153 The Aesthetics Effect of Surakarta-Style Pakeliran on East Javanese Pakeliran Sugeng Nugroho Faculty of Performing Arts, Institut Seni Indonesia Surakarta, Indonesia Received: October 18, 2017. Revised: August 14, 2018. Accepted: December 6, 2018 Abstract This study intends to explore the aesthetics of East Javanese Shadow Puppet (Wayang Kulit Jawa Timuran) show as one of the people’s style puppet show model. The problems discussed are related to how East Javanese Shadow Puppeteers respond to the existence of The Surakarta- style shadow puppet shows that are not only flourished in the Central Java region but also in most parts of East Java. This study uses qualitative methods with descriptive analytical analysis. Research data are collected through literature studies, documentation studies, interviews, and field observations. The results of the study show that East Javanese shadow puppet show, both performance elements, the structure, and some elements of “garap pakeliran” have currently been colored by the idioms of Surakarta-style shadow puppet show. Keywords: Aesthetics; Shadow Puppet Show; Surakarta Style; East Javanese Style How to Cite: Nugroho, S. (2018). The Aesthetics Effect of Surakarta-Style Pakeliran on East Javanese Pakeliran. Harmonia: Journal of Arts Research And Education, 18(2), 153-161. Harmonia: Journal of Arts Research and Education 18 (2) (2018), 153-161 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v18i2.1543 formance are very different from those of Sura- karta and Yogyakarta styles. Based on the style of the show, Pakeliran Jawa Ti- muran can be grouped into four sub-styles, name- ly: (1) Sub-style Lamongan (with the mas- termind Ki Subroto), lives and de- velops in the Lamongan area and its sur- roundings; (2) Sub-style Mojokertoan (with the master- mind Ki Piet Asmoro), lives and develops in the area of Jombang, Mo- jokerto, and its surroundings; (3) Sub-style Porongan (with the mastermind Ki Sole- man), lives and de- velops in the Sidoarjo area, Surabaya, and its surroundings; and (4) Sub-style Malang- an (with mastermind figures, Ki Abdul Mukid, Ki Matadi, and Ki Wuryan We- dharcarita), lives and de- velops in Malang and surrounding areas. Even from other Jawa Timuran sub-styles, this Pakeliran Ma- langan has a different INTRODUCTION East Javanese-style shadow puppet show (hereinafter referred to as Pakeliran Jawa Timuran), or better known as ‘wayang jekdong’ or ‘wayang dakdong’, is a form of shadow puppet show that grows and de- velops in the brangwétan region, which is across the east of the watershed Brantas. This pakeliran has a relatively narrow of performing range when compared to the area of East Java Province which consists of 29 regencies and 9 cities. Pakeliran Jawa Timuran only lives in villages in Jombang Regency, Mojokerto, Malang, Pasuruan, Sidoarjo, Gresik, Lamongan, and on the outskirts of Surabaya. Pakeliran Jawa Timuran, both the as- pects of the wayang artistry, the struc- ture of the play, and the style of the per- Corresponding author: Jl. Ki Hajar Dewantara No.19, Jebres, Kota Surakarta, Jawa Tengah 57126 E-mail: sgngnugroho@gmail.com p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 18 (2) (2018): 153-161154 style of performance (Timoer, 1988, p. 19). The differences in performance patterns in each region occur because each region has its own referen- ce to puppetry which is formed from the individual styles of each puppeteer and inherited from generation to generation. Pakeliran Jawa Timuran has a more simp- le, straightforward, familiar, and flowing aesthetics (Javanese: gayeng, gobyog, ramé). The nuances of puppet art show which is gayeng, gobyog, ramé are st- rongly influen- ced by the nuances of to- getherness and intimacy of rural and/or coastal commu- nities (pesisiran) (Kayam, 1981; 2001). Based on the field study, it was found that not all East Javanese puppeteers pre- sented Pakeliran Jawa Timuran, because not all East Javanese people liked Pakeliran Jawa Timuran. Some communities in certain areas such as Magetan, Ngawi, Madiun, Nganjuk, Pacitan, Ponorogo, Trenggalek, Tulungagung, and Blitar, prefer Surakar- ta-style pakeliran, so that the puppeteers who live in the area mostly adhere to the Surakarta-style of Pakeliran. Why did this happen in the life of puppetry in East Java? Research on the aesthetics influence of the Surakarta-style pakeliran on Pakeliran Jawa Timuran is urgent to be done, conside- ring that until now there has been no scien- tific study to discuss it. The two previous writings, the Wayang Malangan, written by Suyanto (2002), emphasizes more on the origins and life of Malangan sub-style sha- dow puppets; while “Nyalap Nyaur: The Management Model of Jekdong Puppet Per- formance in the Celebration of East Javanese Traditions,” Wisma Nugraha Christianto writing focuses on the management model of the East Javanese puppeteers both du- ring quiet and crowded stage performan- ces (Rich, 2012). Meanwhile, the article entitled “Artistic and Aesthetic Concepts of Javanese Puppetry Art,” written by Nugro- ho (2007), only discusses the differences in artistic concepts and aesthetic concepts of Javanese puppetry in general. “Rasa: Affect and Intuition in Javanese Musical Ae- sthetics”, Benamou’s writing (2010) focuses more attention on the issue of the feeling underlying the aesthetics of traditional Ja- vanese music. “The Concept of Taste in Pur- wa Wayang Kulit Show,” written by Sunardi (2012), only reveals indicators of rasa regu, greget, sedhih, and prenès in a puppet show. Likewise “Estetika Wayang,” Hadiprayitno (2014) writing, focuses more on the aesthe- tic basics in wayang kulit purwa shows. Based on the background problems above, the problems of this research are: How did the East Javanese puppeteers react to it? That is, does the aesthetics of the Surakarta-style Pakeliran also affect Pa- keliran Jawa Timuran? If the answer is ‘yes’, why did it happen? In accordance with the formulation of the problem set, this study aims to explore the aesthetics influence of the Surakarta-style Pakeliran on Pakeliran Jawa Timuran as a form of a popular style puppet show. METHODS This study uses qualitative methods with descriptive analytical analysis. The research data were collected through litera- ture studies, documentation studies, inter- views, and field observations related to the East Javanese shadow puppet show. The literature study was focused on books and manuscripts about East Javanese puppet show. The documentation study prioriti- zes several audio-visual recordings of Pa- keliran Jawa Timuran. Interviews were con- ducted with puppeteers and East Javanese shadow puppet observers. The field obser- vations focused on Pakeliran Jawa Timuran Sub-style Porongan, with the mastermind Ki Wardono (Mojokerto); Sub-style Mojo- kertoan, with mastermind Ki Pitoyo (Mo- jokerto); and Sub-style Malangan, with mastermind Ki Suyanto (Malang). RESULTS AND DISCUSSION Performance Devices The stage of Pakeliran Jawa Timuran basically does not have a significant dif- ference with the Surakarta-style pakeliran stage. The difference is because before the pakeliran takes place, it is started with the Sugeng Nugroho, The Aesthetics Effect of Surakarta-Style Pakeliran ... 155 Ngréma dance performance, then there is usually an additional stage located in front of the shadow puppet stage. This addi- tio- nal stage is also be used for the Ngré- ma dance performance arena, this stage is also sometimes used for the presentation of campursari music before the Ngréma dan- ce takes place. There is an additional stage that blends with the shadow puppet sta- ge, located behind the seats of the panjak (Central Java: pengrawit or niyaga), there are some that are set apart from the sha- dow puppet stage; depending on the con- ditions of the venue. The gamelan used to accompany Pa- keliran Jawa Timuran, especially sub-style Lamongan, Mojokertoan, and Lamongan be- fore the 1970s, only had sléndro verses with 15 instruments: gendèr penerus, gendèr babok, rebab, kendhang, slenthem, gambang, panem- bung, bonang babok, bonang penerus, demung, saron I, saron II, peking, kenong, kempul and gong. The sléndro gamelan and pélog at that time were only used in Pake- liran Jawa Ti- muran sub-style Malangan. However, in its development, all sub-style pakeliran Jawa Timuran have used the sléndro-pélog instru- ment, which consists of: gendèr penerus, gendèr babok, rebab, kendhang wayangan, ke- tipung, kendhang ageng, slen- them, gambang, panembung, bonang babok, bonang penerus, demung I, demung II, saron I, saron II, pe- king, kenong, kempul and gong. Even with drums, cymbals, organs and guitars. The musical instruments of gamelan wayangan like the last one called are ‘new traditions’ that developed in Javanese sha- dow puppet show, both in Surakarta, Yo- gyakarta and also in East Javanese today. It was called a ‘new tradition’ because the arrangement only appeared in the 1990s, which was started by pantap style pakeliran, namely a puppet show held in the courty- ard of the Central Java Governor’s Office by the Committee of Permanent Appre- ciation and Puppetry Art Development on the initiative of Soedjadi, Chair of Ganasi- di (Indonesian Puppet Art Development Agency) in Central Java. The use of drums and cymbals is for stabilizing sound effects when puppets fight, while the use of or- gans and guitars is to accompany campur- sari songs. Pakeliran Jawa Timuran has a cha- rac- teristic in sampiran arrangement (the term East Javanese Puppetry) or simpin- gan (the term Central Javanese puppetry), which means figures of puppets which are plug- ged in lined up on the right and left of the puppet show screen (Javanese: ke- lir). Sam- piran kanan (from front to back) consists of Batara Kala, Batara Bayu, Wer- kudara, Bratasena Baladewa, Gathutkaca, Antareja, monkeys, deities, subtle kings, king’s sons/ princes (Javanese: putran), Batara Guru (facing left with the position above the other sampiran puppets), puppet princess, and small puppet figures. Sam- piran kiri (from front to back) consists of giant king figures (Javanese: danawa raton), Dasa-muka, Suyudana, Dursasana, Pra- gota, prime ministers (Javanese: patihan), round-eyed puppet figures (Javanese: ple- lengan), puppet figures whose mouths are open so that their teeth and fangs appear (Javanese: prèngèsan), Setyaki, Batari Dur- ga (facing right with the position above the other attachment puppets), the small-sized Kurawa, king seberang who has a handso- me face (Javanese: sabrang bagus), and small puppet figures. Before the shadow puppet show begins, in the middle of kelir (the screen) are embedded puppet figures Semar and Bagong - sometimes accompa- nied by Besut - which are closed or located outside the kayon figure or gunungan. The arrangement of shadow puppet figures in Pakeliran Jawa Timuran is diffe- rent from the arrangement in the Surakar- ta-style pakeliran. The figures of the Balade- wa in Pakeliran Jawa Timuran are included in sampiran kanan, in the Surakarta-style pa- keliran is on simpingan kiri. The figures of Batara Kala and the gods in Pakeliran Jawa Timuran are included in the right side, in the Surakarta-style pakeliran included in the puppet dhudhahan category, which is puppet figures arranged in kothak or on top of the kothak lid on the right side of the puppeteer. Likewise, the small figures of Dursasana, Pragota, patihan, and Kurawa in the Surakarta-style Pakeliran be included Harmonia: Journal of Arts Research and Education 18 (2) (2018): 153-161156 the middle of the forest (knight confronted by panakawan: Semar, Bagong, and Besut), continued by budhalan; (2) perang gagal or perang bégal, knight figures against giants which ends with the death of the giants; (3) jejer IV in a kingdom Jejer I, ending with budhalan. The third part with the nuances of melody pathet serang, consists of three scenes: (1) Jejer V in an accross kingdom, ending with budhalan; (2) Brubuh war, a war between figures in Jejer I against the figure on Jejer V which ends with the death of one party; (3) Jejer pamungkas (the final), the closing scene in a kingdom. There are three things that distin- guish between Pakeliran Jawa Timuran and Pakeliran Surakarta style. First, Pakeliran Jawa Timuran has four pathet areas (a sys- tem that regulates the role, position, and tone area of Javanese gamelan), namely pathet sepuluh, pathet wolu, pathet sanga, and pathet serang; whereas Pakeliran Sura- karta style only has three pathet regions, namely pathet nem, pathet sanga, and pathet many- ura. Second, all scenes (except pasé- ban and war) in Pakeliran Jawa Timuran are called jejer; whereas in Surakarta style the term jejer is only used to refer to the first scene, for the following scenes are called scenes or candhakan. It is called a scene when ac- companied by a certain composi- tion and accompanied by a narration of the puppe- teer, and is called candhakan if it is only accompanied by melody at the level of ayak-ayak, srepeg, or sampak and is not ac- companied by the narration of the puppe- teers. Third, in Pakeliran Jawa Timuran, the- re are no kedhatonan scenes — which end in limbukan — and gara-gara scenes. Kedha- tonan scene is a scene that depicts a king’s empress accepting the presence of the king from the courtroom, while gara-gara scene is a scene that shows panakawan (Gareng, Petruk, and Bagong) joking and singing hymns. The joking of the Panakawan Jawa Timuran (Semar, Bagong, and Besut) are displayed in jejer III when they follow the knight who became their master. The first and second cases up to now are still preserved as typical characteristics of Pakeliran Jawa Timuran, but for the thir- in the category of wayang dhudhahan. The figures of Semar and Bagong in Surakarta- style pakeliran have never been kept toget- her in simping with the kayon figure in the middle of kelir; these two puppet figures are in the wayang dhudhahan category. Performance Structure Pakeliran Jawa Timuran has a different structure from the Surakarta-style pakelir an. In East Javanese tradition, before the pakeliran began, a special East Javanese dance was performed, which is Ngréma in two styles; women style and men sty- le. The Ngréma dance is a package from the shadow puppet show and is presented between 9:00 and 23:00, in addition to the opening performance or reception of guests, this performance as well as to in- vite shadow puppet show viewers. Besides dancing, Ngréma dancers also sang cam- pursari songs. They also received saweran from the spectators who participated in the dance (Javanese: ngibing) on the stage. In certain performances that are mass ce- lebrations, before the Ngréma dance is usu- ally enlivened with dangdut or campursari music performances which are presented by the committee from outside the shadow puppet group. They usually perform bet- ween 19:30 and 21:00. Pakeliran Jawa Timuran has a simpler structure compared to the pakeliran structu- re of the Surakarta style tradition. The first part consists of four scenes: (1) jejer (stan- ding in line) in an empire (with nuances of melody pathet sepuluh followed by pathet wolu), a king is confronted by the minis- ters, then the arrival of guests, and ending with all puppet figures leaving the place (Javanese: bedholan or budhalan); (2) pasé- ban, the prime minister ordered his troops to go to a place, ending with budhalan; (3) sepisan war, war between the royal forces jejer I against troops from other kingdoms; (4) jejer II in an empire, accepts the arrival of guests, ends with budhalan. The second part with the pathet sanga nuances, consists of three scenes: (1) jejer III in the hermitage (the priest is confronted by knights with pa- nakawan: Semar, Bagong, and Besut) or in Sugeng Nugroho, The Aesthetics Effect of Surakarta-Style Pakeliran ... 157 case at this time it has begun to wear off. That is, at this time Pakeliran Jawa Timu- ran also displays limbukan and gara-gara as well as Pakeliran Surakarta style now in ge- neral. Limbukan’s appearance in Pakeliran Jawa Timuran, refers to the 1990s-style lim- bukan Surakarta style pakeliran, which ap- pears as a ‘loose scene’ without beginning with kedhatonan scene. Likewise, gara-gara in Pakeliran Jawa Timuran refers to the Sura- karta style of the Nartasabda era (the 1970s) pakeliran which was adopted from the Yo- gyakarta style pakeliran. The two scenes are used by the East Javanese puppeteers to convey social messages as well as to pre- sent campursari songs both at the choice of the puppeteer or the audience’s request. Elements of Garap Pakeliran Garap pakeliran includes all elements of pakeliran expression, which consist of: catur, sabet, gending, sulukan, dhodhogan, and keprakan. Catur is the puppeter discourse presented in pakeliran. Sabet is everything related to the wayang movements in pake- liran. Gending is gamelan music which ser- ves to accompany the nuances of giving wayang performances. Sulukan is a combi- nation of poetry and songs performed by puppeteer to build a certain atmosphe- re in the pakeliran. Dhodhogan is the sound of a wooden beater (called cempala) which is struck on the inside or outside of the puppet box to build a certain atmosphere in the pakeliran. Keprakan is the sound of a number of metal plates (called keprak) which hang on the lip of the puppet box to build a certain atmosphere in pakeliran (Nugroho, 2012). Of the six elements of garap pakeliran, there is one element of ga- rap that has similarities between Surakarta style pakeliran and Pakeliran Jawa Timuran, which is on garap catur, while the other ga- rap elements (sabet, gending, sulukan, dhod- hogan, and keprakan ) shows typical East Java. Catur in Pakeliran Jawa Timuran, based on the form of speech and its functions can be grouped into three types, namely janturan, pocapan, and ginem. Janturan is a narrative of puppeter to describe a scene that is presented along with the strains of melody that sound soft (Javanese: sirep). Pocapan is the puppeter’s narrative to desc- ribe the events that have occurred and will occur in pakeliran which are presented wit- hout strains of melody; if using the strains of gending sounds soft it is called pocapan gadhingan. Ginem is a dialogue or monolo- gue of puppet characters in pakeliran (Ti- moer, 1988). The naming of terms in this catur grouping can be ascertained to come from the term Surakarta style puppetry, except pocapan gadhingan. For Surakarta style puppetry, all the narratives of the puppeteers are presented in accompani- ment of the sirep gendhing, both to describe a scene and events that have occurred and will occur in pakeliran, called janturan. Janturan jejer 1 in the Pakeliran Jawa Timuran - although with different dialects and language styles - has the same senten- ce pattern and structure as janturan jejer on Surakarta style pakeliran tradition, consis- ting of: opening, royal names, geography, economic conditions, conditions of peace and state security, the loyalty of the cour- tiers, the name of the king along with its meaning and character. The opening text of jejer I speech written as follows: “Yanenggih, sirepé data pitana sekaring panguneng-uneng, tiyang ngringgit ing sedalu menika nggelar carita ja- man purwa.” (This is a silence, a man mas- terminds the puppet show this night-long holding stories of the beginning.) This text bears similarities with the opening text of the lacerations in the Surakarta-style pake- liran which reads: “Swuh rep data pitana” (Nojowirongko, 1960, p. 70). The janturan text that refers to the royal name in jejer I written as follows: “Ingkang kanggé bebukaning carita anyariy- osaken gelaring Nagari Darawa-ti. Wah éka adi dasa purwa madya wasana. Wah penga- raning wadhah, éka mring sawiji, adi linu- wih, dasa sepuluh, purwa wiwitan, madya tengah, wasana wekasani kandha carita ing sadalu menika.” (As the beginning of the story is told the condition of Dwa-rawati Country. Wah éka adi dasa purwa madya wasana. Wah means container, éka me- ans one, adi means beautiful, dasa (ten), Harmonia: Journal of Arts Research and Education 18 (2) (2018): 153-161158 purwa (beginning), madya (middle), wasana (the end of the story tonight.) This is similar to Surakarta style Jan- turan jejer text which is written as follows: “Anenggih pundi ta ingkang kaéka adi dasa purwa. Éka sawiji, adi luwih, dasa sapu- luh, purwa wiwitan” (Nojowirongko, 1960, p. 70). Janturan text that illustrates the geo- graphy of a state is written as follows: “...negari ngungkuraken gunung, ngayunaken lelayaran utawi samodra, ngéringaken pesabi- nan, nengenaken bengawan, mengku bandaran agung.” (... a country back to the mountain, facing the ocean, on its left is agricultural land, on the right is a large river, has a lar- ge port.) This is the same as janturan text in the Surakarta style written as fol- lows: “... nagari ngungkuraké pagunungan, ngéring- aké pasabinan, nengenaken benawi, ngayunken bandaran gedhé” (Nojowirongko, 1960). The text created by Padhasuka (Pasi- naon Dha-lang ing Surakarta) in around 1923 actually depicts the geographical location of the Surakarta Palace, which is back to the mountain (Pegunungan Seribu), on the left (west) of agricultural land (Boyolali and Klaten), next to the right (east) has a Bengawan Solo stream, and in front of it in distance there is a port (Tanjung Emas, Se- marang). Because Janturan jejer text is stan- dardized as a reference for Surakarta style puppetry, the PDMN (Pasinaon Dha- lang ing Mangkunegaran) also uses the same pattern, even though the Mangkunegaran Palace faces south. Janturan text that illustrates the eco- nomic condition of a country is written as follows: “…tiyang dagang layar, botena para priyantun, senajan tiyang alit ingkang ahli nyambut damel kulak cantak wlijo bakul, adola godhong adola biting do- dola suket utawi mubeng pasar tanpa bandha pisan padha seneng ati, cukup sing disand- hang lan sing pangan, datan ana sing kacingkrangan uripé. Menapa déné tiyang manca negari ingkang andon bebara nyambut damel ngantos jejel, tanah jembar ketingal rupek ananging andadosaken raharjané negari. Tiyang alit ingkang narakisma panggaraping bumi lampahé pertanian samya mung- kul pangolahing tetanem, samya tulus ingkang sarwa tinandur ....” (... traders and sailors, not only the upper classes, even ordinary people who like working as broker and traders, leaf sel- lers, palm leaf ribs sellers, grass sellers or those who just go around the market without any capital are happy, fulfilled clothing and food, there is no miserable life. Even foreigners who make a fortune to work as workers are so plenty, so the land becomes narrow but it adds to the excitement the country, the farmers are diligent in working on agricultural land, the plants grow well ....). This text is similar to Janturan jejer in the Surakarta style text, which is written as follows: “... gemah kang lumaku dagang, rainten dalu tan ana pedhoté, labet tan ana sangsayaning margi. Aripah janma ing manca kang sami griya salebeting praja jejel apipit, pangrasa aben cukit tepung taritis, papan wiyar ka- tingal rupak saking rejaning nagari. Kar- ta kawula ing padhusunan padha tentrem atiné, mungkul pangulahing tetanèn ....” (Nojowirongko, 1960, p. 70). (... gemah means the course of day and night trade is endless, because there is no security disturbance. Aripah means fo- reigners who are domiciled in the king- dom are seem crowded, their houses huddled together, wide boards appear narrow because of the hectic situation. Karta means people in the countryside feel secure, diligently working on agri- culture ...) The text describing the state of peace and security of a country is written as fol- lows: “Panguripané kawula ayem tentrem kadayan saka amané negara, lampahé durjana utawa maling brandhal kam- pak kècu datan ana, mila ingon-ingoné kawula alit rupia sato iwèn bèbèk ayam datan ana kang dèn-kandhangi, sena- dyan rupia rajakaya maèsi lembu kuda ménda datan ana cinancangan, yèn èn- jing dèn-umbar ana pangonan abyoor Sugeng Nugroho, The Aesthetics Effect of Surakarta-Style Pakeliran ... 159 kadya jambé jebug sinawuraken. Mont- ro wétan ngendanu kilèn wancinira jam sekawan setengah gangsal sonten raja- kaya dèn-giring dhateng kandhan- gi- pun piyambak-piyambak ....” (People’s life is peaceful because of its guaranteed security; no thieves, hood- lums, robbers, so that pets like ducks and chickens need not to be kept in ca- ges: buffaloes, cows, horses, goats need not to be tied up, when the morning comes, they look for food b themselves, in the afternoon at four, half past four the livestocks are herded into each of their cages ...). This is similar to the Surakarta style janturan jejer text, which is written as fol- lows: “... ingon-ingon kebo sapi pitik iwèn tan ana cinancangan, rahina aglar ing pangonan, yèn bengi mulih marang kandhangé dhéwé” (Nojowirongko, 1960, pp. 70–71 ) (... buf- faloes, cows, chickens, ducks are not tied, during the day they are left in the field, at night they return to each of their cages.) The text describing the loyalty of the royal court officials is written as follows: “Senadyan lampahé nayakaning praja dalah sak-panekaré dalah para mantri-mantri bupati samya bekti dhateng kuwajibané sumungkem ing negara njunjung dhateng kaluhuraning Sang Nata!” (Royal court officials and their staff and the regent mantry work diligent- ly faithful to the state, devoted to the king.) This text is similar to the Surakarta style janturan jejer text, which is written as fol- lows: “Raharja tebih ing parangmuka, déné para mantri bupati padha kontap kautamané, bi- jaksana limpad ing kawruh putus marang wajib pangrèhing praja, tansah hambudi we- wahé kaluhuraning nata” (Nojowirongko, 1960, p. 71). (Raharja far from the attack of the enemy, while the regents seem loyal, wise, cle- ver, able to carry out their obligations, always trying to improve the noble- ness of the king.) The text that depicts the name of the king and its meanings and characters is written as follows: “... jejuluk Sang Maha Prabu Bathara Kresna, ya Sang Prabu Pad- manaba, ya Prabu Harimurti, ya Prabu Da- nardana, Radèn Narayana jeneng klairané. Jejuluk Bathara Kresna, tegesé Kres = tajem utawa landhep, na = wujud utawa ning, batha- ra = déwa, ratu gung binathara sinebut déwa kamanungsan, wujudé ireng cemani nanging cukup kawuningané landhep panggraitané... seneng paring pepadhang wong kepe- ten- gan, paring kudhung wong kepana- san, awèh payung wong kodanan, awèh sandhang wong kawudan, paring pangan wong kasatan.” (... titled Sang Maha Prabu Batara Kres- na, Prabu Padmanaba, Prabu Harimur- ti, Prabu Danardana, Raden Narayana in- born name. Batara Kresna, meaning Kres= sharp, na = manifested, bathara = deity, king which is alike god or deity in a hu- man body form, has a black and smooth but very knowledgeable and intelligent... likes to enlighten darkness, gives a hat to someone who is hot, gives an umbrel- la to people who get wet in rain, gives clothes to people who do not have clot- hes, feeds to those who are starving.) This text is similar to the Surakarta style janturan jejer text, which is written as follows: “... Sri Bathara Kresna, Prabu Arimurti, Padmanaba, Narayana, Késawa, Wasudéwa, Wisnumurti, Danardana, Janardana. Mila je- juluk Sri Bathara Kresna, cemeng pasa- rirané trus balung sungsum ludirané, yèn ayama ayam cemani, keni kinarya sarana, sanadyan Sri Kresna uga dadya sarana ja- yaning Pand- hawa ing Bratayuda ... paring sandhang wong kawudan, asung pangan wong kaluwèn, awèh banyu wong kasatan, paring teken wong kalu- nyon, asung kud- hung wong kepanasan, awèh payung wong kodanan, karya sukaning priha- tin, amalu- yakaken wong asakit” Nojowirongko, 1960, p. 71). (... Sri Batara Kresna, Prabu Arimur- ti, Padmanaba, Narayana, Kesawa, Wasu- dewa, Wisnumurti, Danardana, Janar- dana. Titled Sri Batara Kresna, his skin is black to bone marrow and blood; if Harmonia: Journal of Arts Research and Education 18 (2) (2018): 153-161160 chicken is a smooth black chicken, can be used as a tool, so too Sri Krishna can be used as a means of glory of the Pan- davas in Bratayuda ... giving clothes to people who do not have clothes, feeding people who are starving, giving water to people affected by drought, giving sticks to people who walk on slippery roads, giving hats to people who are overhea- ting, giving umbrellas to people who are in the rain, entertaining people who are difficult, treating sick people.) Catur in Pakeliran Jawa Timuran has a type of pocapan which functions to desc- ribe the figure, clothing, and the magical power; to describe the shape of a vehicle (such as a train, horse, elephant) and its magic; to describe the form of a weapon (such as an arrow) and its magic; or descri- be other things (like fire, water, wind) and their strength. This type of pocapan is called the term suwaka, which in the Surakarta style of pakeliran is called pocapan pamijèn. Although speaking with dialects and ty- pical East Javanese language styles, the po- capan structure is similar to the Surakarta style pocapan pamijèn structure. The ginem jejer structure in Pake- li- ran Jawa Timuran has similarities with the ginem jejer structure and scenes in the Surakarta style pakeliran, which consists of ginem blangkon followed by ginem baku. Ginem blangkon is a cliche dialogue that contains welcome from the host to the par- ty that comes to face, or contains a report of a royal court official to the king about the situation and condition of the country. The ginem baku is a conversation between groups related to certain problems dis- cussed in a trial or meeting. The similarity the Ginem type also occur in dialects and idiolects of puppet figures, for examp- le: (1) the word ulun or jenengulun which is used to refer to ‘I’ for deities when dealing with servants; (2) the word jenengkita that is used to refer to ‘you’ for the god charac- ter to his servant; (3) the word Adhi Guru is used by Narada to call to Batara Guru; (4) the word Yayi Samiaji used by Kresna to call to Puntadewa; (5) a call Jlitheng Ka- kangku used by Bima to call upon Kresna; (6) a call Jlamprong adhiku used by Bima to summon Arjuna; (7) the word bojleng- bojlèng con-demned devil is used as an style of giants. Related to when Surakarta style pa- keliran began to influence Pakeliran Jawa Timuran, indeed it cannot be stated with- certainty. Nevertheless, there is one clue, that since the Surakarta Kasunanan Kara- ton established dalang (puppeteer) schools- named Padhasuka (1923) and Mangku- negaran founded dalang schools named PDMN (1931), many puppeteers from out- side Surakarta even outside Central Java who had been selling well in their regions Duyun attended puppeteer education in one of these places. That pakeliran style of Padhasuka and PDMN became known as the Surakarta style pakeliran. They partici- pated in puppeteer education in Padhasu- ka or PDMN in addition to increasing the puppetry’s intellectuality, as well as to inc- rease prestige among the public observing puppets (Van Groenendael, 1987, pp. 53– 62). It is possible since that time the texts of the Pakeliran Jawa Timuran discourse were contaminated by Surakarta-style pakeli- randiscourse texts presented by puppeter graduates of Padhasuka or PDMN. The change in the artistic orientati- on of the East Javanese puppeteers was increasingly apparent when the reality showed that the puppeters who had po- pularity above the other average puppe- ters were the Surakarta-style pakeliran. A number of the names of puppeters are popular in Central Java, where they refer to Surakarta style puppetry namely Puja- sumarta (Klaten), Nartasabda (Semarang), Anom Soeroto (Surakarta), Manteb Soe- dharsono (Karanganyar), Purbo Asmoro (Surakarta), and Enthus Susmana (Tegal). Even some East Javanese puppeteers who- have popularity above the average of other puppeters, such as Panut Sasra Dharma- ka (Nganjuk), Harjunadi (Nganjuk), Sakri (Madiun), Hari Bawana (Lumajang), and- Sun Gondrong (Tulungagung) have Sura- karta style shadow puppet show. This me- ans that the existence of the Surakarta style pakeliran has a very strong influence not Sugeng Nugroho, The Aesthetics Effect of Surakarta-Style Pakeliran ... 161 only in the Central Java region but also in most of East Java. CONCLUSION Based on the description above, it can be concluded that wayang kulit as a work of art, both art and performing arts, is not a‘dead’ tradition, but a tradition of ‘living’. This type of art always changes and deve- lops according to the context. Likewise, Pakeliran Jawa Timuran which grows and develops as an oral tradition, always chan- ges from time to time in accordance with the wishes of its people. Pakeliran Jawa Ti- muran as ‘folk art’ or ‘small tradition’ in life has become increasingly marginalized, pressured by the ‘great tradition’ which in- creasingly dominates the world of puppet shows, namely the Surakarta style of Pake- liran. 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