Makna Simbolik Seni Wayang Golek (Studi Kasus: Kecamatan Sukadana Kabupaten Ciamis Jawa Barat)
Abstract
Wayang art is a valuable cultural heritage from the archipelago. One of the producers of wayang art is Tatar Galuh, Ciamis. There are many wayang art groups in Ciamis, one of which is the Gentra Pusaka Galuh Wayang Golek Art group, Sukadana District, Ciamis Regency, West Java Province, Indonesia. At this time how important it is to preserve traditional art amidst social changes and modern technology. Wayang golek is not only an art performance, but also a symbol of cultural identity that connects previous generations to the current generation. However, this art faces great challenges from changes in modern lifestyles and changes in people's interests. Based on this background, the author is interested in studying and understanding: (1) the existence of wayang golek in Sukadana, (2) obstacles in current development, and (3) the efforts made. Wayang golek is an art that has long existed, especially in the Tatar Galuh region, especially Sukadana. Various conservation efforts can be carried out including educational approaches, collaboration with youth and modern technology. In this article it is also discussed that the government has an important role in the development of art in its region. The research was conducted at the Gentra Pusaka Galuh Art Group in Ciilat Hamlet, Sukadana Village, Sukadana District, Ciamis Regency, West Java Province, Indonesia. The research uses a qualitative approach with a descriptive type. Data collection techniques through observation, interviews and document study. In this research, researchers used primary and secondary data sources. Primary data sources were obtained from observations and interviews. Meanwhile, secondary data sources were obtained from supporting documents in the form of photos and research reports on the same research subjects.
Downloads
References
[2] Cahya, “Nilai, Makna, dan Simbol dalam Pertunjukan Wayang Golek sebagai Representasi Media Pendidikan Budi Pekerti,” Panggung, vol. 26, no. 2, pp. 117–127, 2017, doi: 10.26742/panggung.v26i2.170.
[3] S. Sadono, C. Nugroho, and K. Nasionalita, “Pewarisan Seni Wayang Golek Di Jawa Barat,” J. Rupa, vol. 03, no. 05, pp. 150–163, 2018, [Online]. Available: https://journals.telkomuniversity.ac.id/rupa/article/view/1822
[4] D. K. Syahputra, Interaksi Lintas Budaya, 1st ed. Bandung: Yayasan Multikultural Indonesia, 2015.
[5] Z. Abdussamad, Metode Penelitian Kualitatif, no. 1. Makassar: Syakir Media Press, 2021. [Online]. Available: https://osf.io/juwxn/
[6] A. Kusumastuti and A. . Mustamil, Metode Penelitian Kualitatif. Semarang: Lembaga Pendidikan Sukarno Pressindo, 2019.
[7] M. M. Asyari, E. A. Ismaya, and M. N. Ahsin, “Nilai-Nilai Pendidikan Karakter Dalam Tradisi Apitan Masyarakat Singocandi Kudus,” WASIS J. Ilm. Pendidik., vol. 2, no. 1, pp. 34–40, 2021, doi: 10.24176/wasis.v2i1.5764.
[8] P. Guritno, Wayang, Kebudayaan Indonesia dan Pancasila, 1st ed. Jakarta: UI Press, 1988.
[9] Salmoen, Padalangan, 2nd ed. Jakarta: Departemen Pendidikan dan Kebudayaan, Proyek Penerbitan Buku Sastra Indonesia dan Daerah, 1986.
[10] R. Rosyadi, “WAYANG GOLEK DARI SENI PERTUNJUKAN KE SENI KRIYA (Studi tentang Perkembangan Fungsi Wayang Golek di Kota Bogor),” Patanjala J. Penelit. Sej. dan Budaya, vol. 1, no. 2, p. 135, 2009, doi: 10.30959/patanjala.v1i2.239.
[11] Soetrisno, Wayang Sebagai Warisan Budaya Dunia. Surabaya: SIC, 2008.
[12] I. R. Aditya, Pustaka Bumi Sukadana?: Purwa ka Ayeuna, 1st ed. Ciamis: Rumah Cemerlang Indonesia, 2022.
[13] R. Permana, “PERLINDUNGAN HUKUM PRODUSEN DAN PELAKU SENI WAYANG GOLEK DIHUBUNGKAN DENGAN UNDANG-UNDANG NO.28 TAHUN 2014 TENTANG HAK CIPTA,” Universitas Pasundan, 2018. [Online]. Available: http://repository.unpas.ac.id/39146/
[14] Supariadi, R. T. Suryandari, R. Sugiarti, and Warto, “Regenerasi Dalang Wayang Beber Untuk Memperkokoh Peran Seni Pertunjukan Tradisional Di Era Industri Kreatif Supariadi,” J. Cakra Wisata (Pariwisata dan Budaya), vol. 21, no. 1, pp. 1–9, 2020, [Online]. Available:
https://jurnal.uns.ac.id/cakra-wisata/article/download/46472/29140
[15] N. Ismah, “Menjadi Dalang Perempuan Dalam Wayang Kulit Jawa: Inisiatif Pribadi Dan Lingkungan Sebagai Tempat Pembelajaran,” Dialekt. Masy. J. Sosiol., vol. 1, no. 1, 2017, [Online]. Available: https://jurnal.uns.ac.id/dmjs/article/view/21690
[16] E. C. Van Ness, Javanese Wayang Kulit: An Introduction, 1st ed. Inggris: Oxford University Press, 1980.
[17] T. Robertson, “Toward a Feminist Art,” in Dissonance Feminism and the Arts 1970-90, 1st ed., C. Moore, Ed. Woolloomooloo: Allen & Unwin Pty Ltd, 1994, pp. 12–21.
[18] M. S. Ayuningsih, “Menjunjung Budaya Indonesia di Kancah Internasional,” Banten, 2023. [Online]. Available: https://waqafilmunusantara.com/index.php/2023/05/06/menjunjung-budaya-indonesia-di-kancah-internasional/
[19] Jonathan, Peranan koordinasi dan kolaborasi. Jakarta: Prenada Grup, 2004.
[20] Nasrullah, Media Sosial: Perspektif Komunikasi, Budaya dan Sosioteknologi. Bandung: Simbiosa Rekatama Media, 2015.
![Creative Commons License](http://i.creativecommons.org/l/by-sa/4.0/88x31.png)
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.