Ragam Sulukan Wayang Kulit Purwa Gaya Yogyakarta: Studi Kasus Timbul Hadiprayitno, Hadi Sugito, dan Suparman

Abstract

ABSTRAK

Penelitian ini bertujuan untuk mencari penjelasan tentang ragam sulukan wayang kulit purwa gaya Yogyakarta versi Timbul Hadi Prayitno, Hadi Sugito, dan Suparman. Penjelasan itu didapat dengan jalan mencari persamaan dan perbedaan sulukan tiga dalang itu. dalam mencari persamaan dan perbedaan sulukan tiga dalang tersebut. Dalam mencari sebab-sebab terjadinya perbedaan sulukan digunakan landasan pemikiran Koentjaraningrat mengatakan bahwa segala bentuk perubahan yang terjadi dalam tata kehidupan masyarakat di antaranya disebabkan oleh tiga faktor pokok yakni: (1) ketidakpuasan terhadap hasil yang telah ada, (2) kemampuan di dalam bidangnya, dan (3) keinginan mendapatkan imbalan. Berdasarkan penelitian dapat disimpulkan bahwa persamaan sulukan tiga dalang terletak pada pathet, jenis, fungsi, hubungan cakepan dengan lagu, hubungan gendhing dengan sulukan. Sementara itu perbedaan sulukan terletak pada: (1) jenis lagon, suluk, dan kawin terletak pada wilet. (2) Jenis ada-ada yakni perbedaan pada wilet dan cakepan dan letak pada lagu pokok.

Kata kunci: ragam, sulukan, Yogyakarta.

ABSTRACT

The Various Mood Song of Yogyakarta Shadow Puppet Theater: A Case Study on Timbul Hadiprayitno, Hadi Sugito, dan Suparman’s Work. This paper is intended to look for the explanations about the various kinds of puppet sulukan (mood song) in Yogyakarta style especially sulukan of Timbul Hadiprayitno, Hadi Sugito, and Suparman. The explanation was obtained by seeking similarities and differences of the three puppeteer’s sulukan. In order to search for similarities and differences of sulukan, the comparative approach was used. Moreover, in searching for the causes of differences of sulukan, the theoritical framework by Koentjaraningrat was used. It says that any changes happened in the governance of community life of which they are caused by three main factors, namely: (1) dissatisfaction to the existing results, (2) the capabilities in one’s fi eld, and (3) the desire to get rewards. The similarities to the three puppeteers’ sulukan lie on pathet, type, function, cakepan relationship with the song, and the relationship of gendhing with sulukan. Meanwhile, the differences of the three puppeteer’s sulukan are on: (1) the type of lagon, suluk, and kawin which lies in wilet. (2) the type of ada-ada, namely the difference lies in wilet and cakepan and the difference lies in the basic song, wilet, and cakepan.

Keywords: mood song, pupputry, wayang