THE GARAP KARAWITAN OF THE WAYANG ORANG SRIWEDARI PERFORMANCE OF SÅRÅ TALPÅ
DOI:
https://doi.org/10.36526/sosioedukasi.v15i4.9714Keywords:
Garap karawitan, Wayang orang, Sriwedari, Sårå TalpaAbstract
This study aims to analyze the garap karawitan of the Wayang Orang Sriwedari Performance of Sårå Talpå, focusing on the process of developing musical materials, creative garap through the elements of garap, and its impact on the performance. The study employed a descriptive qualitative approach. The research data consisted of the processes and outcomes of garap karawitan in the Sårå Talpå performance, while the data sources included the penggarap karawitan, pengrawit, director or penggarap lakon, dalang, sindhèn, performance documentation, and supporting literature. Data were collected through observation, interviews, and documentation. Data analysis employed the Miles, Huberman, and Saldaña model through data condensation, data display, and conclusion drawing and verification. Data validity was established through source and technique triangulation. The findings indicate that musical material is developed by adapting traditional material to the requirements of each scene, including its atmosphere, movement, and character portrayal. Creative garap emerges from the interplay among the penggarap, materi garap, prabot or piranti garap, penentu garap, and pertimbangan garap. Its effects are evident in the development of vocal variations, musical adaptations by pengrawit, and coordination among performers. These findings confirm that the garap karawitan of Sårå Talpå adapts to dramaturgical demands through the selection, development, combination, and even omission of musical elements according to the needs of each scene, while remaining grounded in traditional karawitan conventions
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