Representation of “Sapa Nandur Ngundhuh” in the Wayang Performance of Cupu Manik Astagina by Ki Enthus Susmono
Representasi “Sapa Nandur Ngundhuh” dalam Pergelaran Wayang Lakon Cupu Manik Astagina oleh Ki Enthus Susmono
Abstract
Wayang kulit not only functions as entertainment, but is also a vehicle for conveying philosophical messages. As in the Cupu Manik Astagina puppet play, there is a philosophical message in the form of "sapa nandur ngundhuh" or whoever plants will reap. Therefore, this study aims to explore the philosophical message of "sapa nandur ngundhuh" in the Cupu Manik Astagina puppet play by Ki Enthus Susmono by representing it so that the message can be conveyed. This qualitative research uses Stuart Hall's representation theory through Roland Barthes' semiotic analysis model, namely symbolic code and action code. The data source is a video of a shadow puppet performance entitled "Pakeliran Solid Wayang Kulit Lakon Cupu Manik Astagina by Ki Enthus Susmono" on YouTube Aa Studio. The listening-note taking technique is used to collect data in the form of words and utterances obtained from ginem and janturan in the story. It is known through the symbol code and action code. The results showed that the concept of "sapa nandur ngundhuh" in the Cupu Manik Astagina puppet play does not only apply to the karma themselves, but can affect other people, including their descendants. In the story of Dewi Windradi, her actions have consequences not only for herself, but also her three children. This research also highlights how karma can be prevented from continuing to reap through some tirakat practices. Such as fasting (ngrowot), meditation and asceticism (tapa brata) which aim to cleanse themselves of past sins and minimize negative karma in the future.
References
Amir, Hazim. Nilai-Nilai Etis dalam Pewayangan. Jakarta: Pustaka Sinar Harapan, 1997.
Ciptoprawiro, A. (1986) Filsafat Jawa. Jakarta: Balai Pustaka.
Fadhilla, I., & Ilma, A. (2023). Representasi Perempuan Jawa Dalam Novel Bumi Manusia Dan Pengakuan Pariyem. Jurnal Inovasi dan Kreativitas. 3(1), 44–55). https://doi.org/10.30656/jika.v3i1.6257
Hall, S. (1997). Representation: Cultural representations and signifying practices. Published in association with the Open University, 2.
Hartanto, D. D., & Nurhayati, E. (2019). Falsafah hidup Karma Marga Yoga dalam naskah Sêrat Bhagawad Gita. LingTera, 6(2), 100–110.doi: https://doi.org/10.21831/lt.v6i1.24101
Ida, R. (2014) Metode penelitian: Studi media dan kajian budaya. Jakarta: Prenada Media, 51.
Kasnadi. (2023). Representasi Tuntunan Hidup Dalam Ungkapan Tradisional Jawa. Jurnal Bahasa Dan Sastra, 10(1), 48–58. https://doi.org/10.60155/jbs
Maulana, R., & Anggara, A. G. (2023). Kausalitas Dalam Novel Raumanen Karya Marianne Katoppo. Madani: Jurnal Ilmiah Multidisplin, 1(8), 4. https://doi.org/10.5281/zenodo.8328719
Maulidi, A. N., & Rengganis, R. (2023). Representasi Keris Dalam Kebudayaan Jawa Pada Novel Sang Keris Karya Panji Sukma (Kajian Semiotika Roland Barthes). Jurnal Sapala, 10(1), 219–233.
Mukti, M. (2015). Pertunjukan Wayang Kulit Purwa Lakon “Cupu Manik Astagina” Sebagai Media Dakwa. Jurnal Imaji, 10(1). https://doi.org/10.21831/imaji.v10i1.6368. https://doi.org/10.21831/imaji.v10i1.6368
Pamungkas, Z. B., & Wahyudi, A. (2021). Lakon Banjaran Resa Putra ( Lakon Banjaran Resa Putra ). Wayang Santara: Journal of Puppetry,5(2), 4. doi: https://doi.org/10.24821/wayang.v5i2.8221.
Prasetyo, S., G., Sulanjari, B, dan Nuning, Z. (2021). Alur Lakon Wayang Kulit Sang Rahwana Dalang Ki Cahyo Kuntadi. JISABDA: Jurnal Ilmiah Sastra Dan Bahasa Daerah, Serta Pengajarannya, (1) 3. doi: https://doi.org/10.26877/jisabda.v3i1.10539
Purnomo, S. H. (2018). Penggarapan Lakon Kethoprak Pati: Dinamika Dramaturgi Dalam Respons Penonton.Dissertation, Universitas Negeri Semarang, Indonesia.
Putra, Y. K., & Teguh Supriyanto. (2021). Ngundhuh Wohing Pakarti dalam Cerita Wayang Lakon Abimanyu Ranjab Yulio. Sutasoma: Jurnal Sastra Jawa, vol 2(2), 230–239.https://doi.org/10.15294/sutasoma.v9i.51295
Putri, N. P. (2021). Semiotik Roland Barthes Pada Cerpen Tunas Karya Eko Tunas Dan Implikasinya Dalam Pembelajaran Bahasa Indonesia. Tabasa: Jurnal Bahasa, Sastra Indonesia, Dan Pengajarannya, 1(2), 4. https://doi.org/10.22515/tabasa.v1i2.2648
Rachman, A., Yochanan,. dan Samanlangi (2024). Metode Penelitian Kualitatif dan Kuantitatif. Karawang: Sabar Jaya.
Riyanto, B., & Mataram, S. (2018). Perkembangan Wayang Alternatif di Bawah Hegemoni Wayang Kulit Purwa. Jurnal Panggung, 28(1), 2. https://doi.org/10.26742/panggung.v28i1.440
Satoto, A. B., Afendy, W., & Hapsari, D. R. (2024). Character Education Values of Kresna Character in Wayang Kulit Performance Lakon Kresna Duta by Ki Sigit Manggolo Seputro. Jurnal Mudra, 39(2), 137. https://doi.org/10.31091/mudra.v39i2.2195
Silfiah, R. I. (2018). Hukum Kausalitas Perspektif Al-Qur’an. Al-Murabbi: Jurnal Pendidikan Agama Isalam, 3(2), 4. https://jurnal.yudharta.ac.id/v2/index.php/pai/article/view/1137 (Accessed: 13March2024).
Soekimin. 1987). Karmapala di dalam Karya Sastra Jawa. Jurnal Cakrawala Pendidikan, 6(2), 10. https://doi.org/https://doi.org/10.21831/cp.v2i2.7447
Sugiarto,. (2022). Metodolongi Penelitian Bisnis. Yogyakarta: Penerbit Andi.
Sugiyono. (2019). Metode Penelitian Kuantitatif, Kualitatif dan R&D.
Sundari, A. (2020). the Figure of Yudhistira in Swargarohanaparwa (a Moral Philosophy Education of Java in Ancient Literature Works Mahabharata). Jurnal Kata : Penelitian Tentang Ilmu Bahasa Dan Sastra, 4(2), 8. https://doi.org/10.22216/kata.v4i2.5273
Susmono, E. (2020). Pakeliran Padat Wayang Kulit Lakon Cupu Manik Astagina oleh Ki Enthus Susmono. Surakarta: Aa Studio. https://www.youtube.com/watch?v=PMP-oQnJe0w&t=1072s.
Tiani, R. (2020). Penggunaan Pribahasa (Sanepa) Jawa dalam Kebudayaan Masyarakat di Surakarta. Endogami: Jurnal Ilmiah Kajian Antropologi, 3(2), 166–172. https://ejournal.undip.ac.id/index.php/endogami/article/view/30651
Wong Ndeso. (2022). Tirakat dan Ajaran Islam. Retrieved June 20, 2024 from https://www.kompasiana.com/masekowongndeso2803/62d7761b08a8b54bec54fbc3/tirakat-dan-ajaran-islam.
Ulfa, N. (2014). Kampret : Representasi Dan Kritik SosiaL (Analisis Semiotika terhadap Tokoh Kampret dalam Pertunjukan Wayang Kampung Sebelah).Disertasi, Universitas Brawijaya, Indonesia 7823–7830.
Wijaya, R. K. A. R., & Sumarlam. (2020). Oleh Ki Manteb Sudharsono Subtitution on Ginem in the Wayang of Dewa Ruci By Ki. Prosiding Seminar Nasional Linguistik Dan Sastra (SEMANTIKS), 2, 2. https://jurnal.uns.ac.id/prosidingsemantiks.
Wikandaru, R., lasiyo Sayuti. (2018). Rasa Sebagai Prinsip Pertama Ontologi Harmoni dalam Pathet Pergelaran Wayang. Wawasan: Jurnal Ilmiah Agama Dan Sosial Budaya, 3(2),2. doi: https://doi.org/10.15575/jw.v3i2.5629
Yulianti, N. K. D., & Marhaeni, N. K. S. (2021). Analisis Nilai Estetika Pertunjukan Wayang Kulit Cenk Blonk Dalam Lakon “Tidak Cukup Hanya Cinta.” Jurnal Panggung, 31(2), 2. doi: https://doi.org/10.26742/panggung.v31i2.1593
