WAYANG WONG KRATON DI KASULTANAN NGAYOGYAKARTA DAN PERKEMBANGANNYA DALAM BENTUK WAYANG WONG PÄ’DHALANGAN

SUPADMA, Prof. Dr. R.M. Soedarsono; Prof. Dr. Timbul Haryono, M.Sc.

2014 | Disertasi | S3 Pengkajian Seni Pertunjukan dan Seni Rupa

Wayang wong kraton diciptakan oleh Sultan Hamengku Buwana I di Kasultanan Ngayogyakarta sampai masa kekuasaan Hamengku Buwana VII, merupakan seni ritual kenegaraan. Wayang wong ternyata berkembang pula di luar kraton di bawah pengaruh para dalang menjadi wayang wong pêdhalangan. Penelitian ini bertujuan mengungkap proses perkembangan wayang wong tradisi istana dan setelah wayang wong diijinkan pihak kraton dikelola oleh masyarakat di luar istana. Dilanjutkan cara yang dilakukan oleh masyarakat dalam mengembangkannya, dan melacak unsur-unsur wayang wong yang telah berubah sehingga dari bentuk wayang wong kraton menjadi bentuk wayang wong pêdhalangan, terakhir menjelaskan terjadinya perubahan fungsi dan penyebabnya. Untuk mengupas masalah yang diteliti digunakan kerangka teoritik resepsi dan transformasi berkenaan perkembangan wayang wong dibantu dengan pendekatan sejarah, pendekatan budaya yang berkaitan secara sosiologis pada masing-masing masyarakatnya, serta metode komparasi untuk mengetahui kemiripan dan perbedaannya. Langkah penelitian dimulai dengan observasi dan pengumpulan data, serta tahap analisis untuk menentukan hasil akhir berupa kesimpulan penelitian. Perkembangan wayang wong kraton dipengaruhi oleh kebijakan Sultan yang berkuasa. Setelah berada di pedesaan para dalang wayang purwa berpengaruh terhadap wayang wong pêdhalangan. Pengaruh Sultan terlihat pada bentuk wayang wong kraton lebih mapan dari segi sastra, gerakan tari, teknik pementasan, iringan karawitan, serta unsur pendukung lain seperti kelengkapan panggung. Wayang wong pêdhalangan memiliki keunikan pada teknik gerak tari, dialog, tata busana, iringan karawitan, serta cara-cara pentasnya yang dipengaruhi pergelaran wayang purwa. Pentaspentas wayang wong kraton fungsinya berhubungan dengan kepentingan ritual kraton dan Sultan. Wayang wong pêdhalangan mengemban kepentingan masyarakat, sehingga kebutuhan masyarakat dalam menapaki daur kehidupan yang menentukan fungsi wayang wong pêdhalangan itu. Teori yang diterapkan pada penelitian ini menghasilkan jawaban jelas dan dapat diaplikasi pada bentuk penelitian sejenis. Harapannya agar kekayaan seni yang belum terjamah dapat dilacak keberadaannya dan bermanfaat bagi peningkatan pengetahuan.

An art of state ritual, human puppet of the royal court (wayang wong kraton) was created by Sultan Hamengku Buwana I in Ngayogyakarta Sultanate until the reign of Hamengku Buwana VII. Human puppet also was developed outside the palace under the influence of the puppeteers becoming human puppet of the puppetry (wayang wong pêdhalangan). This research is aimed at revealing the development process of the human puppet of the court tradition and after the human puppet was allowed by the palace to be managed by people outside the palace. It is also aimed at revealing the methods performed by community in developing it, tracing the changing elements of human puppet from the form of human puppet of the royal court into the form of human puppet of the puppetry, and finally explaining the changes of function and causes. To explore the problems in question, this research employed theoretical frameworks of reception and transformation concerning the development of human puppet supported with the historical approach and cultural approach related to each community sociologically, as well as a comparative method in order to identify determine similarities and differences. The stages of the research began with observation, data collection, and analysis stage to determine the final result in the form of the conclusion of the research. The development of human huppet of the royal court is influenced by the policies of Sultan in power. After being in rural areas, the puppeteers of puppet shadow play (wayang purwa) significantly affected the human puppet of the puppetry. The influence of Sultan could be seen in the form of human puppet of the royal court which was more established in terms of literature, dance movement, performing techniques, musical accompaniment, as well as other supporting elements such as the completeness of the stage. Human puppet of the puppetry has a unique dance technique, dialogue, clothing, musical accompaniment, as well as the performing methods which are the performance of puppet shadow play. The functions of the human huppet of the royal court are associated with the ritual interests of the palace and the Sultan. Human puppet of the puppetry carries public interest so that the needs of community in living their life cycle determines the function of human puppet of the puppetry. The theories applied in this study generate a clear answer and can be applied in other similar researches. It is expected that The hope is that the existence of the untouched arts can be traced and can be useful for the improvement of knowledge

Kata Kunci : wayang wong, Sultan, masyarakat, perkembangan