Sejarah Kesenian Wayang Timplong Kabupaten Nganjuk

Wibowo, Anjar Mukti; Ardany, Prisqa Putra

doi:10.25273/ajsp.v5i02.891

Cited by 4 publications

(5 citation statements)

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“…Stories about the Panji and the Mataraman preserved through the Timplong and Gedog puppet art can still be found in the Tanjunganom area. Even though Timplong puppet art originated from Jetis Village, Pace Sub-district was created by Mbah Bancol in 1910 (Wibowo & Ardany, 2015). Traditional art performances such as classical Javanese dance, tayub, pogokan, and jaranan are also existed in Tanjunganom.…”

Section: Resultsmentioning

confidence: 99%

The Sanak-Kadang Jodhipati: A New Form of Virtual Radio Listeners Community

Achmad

Arviani

Santoso

2021

aspikom

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The purpose of this study was to analyze the shifting form of a community of cultural radio listeners, Sanak Kadang Jodhipati, from an off-line to a virtual community. Since adopting Facebook, YouTube, and audio streaming, Radio Jodhipati FM’s listeners have become part of a networked community. This study used a virtual ethnographic method, which allows researchers to conduct interviews and virtual searches from November 2019 to May 2020. The result shows that Sanak Kadang Jodhipati, as a social community, holds meetings in the Nganjuk Regency and other cities where Radio Jodhipati FM covers wayang kulit shows. As a virtual community, this community is more intensive in communicating through the WhatsApp group during the COVID-19 pandemic. The contents of the communication are not limited to discussing wayang kulit, gendhing, and other Javanese culture, it also addresses health, employment, legal, and political issues. Despite the diverse socioeconomic status, the members do not differentiate the form of communication, as fellow Javanese culture lovers.

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Section: Resultsmentioning

confidence: 99%

The Sanak-Kadang Jodhipati: A New Form of Virtual Radio Listeners Community

Achmad

Arviani

Santoso

2021

aspikom

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“…Menggantung boneka adalah seni pertunjukan bagi masyarakat Tionghoa yang berfungsi sebagai ritual, edukatif, penugahan integrasi sosial, hiburan dan mata pencarian selain itu wayang juga memiliki identitas yang menunjukkan identitas dan kepribadian masyarakat. Menurut Wibowo & Ardany (2015) kesenian wayang sudah tersebar hampir menyeluruh hingga ke beberapa wilayah seperti Jawa, Bali, Kalimantan, Lombok, Sumatra dan masih banyak lagi.…”

Section: Hasil Dan Pembahasan 1 Sejarah Wayang Gantung DI Kota Singka...unclassified

Sejarah dan Perkembangan Kesenian Wayang Gantung di Kota Singkawang

Firmansyah

Putri

2023

Ganaya

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The purpose of this study is to find out how the history and development of the hanging puppet tradition in Singkawang City. This research is basic research. Qualitative data collected mainly in the form of words. To answer how the history and development of the hanging puppet art in Singkawang City, the informants who will be used as resource persons are Singkawang local traditional arts figures. In addition, it also utilizes the literature or the results of previous research. This interactive analysis technique has three components of analysis, namely data reduction, data presentation and drawing conclusions or verification. The result of this research is that the Hanging Puppet in Singkawang City became known in the early 20th century. The character who first introduced the wayang hang art in Singkawang City was Ajo or A Jong. The Chinese community in Singkawang City usually knows the hanging wayang with the term Chiao thew hi which comes from the Hakka language (Khek). The love of the people of Singkawang City for the art of wayang hanging began to increase rapidly in the 1960s. The large number of associations or groups of wayang hang artists in Singkawang City is one of the characteristics of the golden age of wayang hanging.

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“…Wayang is the most significant aspect of Javanese culture, specifically as a compelling religious mythology, which means that the stories in wayang can unite Javanese society as a whole, encompassing the entire geographical region of Java and all of its social groups. Wayang is also viewed as a method for preserving and spreading Javanese culture (Wibowo & Ardany, 2015). Wayang Timplong is one of the traditional arts practised in Nganjuk Regency.…”

Section: Introductionmentioning

confidence: 99%

“…Several studies have been conducted on Wayang Timplong, including visual reviews and characters of Wayang Timplong in Dewi Sekartaji play, Panji tradition in the jaranan jor and Wayang Timplong performance arts in East Java (Nurmayanti, 2016), understanding the concept of Panji culture (Nurcahyo, 2022), and History of Wayang Timplong arts, Nganjuk Regency (Wibowo & Ardany, 2015). More emphasis is placed in these studies of characters in general in the Sekartaji Kembar play.…”

Section: Introductionmentioning

confidence: 99%

Character Wayang Timplong of Panji Asmarabangun Figure and its Relevance to the Pancasila Students’ Profile

Dona,

Mulyanto,

Margana

2023

AIJP

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As the nation's potential candidates, the young generation is abandoning their value-rich regional cultures in favour of foreign cultures such as K-Pop one of the affected cultures is wayang Timplong. This study analyzes about what are the visual meanings and character education values contained in the Timplong puppet, the character Panji Asmarabangun and its relevance to the Pancasila Students' Profile. This study was to determine the value of character education in the wayang Timplong of Panji Asmarabangun figure based on the visual form of the objective. This was designed with a qualitative approach, data were collected through interviews, observations, and document analysis. The study was carried out in Kepanjen, Pace and in Nglawak, Prambon, Nganjuk Regency. The informants of this research are 3 dalang and a craftsman. The data analysis technique in this study used the Interactive Model. The results showed that the visual form of Wayang Panji Asmarabangun consists of the head, body, and clothing consisting of the gabahan eyes, ambangir nose, damis mouth, torso putro sariro, satria arm, bokongan satria, suku bambang feet, rapakan bolo clothes, keris, wadyo bracelet. The character education values were religious, nationalist, independent, mutual cooperation, integrity, simple, innocent, noble, virtuous, holy, smooth, tough, and skilled. The relevance to the profiles of Pancasila students is a) having faith, fearing God Almighty, having noble character; independence; mutual cooperation; global diversity; critical reasoning; and creativity. This study provides information in the form of characters possessed by Panji Asmarabangun, and character can be used as a reference/material in teaching and instilling character education values based on local culture that are in line with those encapsulated in Pancasila students' profiles in the independent curriculum, so that can be a trigger for student appreciation, — especially in the Nganjuk region.

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Sejarah Kesenian Wayang Timplong Kabupaten Nganjuk

Cited by 4 publications

References 0 publications

The Sanak-Kadang Jodhipati: A New Form of Virtual Radio Listeners Community

The Sanak-Kadang Jodhipati: A New Form of Virtual Radio Listeners Community

Sejarah dan Perkembangan Kesenian Wayang Gantung di Kota Singkawang

Character Wayang Timplong of Panji Asmarabangun Figure and its Relevance to the Pancasila Students’ Profile

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