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IDEOLOGY OF THE STORY CUPAK KE SWARGAN  
BY PUPPET MASTER I MADE JANGGA:  

IN THE PERSPECTIVE OF CULTURAL STUDIES  
 

I Nyoman Murtana1, I Made Suastika2, 
I Wayan Dibia3, I Nyoman Kutha Ratna2 

 
 

1Postgraduate Program, Udayana University 
2Faculty of Letters, Udayana University 

3Performing Arts Faculty, Indonesian Arts Institute, Denpasar 
 
 
 

ABSTRACT 
 

 This dissertation contains  the result of the research in the ideology of the 

story or Lakon Cupak Ke Swargan (hereon abbreviated to LCS) by the puppet 

master or Dalang Jangga, in a performance of Wayang Cupak at Dukuh Pulu 

Tengah, Mambang Village, East Selemadeg District.  This story conveys a 

number of life values which are expressed ideologically through various events, 

including a power struggle, a love story, and a search for God.  All the events are 

expressed aesthetically so that audience can enjoy the performance.  

 The target of the research is a performance of LCS by Dalang Jangga in a 

recording by Aneka Record Tabanan, which the writer transcribed in the form of a 

written text.  The research focuses on the idelogy contained in LCS.  The type of 

data used was qualitative data about the ideology that was assumed to be found in 

this story.  The qualitative data associated with the life of the late Dalang Jangga, 

in relation to his work in the field of shadow puppet theater, was based on the data 

collected in the field through in-depth interviews with a number of informants, 

using a snowball technique. A post-modern approach was applied through pheno-

menological, deconstructive, and critical paradigms. The analysis was carried out 

using an analytical descriptive technique based on an interpretation of the data 

collected. The focus of the analysis was directed by applying three theories, 

namely theories of ideology, function, and semiotics. 

  Three main topics were obtained from the analysis of the data, namely the 

form, function, and meaning of the ideology.  By studying the ideological form, it 

was possible to gain a picture about the conservative, progressive, and pragmatic 



ideology of Dalang Jangga. From the ideological function, the writer gained an 

idea of its social dynamic, educational, ritual, and aesthetical.  A study of the 

ideological meaning provided an illustration of the symbolic, ethical, and 

aesthetical meanings.  

 
Key words: ideology, Cupak Ke Swargan, and Dalang I Made Jangga. 

 
 



INTRODUCTION 
 
 LCS by Dalang Jangga is a repertoire which conveys various life values, 

expressed through a number of events, including a power struggle, a love story, 

and a search for God. All these events are expressed aesthetically so that the 

audience can enjoy the performance.  For this reason, the substance and essense of 

ideological form, function, and meaning in this story need to be studied as a 

reference for self-control and  awareness of the true meaning of life. 

 The focus of the ideology which is the target of this research is the 

expression of communist ideology, the ideology of togetherness, and the ideology 

of divinity, expressed through the artistic ideology in LCS.  All the ideology was 

obtained from six aoudio cassettes which the researcher transcribed in the form of 

a written text to be used as a document for studying the data about the ideology. 

 This research uses qualitative data about the ideology contained in the 

story, as discovered and collected from the results of the transcription.  The data 

assosiated with the rumours of his involvement in the Indonesian Communist 

Party (PKI) was collected by means of observation through in-depth interviews 

using a snowball technique. This technique was chosen as it offered a greater 

guarantee of success in covering or collecting data which was kept secret by the 

community. Although the laws of subversion related to communism were 

abolished by the former President, Abdurrahman Wahid, many members of the 

community are still reluctant to talk about the political conflict surrounding the 

events of G’30”S/PKI.  At that time, all the inhabitants of Dukuh Pulu Tengah 

became PKI sympathizers in order to retain political unity in the local community. 

They were trapped in the political unrest and had no knowledge of the basic ideo-

logy, direction, or goals of the party.  As a result, 18 members of the community 

were killed, including Dalang jangga, as they were rumoured to be local leaders 

of PKI.   

 The questions which are hoped to be answered are (1) What ideology is 

contained in LCS? (2) What is the function of the ideology in LCS? (3) What is 

the meaning of the ideology in LCS? 

 This research applies a post-modern approach through phenomenology, 

deconstruction, and critical paradigms. According to Scott Lash (in Turner, 2003: 



104-105, 107), postmodernism defends humanism, rebuilds historical dimensions, 

rejects the group of pioneers who place importance on convention, and is not self-

referential but other-referential. Humanism is related to the ontological primacy of 

man before God. Postmodernism correlates with the art of humanistic beauty 

which replaces the aesthetical experiences of the modernists. Postmodernists have 

a desire for space which is friendly to its owner. 

 Phenomenology studies the symptoms which emerge as knowledge of 

essence (Wahana, 2004:32), which according to Nietzche (in Sunardi, 2006:95) 

are relational.  A phenomenological approach directs the focus and attention onto 

an object which consciously exists. All directions converge on the object; on 

something which is known, seen, loved, and hated. The world is created and can 

be understood through consciousness ( Wahana, 2004:32-36).  According to Afred 

Schultz (in Maliki, 2004:233-34), the man creates his own world  through an 

understanding of the continouity of experiences which the senses receive. This  

encourages the consciousness to act for all meaningful actions.  

 According to Barbara Johnson, (in Audifax, 2007:46), deconstruction has 

almost the same meaning as “analysis,” which means breaking down, disentang-

ling and revealing.  Deconstruction is a strategy for breaking down a structure and 

its field of meaning.  Derrida used deconstruction to show the relevance of world 

views about logocentrism, phallogocentrism, and binary opposition (Barker, 2005: 

98-103).  The aim of a deconstructional study is to defend or fight for a culture 

which is marginalized as one of “the others,” or a culture which is hegemonized. 

 Critical paradigms position knowledge on active not static construction, 

and are not free from values, and the community is historically marked.  Critical 

paradigms encourage social but not agitative change.  The direction of change is 

left up to the community.  Critical paradigms regard domination to be structurally 

characterized. The community is influenced by larger institutions in the field of 

politics, economy, culture, discourse, gender, and race.  The structure is revealed 

to provide an understanding of the global roots and the rationale of an incidence 

of suppression. Critical paradigms break false awareness, since it is believed that 

human power, whether indiviual or collective, can change society. Critical para-

digms understand social structure in order to change their social conditions.  



Critical social paradigms believe that man is responsible for his own freedom and 

for preventing the suppression of others. For this reason, revolutionary 

pragmatism is rejected by another group of elite leaders who act as dictators over 

the proletariat (Agger, 2006:7-10). 

 The data was analysed using an analytical descriptive technique.  In order 

to direct the focus of the analysis, three theories were applied, namely theories of 

ideology, function, and semiotics.  According to Althusser (2006:X), ideology is a 

tool through which ideas can be accepted by society as something normal and 

natural. Ideology questions the symbols used to create, preserve, support, develop, 

and maintain asymmetrical power system relations.  Ideology becomes a ‘social 

adhesive’ by binding its members collectively so as to apply certain values and 

norms. An analysis of the forms of ideological symbols means analysing the 

forms of the relation used and controlled in a particular social and historical 

context. This theoritical reformulation avoids the tendency to view ideology 

simply as a power relation in a modern country, but rather views it in other life 

relation systems, such as in daily life. However, it focuses not only on smaal 

matters which ignore the characteristics and limit of broader structures 

(Thompson, 2004:17-22).  Ideology is adopted to explain, justify, and legitimize 

the actions and goals of a person (Maliki, 2004:20). 

 The theory of function introduced by Merton (in Kaplan & Robert A 

Manners, 2002:79) concerns the difference between manifest function and latent 

function in a cultural act or element. Manifest function is the objective 

consequences which provide a contribution to the adaptation of a system that is 

desired and known by those who are a part of the system.  On the countrary, latent 

function is the objective consequences of a culture which are not desired or 

known by members of the community. 

  Semiotics is a scientific discipline which investigates all the different 

forms of communication that occur using signs and are based on sign systems 

(codes).  The key concept of semiotics, the general science of signs, is known as 

semiosis.  Morris (in Seegers, 2000:4-5) defines semiosis as a sign process, that is 

a process in which something is a sign for a number of organisms.  Umberto Eco 

(in Piliang, 2003:44-46) defines semiotics as a discipline which studies everything 



that can be used to lie.  In Eco’s theory of untruth, the theory of truth is implicit, 

just as the day is implicit in the word night. 
 

ANALYSIS 

 The research in the ideology of LCS by Dalang Jangga was prompted by 

a rumour that was going around outside the village which said that Jangga was a 

leading figure and a voice for PKI.  This was also the reason for Jangga’s murder 

in 1965. Nevertheless, until the end of this research, there was no definite 

information regarding his active involvement as a PKI leader, since the members 

of the Pulu Tengah community refused to verify this rumour. 

  Whether or not the rumours are true, there is a strong indication of 

provocative communist ideology presented by Dalang Jangga in LCS:  (1) the 

poverty of the peasants, bringing together the proletariat, (2) the low wages of 

labourers, (3) the compotition to win the princess and the crown of Kediri from 

the hands of Cupak, which can be interpreted as a war against the capitalist 

bourgeoisie, (4) the belief that the president must originate from the common 

people so as to be able to enforce a true sense of justice and equallity for all, (5) 

the killing of the mythical Garuda bird, which signifies an attempt  to change the 

Garuda Pancasila—the symbol and basic principles of the Republic of Indonesia, 

and (6) the fact that if its son became  president, Pan Bekung would ready to 

become a party leader and I Bekeng would be  ready to become a member of local 

goverment (Sedahan).  

 These six points included by Dalang Jangga in LCS cannot be used as 

grounds for accusing him of being  a leading figure in PKI, as it could be that he 

was simply intending to deride or make fun of communists.  The Balinese 

community considers puppet master to be guru loka, or moderate spiritual 

teachers, because their artistic skills and cultural knowledge which are passed on 

to the community through shadow puppet performances are not only available to 

certain groups but to the entire community. Anyone can pay for a puppet master 

to give a performance of Wayang Cupak for a variety of different needs. 

 The performance of LCS by Dalang Jangga contains conservative, 

progresive, and pragmatic ideology.  The conservative ideology is evident in the 

use of the elements of Balinese culture to form a unit of expression in the per-



formance of Wayang Cupak, as a medium for spreading ideology.  The containts 

of the performance are a mixture of the day to day events described in LCS and 

communist ideology so that the performance can be said to be progressive in 

nature.  The actual and contextual content of the performance was the reason for 

Dalang Jangga’s popularity and meant that he could earn a living from this 

profession. Hence, the pragmatic value of the shadow puppet performance 

becomes clear. 

 The ideological function of LCS reflects the presense of an educational, 

social dynamic, ritual, and aesthetical function.  The educational function teaches 

the audience to be honest and to avoid bad deeds, and to strive hard to move 

forward and increase the standars and dignity of mankind. 

 The social dynamic function describes Jangga’s cultural policies that local 

culture needs to be understood and preserved in anticipation of the strong 

influence of outside changes such as the influence of international communist 

ideology. This ideology opens up and broadens the worldview of the local 

community about politics but in practice destroys the social system in Indonesia. 

 The ritual function of the performance of Wayang Cupak is its use to 

accompany Dewa yadnya, Manusa yadnya, or Pitra yadnya ceremonies.  This 

function can strengthen the religious ideology of the Balinese community. 

 The aesthetical function of LCS emphasizes aspects of democracy which 

in a practical way inspire the class struggle to strive for a better way of life in 

socio-economic, socio-political, and socio-religious areas.  This function increases 

the awareness of the commuity to explore new aesthetical experiences, develop 

their imagination and passion for life, and to make their lives more meaningful.   

 The iedological meaning of LCS contains symbolic, ethical, and 

aesthetical meanings, and understanding of physioplastic dimensions (all stage 

equipment has a symbolic meaning) which are combined with the ideoplastic 

dimensions, such as social, political, religious, and economic events which bring 

the story in touch with social reality. 

 The ethical meaning describes the moral struggle which is reflected in the 

actions of the people in the story. Cupak’s acts of sabotaging Raden Galuh Laksmi 

and attempting to kill Grantang are clearly immoral, even criminal.  On the other 



hand, Grantang’s participation can be justified from a logical point of view since 

it is carried out in public.  However, it is moraly unacceptable since Grantang 

fights against his own brother with the goal of winning a woman and gaining 

power.  Grantang’s actions give the impression of political revenge. 

 Cupak’s act of freeing the Kingdom of Obagosi by killing Garuda is 

regarded as an attempt to change the symbol and basic principles of the Republic 

of Indonesia, that is Garuda Pancasila.  Only the context of time leads to such a 

claim. When the time context passes, the accusation disappears.  When Cupak 

goes into a hole in the ground to shelter, it symbolizes his union with nature.  

Garuda, the symbol of a spirit which must be controlled and directed in order to 

attain unity with God, is the source of goodness in the world. This is the 

implementation of the concept of a reciprocal relationship between man, nature, 

and God (Tri Hita Karana), as a symbol of resistance against modernization, 

which searches for enlightenment by exploring the power and high technology 

which cause destruction to nature. 

 The aesthetical meaning is the quiver of emotion which is aroused by the 

environment and artistic situation when watching a work of art. From the 

performance may come feelings of love, humour, sadness, angger, fear, disgust, 

surprise, astonishment, awe/respect, and peace, which in the cultural context can 

be defined as the spirit of life to build the continuity of civilization. 
 

FINDINGS 

This research resulted in six different findings: (1) Dalang Jangga, who was 

originally an ‘genuine’ village artist, was influenced by the political community to 

express the political ideology of the day in his shadow puppet performances. (2) 

The expression of the proletariat in LCS as performance by Jangga portrays a 

struggle for freedom from hegemony. This struggle was the people’s resistance to 

the capitalist bourgeoisie, to gain a sense of justice and “equality for all.” The 

story of the royal kingdoms—of Kediri and Obagosi—is used as a background of 

time and space to show the prominent role of the people.  (3) The poverty, use of 

a cudgel, suggested that the president originates from the common people, and the 

killing of Garuda are all symbols of resistance against the ruler and the state.  (4) 

Dalang Jangga transforms the figure of Cupak meditating into Cupak’s journey to 



heaven to meet Batara Brahma. Heaven is not associated with death rather 

symbolizes the search for God.  (5) The strength of Tri Hita Karana (the 

reciprocal relationship between man, nature, and God) is a rejection of actions in 

science and sophisticated technology which cause destruction to nature.  (6) The 

aesthetics of Dalang Jangga, which are founded on the democratic expression 

“from the people for the people,” display the ideology of togetherness of the lower 

class, to increase and strengthen their sense of social solidarity. 
 

CLOSING 

 It is hoped that this dissertation will be of benefit to many artists, 

especially puppet master, and provide information on the traditional methods of 

developing the dramatic structure and actuality of a story.  In addition, it is hoped 

that this dissertation will motivate other reseachers to study various kinds of 

stories used in shadow puppet theatre which are useful to be passed down to the 

young generation in Bali, Indonesia, and the rest of the world, so that they can 

understand the story of Balinese shadow puppet theatre through its various texts 

and contexts.  
 

BIBLIOGRAPHY 

Agger, Ben. 2006. Teori Sosial Kritis: Kritik, Penerapan dan Implikasinya. 
Penerjemah: Nurhadi. Yogyakarta: Kreasi Wacana. 

Audifax.  2007 Semiotika Tuhan: Tafsir atas Pembacaan Manusia terhadap 
Tuhan. Yogyakarta: Penerbit Pinus. 

Maliki, Zainuddin.  2004.  Narasi Agung: Tiga Teori Sosial Hegemonik.  
Surabaya: Lembaga Pengkajian Agama dan Masyarakat.  
 

Piliang, Yasraf Amir.  2003.  Hipersemiotika: Tafsir Cultural Studies Atas 
Matinya Makna.  Yogyakarta: Jalasutra. 

Segers, Rien T.  2000.  Evaluasi Teks Sastra.  Alih Bahasa: Suminto A. Suyuti.  
Yogyakarta: Adicita. 

Thompson, John B. 2006.  Kritik Ideologi Global: Teori Sosial Kritis tentang 
Relasi Ideologi dan komunikasi Massa.  Diterjemahkan oleh Haqqul 
Yaqin.  Yogyakarta: IRGiSoD.   

Barker, Chris.   2005. Cultural Studies: Teori dan Prakktik.  Bandung: Bentang   

Sunardi, St. 2006. Nietzsche. Yogyakarta: LkiS. 



Wahana, Paulus.  2004.  Nilai Etika Aksiologis Max Scheler.  Yogyakarta: 
Kanisius. 

 

 

The writer would like to thank the Director of Postgraduate Studies at Udayana 
University Denpasar, Prof. Dr. dr. A.A. Raka Sudewi, Sp., S. (K); Vice  Director  
I Prof. Dr. I Made Budiasa, M.A. , dan Vice Director  II, Dr. Ir. Budi Susrasa, 
M.S.  for their reception, facilities, and all the help and support provided. 

Thanks are also extended to Prof. Dr. I Made Suastika, S.U., and Prof. Dr. I 
Nyoman Kutha Ratna, S.U. the Head and Secretary of the Doctorate  Program of 
Culture Studies, for all their endless guidence, direction, attention, and 
motivation.   

I would also like to take this opportunity to thank my supervisor, Prof. Dr, I Made 
Suastika, S.U., co-supervisor I,  Prof. Dr. I Wayan Dibia, SST, M.A., and co-
supervisor II, Prof. Dr. I Nyoman Kutha Ratna, S.U., for all the time they 
willingly gave, and their input, guidance, motivation, and patience in supervising 
the writing of this dissertation until  its completion.