Rabu, 11 Mei 2011

Bajidor Kahot

Semar semar ya gegelar
Semar kuncung
Dana wulung
Semar pakuning alam

KARANG TUMARITIS—Let us watch Panakawan Lurah Semar Badranaya and sons Sastrajingga, Udawala, and Nala Gareng who are holding jaipongan dance from Wrehatnala Group to console all people of cyberworld.

SEMAR: Son, come here. Let’s watch Jaipongan Wrehatnala.
CEPOT: OK, Dad. Hehe.... so nice! Dewala, let’s dance.
DEWALA: Okay. Just for exercising my body. It’s so crampy. Where is si Gareng, Bro?
CEPOT: over there, close to the singer.
DEWALA: Wow, look at si Gareng, his jaipongan dance is great.
GARENG: Shut up! Let’s dance!

CEPOT: Wow, so beautiful... so sexy. Jaipongan dance from Wrehatnala is so hot.
DEWALA: Think it as an art, Bro?
SEMAR: Sons, let’s meet Mr. Arjuna. He is coming.

Selasa, 03 Mei 2011


By Siswo Harsono

Ingsun angidhepa Sang Hyang Guru Reka
Kamatantra: swaranku manik astagina.
Tan Mpu Akung

I. Introduction

Some time ago the Faculty of Letters UNDIP held leather puppet show for the benefit of Ruwatan. The play within the show was "Sesaji Rajasuya." The play is not common as an act that normally holds Ruwatan story is "Murwakala" or "Sudamala". Staging the play "Sesaji Rajasuya" probably related to the interests of the institution for the entire civitas academica of Faculty of Letters and safely free from evil prospers.

Thus there is an interesting cultural phenomenon of the Ruwatan. First, the Faculty of Letters as an academic institution, its civitas academica is dominated by the Javanese and still attached to Javanology. Second, the civitas academica of Faculty of Letters whose activities are based on rational-empirical still support rituals based on mythical beliefs.

II. Discussion

According to Helman (1984:123), the ritual is a stereotyped series of activities involving gestures, words, and objects held in a place and are designed to affect the entity or the forces of nature for the benefit and purpose of the perpetrator. He further said that the key characteristics of all the rituals are repetitive behaviors that do not have a direct impact, such as technology. Ritual symbols associated with the values, norms, beliefs, sentiments, roles and social relations in the system of community organizers cultural rituals, which can be translated according to context.

Ritual of Ruwatan including type of rite de passage about the birth and death especially associated with misfortune or bad luck.

With reference to Turner, ritual of ruwatan has expressive and creative functions because its values is packaged in a dramatic puppet show, and those related to efforts to create better living conditions and prosper free from the plagues. In addition, by referring to Helman (1984:124), Ruwatan also has a function that collides between psychological, social and protective functions. Psychological function of Ruwatan appeases emotions associated with the business community psychiatric organizer. Social functions related Ruwatan to symbolic interactions that community in the formation of social cohesion. While the protective function of ruwatan concerned with protecting their communities from misfortune and calamity.

1. Mediation in the ritual of ruwatan

Human relationship with God in a ritual performed by mediation, which serves to connect the different realities. In the ritual of Ruwatan, includes empirical, psychological, mythological, and theological realities. Meanwhile, the mediator includes ritual leaders, cultural heroes, and mythological heroes. Mediation can be schematized as follows.

2. Five components of trust: ruwatan ceremony

Ritual of Ruwatan has five components of trust. With reference to the Koentjaeaningrat (1985) about the five components of a religious ceremony, the five components of trust in the ruwatan ceremony are as follows.
a. Group trust, the community and enable to conceptualized ruwatan ritual and ceremony systems.
b. Belief systems that shape human thoughts and ideas about God, mythology, contained in the act Murwakala, Sudamala, and Sesaji Rajasuya.
c. Emotional trust encourages communities to do the ceremony of Ruwatan.
d. System of Ruwatan ceremony is divided into components: a ceremony on the stage, time ceremony during the show, the actors of Ruwatan ceremony, literature of Ruwatan spells, and the mastermind as a leader Ruwatan.
e. Equipment that is Ruwatan ritual objects and ceremonial tools and a set of leather puppet show Uba-rampe of offerings.

3. The pattern of human relations, cultural heroes, mythological heroes, and God

The pattern of relationships between human, cultural heroes, mythological heroes, and God in the ritual of ruwatan can be schematized as follows.

In Ruwatan, man's relationship with God mediated empirically by Ki dalang as master of ceremonies, Ki dalang mastermind or masterminds Kandabuwana Sampurnajati as cultural heroes; and Batara Guru, Batara Vishnu, or Krishna as mythological heroes. The edicts of mediation between cultural heroes with mythological heroes are Sahadev and Krishna.

4. Cultural Heroes

In a ritual Sudamala, the cultural hero is puppeteer Ki Sampurnajati. In Murwakala, the cultural hero is puppeteer Ki Kandabuwana. While in Sesaji Rajasuya, the cultural hero is King Krishna.

5. Mythological Heroes

Mythological hero in the play of Sudamala is the Guru, in the play of Murwakala is Batara Vishnu, and in the play of Sesaji Rajasuya is Batara Krishna. In the play of Sudamala, Sahadev, Guru incarnates to act as puppeteer Ki Sampurnajati to cure Kunti who became mad because of trance goddess Durga. In the play of Murwakala, Batara Vishnu incarnates Kandhabuana to cure the Sukertas which are exempt from the prey of Batara Kala. While in play of Sesaji Rajasuya, Batara Vishnu incarnates to Batara Krishna to the release of the Pandavas from King Sisupala disorders.

Cultural heroes and mythological heroes in the ritual lof ruwatan

III. Conclusion

The ritual ceremony is a ritual performed Ruwatan to eliminate bad luck (misfortune) that afflicts human life. The ceremony was held in the form of leather puppet show with the play of Sudamala, Murwakala, or Sesaji Rajasuya. Ruwatan ritual leader is a puppeteer who acted as mediators between the organizers of empirical ritual with God through cultural mediator’s heroes of Sahadev, Kandhabuana, and Krishna, as well as mediators of mythological heroes, Batara Guru and Vishnu.

Ruwatan has expressive, creative, psychological, social, and protective functions. Its expressive function contains in the form of dramatic puppet show. Its creative function is an attempt to create a prosperous life and free from evil. Its psychological function gives peace to the supporters. Its social function is a means of symbolic interaction and social cohesion for the community. Its protective function is to protect the community of ruwatan supporters from distress.

The truth value of ruwatan can be classified into constitutive of truth, logical truth, aesthetic truth, and evaluative truth. The constitutive truth of ruwatan relates to mythological belief systems. The logical truth of ruwatan is associated with human effort to avoid the distress which in this case is in accordance with the pain and pleasure principle in psychoanalysis. The aesthetic truth of ruwatan relates to the puppet show. And its evaluative truth of ruwatan relates to the community of ruwatan supporters as an alternative solution to the welfare of life.

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