Study of the Shape, Function and Meaning of the Character of Punakawan Postage Yogyakarta Style

  • Dwi Ermavianti Wahyu Sulistyorini SMK Negeri 1 Sewon, Bantul, Daerah Istimewa Yogyakarta

Abstract

The purpose of this research is to understand the make up character of Punakawan Yogyakarta in terms of form, function, and meaning in Javanese cultural traditions. The existence of make up has an important meaning for people who struggle in character make up for the performing arts because it relates to special forms of make up in which there are special rules and regulations. The form of make up of Punakawan figures has the characteristics of the diversity of make up techniques and characters that have a function and symbol of meaning in the values of learning noble ethical character. This research uses interpretive model data analysis through literature studies, field studies and in-depth interviews to wayang experts with an aesthetic approach to be able to explain the shape, function, and meaning of Punakawan figure make up. The results showed that the forms of make up on the character of the punakawan have a characteristic on each Punakawan figure (Semar, Petruk, Gareng, Bagong) describing the character and nature of the figures who each have the function and meaning of Javanese cultural philosophy.

Keywords: make up, punawakan, wayang purwa, Javanese culture

PDF Downloads

Download data is not yet available.
Published
2022-05-01
How to Cite:
Sulistyorini, D. E. W. (2022). Study of the Shape, Function and Meaning of the Character of Punakawan Postage Yogyakarta Style. Ideguru: Jurnal Karya Ilmiah Guru, 7(2), 170-178. https://doi.org/10.51169/ideguru.v7i2.343
Section
Research Articles
Abstract viewed: 46 times
PDF (Bahasa Indonesia) downloaded: 91 times

References

Ermavianti, D. (2016). Singwit Sebagai Media Pembelajaran Kreatif (Best Practice Guru Dalam Pembelajaran). Jurnal Riset daerah 15(2), 2490-2508.

Guritmo, P. (1985). Konsepsi Kebudayaan Dalam Wayang Purwa. Jakarta: Gatra Majalah Warta Wayang.

Gusti. (2013). Wayang Di Tinggal Generasi Muda. Seminar Wayang dan Generasi Muda (pp. 1-2). Yogyakarta: Liputan Berita Universitas Gadjah Mada. (https://www.ugm.ac.id/id/berita/7928-wayang-ditinggal-generasi-muda).

Haryanto. (1988). Pratiwimbo Adiluhung Sejarah dan Perkembangan Wayang. Jakarta: Penerbit Jambatan.

Haryono, T. (2008). Seni Pertunjukkan dan Seni Rupa dalam Perspektif Arkeologi Seni. Surakarta: ISI Press Solo.

Huberman Miles, A. (1992). Analisis Data Kualitatif terjemahan Tjejep Rohendi Rohidi. Jakarta: UI Press.

Mulyono, S. (1982). Apa dan Siapa Semar. Jakarta: Gunung Arta.

Simuh. (1995). Sufisme Jawa Transformasi Islam ke Mistik Jawa. Yogyakarta: Yayasan Benteng Budaya.

Spradley, J. P. (1987). Metode Etnografi. Yogyakarta: Tiara Wacana.

Sumaryono. (1998). Topeng Pedalangan Yogyakarta Tinjauan Terhadap Aspek Sosio-Budayanya. Jurnal Pengetahuan dan Penciptaan Seni BP ISI Yogyakarta, 5(1), 91-92.

Sunarto. (2015). Panakawan Nusantara Bentuk, Fungsi, dan Keanekaragamannya. Yogyakarta: Dinas Dikpora Daerah Istimewa Yogyakarta.

Tilaar, M. (1999). Kecantikan Perempuan Timur. Yogyakarta: Indonesia Tara.

Yoesoef, M. (2014). Membaca Punawakan. Seminar International Semiotik, Pragmatik, dan Kebudayaan (pp. 2-14). Depok: Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia.