62 The Development of the Indonesian Culture Gunungan Design: Wayang Godhong “Smoking Violated” Agus Purwantoro1, Nadia Sigi Prameswari2, Roziani Binti Mat Nashir @ Mohd Nasir3 1Universitas Sebelas Maret, Indonesia 2Universitas Negeri Semarang, Indonesia 3Universiti Teknologi MARA Cawangan Kelantan, Malaysia Submitted: 2022-05-16. Revised: 2022-06-05. Accepted: 2022-06-28 Abstract This study explores the development of innovative wayang craft designs in Magelang, Central Java, Indonesia. This is necessary research because wayang functions as a medium of contex- tual communication between the puppeteer and an audience by transmitting the values of life through entertainment. However, it is rare to find all-night-long wayang performances currently; there is a considerable probability of this craft going extinct in the next few years. This is a re- search and development method. The type of research and development uses the ADDIE model. Data collection techniques were carried out through interviews, observations, and documenta- tion of Wayang Godhong. The respondents were tobacco farmers and puppeteers in Magelang City, Central Java Province, Indonesia. The result led to the development of Wayang Godhong design which adopts the structures and shape of tobacco leaves. Despite the use of this leaf, the message “smoking is violated” is boldly written on its body. The researcher also implemented the Wayang Godhong product through a puppet show entitled “Smoking Violated” performed on youth and social activists in Magelang Regency. The message from the show is social criticism to the public of the prohibition on smoking in public places, which is still being violated. The results showed that the public accepted the Wayang Godhong performance and positively impacted pub- lic knowledge and awareness regarding the prohibition of smoking in public places. Keywords: design innovation, Indonesian culture, gunungan, wayang, performance How to Cite: Purwantoro, A., Prameswari, N. S., & Nasir, R. B. M. N. M. (2022). The Development of the Indonesian Culture Gunungan Design: Wayang Godhong “Smoking Violated”. Harmonia: Journal of Arts Research and Education, 22(1), 62-77 Harmonia: Journal of Arts Research and Education 22 (1) (2022), 62-77 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v22i1.36525 diversity and social character, packaged in the control system of nationality, also pro- mote the birth of new cultures. The Indone- sian culture has become part of the world heritage Hornell (1934) due to its thick uni- queness in providing new insights for fo- reigners (Heryanto, 1998). This uniqueness has made it even more popular in the mo- dern era (Yulianti et al., 2020). This culture INTRODUCTION Many academics and intellectual fi- gures consider social phenomena as part of cultural products (Frederick, 1982). Ac- cording to Rianti et al. (2018), geographical areas and plural societies promote cultural diversity in the community. Meanwhile, Efferin & Hopper (2007) stated that ethnic Corresponding author: E-mail: goespoer13@staff.uns.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Agus Purwantoro, et al., The Development of the Indonesian Culture Gunungan Design 63 is also an identity that needs to be preser- ved by breaking the post-modernism para- digm through local traditions (Yudhistira & Fatmawati, 2020). Hence, cultural diver- sity needs to be the people’s responsibility Josefine (2019), along with the heated issue of cultural claims from foreign countries (Chong, 2012). Indonesia is historically full of noble cultural and traditional values (Herlam- bang et al., 2021). Various cultures create diversity, including wayang, an epic show that generally tells about the heroism of good characters against flawed characters. Puppets have become a part of people’s lives, especially Javanese people, through several historical events with their cur- rent existence in Indonesia (Nurgiyantoro, 2011). Besides, UNESCO has officially la- beled it as a Masterpiece of Oral and Intan- gible Heritage of Humanity (Bogie et al., 2008). This is based on cultural treasures that are full of messages and moral values in society (Purwantoro et al., 2021). Wayang has gone through several historical events with its current existence as part of the life of the Indonesian peop- le, especially the Javanese (Nurgiyantoro, 2011). UNESCO officially labelled wayang as a Masterpiece of Oral and Intangible Heritage of Humanity (Bogie et al., 2008). It is based on the cultural treasures full of moral messages and values in society (Pur- wantoro et al., 2021). Wayang is currently an identity and part of the formation of the nation’s character. Therefore, it is essential to preserve this culture (Ajidarma, 2017). It has grown with traditional societies in the post-colonial era, the Dutch East In- dies (Downes, 2012). It even has its place as a medium for preaching in the Walison- go era (Anggoro, 2018). Edward Gordon Craig describes wayang as becoming popu- lar in the early 19th century until Richard Teschner adapted it for staging purposes on European stages (Cohen, 2007). The crowd of wayang puppets has occurred since its popularity in the post-colonial era which then continued until it was played by the legendary puppeteer Ki Nartosabdo in the 1980s (Jazuli, 2009). In the past, wayang performances contained stories from the wayang world, and the show was done all night long. Hen- ce the location became noisy. But along with the times, wayang performances have transformed into a medium to convey te- aching (Purwantoro et al., 2021). In the modern era, the wayang journey has gra- dually sunk with the introduction of more exciting and addictive global media (Lis, 2014). According to Nurgiyantoro (2011), the stage is usually quiet nowadays, with only indigenous people and a handful of youngsters still in love with wayang per- formances. The younger generation in the 2000s started to decline in their interest in watching wayang shows due to many fac- tors (Gusti, 2013). Therefore, this tradition faces threats from developing a Western culture that seems more attractive and mo- dern to the public (Agustin, 2011). On the other hand, most youth generations consi- der this performance ancient and conven- tional (Samptaningtyas et al., 2019). Innovation and novelty are needed without abandoning the traditional values (Irianto, 2017) to preserve the existence of this culture. According to Wahyudi (2016), wayang needs adequate attention through design innovation to attract the younger generation and help preserve this noble culture. A more modern, unique, and contextual design is expected to be able to educate and become an incentive in stimulating wayang in this sophisticated era (Arsyad, 2009). Therefore, one of the media developed to help boost knowledge of this tradition is the Wayang Godhong, a unique and modern (Lestaningrum & Ja- yanti, 2019) tool made from leaves (Akmal, 2018). Contemporary puppets made from teak godhong (leaves), cloves, and coffee are part of the ideas of Agus Purwantoro (known as Gus Pur). Gus Pur’s commu- nication through Wayang Godhong aims to transform the function of wayang, which was initially only a character in the show, then turned into an educational medium to convey stories about virtue and messages about life. Since 2010, Gus Pur has perfor- Harmonia: Journal of Arts Research and Education 22 (1) (2022): 62-7764 med many performances related to educa- tional activities using Wayang Godhong. One of which is a performance of Wayang Godhong at the Pengayoman Pavilion in Temanggung at a book discussion about Giharu’s novel “Trilogi Kehidupan Seder- hana.” Another show performed by him was the Wayang Godhong show entitled “Guru Kencing Berdiri, Murid Kencing Ber- lari” which was carried out as a medium for transforming education to love culture and nature from an early age at Harapan Bunda Kindergarten, Magelang Regency. In 2021, Agus Purwantoro (Gus Pur) also conducted training on making Wayang Godhong made from dried leaf waste and performed it in a simple way with children at the Mijilan Art Studio, Pringapus Villa- ge, Kalisalak, Salaman, Magelang Regen- cy, Central Java. Based on previous research con- ducted by Lestaningrum & Jayanti (2019), it is known that Wayang Godhong is an alternative learning media that utilize the surrounding environment and is fun for children to be able to explore various kinds of new knowledge that can be applied in daily life. Meanwhile, Lestari & Wulansari (2018), in their study of the use of puppet shows as a media for health promotion, it is known that puppet shows can become interactive media in providing motivation and knowledge to adolescents regarding smoking, drugs, and promiscuity prob- lems. Furthermore, another study con- ducted by Kursista et al. (2009) stated that the health promotion method by using innovative Balinese puppet media and speech methods could improve the know- ledge and perception of the head of a fami- ly in HIV/AIDS prevention. In this research, the authors develo- ped a Wayang Godhong design inspired by tobacco leaves as a form of resistance from its farmers. Tobacco leaves were chosen because of their texture, which symbolizes the aesthetic elements of fire and smoke, and its similarity to the foundation of the puppet gunungan. It is expected to increase the motivation of young people to under- stand the philosophy of wayang, which is part of Indonesia’s cultural history, and as a health, promotion media to invite the youth generation to stop smoking in pub- lic places. METHOD This research is a qualitative approa- ch with the type of research using research and development. Qualitative research is a research method used to examine the con- dition of a natural object where the rese- archer is the crucial instrument (Sugiyono, 2014). Qualitative research is suitable for solving a research problem whose unkno- wn variables need to be explored (Cres- well, 2013). Meanwhile, the development model used in this research is ADDIE. This model is considered simpler and allows developers to revise the process (Nova et al., 2021). This process helps focus on the goal achieved by quantitative and qualita- tive research in the art media development process (Aruna et al., 2021). This research focuses on developing the “Smoking Vio- lated” Wayang Godhong product design and its implementation in wayang perfor- mances for the younger generation. There are five steps in the development of Wa- yang Godhong. This model consists of five steps, namely: (1) analysis, (2) design, (3) development, (4) implementation, and (5) evaluation. In the first stage, an ana- lysis of the cultural and environmental conditions of the community; (2) puppet structure analysis; (3) tobacco leaf structu- re analysis; and (4) image “No smoking” analysis. A sketch of the gunungan Wayang Godhong was drawn in the second stage. In the third, the development of making Wa- yang Godhong using wood is carried out. In the fourth stage, product implementation is carried out through a Wayang Godhong performance performed by Agus Purwan- toro (Gus Pur). Meanwhile, all researchers evaluated the Wayang Godhong products in the fifth stage. The data collected through the implementation of formative evaluations are grouped into two parts, namely: (1) the first stage of evaluation data in the form of Agus Purwantoro, et al., The Development of the Indonesian Culture Gunungan Design 65 Wayang Godhong design from tobacco far- mers, (2) second stage evaluation data in the form of Wayang Godhong design from puppeteers expert test results, and (3) third stage of evaluation data in the form of Wayang Godhong design from Chairman of the Ketoprak Association of Temang- gung Regency. Data collection was carried out through interviews, observation, and gunungan Wayang Godhong product do- cumentation. Interviews were conducted with puppet experts and tobacco farmers. Observations were made by observing the environment where the puppeteers lived, tobacco plantations, and tobacco farmers in the Magelang area, Central Java pro- vince, Indonesia. The respondents in this study consisted of two people, namely: (1) Sutopo, a tobacco farmer, a wayang kulit puppeteer, and Chairman of the Ketop- rak Association of Temanggung Regency; and (2) Ki Eko Sunyoto Mulyowarjoyo, a puppeteer. The interview with Sutopo was conducted to obtain information related to the structure of the tobacco leaf. In cont- rast, the interview with Ki Eko Sunyoto Mulyowarjoyo aimed to obtain informa- tion about the structural design of the gu- nungan wayang in general. The instruments were used observations and questionnaire. The questionnaire sheet was used to collect data from the review results from farmers and puppeteers experts. Figure 1. Conceptual Framework Scheme RESULT AND DISCUSSION Analysis In the first stage, activities were done such as: (1) analyzing the cultural and en- vironmental conditions of the community; (2) wayang structure analysis of the struc- ture of gunungan wayang form; (3) tobacco leaf structure analysis; and (4) image “No smoking” analysis. Analysis result of this step is self-evaluated and continued eva- luation with respondents to improve ana- lysis results Analysis of the Cultural and Environ- mental Conditions of the Community Demographically, the people of Ma- gelang are predominantly farmers and be- long to a cultured society. They work on many plantations and agricultural land, planting varieties of crops, such as tobac- co, as a means of living. Magelang is one of the tobacco producers, which is a staple ingredient for kretek cigarettes. The plan- ting covers the Mount Merapi slopes and is distributed to the Sleman, Bantul, Ku- lonprogo, and several other areas. This plant grows in the lowlands with 200-700 masl (Paiman, Afriany, A. N. Kusumastu- ti, C. T. & Kusberyunadi, 2016). Generally, the tobacco cultivation process takes 3 to 4 months before finally harvesting. The nur- sery process starts from sowing the seeds independently and cultivating and ferti- lizing arable land. Magelang tobacco far- mers are independent communities capab- le of seedlings independently (Kurniawan, 2020). The people of Magelang still hold tight to their ancestral culture, which ma- kes them enthusiastic about watching many cultural performances. One of the numerous cultures still preserved in this area is the Wayang event. This event has become one of the cultural legacies in Java since the mid-Ages. Wayang performances in Magelang generally started in the 1990s and became a medium of public entertain- ment and a momentum for self-reflection. It became popular from early 2008 to 2015, with many stages used for wayang perfor- Harmonia: Journal of Arts Research and Education 22 (1) (2022): 62-7766 mances, thereby encouraging the birth of a new or local puppeteer. However, many entertainers of wayang are increasingly lo- sing their jobs due to the rise in competi- tion and the effect of media publications, which tend to publicize local puppeteers. There has also been a shift in the meaning of wayang from education to entertain- ment in the last few decades. In the 90s, this show started sprea- ding to television. Hence it was watched more widely. However, the enthusiasm of the audience towards wayang shows has significantly changed. In the past, a perfor- mance recorded an audience of more than 200 and was carried out all night long. Ho- wever, it has experienced a decline in re- cent years, and several stage performances are no longer held. Furthermore, audien- ces have decreased to around 100 people or even less in the last few years. In its gol- den era, wayang shows in Magelang were generally held two times a week. Howe- ver, there has been a decline in recent yea- rs, and sometimes they were not even held at all. In contrast, when entering the 21st century, wayang shows intersect with the modern culture, which is more persuasive and addictive. It is a challenge for the Ma- gelang people. The audience’s enthusiasm for wayang shows has decreased, especial- ly when entering the Pandemic era, which has made the younger generation turn to gadgets and social media content that are currently popular as TikTok, Instagram, Youtube, etc. The results of the analysis show that the Magelang people, who still make a li- ving as farmers, still hold tightly to their ancestral culture. One of the ancestral cul- tural heritage that is still preserved is the puppet show. However, the longer the public’s enthusiasm decreases, this is due to the inclusion of technology-based en- tertainment. The research results reinforce Rosana (2010), which states that all aspects of human life have changed along with the rapid advancement of information techno- logy. Furthermore, developments in Infor- mation and Communication Technology (ICT) have significantly impacted all as- pects of human life, including academic, social, and cultural life (Munawaroh, 2020). Form of Gunungan Wayang Structure Analysis Puppetry is very thick with the cul- ture of representative symbols as a socio- cultural product of the community, inclu- ding the presence of gunungan as one of the parts that appear at the start of the wa- yang show. Gunungan in wayang kulit per- formances is a session or scene performed by the puppeteer at the beginning, middle, or between the performances and the end of the puppet show. The gunungan puppet (kayon) is a tool used in the gunungan scene. Gunungan is also called Kayon because the main element in the gunungan is a picture of a tree (Wharapsari, 2018). On one side, at the bottom, is a picture of a gate guar- ded by two giants holding swords and shields. It symbolizes the palace gate, and when playing, the gunungan is used as a palace. At the top of the mountain, there is a tree of life (kalpataru) which a dragon entangles. On the tree branch depicted se- veral forest animals, such as tigers, bulls, monkeys, and birds. The picture as a who- le depicts the situation in the wilderness. This side symbolizes the state of the world and its contents. On the other side, a bla- zing fire is depicted. It symbolizes chaos and hell. Ki Eko Sunyoto Mulyowarjoyo sta- ted that the role of gunungan is a symbol of the universe, which is similar to the opening and closing of situations or scene- ry, as well as markers of pathet or transi- tions. Ki Eko Sunyoto Mulyowarjoyo also stated that wayang contains symbols of the universe and four attributes, namely the bumi-geni-banyu-angin. There are also ani- mals, trees, two giants, joglo house, and dragon banaspati. The gunungan structure is shown in Figure 2. Agus Purwantoro, et al., The Development of the Indonesian Culture Gunungan Design 67 Figure 2. Gunungan structure in the Wayang Purwa performance (Source: Loita, 2018) Figure 2. shows the structure and shape of the gunungan in the wayang are di- vided into the top (peak), middle, and bot- tom (palemahan-ground, earth). The shape is tapered upward at the top part, starting in the middle, called genukan (sticking out) and lengkeh (niche). When viewed hori- zontally, the gunungan structure contains dualistic images and symbols facing each other from the bottom up (Loita, 2018). There is usually no decoration at the bottom, and whenever there is any, the motif is simple without a complex base. Wadag, as a symbol of the material world, means that all human beings essentially know the meaning of their lives on earth. Human life consists of physical and spiri- tual aspects, which leave the mortal world full of materialism when separated from the body. Therefore, it is stated that the gunungan is a representative symbol of the mystical world and human life, which is full of mystery that leads people into an external realm. It manifests the spirit itself and describes the human transcenden- tal experience. The results of the analysis show that there is a structure in the form of wayang puppets; this result is strengthened by Loita (2018), who states that in her re- search on visualizing the gunungan wayang there is a gunungan structure. Dunia Atas (Upper Part of World) Dunia Tengah (Middle Part of World) Dunia Bawah / World of Human (Bottom Part of World) Tobacco Leaf Structure Analysis The structure of the part of the to- bacco leaf is similar to the gunungan in the wayang. It is generally oval-shaped, with tapered, smooth, wavy, thinner edges and pinnate leaf bones. The stalk is attached to the stem, and the position of the leaves is upright. The size and thickness of its mor- phology are dependent on variety and the growing environment. As an essential ele- ment of the origin of the creation of cigaret- tes, tobacco farmers have long stories and extensive experiences with tobacco. This experience has been carried out for a long time hence their skills in producing tobac- co commodities are optimal. However, the process also takes quite a long time, 3 to 4 months. In addition, the nursery process is carried out by self-seeding. Based on the interview with a tobacco farmer, Sutopo, stated that the stages involve cultivating the land, fertilizing and planting tobacco seeds, which are sown independently. In this context, tobacco leaves are the subject of study because they are considered an inspiration for Wayang Godhong craftsmen from a motive and philosophical perspec- tive. Figure 3. Morphology of tobacco leaf (Source: Authors) The morphological arrangement has several elements consisting of leaf fi- bers. The greater the ability of the leaves to form an angle with the stem, the smaller the upward angle. Furthermore, the curves on the branches of various varieties differ, Harmonia: Journal of Arts Research and Education 22 (1) (2022): 62-7768 although they are generally classified as sharp. Tobacco leaves have a large shape ranging from 15 x 25 cm, and the largest is 20 x 30 cm. Due to their size, these lea- ves are easily blown by the wind, thereby causing a combing sound. Its core has ex- tensive and robust leaf bones underneath; therefore, it is sufficient to support the per- ching on the twig. In addition, the presen- ce of pinnate leaf bones makes the surface fibrous and finned. In harvesting, Sutopo stated that after harvesting, the leaves are ripened in a closed room until they turn yellow, then chopped and immediately dried in the sun for 3 to 4 days. The texture and morphology of to- bacco leaves have many similarities with the gunungan in wayang. It is the same as the result of an interview with Sutopo, Tobacco farmers, that the structure of the tobacco leaf is shaped like gunungan in wa- yang, which has a handle and a lead tex- ture like Srintil tobacco that is sticky and contains nicotine (honey). Moreover, the colors change from green to yellow and blackish-brown. This similarity implies many things of a philosophical nature. Furthermore, tobacco leaves have a lot of content asides from nicotine and TAR, such as honey (jantor), and lelet. Apart from being used for cigarettes, it is also used for health therapy and repelling pests (fleas). Finally, semprul tobacco has the most un- pleasant taste, suitable for Lansi and Talao cigarettes. The analysis results show that the structure of the tobacco leaf has similari- ties with the shape of the Gunungan Wa- yang Purwa, where the shape of the tobac- co leaf is generally oval-shaped, the tip is tapered and is getting thinner. This result is reinforced by the research of Rochman & Hamida (2018), which examined six va- rieties of tobacco leaves and displayed the shape and characteristics of tobacco leaves. Image Analysis “No Smoking” Figure 4. No smoking symbol (Source: Authors) This study includes a philosophi- cal element of the no-smoking rule in de- veloping wayang designs. Indonesia has many cigarette consumers as a pluralistic country with approximately 270 million inhabitants. There are already several ru- les regarding the prohibition of smoking in public places. Various types of cigaret- tes are prohibited in public places becau- se they are considered disturbing, such as cigarettes, e-cigarettes, and vaping, as shown in Figure 4. Regional Regulations in several regions have listed areas that stipu- late a smoking ban. Based on the statutory regulation, Article 115 Paragraph (1) ur- ged the public and workplaces to provide particular smoking areas. This implies that people are not allowed to smoke in public places because it is considered a nuisance. In this regard, tobacco leaves are part of the rapid development of cigarettes in Indonesia. The cigarette rolled using to- bacco leaves shaped, dried, and fermented is a cigar. The local government has estab- lished a law prohibiting people from smo- king in public and air conditioning areas. Unfortunately, smokers tend to ignore this policy. According to Dauvergne (1998), smoking has been a culture for a long time in Indonesia, which causes environmental damage, increases the temperature in an area, and is capable of causing forest fi- res (cigarette “butts”). These are some of Agus Purwantoro, et al., The Development of the Indonesian Culture Gunungan Design 69 the reasons for banning smoking in some regions. However, in the past 30 years, there has been an increase in the number of smokers in Indonesia by 57%. Data re- leased by the Institute for Health Metrics and Evaluation (IMHE) and published in the American Health Journal in 2014 listed Indonesia as the country with the second- highest number of smokers (Sutha, 2016). The presence of a person in an environ- ment that supports smoking encourages others to smoke, especially in non-smo- king areas. When an individual neglects a smoking prohibition regulation, it leads to a domino effect which results in the loss of the supremacy rule in that area (Leventhal & Cleary, 1980). The author used the word “Smoking Violated” in designing the Wayang God- hong for Indonesians with the habit of con- suming cigarettes in public places. Figure 5. The similarity of the structure of the gunungan and tobacco leaf (Source: Authors) Gunungan, as the holder of the wa- yang, is an essential part of the show, which is similar to the structure and morphology of the tobacco leaf as the basic medium for making Wayang Godhong. From its sha- pe, the tapered tip of the gunungan is also owned by that of the tobacco leaf. The hilt of the gunungan, which rises vertically to the belly, is also owned by tobacco leaves, also known as leaf bones. The various gu- nungan motifs symbolizing the contents of the Wayang Purwa are also owned by to- bacco leaves, which are called leaf lamina. At the bottom, there is a gunungan handle which is also owned by the tobacco leaf handle/petiole. Designs The second step focuses on material choice activities relevant to Wayang God- hong characteristics. In this step, Wayang Godhong are sketched. The result will be evaluated with the experts to improve de- sign results. Before designing the wayang, the craftsman first sketches paper media by thickening fine lines using a marker. During sketching, the craftsmen pour out their ideas and creations to be actualized before switching to wood media. A distin- ctive identifier is associated with making gunungan in Wayang Godhong, which is not tied to the Wayang Purwa standards. This sketch is carried out through various line-by-line stages using a pencil until the perfect idea is determined and thickened using a marker. Agarwal (2012) stated that illustrations enable people to solve their problems using imaginative and artistic ideas. The design of Wayang Godhong’s body appears to be the form of fire and smoke, which symbolizes the shape of the tobacco leaves that dried up due to the sun’s scorching heat. Figure 6 is more dy- namic and tends to be a form of reliance on nature. As a principle, the Wayang Godhong sketch has a leaf base that communicates something in a performance topic. The creation of Wayang Godhong is a form of creativity of researchers by combi- ning the form of Gunungan Wayang Purwa, with the shape of tobacco leaves (see figu- re 6). This is reinforced by Pratama (2015), who states that the creation of wayang is based on creative inspiration from other previously existing puppets with several adjustments to the form to follow develop- ments and existing knowledge in society. Harmonia: Journal of Arts Research and Education 22 (1) (2022): 62-7770 Figure 6. Sketch of Gunungan in Wayang Godhong (Source: Authors) Development The activities done in the develop- ment stage were to develop the design into the natural form of Gunungan Wa- yang Godhong with carving, coloring, and smoothing methods to make Wayang God- hong look more attractive and realistic. The process and steps of using wood as a medium are similar to the Wayang Kulit or Wayang Purwa coloring processes. Several instruments are needed to optimize the sketch representation in transferring sket- ches to wood. A pencil and an eraser are required to layout the design lines before engraving to produce a Wayang Godhong gunungan with an average length of 90 cm and a width of 60 cm. The nail chisel is another piece of equipment used in the design stage. It is used as a carving tool or ornament, gene- rally in the form of a curve, circle, concave or convex. This chisel is included as a staple tool used in carving, with the dimensions ranging from 1.5 mm to 360 mm, while the length varies from 1600 mm to 2600 mm. In addition, this chisel is also used to carve straight, triangular, zigzag, or rectangu- lar ornaments and acts as bases used with silencers. In addition to using this tool to create ornament lines, a hammer or ganden Fire Effect is also needed to hit the chisel to empha- size and develop carvings on the wood’s body (Gunawan, 2013). After the carving process, a palm fiber brush is used to clean up the dregs or detail between wood car- vings. Other tools used in the engraving process include a carving table, a small diameter machine drill, clamps, jigsaws, etc. These tools are also utilized incidental- ly when the craftsman has difficulty in the engraving process. Based on the interview with Ki Eko Sunyoto Mulyowarjoyo stated that it does not have a standard size as it can be smaller or bigger. After the sketching process, the craftsman thickens the chisel and carving lines, which is carried out using shoe polish to obtain a sharp and shiny color. In woo- den structures, shoe polish provides bold and strong colors to make the lines glossy. Its use is optimal for cleaning the wood en- graving media with the thickening step by gently rubbing the surface and then drying it in the sun to ensure the line made with the shoe polish dries completely. Meanwhile, the staining of wood me- dia is carried out using acrylic paint, which provides perfect coloring. Apart from being considered water resistance paint, it also has strong adhesion. Acrylic paint adheres perfectly and does not leave any cavities, preventing insects and fungi from getting into the gaps that could potentially damage the puppet foundations. Crafters also only need a short time to dry the re- sults obtained by coloring using acrylic, in contrast to some other paints, which take more than 12 to 24 hours (Gumulya, 2018). In addition, the use of acrylic gives a more dynamic touch to work by showing each brushstroke. Finally, the results of the puppet coloring are coated with a special varnish for acrylic paints, such as water- color, to give an intense color effect (see figure 7). Agus Purwantoro, et al., The Development of the Indonesian Culture Gunungan Design 71 Figure 6. Sketch of Gunungan in Wayang Godhong (Source: Authors) Development The activities done in the develop- ment stage were to develop the design into the natural form of Gunungan Wa- yang Godhong with carving, coloring, and smoothing methods to make Wayang God- hong look more attractive and realistic. The process and steps of using wood as a medium are similar to the Wayang Kulit or Wayang Purwa coloring processes. Several instruments are needed to optimize the sketch representation in transferring sket- ches to wood. A pencil and an eraser are required to layout the design lines before engraving to produce a Wayang Godhong gunungan with an average length of 90 cm and a width of 60 cm. The nail chisel is another piece of equipment used in the design stage. It is used as a carving tool or ornament, gene- rally in the form of a curve, circle, concave or convex. This chisel is included as a staple tool used in carving, with the dimensions ranging from 1.5 mm to 360 mm, while the length varies from 1600 mm to 2600 mm. In addition, this chisel is also used to carve straight, triangular, zigzag, or rectangu- lar ornaments and acts as bases used with silencers. In addition to using this tool to create ornament lines, a hammer or ganden Fire EffectFigure 7. The design of the Wayang Godhong Gunungan from various image perspectives (Source: Authors) Before reaching the finishing stage, the surface of the wayang is coated with acrylic paint and then compiled with co- loring using watercolors. It aims to pro- vide a more glossy color. To make a more realistic wayang texture, craftsmen use the impasto technique with acrylic and water- color to make it look shinier. Furthermore, sands are added by smoothing a little on the painted wood surface. According to Arsana (2013), this is a painting technique with paint media sc- ratched and coated with a sufficient thick- ness, thereby making the direction of the scratches visible. In this context, the im- pasto technique places a thicker stain that enables the craftsmen to sand it, making it smoother and creating a more realistic im- pression. It is carried out repeatedly until an ideal shape is obtained and the surface of the wayang looks more attractive and na- tural. Generally, the structure of Gunungan Wayang Purwa, has several standards such as Lutung, or evil spirit with a high level of black magic similar to fire), squirrel, leaf- worm, tree branch, a blooming flower, va- rious types of birds, snakes, bulls, tigers, makara/winged bledegan (two giants with broad-mouthed and winged eagles), clo- sed-door gates, etc (Irawan, 2015). Howe- ver, the Wayang Godhong developed in this study has different characteristics from those in Purwa. Figure 8. Gunungan in Wayang Godhong (Source: Authors) The development of Wayang Godhong’s character designs is unique compared to Wayang Purwa. The motif de- picted on the body of the gunungan in Wa- yang Godhong is a symbol of ‘no smoking’ (see figure 8). This is inspired by the con- textual scope and smoking prohibition in certain areas. The godhong (leaf) character is the peasants and landlords, represen- ting a social relationship full of life values and moral messages. More specifically, the structure of Gunungan in Wayang Godhong is similar to Wayang Purwa. However, the texture and medium used are tobacco lea- ves. Interestingly, the motifs and designs developed in the body of the gunungan are different from the standards set in Wayang Purwa. Implementation In this stage, implementation rese- arch is applied to wayang performances to determine the effectiveness and attractive- ness of using Wayang Godhong. Implemen- tation is also applied to the community to determine how far the community accepts Wayang Godhong if implemented in wayang performances in general. This research is a development of the previous works of Wayang Godhong. If in previous studies, Wayang Godhong performances still used creations using natural leaves, then for Harmonia: Journal of Arts Research and Education 22 (1) (2022): 62-7772 research, Wayang Godhongs were not only made from leaves but developed using wood. Wayang Godhong has existed for a long time. Wayang Godhong is a contem- porary wayang made from teak godhong (leaves), cloves, coffee, tobacco, and other types of leaves. Gus Pur’s idea is a form of social criticism of social issues, mainly social, cultural, and nature issues. Gus Pur uses his wayang performances as a medium for transforming education to love culture and nature for the younger generation. In figure 9, one of Gus Pur’s godhong puppet shows entitled “Ijo Royo-Royo” which was held on December 8, 2017 at the Solo Technopark Incubator Building. Figure 9. Wayang Godhong Performance en- titled “Ijo Royo-Royo” at the Solo Technopark Incubator Building on December 8, 2017 (Source: Authors) Students, academics, and policyma- kers saw the performance above. The pri- mary purpose of this puppet show is to invite students and policymakers to pre- serve plants, specially protected plants, from illegal logging activities. In essence, all farming activities will lead to utilization for future generations. Gus Pur as the cre- ator of this wayang is determined to awa- ken people to respect nature. Gus Pur who spoke through Wayang Godhong tried to raise the issue of environmental problems, especially illegal logging. People in Indo- nesia often do this problem, as happened in Aceh and Kalimantan (Kalimantan). This area is the lungs of the world, where forest fires often occur due to human acti- vities that cause damage to the earth. When the Wayang Godhong perfor- mance “Ijo Royo-Royo” was held, students and policy makers felt strange and foreign because the Wayang Godhong performance was constantly changing from a techni- cal point of view. However, on the other hand, the audience is pleased and satisfied because the show is an innovation in the arts. Figure 10. A performance of Wayang Godhong entitled “Tirta Amarta”, held on June 1, 2022 (Source: Authors) In figure 10, The Wayang Godhong “Tirta Amarta” performance was held in Ngapus Village, Salaman District, Mage- lang Regency, Central Java Province, In- donesia, with the young generation’s pri- mary target. “Tirta Amarta” is taken from the Javanese language, which means water of life. The Wayang Godhong show “Tirta Amarta” adopts a story from Dewa Ruci (a dwarf (mini) God who was met by Bima or Werkudara on a journey in search of the liquid of life), which is correlated with the issue of scarcity of clean water at this time. For two hours and 30 minutes, the audi- ence was presented with stories about the importance of water treatises in human life. Gus Pur, as the mastermind of the Wayang Godhong show, tries to educate the audience regarding nature conservation, especially clean water sources, which are currently increasingly scarce. On the same occasion, Gus Pur invited the community to reforestation, urged people not to do illegal logging, and use leaves as plants rich in benefits. To emphasize the story, Gus Pur uses the original Wayang Godhong from the banyan tree next to the wooden Wayang Godhong. The Wayang Godhong show “Tirta Agus Purwantoro, et al., The Development of the Indonesian Culture Gunungan Design 73 Amarta” gives a positive impression to the audience. The younger generation who watched the show stated that they were happy and raised awareness in themsel- ves to preserve the plants so that the wa- ter source is maintained. In addition, they realize that the philosophy of human life is like a falling leaf. It begins with lush green leaves and ends with dry leaves that fall to the ground, just as human life begins with birth and ends with death. Figure 11. Wayang Godhong “Smoking Violat- ed” performance, held on June 1, 2022 (Source: Authors) In figure 11, the Wayang Godhong “Smoking Violated” performance was held in Ngapus Village, Magelang Regen- cy, Central Java, Indonesia. The target au- dience for the “Smoking Violated” Wayang Godhong performances are youths and social activists. The Wayang Godhong per- formance, “Smoking Violated” was car- ried out in the context of the declaration of Ngapus Village as Pancasila Village. The show tells about the problem of smoking in public places, which is still a scourge in society. Based on that problem, Gus Pur, as the puppeteer, is concerned about the In- donesian people who are reluctant to obey government regulations not to smoke in public places. Therefore, Gus Pur critici- zes people for stopping smoking in pub- lic places in his play. In addition, smoking is harmful to health; the smoke generated from smoking activities also causes air pol- lution. The local community well received the show. They were happy because the- re was a puppet show that was not boring and could educate the public to be more concerned with health and the surroun- ding environment. Evaluation The first evaluation was conducted to know Wayang Godhong influence on wa- yang performance itself. Meanwhile, the second evaluation was conducted to deter- mine the public’s response to the Wayang Godhong performance “Smoking Violated” and its influence on daily life. The puppet show is one of Indonesia’s traditional art performances in various forms and func- tions that have been developing for a long time. Puppet shows have a tremendous appeal in their presentation for both sup- porters and audiences. By traversing a long historical experience, wayang is not only a beautiful art but full of life teachings that are beneficial to society. To increase the existence of wayang performances, the way to do this is to cre- ate an innovation in wayang performan- ces. These innovations are in the form of discovery in ideas, shapes, materials, and the core story of wayang performances, as found in Wayang Godhong. The Wayang Godhong “Smoking Violated” performance by Gus Pur aims to educate the people of Magelang about the love for culture, natu- re, and health promotion to increase kno- wledge and public awareness so they are not smoking in public places. The novelty of Wayang Godhong is expected to be used for wayang perfor- mances, which aim to make the audience more enthusiastic and curious about the characters of this puppet show. The title “Smoking Violated” conveys a message of social criticism against the prohibition of smoking in public places, which is conti- nuously violated by the community. Wa- yang Godhong’s design development inno- vation is not only from the physical form of the puppet, instead, it also includes con- tent on issues and topics that attract the audience’s attention. The evaluation results show that the Wayang Godhong performance is beneficial for the community, both in cultural preser- vation and education. Furthermore, Hu- tahaean et al. (2020) state that wayang art Harmonia: Journal of Arts Research and Education 22 (1) (2022): 62-7774 performances can be psychosocial-educa- tional media to convey proper life values. CONCLUSION In conclusion, the design of gunun- gan Wayang Godhong “Smoking Violated” develops the design of gunungan Wayang Purwa as a form of renewal in the media for wayang performances. The difference between the gunungan wayang kulit Purwa and the gunungan Wayang Godhong “Smo- king Violated” lies in the materials, sha- pes, and stories behind the gunungan wa- yang itself. Suppose wayang kulit Purwa is made of buffalo skin which is inlaid and colored according to the rules of puppetry. In that case, the Wayang Godhong made of leaves, such as tobacco, coffee, etc. Especi- ally, Wayang Godhong “Smoking Violated” is made of wood that adopts the structure and shape of tobacco leaves. The story of the wayang kulit Purwa usually comes from the Ramayana or Mahabharata, but the Wayang Godhong shows more about social, cultural, and natural issues that exist in so- ciety. However, the structure of Gunungan and coloring process in Wayang Godhong is similar to Wayang Purwa. Wayang God- hong was created as an innovation in the creation of wayang art. Its design adopts the structures and shape of tobacco leaves. Despite this leaf, the message “Smoking Violated” is social criticism to the public of the prohibition on smoking in public pla- ces. The Wayang Godhong “Smoking Viola- ted” performance shows that it has recei- ved a positive response from the public to increase public knowledge and awareness, closely related to the prohibition of smo- king in public places. 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