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

Riski Utma Dona, Mulyanto Mulyanto, Margana Margana

Abstract


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.

Keywords


Character education; Independent curriculum; Values; Wayang Timplong; Panji Asmarabangun

Full Text:

PDF

References


Aroff, A. R. bin M. (2014). Values Education and the Malaysia Education Blueprint. Journal for Interdisciplinary Research in Education (JIRE), 4(1), 5. https://doi.org/10.7603/s40933-014-0005-1

Clarke-Midura, J., & Dede, C. (2010). Assessment, Technology, and Change. Journal of Research on Technology in Education, 42(3), 309–328. https://doi.org/10.1080/15391523.2010.10782553

Darmaprawira, Sulasmi. (2002). Warna Teori dan Kreativitas Penggunaannya. Bandung: Penerbit ITB

Dewi, T. K. S. (2018). Panji tradition in the jaranan jor and wayang timplong performance arts in East Java. ISLLAC: Journal of Intensive Studies on Language, Literature, Art, and Culture, 2(2), 13–20.

Halimah, L., Arifin, R. R. M., Yuliariatiningsih, M. S., Abdillah, F., & Sutini, A. (2020). Storytelling through “Wayang Golek” puppet show: Practical ways in incorporating character education in early childhood. Cogent Education, 7(1), 1794495. https://doi.org/10.1080/2331186X.2020.1794495

Holt, C. (2000). Melacak Jejak Perkembangan Seni di Indonesia. (Prof. Dr. R.M. Soedarsono, Ed.). Arti.Line .

Irawanto, R. (2019). Pagelaran Wayang Krucil. Seminar Nasional Desain dan Arsitektur, 2, 672-679.

Jang-Jaccard, J., & Nepal, S. (2014). A survey of emerging threats in cybersecurity. Journal of Computer and System Sciences, 80(5), 973–993. https://doi.org/10.1016/j.jcss.2014.02.005

Jung, S. (2011). K-pop, Indonesian fandom, and social media| Jung| Transformative Works and Cultures. Transformative Works & Cultures, 8.

Kieven, Lydia. (2019). Menelusuri Panji & Sekartaji: Tradisi Panji dan Proses Transformasinya Pada Zaman Kini. Yogyakarta: Penerbit Ombak

Kuning, B. L. (2011). Atlas tokoh-tokoh wayang: dari riwayat sampai silsilahnya. Narasi.

Kurniawati, A. S. (2018). Wayang Jawa Timuran Lakon Gandamana Luweng (Kajian Struktur Dan Makna). Mudra Jurnal Seni Budaya, 33(1), 9–16. https://doi.org/https://doi.org/10.31091/mudra.v33i1.137

Kusairi, L., & Siswanto, D. T. B. (2020). Portraits of Puppet Art Thimplong at District Nganjuk: Reduction of Local Culture in the Acceleration of Nowadays Era. Islah: Journal of Islamic Literature and History, 1(2), 111–122. https://doi.org/10.18326/islah.v1i2.111-122

Lickona, T. (1999). Character Education: Seven Crucial Issues. Action in Teacher Education, 20(4), 77–84. https://doi.org/10.1080/01626620.1999.10462937

Mahmud, A. J. (2013). Topeng Kayu Bobung Gunungkidul Yogyakarta Hubungannya dengan Kehidupan Masyarakat. Universitas Negeri Yogyakarta.

Mahmud, A. J. (2018). Topeng Kayu Bobung Gunungkidul Yogyakarta Hubungannya Dengan Kehidupanmasyarakat. In Journal of Petrology (Vol. 369, Issue 1). Universitas Negeri Yogyakarta. //dx.doi.org/10.1016/j.jsames.2011.

Nurcahyo, H. (2022). Memahami Budaya Panji. Komunitas Seni Budaya BranGWetaN.

Nurmayanti, E. (2016). Tinjauan Visual dan Karakter Wayang Timplong pada Lakon Dewi Sekartaji Kembar di Kecamatan Pace Kabupaten Nganjuk. State University of Surabaya.

Pelto, P. J., & Pelto, G. H. (1978). Anthropological research: The structure of inquiry. Cambridge University Press.

Ras, J. J. (1982). The social function and cultural significance of the Javanese Wayang Purwa theatre. Indonesia Circle. School of Oriental & African Studies. Newsletter, 10(29), 19–32. https://doi.org/10.1080/03062848208729530

Rusdy, S. T. (2015). Semiotika & filsafat wayang: analisis kritis pergelaran wayang. Yayasan Kertagama.

Subiyantoro, S., Kristiani, K., & Wijaya, Y. S. (2020). Javanese Cultural Paradoxism: A Visual Semiotics Study on Wayang Purwa Characters of Satria and Raseksa Figures. Harmonia: Journal of Arts Research and Education, 20(1), 19–28. https://doi.org/10.15294/harmonia.v20i1.23838

Sugiyono, N. (2020). Memahami Penelitian Kualitatif (Bandung: CV. Alfabeta) Go to reference in article. CV Alfabeta.

Sulasmi, D. (2002). Warna: Teori dan kreativitas penggunaannya. Bandung: ITB.

Sumarni, Nanik Sri. (2001). Warna, Garis, Dan Bentuk Ragam Hias Dalam Tata Rias Dan Tata Busana Wayang Wong Sri Wedari Surakarta Sebagai Sarana Ekspresi. Harmonia Jurnal Pengetahuan dan Pemikiran Seni. 2 (3), 37-49

Supriaswoto, dkk. (2015). Tinjauan Perkembangan Keris Tangguh Ngentha-Entha Yogyakarta 1975-2015. Panggung Jurnal Seni Budaya 25 (4), 417-430

Sutopo, H. B. (2002). Pengantar penelitian kualitatif. Surakarta: Universitas Sebelas Maret Press.

Suwardi, E. (2003). Metodologi Penelitian Kebudayaan. Cet. II (Yogyakarta, Gajah Mada University Press, 2006), h, 100.

Wardhani, P. S., & Suprihandari, M. D. (2020). Developing Human Resource Quality Using Traditional Indonesian Puppet Characteristics. International Journal of Religious and Cultural Studies, 2(1), 19–24. https://doi.org/10.34199/ijracs.2020.04.04

Wibowo, A. M., & Ardany, P. P. (2015). Sejarah Kesenian Wayang Timplong Kabupaten Nganjuk. AGASTYA: JURNAL SEJARAH DAN PEMBELAJARANNYA, 5(02), 182. https://doi.org/10.25273/ajsp.v5i02.891

Widagdo, J. (2018). Struktur Wajah, Aksesoris serta Pakaian Wayang Kulit Purwo. SULUH: Jurnal Seni Desain Budaya, 1(1), 34–56. https://ejournal.unisnu.ac.id/JSULUH/article/view/691/1047

Yeniningsih, K. T. (2007). Nilai-nilai Budaya dalam Kesenian Tutur PMtoH. Harmonia Jurnal Pengetahuan Dan Pemikiran Seni, 8(2). https://doi.org/10.15294/harmonia.v8i2.794




DOI: https://doi.org/10.35445/alishlah.v15i3.3177

Refbacks

  • There are currently no refbacks.


Copyright (c) 2023 Riski Utma Dona, Mulyanto Mulyanto, Margana Margana

Al-Ishlah Jurnal Pendidikan Abstracted/Indexed by:

    

 


 

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.