pernikahan. Dalam melaksanakan pernikahan ada serangkaian ritual atau upacara adat yang harus dilaksanakan. Salah satu aturannya adalah dilarang melakukan pernikahan Jilu, yakni menikahkan anak nomor satu dengan anak nomor tiga karena dipercaya akan mendatangkan malapetaka. Pada era modern masyarakat Jawa masih ada yang percaya terhadap tradisi tersebut dan ada juga yang sudah meninggalkan. Artikel ini bertujuan untuk memberikan deskripsi tentang mitos pernikahan Jilu dan pendapat generasi milenial tentang mitos tersebut. Penelitian ini menggunakan pendekatan kualitatif dan kuantitatif. Metode pengumpulan data menggunakan wawancara, studi pustaka, dan kuesioner. Data kuantitatif yang ada dianalis dan disajikan dengan model statistika (diagram batang dan lingkaran) dan dilakukan penarikan kesimpulan, sedangkan data kualitatif dianalisis dengan cara mereduksi serta memaparkan data, dan penarikan kesimpulan. Hasil penelitian ini menunjukkan mitos pernikahan Jilu berasal dari kepercayaan nenek moyang suku Jawa yang mengkeramatkan angka 3 dan dampaknya sering terjadi karena menjadi guneman masyarakat. Generasi milenial di Nganjuk ada yang percaya dengan tradisi Jilu, ada yang tidak percaya, dan ada yang bersikap netral.
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Mahaswara, Hamada Adzani. "Muslim Tionghoa sebagai Jembatan Budaya: Studi Tentang Partisipasi dan Dinamika Organisasi PITI Yogyakarta." SHAHIH : Journal of Islamicate Multidisciplinary 2, no. 1 (June 21, 2017): 79. http://dx.doi.org/10.22515/shahih.v2i1.704.
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Socio-cultural and political changes occurred significantly in Chinese people in Indonesia after the fall of the new order. Gus Dur issued a revitalization policy of Chinese customs and beliefs as well as revoked Presidential Instruction numbered 14 of 1967. The shift in the political climate encouraged Chinese people to participate in the community, including from Chinese Muslims. Within Persatuan Islam Indonesia (PITI), they try to consolidate in order to adapt and exist. The objective of this research is to examine participatory strategy and PITI organizational dynamic in post-reformation Yogyakarta and use qualitative approach and phenomenology as a method. According to the analysis, keeping Chinese identity and being Javanese are cultural strategies in communicating Islam and methodology of adaptation. Manifested Chinese traditional elements (oral history, mythology, and philosophy) show dialogue and open-mindedness this community in the society. As a result, Chinese Muslims community plays a role as cultural broker between Chinese ethnicity and Yogyakarta Muslim society.
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Wessing, Robert. "A Change in the Forest: Myth and History in West Java." Journal of Southeast Asian Studies 24, no. 1 (March 1993): 1–17. http://dx.doi.org/10.1017/s002246340000148x.
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The demarcation of boundaries is an important feature of the Sundanese social and geographical landscape. Markers indicating the limits of territories, ceremonial areas and the like abound. Linguistic markers indicate interpersonal social boundaries. Boundaries are generally regarded as places of danger and various supernatural entities are said to guard those between any two spheres in general. On Java generally, regularly recurring anniversaries, such as Idul Fitri and 1 Sura, the Javanese new year are marked with significant ceremonies such as bersih desa or petik laut or, in the past, rampok macan protecting the village or realm from evil.Less immediately obvious are boundaries in time, marking the transition between zaman, or eras. A change in era is of a different kind from the cyclical changes since by its very nature it is a non-repeating event. The topic of this paper is one such change in West Java, the change from Hindu rule to Islamic hegemony, and the mythology which consequently arose, providing a supernatural explanation for this quite powerful event.
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Ubaidillah, Ubaidillah. "INTERPRETING RUH AS AN ECOLOGICAL SPIRITUALITY IN RELATION TO ISLAM AND JAVA MYSTICISM." El-HARAKAH (TERAKREDITASI) 23, no. 1 (June 16, 2021): 139–56. http://dx.doi.org/10.18860/eh.v23i1.10268.
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This research aims to explain about the acculturation of Islam and Javanese wisdom in interpreting ruh (spirit) as an ecological behavior in dealing with natural disaster and exploitative activities. The concept of spirit refers to the awareness to interpret the relationship between human and nature as a living macrocosm unit. The awareness, in Islam, is a dimension of Sufi that blends with nature, such as Javanese philosophy on the principle of the unity of nature. It employs descriptive analytical method by integrating theo-sufistic paradigm to find a turning point in the common ground between Islam and Java in preserving the nature. The analysis goes into three conclusions: 1) the concept of spirit in Islam is a representation of one’s love with nature as the manifestation of love with God in its essence; 2) Javanese beliefs and rituals in ruh as a living and valuable existence signified in mystical mythology for being haunted and sacred serves as theo-sufistic expressions of Islam and Java; 3) spirituality of the spirit generates awareness of the philosophy of Sangkan Paraning Dumadi, to live in harmony and balance between humans and nature. Penelitian ini ingin menjelaskan tentang akulturasi Islam dan kearifan Jawa dalam memaknai ruh sebagai perilaku ekologis dalam menangani kerusakan alam dan aktivitas eksploitatif. Konsep ruh yang dimaksud adalah kesadaran memaknai hubungan manusia dan alam sebagai satu kesatuan makrokosmos yang hidup. Kesadaran tersebut dalam Islam merupakan dimensi sufistik yang menyatu dengan alam sebagaimana falsafah Jawa tentang prinsip kesatuan alam. Penelitian ini menggunakan metode deskriptif analitis dengan pendekatan integratif dalam paradigma teo-sufistik untuk menemukan titik balik persamaan persepsi antara Islam dan Jawa dalam memelihara alam hayati. Hasilnya, pertama, konsep ruh dalam Islam adalah representasi dari mencintai alam sebagai manfestasi mencintai Tuhan dengan dzatnya. Kedua, keyakinan dan ritual yang dilakukan masyarakat Jawa atas ruh sebagai eksistensi yang hidup dan memberi manfaat yang mewujud dalam mitologis mistik yang disebut angker dan sakral sebagai ekspresi teo-sufistik Islam dan Jawa. Ketiga, spiritualitas ruh memberikan kesadaran dalam filosofi Jawa tentang Sangkan Paraning Dumadi sebagai makna hidup untuk dapat serasi dan seimbang antara manusia dan alam.
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Widayat, Rahmanu. "Wangun Visual Concept In Pawukon Figures And Interior Design Contexts." Mudra Jurnal Seni Budaya 33, no. 3 (September 30, 2018): 421. http://dx.doi.org/10.31091/mudra.v33i3.546.
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Many of cultural heritages of the past are detting less known by the present generation. One of which is a pawukon figures and their aesthetic values. Pawukon is a Javanese prediction or calculation based on Hindu mythology regarding time and its association with the prediction of human life based on their wuku (time characteristics). There are 30 pawukon figures, from the Wuku Sinta figure to Wuku Watugunung figure accompanied by a picture of their respective deities. Pawukon figures can be found in primbon books or enlarged and displayed in the interiors of Javanese houses. Pawukon figures such as wayang purwa are equipped with figures of buildings or gedhong, figures of weapons, figures of various types of trees, birds and other figures which each have a certain purpose and meaning. The composition of the various elements makes the overall visuals very interesting to be explored regarding the concept of visual, visual aesthetics and meaning. The pawukon figures also needs to be studied aesthetically regarding to their placement in the Javanese home interior and how to develop them to be better known by the present generation. To explore the aesthetics and development of Pawukon figures, the concept of wangun (aesthetic) derived from the Javanese culture was used. The research findings were interesting because the pawukon figures have the wangun elements and wangun visual arrangenments, wangun placement, and the development of the pawukon figures which is related to the concept of wangun and ora wangun (not aesthetic) or aèng (strange). Pawukon figures were made to remind people to be cautious, and their applications and development into interior design were meant to present the atmosphere of Java.Banyak warisan budaya masa lalu yang kurang dikenal oleh generasi sekarang. Salah satunya adalah angka-angka pawukon dan nilai-nilai estetika mereka. Pawukon adalah prediksi atau perhitungan Jawa berdasarkan mitologi Hindu tentang waktu dan hubungannya dengan prediksi kehidupan manusia berdasarkan wuku mereka (karakteristik waktu). Ada 30 tokoh pawukon, mulai dari tokoh Wuku Sinta hingga tokoh Wuku Watugunung yang disertai gambar dewa masing-masing. Tokoh-tokoh Pawukon dapat ditemukan di buku-buku primbon atau diperbesar dan dipajang di interior rumah-rumah Jawa. Tokoh Pawukon seperti wayang purwa dilengkapi dengan tokoh-tokoh bangunan atau gedhong, tokoh-tokoh senjata, tokoh berbagai jenis pohon, burung dan tokoh-tokoh lain yang masing-masing memiliki tujuan dan makna tertentu. Komposisi dari berbagai elemen membuat keseluruhan visual sangat menarik untuk dieksplorasi mengenai konsep visual, estetika visual dan makna. Tokoh-tokoh pawukon juga perlu dipelajari secara estetis mengenai penempatannya di interior rumah Jawa dan bagaimana mengembangkannya agar lebih dikenal oleh generasi sekarang. Untuk mengeksplorasi estetika dan perkembangan tokoh Pawukon, konsep wangun (estetika) yang berasal dari budaya Jawa digunakan. Temuan penelitian ini menarik karena tokoh pawukon memiliki unsur-unsur wangun dan wangun pengaturan visual, penempatan wangun, dan pengembangan tokoh-tokoh pawukon yang terkait dengan konsep wangun dan ora wangun (bukan estetika) atau aèng (aneh). Sosok-sosok Pawukon dibuat untuk mengingatkan orang agar berhati-hati, dan aplikasi serta pengembangan mereka ke dalam desain interior dimaksudkan untuk menghadirkan suasana Jawa.
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Arif, Mahmud, and Zulkipli Lessy. "NURTURING SOCIO-RELIGIOUS HARMONY IN YOGYAKARTA: A STUDY OF PIVOTAL ROLES OF KWT DEWI SRI IN EMPOWERING LOCAL WOMEN." Analisa: Journal of Social Science and Religion 4, no. 02 (December 31, 2019): 225–42. http://dx.doi.org/10.18784/analisa.v4i02.912.
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This research aims to explore local wisdom in a pluralistic society that has been employed by the Female Farmers Group (Kelompok Wanita Tani), also called KWT Dewi Sri, in taking a social role for empowering rural cross-faith women in the hamlet of Kemasan. To implement its vision for local prosperity, KWT Dewi Sri has helped rural women by facilitating socio-empowerment services and informal education for those who are in need. KWT Dewi Sri has given interreligious social services so that the women can build social harmony and thus overcome the cynical assumption that poverty is the fate of being a woman. While embracing the value of benevolent citizenship, KWT Dewi Sri has persuaded these interfaith women to use rational choices to eradicate prejudice against others in general and stigmatisation against women in particular. This research used the qualitative approach with empirical inquiry to explore the females’ accounts of empowering their fellow women and maintaining social harmony in the hamlet. The findings showed that by using adaptive strategies, KWT Dewi Sri demonstrated the benefits of applying preventive programs to counter the take for granted-assumption that being female always necessitates impoverishment. Amid such help and success, many women in the hamlet hold a view, as in Javanese mythology, that KWT Dewi Sri is the reincarnation of the goddess of prosperity (Dewi Sri) descended to empower the local women. This research will discuss the cultural values of KWT Dewi Sri in establishing harmonious lives among people of the hamlet and in empowering the local women, and the obstacles KWT Dewi Sri encounters in embracing its roles.
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Santiko, Hariani. "Ragam Hias Ular-Naga di Tempat Sakral Periode Jawa Timur*." AMERTA 33, no. 2 (November 25, 2015): 89. http://dx.doi.org/10.24832/amt.v33i2.217.
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Abstract. Naga-Snake Ornaments at Sacred Places in East Java Period. Among those archaeological remains from Hindu-Buddhist in East Java period, dated from 8th to 16th centuries, was nagasnakeornament (snake with physical characteristic of a dragon) whether it stands alone or with a garuḍa figure. This ornament was found in temples, sacred bathing sites, and meditation caves. This ornament has not been found in earlier Hindu-Buddhist period in Central Java (early 6th to early 10th centuries). In order to understand the ideas behind this ornament selection, a historical-archaeology method was used based on artefactual and textual data, such as old manuscripts or inscriptions. East-Javanese śilpins used garuḍa and naga snake ornaments to manifest the story of Samudramanthana (Amŗtamanthana) and the story of Garudeya. Both stories tell the churning of the Ksirārnawa by the śura and aśura to get the amŗta (the holy water). This ornament can be found at Jalatunda bathingsite, Kidal temple, and Jabung temple. The preference to use Samudramanthana and Garudeya stories was related with the mythology of the mountain in Hinduism, which is believed as a “ladder” to Gods’ place. A temple is a miniature of Mahameru, the location of amŗta, guarded by the dragon-snake. Abstrak. Tinggalan Arkeologi dari masa Hindu-Buddha di Jawa Timur (abad ke-10-16), di antaranya berupa ragam hias ular-naga (ular dengan ciri-ciri fisik naga) yang digambarkan sendiri, maupun bersama tokoh garuḍa. Ragam hias ular-naga ini ditemukan di kompleks percandian, pemandian suci (patirthan), dan di gua-gua pertapaan. Menarik perhatian adalah, ragam hias jenis ini tidak ditemukan pada kepurbakalaan masa sebelumnya, yaitu masa Hindu-Buddha di Jawa Tengah (abad ke-6 sampai awal abad ke-10). Untuk mengetahui gagasan yang melatari dipilihnya artefak tersebut,akan diterapkan metode arkeologi-sejarah, yaitu metode yang menggunakan data artefaktual dan data tekstual, berupa naskah-naskah atau prasasti. Kemunculan garuḍa bersama ular-naga ini, dikemukakan bahwa para seniman Jawa Kuno menggunakan cerita Samudramanthana (Amŗtamanthana) dan cerita Garuḍeya. Kedua cerita tersebut menceritakan pengambilan dan perebutan air suci amŗta (air suci, air penghidupan) antara dewa (śura) dan aśura. Ragam hias ular-naga terdapat pada Pemandian Jalatunda, Candi Kidal dan Candi Jabung, Candi Panataran, Candi Kedaton dan sebagainya. Dipilihnya cerita Samudramanthana dan Garuḍeya terkait dengan mitologi gunung dalam agama Hindu, yangmerupakan “tangga naik” ke tempat dewa-dewa di puncaknya. Candi adalah bentuk miniatur dari Mahameru tersebut, tempat amŗta yang dijaga oleh ular-naga.
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Jauhari, Jauhari. "KAJIAN BENTUK DAN MAKNA KERIS CANTHANG BALUNG DALAM UPACARA GREBEG MULUD DI KERATON KASUNANAN SURAKARTA." Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa 11, no. 2 (February 21, 2020): 129–53. http://dx.doi.org/10.33153/brikolase.v11i2.2864.
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ABSTRACTThis research discussed the form and meaning of the Canthang Balung kris in the Grebeg Mulud ceremony at the Kasunanan Palace in Surakarta. The method of this research was a descriptive qualitative research. The datum were obtainned through interviews with primary informants from the Surakarta Palace, written sources in the form of reference books, photos, and videos. In order to obtain the expected data, researcher used data collection techniques through observation, in-depth interviews, library research and documentation. The process of data analysis was completed into several steps, those are data collection, data analysis, data display and conclusions. From the results of the study it was concluded that the existence of the Canthang Balung kris was not only used to be a prerequisite instrument in the Grebeg Mulud ceremony at the Kasunanan Palace in Surakarta but also as a cultural product in which had full of symbolic meaning and a mystical, sacred, and beautiful values derived from traditional roots based on Javanese religion, cosmology and mythology. Canthang Balung kris contained the teachings / philosopy of ethics and beauty in the form of visual appearance and life symbols which can lead humans to perfection and the real identity. The form on the Canthang Balung kris became a media for the expression of religious and aesthetics. It was to communicate noble teachings so that they could be understood and grasped by their supporting communities. The symbolic meaning can be interpreted as follows: safety, peace, harmony and fertility. Keywords: Kris, Canthang Balung, shape and meaningABSTRAKPenelitian ini membahas tentang bentuk dan makna keris Canthang Balung dalam upacara Grebeg Mulud di Keraton Kasunanan Surakarta. Metode penelitian ini adalah penelitian kualitatif yang bersifat deskriptif. Data-data diperoleh melalui wawancara dengan narasumber primer dari Keraton Surakarta, sumber tertulis berupa buku referensi, foto dan video. Untuk memperoleh data yang diinginkan, peneliti menggunakan teknik pengumpulan data melalui observasi, wawancara mendalam, studi pustaka dan pendokumentasian. Proses analisis data melalui beberapa tahapan, yaitu pengumpulan data, analisis data, sajian data serta kesimpulan. Dari hasil penelitian diperoleh kesimpulan bahwa keberadaan keris Canthang Balung selain sebagai kelengkapan dalam upacara Grebeg Mulud di Keraton Kasunanan Surakarta juga merupakan produk budaya yang di dalamnya sarat dengan makna simbolis serta memiliki muatan nilai yang bersifat mistis atau sakral, spiritual dan indah bersumber dari akar tradisi yang berpijak pada religi, kosmologi dan mitologi Jawa. Dalam keris Canthang Balung juga termuat ajaran etika dan keindahan berupa penampilan visual dan simbol pandangan hidup yang dapat menuntun manusia menuju kesempurnaan dan jati diri yang sejati. Bentuk pada keris Canthang Balung menjadi wadah pengungkapan ekspresi yang bersifat religius dan estetis, yakni sebagai sarana untuk mengkomunikasikan ajaran-ajaran luhur sehingga dapat dipahami dan ditangkap maksudnya oleh masyarakat pendukungnya. Makna simbolis tersebut dapat ditafsirkan antara lain sebagai berikut: keselamatan, ketentraman, keharmonisan, dan kesuburan. Kata Kunci: Keris, Canthang Balung, bentuk dan makna
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Widiyanto, Feri. "GAMBAR WAYANG KARYA SURIPNO DARI PERSPEKTIF RASA DALAM KEBUDAYAAN JAWA." Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa 10, no. 1 (October 4, 2018). http://dx.doi.org/10.33153/bri.v10i1.2172.
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<p align="center"><strong><em>ABSTRACT</em></strong></p><p align="center"> </p><p><em>Wayang purwa is a Javanese art and culture product. The existence of wayang purwa in Javanese culture is very influential on the life of Javanese society. Variants of wayang that can be found today is one of them is a puppet image made by Suripno. The process of creating Suripno puppet shapes also can not be separated from the experience and knowledge of Suripno as the maker. The method used in this study is an ethnographic method that emphasizes the observation of behavior, interviews and artifacts.</em></p><p><em>Suripno's wayang pictures are an expression of his inward appreciation to the characters, mythology and the wayang story. Viewed from the perspective of taste in the Javanese culture aesthetics Suripno puppet pictures are a non-sensory aesthetic based on sense of appreciation, protection, tranquility, evenness and irony.</em></p><p><em> </em></p><p><em>Keywords: Suripno, puppet image, aesthetics, taste, Javanese culture.</em></p>
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Iryana, Wahyu. "THE MYTHOLOGY OF KAMPUNG NAGA COMMUNITY." Al-Albab 3, no. 2 (December 1, 2014). http://dx.doi.org/10.24260/alalbab.v3i2.238.
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In order to gain understanding of the meaning of symbolic variants of the myth in Kampung Naga, an objective analysis is required. Therefore, this paper applied the linguistic model study offered by Levi-Strauss as a new step for the objectivity of myth interpretation. The basic assumption of Levi-Strauss’ linguistic model is that myth often display a diverse surface structure, but in fact the diversity is the description of the human deep structure. The selection of this myth was solely based on the life of the Kampung Naga community as part of Sundanese Society. The results indicated that the myth in the religious life of the Kampung Naga community contains a various stories which include the revelation, the reincarnation, and the descent of revelation. These episodes can be constructed into the structure of a Levi-Strauss linguistic model, a binary opposition, namely the mandate giver (active) the mandate recipient (passive). The relationship between the giver and the receiver is vertical (structural) called “structure of three” (regular). From the “structure of three”, the “culinary triangle” can be constructed. From the “combined triangle”, the Batara Guru will also appear to become a central event that other figures have to go through. Finally, it can be stated that the deep structure construction that still refers to the aspect of Javanese cosmology in General.
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Wahyudi, Aris. "Transformasi Yudhisthira Mahabarata dalam Tradisi Pedalangan." Resital: Jurnal Seni Pertunjukan 14, no. 1 (September 24, 2013). http://dx.doi.org/10.24821/resital.v14i1.396.
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ABSTRAK Artikel ini menjelaskan konsep Yudistira dalam tradisi wayang sebagai kontinuitas Yudhistira dalam epos Mahabharata. Transformasi ini diikuti oleh konsep berkelanjutan yang dapatmengikuti dengan menggunakan konsep Jawa, asma kinarya japa. Dengan demikian dapat disimpulkan bahwa konsep Yudistira dalam tradisi pedalangan adalah sistem transformasi dilihat dari mitologi ritual. Meskipun ceritanya diadopsi dari India Mahabharata, namun Wayang Purwa menggambarkan pola pikir asli Jawa. Wayang Purwa telah diwariskan dari generasi ke generasi, namun telah mampu mempertahankan konsep aslinya. Kata kunci: Yudistira, mahabarata, wayang ABSTRACT Hermeneutic Cirkle of Yudhistira in Puppetry Tradition. This article explains Yudistira’s concept in a wayang tradition as a continuity of Yudhishthira in Mahãbhãrata epic. The transformation was followed by continuous concept that can be trailed by employing Javanese theory, such as asma kinarya japa theory. It can be concluded that the concept of Yudistira in the pedalangan tradition is a transformation system viewed from the ritual mythology. Although its story is adopted from Indian Mahabharata, but Wayang Purwa illustrates an original Javanese mindset. Wayang Purwa has been inherited through generations, yet it has been able to maintain its original concept. Keyword: Yudistira, Mahabarata, wayang
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Fitri, Agus Zaenul. "Pola Interaksi Harmonis antara Mitos, Sakral, dan Kearifan Lokal Masyarakat Pasuruan." El-HARAKAH (TERAKREDITASI), December 1, 2012. http://dx.doi.org/10.18860/el.v0i0.2198.
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<div class="WordSection1"><p>The charges with co ver t mission in t erms of local wisdom such as mysticism, sacralization, Javanese and ancestor gods are exaggerated perspective. Through Anthropological studies of sacred, mythology and local wisdom is elaborated on the meaning and relevance to the public ritual actions in Pasuruan Regency with the attempt to build harmony and interaction between local culture and Islam. This study focused on the dynamical of relationship between religion and social religious culture interactions among groups in society through religious symbols system. Every religious tradition includes sacred symbols with which the person conducting a series of measures to shed beliefs in the form of ritual, reverence and servitude. Hindu communities in the mountains Pasuruan region have been driven to assimilate with Muslim population. But the religion which is embraced by the majority of the population are nominal Muslims, but confounds the Tengger and Javanese-style ritual, because the vast majority of Muslims there refused to form a more strict Islamic piety is identified with a culture that does not fit to the culture of Java, in contrast to Muslims Pasuruan in the lowlands because much dominated by the descendants of Madura, the Islamization can continue to do without having to harm the local culture, which in turn would foster against-Islam movement.</p> <p> </p> <p>Tuduhan terhadap misi terselubung dalam istilah kearifan lokal seperti mistisisme, sakralisasi, kejawen, dan sesembahan lelulur merupakan cara pandang yang berlebihan. Melalui studi Antropologi tentang sakralisasi, mitologi, dan kearifan lokal ini dipaparkan makna dan relevansinya terhadap tindakan ritual masyarakat kabupaten Pasuruan dengan upaya membangun wajah dalam harmoni dan interaksi antara budaya lokal dan Islam. Kajian ini menitikberatkan pada dinamika hubungan antara agama dan berbagai kelompok sosio religio kultural melalui interaksi antar kelompok di dalam masyarakat melalui simbol-simbol religius. Setiap tradisi keagamaan memuat simbol-simbol suci yang dengannya orang melakukan serangkaian tindakan untuk menumpahkan keyakinan dalam bentuk melakukan ritual, penghormatan dan penghambaan. Masyarakat Hindu di wilayah Pasuruan pegunungan telah terdorong untuk berasimilasi dengan penduduk muslim. Namun agama Islam yang dipeluk oleh sebagian besar penduduk adalah Islam nominal namun mencampur adukkan gaya ritual Tengger dan Kejawen, karena mayoritas Muslim di sana menolak bentuk kesalehan Islam yang lebih ketat yang diidentifikasi dengan kebudayaan yang tidak njawani, berbeda dengan muslim pasuruan di dataran rendah karena banyak didominasi oleh keturunan Madura, maka Islamisasi dapat terus dilakukan tanpa harus mencederai kebudayaan lokal yang pada akhirnya justru menyuburkan gerakan anti-Islam.</p></div> <p> </p>
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Wahyudi, Aris. "Lakon Karna Tandhing: Konsep Pergantian Musim dalam Pemujaan Syiwa." Wayang Nusantara: Journal of Puppetry 3, no. 2 (August 6, 2019). http://dx.doi.org/10.24821/wayang.v3i2.3148.
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Arjuna, Indra’s son stands at his war car. General uniform was used making heroic, his left hand hold a bow, and right hand to balance arrow; in the other side Kurawa’s army, Prabu Karna, the Surya’s son, the commander to play his bow too. When bang of war drum to fill the sky, the both army toward central of Kuruksetra field. The millionarrows flaying in the sky like cloudy that closed the sun, and after their hundreds army to yell out dating, afterward the Kuruksetra field flood blood. Suddenly Karna’s arrow kicks Arjuna’s head. At once surprised who show it. Deities yell congratulation praying. Some minutes the war stop. Arjuna’s crown destroyed. Narada descends from the sky give crown to Arjuna that it is exactly with Karna’s have. The both hero collide again. Now, Arjuna likes Karna. Arjuna.s angry make increasingly. He get Pasopati arrow. Arjuna lift his bow. Another one who is look when Arjuna frees his arrow, suddenly Karna’s head cut off. Kurawa’s Hero, Surya’s son was dead. This story, in the wayang world it was called Lakon Karno Tandhing. There were can to get some problems. When Arjuna’s crown destroyed, Narada prepare a crown to Arjuna. I assume that deity knew that would happen. The question is “Why the crown was prepared similarly Karna have, so it is called Karna Tandhing? I am sure that the composer had a meaning ofit. Mythology-ritual analysis shows that this happen is continuity of deity level. All of the hero experiences always involve deity activities. Javanese philosopher composed this story to explain cosmic system that uses symbol systems Lakon Karna Tandhing.Arjuna, putra Indra berdiri megah di atas kereta perangnya. Pakaian kebesaran seorang senapati semakin menambah keperkasaannya. Kedua tangannya mengayun gendewa lengkap dengan busurnya. Di pihak lain, Prabu Karna, putra Surya melakukan hal yang sama saat memimpin pasukan Kurawa. Begitu genderang perang bertalu-talu memenuhi angkasa, kedua pihak berhambur ke medan Kuruksetra, saling menyerbu. Ribuan pasukan saling bertempur dan tidak sedikit yang gugur. Tiba-tiba anak panah Karna menghantam kepala Arjuna hingga mahkotanya hancur. Semua yang menyaksikan sangat terkejut, termasuk pula para dewa dewi di angkasa. Narada segera turun ke dunia, memberikan mahkota yang mirip dengan yang dikenakan Karna yang membuat Arjuna mirip dengan Karna. Kedua perwira tersebut kembali bertempur, seakan-akan Karna melawan Karna. Arjuna melepaskan panah pasopati dan tepat memenggal leher Karna. Karna gugur dengan kepala terlempar dan tubuhnya bersandar di kereta perangnya. Kisah ini dalam tradisi pedalangan disebut lakon Karna Tandhing. Dari persoalan tersebut, pertanyaannya adalah: mengapa mahkota yang diberikan Narada tersebut mirip dengan milik Karna? Melalui analisis mitologi-ritual diperoleh pemahaman bahwa peristiwa tersebut merupakan kontinuitas dari peristiwa di tataran mite. Semua peristiwa yang dialami para tokoh epic selalu melibatkan campur tangan tokoh mite. Lakon Karna Tandhing merupakan pengejawantahan peristiwa kosmis yang menjelaskan perpindahan musim kemarau (Karna sebagai putra Surya) berganti dengan musin penghujan (Arjuna sebagai putra Indra). Kesemuanya diatur oleh Syiwa sebagai mahakala yang disimbolkan melaluiArjuna bermahkotakan “Karna”.
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Wahyudi, Aris. "Lakon Laire Antasena: Konsep ”Jembar Tanpa Pagut” dalam Tradisi Wayang Ngayogyakarta." Resital: Jurnal Seni Pertunjukan 12, no. 1 (November 2, 2013). http://dx.doi.org/10.24821/resital.v12i1.465.
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Antansena adalah putra Dewi Urangayu, salah satu istri Bima. Dia adalah karakter yang unik di dunia wayangNgayogyakarta. Sebagai seorang ksatria Pandawa, Antasena mewakili kekuatan dan kebijaksanaan, rendah hati, danunik. Dia memiliki perilaku yang aneh terhadap saudara yang lain. Dia tidak pernah berkata sopan kepada siapapun, seperti Bima, ayahnya. Dia memiliki karakter yang khas yang tidak ditemukan dalam tradisi Mahabharata atautradisi wayang lainnya. Keberadaannya dilengkapi dengan karakternya, sejarah, dan kehidupan dari lahir sampaimati di dunia. Antasena yang benar-benar dibuat untuk menempatkan ide. Melalui mitologi wayang, karakterAntasena dari aspek kedatangannya adalah identifi kasi laut sebagai budaya Jawa akan menjelaskan konsep ’JembarTanpa pagut’, kualitas jiwa yang harus dibangun oleh orang Jawa untuk menghadapi kehidupan. Melalui hubungananalogi tersebut, kehidupan nyata orang Jawa harus memahami diri mereka ke tempat itu.Kata kunci: Antasena, wayang, konsep ’jembar tanpa pagut’ABSTRACTThe Antasena Play: ”Jembar Tanpa Pagut” Concept in Wayang Ngayogyakarta Tradition. Antansena was Dewi Urangayu’s son, one of Bima’s wives. He was a unique character in Ngayogyakarta wayang world. As a Pandawa knight, Antasena represented a powerful, wise, low-profi le but unique knight. He had such an odd behavior against his other brothers’. He never said politely to anyone, just like Bima, his father. He is the specifi c character in Ngayogykarata wayang tradition, because it will not be found in Mahabharata tradition or other wayang traditions. His existence comes with his character, history, and life from birth to death in wayang world. As a culture, Antasena is absolutely made for placing an idea. Through wayang mythology, a mean in Antasena character from his coming aspect is an identifi cation of ocean as Javaneses culture would explain the concept of ‘jembar tanpa pagut’, a soul quality which must be built by Javaneses to face life. Through such analogy relation, Indonesian’s real life (especially Javaneses) should understand themselves to place it.Keywords: Antasena, ocean aspect, ”jembar tanpa pagut” concept, life quality perfection leading.