Sulukan Wayang Kulit Jawa Timuran versi Suleman

PUTRANTO, Harijadi Tri, Prof.Dr. Soetarno

2003 | Tesis | S2 Pengkajian Seni Pertunjukan dan Seni Rupa

Tujuan penelitian adalah untuk memahami bentuk sulukan gaya porongan, ciri-ciri sulukan, dan kaitannya sulukan dengan adegan, serta mengapa suleman menganut gagrag porongan. Dalam penelitian ini digunakan cara holistik, dengan sasaran sulukan wayang kulit jawatimuran gagrag porongan, tekanannya pada gaya pribadi suleman dari desa karangbangkal kecamatan gempol kabupaten pasuruan. Pembahasan permasalahan ini digunakan metode deskriptif analitis dengan menggunakan pendekatan konsep-konsep ilmu sosial yang di padukan dengan ilmu-ilmu humniora. Data penelitian dikumpulkan melalui pengamatan langsung dan tak langsung, studi pustaka, wawancara dengan dalang-dalang, pengrawit, dam swarawati. Penelitian ini dipusatkan pada sulukan sajian suleman dalam lakon bambang tejalelana yang dilanjutkan murwakala atau ruwatan dalam satu rangkaian pertunjukan semalam, pada tanggal 17 oktober 1990 di josari, mojokerto. Sajian suleman sekitar tahun 1990-an merupakan tingkat puncak baik kemampuan dalangnya sendiri maupun para pendukungnya. Hasil penelitian ini menunjukkan bahwa bentuk sulukan sajian suleman berbeda dengan sulukan wayang kulit jawatimuran lainnya seperti gragag mojekertan, malanngan, surabayaan, dan lain-lain. Sulukan sajian suleman memiliki cengkokm, gregel. dan wiledan lagu sulukan yang beraneka ragam. Sajian sulukan suleman ada kecenderungan lebih mengutamakan rasa lagu dari cakepan atau syairnya. hal ini dapat dilihat pada teknik penyuaraan, artikulasi syair tidak diungkapkan jelas, bahkan sering diulang-ulang. Pada awalnya gaya sulukan suleman meniru secara ketat seperti suwoto gozali (gurunya), akan tetapi setelah ia menjadi dalang lairs (payu) mulai tampak gaya pribadinya. Perubahan dan pengembangan sulukan suleman terjadi karena adanya faktor internal dan eksternal yakni dari sisi dalang itu sneidri dan adanya perubahan wayang kulit jawatimuran khususnya sajian suleman secara strukturaldan estetis selalu terkait dengan suasana adegan, suasana hati tokoh, karakter, pathet, gendhing dan lain-lain. Dengan demikian konsep yang digunakan dalam sajian sulukan adalah menggunakan konsep mungguh dan jumbuh yang disesuaikan dengana degan tertentu di dalam pertunjukkan.

The purpose of this research was to understand teh porongan form of sulukan (singing), its characteristics, the releationship to the scenes, as well as the reasons suleman embraced the porogan form. This research empployed a holistic form specifially related to the singing version of east javanese shadow pupperty known as porongan with spesific emphasis upon the personal style of suleman form the village of karangbangkal in the regency of gempol in the countru of pasuruan. A descriptive analytical method was employed in analyzing this subject along with concepts from the fields of social studies and the humanities. The data was compiled from direct and inderect observation, library,studies,as well as interviews with various dalang, musicians, and singers. The focus of this research was on the song form of suleman in the story: bambang tejalelana which weas followed by murwakala or the ritual purification known as ruwatan within a single all night performance on 17 october 1990 in mojosari, mojokerto. The performances of suleman around the year 1990 represent the pinnacleof his abilities and popularity as a dalang. This research demonstrates that the from of sulukan of suleman differs in many respects forsm the sulukan of east java in general such as the form found in mojokerto, malang or surabaya an others. The sulukan of suleman prosses cengkok, gregel, and wiledan sulukan songs of great variety. The sulukan of suleman has the tendency to value song value over ability or poetic value. This can be seen i the vocal style and circulation which tends to be unclear and often repeated over and over. In the beginning, suleman's style of sulukan closely imiated his teacher suwoto gozali, but after he became popular (payu) he began to demonstrate an individual style. The changes and development of suleman's style of sulukan occured because of personal and external factors, that is, because of social changes within the value system. The function of sulukan in a wayang performance in east java, specially within the performances of suleman structurally and esthetically are always linked to the emotional character of each scene. the emotional struggle of the characters involved, the phatet, musical accompaniment as well as other factors. Because of this, the concept which is used in performance employs mungguh and jumbuh which are adapted to a given scene in the performance.

Kata Kunci : Wayang Kulit,Jawa Timuran,Sulukan,Suleman