EBLEK PUPPET BABAD WANAMARTA AS AN INTRODUCTION MEDIA TO WAYANG CULTURE (CASE STUDY: WAYANG MANAGEMENT AT THE JAKARTA WAYANG MUSEUM)

• Main Author: Widyokusumo, Lintang
• Format: Dissertations
• Language: Indonesia
• Subjects: Kesenian; seni rupa dan dekorasi
• Online Access: https://digilib.itb.ac.id/gdl/view/54265
• Institution: Institut Teknologi Bandung

Wayang, as an art of high quality (noble), is able to convey moral messages on the virtues of life. The art of wayang culture has the ability of "hamot, hamong and hamemangkat" (to accept, filter and make something new) which means that it accepts other cultural input, although it is not automatically absorbed, it is filtered first and can be raised into new values suitable for the development of the puppet. alone. Efforts to develop wayang art today certainly require its own challenges in presenting this classical culture in current conditions, especially for generation Z who have different visual tastes and have several distinctive characteristics that are physically equivalent to digital, are always at the forefront of trends and competitions, and happy to do do it yourself work. The younger generation who live in big cities like Jakarta, if they want to see and get to know wayang, can visit the Wayang Museum, which is a form of government attention, in this case the DKI Jakarta Regional Government in preserving the traditional culture of wayang which is located in Kota Tua, Central Jakarta. One of the excellent collections at the Wayang Museum is the Surakarta-style purwa leather puppet which is also recognized by UNESCO as a world cultural heritage. Wayang, as one of the intangible legacies of living traditions born, growing and developing in Indonesian society, has actually attracted the world's attention. The subject of this research is the design of a new puppet model that is carried out by the Wayang Museum for the target audience of children. Children visitors almost dominate the total number of visitors each year. the museum has a great opportunity to introduce puppets to them. The wayang kulit structure is conceptually created dynamically to be moved and played, but has a difference in visual taste and in the arrangement of the showroom the concept of wayang artefacts as a dynamic medium is not felt by its spirit. The script for the play Babad Wanamarta which describes the struggle of the Pandavas as a teenager in fighting for their ideals became the inspiration for the design of this new wayang model. In the Babad Wanamarta play, the Pandavas character is still young and uses wanda Jaka by Suwarno. To achieve the goal of designing a new puppet model, this study uses a mixed method research. In this mixed research method using a combination of qualitative and quantitative data. Qualitative research methods assist in collecting primary data on the types of wayang along with their anatomical features and clothing accessories through documentation, observation and deep interviews with wanda puppet experts, puppet craftsmen, the head of the Wayang Museum and the target audience of children. It is interesting to find that the Five Pandavas belong to three different types of wayang namely katongan (Puntadewa and Permadi), bambangan (Pinten and Tangsen) and dugangan (Bratasena). The katongan and bambangan types use the same facial anatomical features as the distinguishing factors in the hair bun and clothing accessories worn. Research is more in the form of interpretive research by interpreting the data obtained in the field. After gaining an understanding of the anatomical structure of the puppet purwa, the experimental stage was continued working to create a new wayang model concept inspired by the Babad Wanamarta story with the Pandawa protagonist, which could then be tested on the target audience to obtain quantitative data. Then after collecting qualitative data and quantitative data, analyzing them separately, and then comparing the findings to confirm each other. As a final finding, an interactive wayang Eblek in the story of Babad Wanamarta is in the form of a game of arranging a panel scene which is done independently by the children in groups. The concept of the wayang Eblek can be applied to temporary exhibitions in museum and interactive shows to schools as a supporting medium for educational programs outside the museum. The design of interactive wayang EBlek is a form of criticism of the current concept of the Wayang Museum and serves as a vehicle to return the spirit of wayang cultural roots to the younger generation who have been uprooted and imprisoned in glass boxes in the museum. Wayang Eblek is a wayang management strategy in the Wayang Museum which is carried out in a complete and integrated manner so that it can intangibly increase brand awareness of the museum itsel