418 Luwes and Philosophical: Dewaruci Puppet Performance in Suryomentaram’s Kasampurnan Concept Dhoni Zustiyantoro, Agus Nuryatin, Teguh Supriyanto, Mukh Doyin Universitas Negeri Semarang, Indonesia Submitted: 2022-09-26. Revised: 2022-10-22. Accepted: 2022-12-06 Abstract This study explores the performance of Ki Manteb Soedarsono’s Dewaruci and Bima charac- ters in it. As a carangan play (contemporary), Dewaruci is the most popular play. The purpose of this study is to describe the elements of Dewaruci puppet performance and how the concept of kasampurnan in Javanese cultural psychology was initiated by Suryomentaram (1892-1962). This is qualitative research with a psychological approach using the method of reading, taking notes, and studying literature. The data in a form of performances and texts were collected from Dewaruci scripts and puppet videos on Kanal Seni Gelar YouTube channel. We combine De- waruci script with the puppeteer Ki Manteb and other sources, in addition, to conduct a critical analysis to identify kasampurnan life concept that Bima does in this play from Suryomentaram’s perspective. The result of the study shows that the Dewaruci puppet show by Ki Manteb has the advantage of being flexible and able to adapt to the context and needs of the audience. The concept of kasampurnan in Dewaruci as a representation of Javanese culture can be explained from the perspective of Suryomentaram indigenous psychology. This finding contradicts previ- ous psychological analyses in literature and art. Previous psychology research used the theory of Sigmund Freud, C. G. Jung, and Alfred Adler. However, we argue that the theory cannot always explain the cultural context because of cultural differences between theory and objects. Therefore, this research is relevant in the spirit of science decolonization to see humans in Javanese culture according to their context and culture. Keywords: Suryomentaram psychology, indigenous psychology, science decolonization How to Cite: Zustiyantoro, D., Nuryatin, A., Supriyanto, T., & Doyin, M. (2022). Luwes and Philosophical: Dewaruci Puppet Performance in Suryomentaram’s Kasampurnan Concept. Harmonia: Journal of Arts Research and Education, 22(2), 418-433 Harmonia: Journal of Arts Research and Education 22 (2) (2022), 418-433 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v22i2.39209 theory, A. Adler’s personality theory, and C.G. Jung’s analytical psychology theory (Damajanti, 2013). However, these theo- ries often become a barrier in understan- ding art and literature as a whole because the justification for the universality of the theory is problematic (Zustiyantoro et al., 2022). A perspective of indigenous psycho- logy is needed to explain the uniqueness of local cultural psychology (Guimarães, 2020). Furthermore, this perspective is also INTRODUCTION Art, like literature, can be analyzed to find a psychological picture of local cul- tural society using psychological theory (Minderop, 2018; Wiyatmi, 2011), becau- se both are closely related to psychology (Darma, 2019). Because it uses multidiscip- linary studies, Javanese art and literature use pure psychological theory in research, namely Sigmund Freud’s psychoanalytic Corresponding author: E-mail: agusnuryatin@mail.unnes.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Dhoni Zustiyantoro et al., Luwes and Philosophical: Dewaruci Puppet Performance 419 encouraged to be used more and more to break free from restraint and colonization in science (Budiman, 2021; Ciofalo, 2019; Siregar, 2022). On the other hand, shadow puppet learning (performance or knowledge of its literary text) can be an effort to maintain the Javanese language (Zustiyantoro et al., 2020). There is a fear of losing the correct use of the Javanese language in Javanese society. For Javanese people, the Javanese language is very important in the formati- on of their identity (Errington, 1998; Mar- tin-Anatias, 2019). The response of millen- nial and Z generations, the next generation of language speakers, is worrying because they prefer using Indonesian or English. Despite having 80 million speakers, this language is vulnerable to extinction. In fact, this extinction has been predicted sin- ce 1998 (Putri, 2018). If there is no syste- matic effort, it is feared that extinction will actually occur. In shadow puppet, the show is di- vided into three pathet: pathet nem, pathet sanga, and pathet manyura. In addition to being the order and structure of puppet performances, pathet is a reference space for sound in Pakekiran karawitan (Wikanda- ru et al., 2018). Philosophically, pathet sym- bolizes the cycle of human life from birth to death. This division usually includes puppet shows which are held in a dense manner, or the duration is shortened. Who- le puppet shows take 6-8 hours, usually presented at night, but solid puppets are very flexible according to the audience’s needs. The shortened puppet requires the puppet to present only the story’s main problems (Widyastutieningrum, 2018). The short version of puppet also allows for a lot of innovation and modification of plays and story scripts using language that can be better understood by the younger generation, avoiding the use of the old Ja- vanese language as it is often used in long- duration puppet performances. Because of its flexibility, a solid puppet is often used as a learning medium in schools. Javanese people also associate puppet shows with Wali Sanga civilization to link Islamic and Javanese culture, inclu- ding using puppets for the propagation of Islam (Byard-Jones, 2008). The functions of puppet shows are very diverse for Java- nese society, such as education, aesthetic appreciation, entertainment, social integri- ty, economic activity, and symbols full of meaning. These functions make shadow puppets able to survive. This spirit of pre- servation requires the cooperation of many parties: the younger generation, society, and the government (Hartono et al., 2022). Research on Javanese art focuses on intrinsic or behavioristic analysis and does not yet have a critical perspective. This is because literature and art, inclu- ding language in Indonesia, were strictly regulated by the government during the New Order era and became tools of the regime’s political propaganda (Herlam- bang, 2013; Aris Setiawan, 2021). Research on art also stagnated because, like so- cial science in general in Indonesia at the same time, it was controlled and directed to limit criticism (Hadiz, 2005). Coloniali- zation in science also exists in the softest form, which is Western-style thinking and the continuous use of Western theory and methodology because it is considered the most scientific (Nandy, 2009; Said, 1994). Colonialism saw Javanese people as tame prey and then made various cultural ma- nipulation (Florida, 1997). As a result of this inequality, Western models and stan- dards are universally used in the world of science, education, art, and others, while local knowledge is marginalized or exotic. Even local traditions cannot be separated from colonial influence; the level of langu- age (ngoko-krama) in Javanese was develo- ped as a reaction to colonial rule (Bandel, 2013). For this reason, a local perspective is needed to see the context and prob- lems (Ciofalo, 2019; Siregar, 2022). Thus, our research on indigenous psychology is an effort to decolonize science. However, this does not exclude Western contributi- on to the humanities science in Indonesia (Suyanto, 2010). In Indonesia, academics from various higher institutions attempted a systematic academic effort, who held Harmonia: Journal of Arts Research and Education 22 (2) (2022): 418-433420 discussions and eventually published the book Menggagas Metodologi Jawa (2021). In principle, they agreed to push for theore- tical and methodological advances from Javanese thought. This decolonization ef- fort stems from the anxiety of academics when conducting research using Western theories and methods in which the result is shallow and unsatisfactory (Sayuti et al., 2021). The researcher found that research on literature and art with psychological theory has been carried out with a tenden- cy to describe its intrinsic elements merely. In this context, art and literature are mere- ly material objects seen from the perspecti- ve of Western theory. In a sense, they just looked for a match regarding the elements of the id, ego, and superego without exp- laining the context in the local culture. As a result, the research result cannot explain the cultural context in which the work was created. Even in research on Javanese art, research with an indigenous psychology perspective has not received good attenti- on. As done by several art researchers in Indonesia (Aragon, 2012; Hidayatullah et al., 2022), research on indigenous know- ledge in the art context becomes a unit in encouraging a variety of theoretical dis- courses originating from local knowledge. For this reason, further research is needed to explore and promote local knowledge from Indonesia and provide critical awa- reness in the context of science decoloni- zation. Born on May 20, 1892, in Yogyakar- ta Palace, Suryomentaram was a hero of Republic of Indonesia’s independence who staunchly fought against the Dutch colonial government. His point of view on breaking the entanglement of the cycle of fearing the future and regretting the past and getting the final result of the intersec- tion between happy and unhappy feelings, one must act based on the six sa princip- les. The principle is sabutuhe, saperlune, sauntunge, sabenere, samesthine, sapenake (as needed, as necessary, as profitable, as ac- tual, as it is and as appropriate) (Fikriono, 2018; Gularso et al., 2019; Suryomentaram, 1985a, 1985b). The result of the literature review shows that Suryomentaram’s psychology has not been used seriously as a theory in research on Javanese art and literary texts because, as mentioned earlier, all related studies use theories from Western thin- kers (Zustiyantoro et al., 2022). Ki Ageng Suryomentaraman’s article, Javanese Prin- ce and Philosopher (1892-1962) (Bonneff, 1993) describes Suryomentaram’s legacy who wants to educate people to under- stand that life is a movement forward to become a new human being, manungsa tan- pa tenger (a human without characteristics), not easy to master temptations offered by the materialistic modern civilization. Ho- wever, Bonneff is limited to elaborating Suryomentaram’s main ideas, so they have not been implemented into the study. For this reason, the main psychological ideas developed by Suryomentaram need to be applied to the material objects of research. This application proves universality as well as tests Suryomentaram’s psycholo- gical theory. The Indigenous Psychology Asian Perspective article (Ho, 1998) states that in order to understand psychological phenomena in a certain society, it is neces- sary to use an indigenous psychology ap- proach that originates from the local cul- ture. This approach is a scientific study of human behavior and mental processes that are indigenous in nature, not taken from other areas, and intended for the people who are the subject of the research. Ki Ageng Suryomentaram’s Philoso- phical Views and Its Relevance for Post- modernity article (Salamah, 2016) presents the results of Suryomentaram’s philoso- phical views leading to an accommodative rationality attitude that puts forward the sense of social life in achieving truth and happiness. Suryomentaram’s philosophi- cal views related to Javanese psychology are relevant to be applied in the postmo- dern context because they have the prin- ciple of liberating and not restricting every individual. Suryomentaram’s thinking is relevant for viewing psychological condi- tions in social culture, even in a postmo- Dhoni Zustiyantoro et al., Luwes and Philosophical: Dewaruci Puppet Performance 421 dern context, which has the characteristics of non-authoritarianism, egalitarianism, and universalism (Yosimichi, 2001). This study describes how Ki Manteb Soedarsono’s Dewaruci puppet show can be a relevant model in responding to the wishes of modern audiences, in addition to questioning psychological studies through Suryomentaram’s view that it can be an alternative to psychological studies in art and literature. This has never been done because previous studies related to puppet characters in a psychological context are identifying the self-identity of fans (Han- doko & Subandi, 2017), reviewing healthy personality aspects (H. Setiawan, 2015), or linking them with social functions for Javanese society (Ras, 2007; Storey, 1993). Through this research, it can be clearly un- derstood between Javanese literature and art and the psychology of its people. Thus, Javanese literature and art are not only en- tertainment but also describe the psycho- logical and philosophical conditions of the Javanese people. METHOD This research method is qualitati- ve. The primary data was obtained from a video of Dewaruci solid leather puppet show performed by puppeteer Ki Manteb Soedarsono uploaded on Kanal Seni Ge- lar Youtube channel. Primary data is in the form of words, phrases, sentences, or scenes in the object. Secondary data is in the form of books and articles related to Suryomentaram’s psychological perspec- tive. The method used is reading, obser- ving, taking notes, and studying literature. The researcher also collected texts related to Suryomentaram’s psychology, then ve- rified each other and checked the results from the data obtained. For the validity and credibility of the data obtained, rese- archers intensify their position in reading and discussing with experts continuous- ly to check its validity first (Muhammad, 2014). This research is divided into three stages of analysis, namely (1) Analyzing aspects of Dewaruci show and formulating them in a flexible conception; (2) analy- zing the psychology of the Dewaruci leat- her puppet show using Suryomentaram’s psychological perspective, (3) elaborating Suryomentaram’s psychological princip- les so that it becomes justifications in de- termining its universality as a theory for studying Javanese literature and art, and (4) providing context for the importance of decolonization in research related to lan- guage and culture in Indonesia. The data that has been obtained is classified according to the findings. This allows researchers to find more detail about the psychological issues in the two material objects studied. Creative elabora- tion is part of ethnomethodology to ans- wer this research question (Emirbayer & Maynard, 2011). After presenting the data, analyzing, and classifying it, the next step is introspection (Francis & Hester, 2012). Introspection not only presents what is known by the researcher but also provides an overview of the progress of indigenous characteristics. All locality forms always appear as unique and particular manifes- tations, an advantage lost when described in general terms or put into theoretical- ly predetermined categories (Bergmann, 2017). To establish updates and map out the position of this research, the researcher has conducted several literature reviews and ensured that the material object of the research has never been studied using Suryomentaram’s psychological theory. Data in the form of dialog texts in shadow puppet shows have gone through rigorous testing and procedures for classification, analysis, explanation, and ultimately justi- fication to determine the importance of in- digenous psychology studies in the context of the science decolonization in Indonesia. RESULT AND DISCUSSION Dewaruci play tells the story of Bima, thirsty for self-knowledge (Soedarsono, 2014). He feels that this life is always filled with a sense of unhappiness. Prabu Pandu, his father, has died with Madrim. Misery became daily food with his four brothers, Harmonia: Journal of Arts Research and Education 22 (2) (2022): 418-433422 Yudistira, Arjuna, Nakula, and Sadewa. He asked his teacher, Drona, “What is hap- piness and perfection?” when many things that happened in the world showed in- justice. He also concluded that because of this injustice, God was unfair. To answer the anxiety, Drona ordered Bima to go to Mount Candramuka to look for Tirta Per- witasari. However, he was stopped by two giant Batara Indra and Bayu incarnations. The war is over, and the two giants have returned to their form. Bima failed to get kawruh kasampurnan Drona also suggested him go to Samudra Minangkalbu looking for Tirta Perwitasari. After going through many tough challenges, Bima meets Dewa- ruci. This meeting made Bima understand that happiness and perfection principally arise from within oneself. Humans place feelings in the right proportions so that it brings up an identity of independence. He is no longer bound by desire because the happy dimension has been obtained. Ho- liness is a belief that humans can consider what is appropriate and what is not to be carried out. In shadow puppet shows, Dewaruci which the puppeteer performs, often re- fers to several texts. However, in general, based on the readings we did, all of these play scripts have something in common. Philosophically, the Javanese people desi- re a figure like Bima who is independent, peaceful physically and mentally, a social being, takes care of his family and obeys his teacher (Udasmoro, 2012). The warrior figure in the puppet is an ideal image for Javanese society, although it is paradoxical in several ways, both internally (semiotic meaning) and in the image that appears from the form of the puppet itself (Subiy- antoro et al., 2020). Table 1 shows some of the Dewaruci manuscripts that become the source of reference for the puppet show. Dewaruci Performances The shadow puppet performance in- volves 30 people consisting of one puppe- teer and 20 gamelan musicians, and the rest are waranggana (female vocalists) and wiraswara (male vocalists). This number can be flexible and depends on needs. In contemporary art, the puppet can even be played by only five people, using a blend of traditional Javanese and diatonic mu- sical accompaniment. Even though it is played in a concise format, Ki Manteb Soe- darsono presents Dewaruci in a format that still refers to the standard of puppet- ry. This standard includes the use of pat- het distribution with an orderly plot to support the flow of the drama so that the audience does not get bored. In the context of performance, this is referred to as the concept of flexibility. Flexibility in the Ba- usastra definition (Poerwadar Minta, 1939) is “Ora wagu, ora gampangan, kena ditinda- kake sasenenge”, not messy, not reckless, can be done at will. This understanding tends to have a negative connotation and Table 1. The Dewaruci script which becomes a source of reference in various purwa shadow puppet shows Script Title Author Publisher/ Year Description Serat Dewaruci Anony-mous Tan Khoen Swie, no dated This script contains macapat dhandhanggula, pangkur, Sinom, durma, and added by werdi Dewaruci Scene Sumanto ASKI Surakarta, 1983 This script is the text of the Chess course in ASKI Surakarta Lampahan Dewa- ruci - - Purwa play puppet script Pakem Caking Pakeliran Lampa- han Dewaruci Nyawi- rangka - Purwa play puppet script Serat Pedhalan- gan Lampahan Dewaruci Soedarko 1991 Contains scripts of puppetry and gending Dhoni Zustiyantoro et al., Luwes and Philosophical: Dewaruci Puppet Performance 423 is oriented toward the female body. That is because luwes often becomes a unit in the phrase gandes luwes, which is associated with beautiful movements and captivates a woman’s heart. The meaning of luwes in the context of art is a character that is inte- resting and flexible in adapting to certain audiences and contexts. If it is associated with puppet performances, then flexibility can mean that it is easy to adapt to context and needs, appropriate, and interesting to watch (Sudarsono, 2007). Figure 1. Ki Manteb Soedarsono playing shadow puppet at UNNES Anniversary, 2012. (Document by Dhoni Zustiyantoro). Luwes makes Ki Manteb’s Dewaruci standard not to be strictly implemented in scenes and gending. For example, in the first part of the puppet scene, after gending patalon (opening), Ki Manteb immediately opens the scene of Bima, who is worried because life is unfair because he has to live the same fate as Pandu, his father. In puppet performance in classical style, the scene is opened with a scene of jejer kedhaton which describes the conditi- on of a country. Jejer means a row, name- ly a row of puppet characters in a certain position. This scene is the beginning of the introduction of the context and conflict of the story that will take place. Musical ac- companiment in classical style is also va- ried, including the Amarta gending Kawit slendro pathet nem or Manik Maninten pelog lima; for jejer Astina gending Kabor slendro nem or Logondhang pelog lima; jejer Dwara- wati gending Karawitan slendro nem. Surakarta-style pakeliran, as imple- mented by Ki Manteb in Dewaruci, is lu- wes. That is, being able to adapt to the circumstances of his time. The flexibility referred to is not only in the content or message conveyed by the puppeteer but also in the form and container (Sudarsono, 2007). Ki Manteb in Dewaruci has innova- ted in the form of presentation packaging, following his competence, so that he ap- pears to work on a luwes pakeliran presen- tation as an adaptation to the different au- dience (Figure 1). The transition from pathet nem to pat- het sanga was made dynamic and flexible. After receiving advice from his grandfat- her, Bathara Indra, pathet changed from nem to sanga. The transition was imme- diately made from Srepeg Nem to Srepeg Sanga, Mataram style (See Figure 2). Figure 2. Notation of Srepeg Nem to Srepeg Sanga Meanwhile, in the classical sty- le puppet, pathet sanga begins with the puppeteer’s sulukan, which describes a cal- ming midnight condition. The description of the puppeteer is also a pause after the plot of the drama continues to rise since the scenes of budhalan and war fail. This sulukan is accompanied by gamelan in the form of fiddle, gender, gambang, and flute. The sulukan text of the puppeteer is as fol- lows. Sangsaya dalu araras abyor kang lintang kumedhap titi Sunya tengah wengi lumrang gandaning puspita karengyaning pudyanira sang dwijawara mbrengengeng lir swaraning madu branta manungsung sarining kembang. Keluwesan can also be seen in the tran- sition from pathet sanga to pathet manyura. After Bima finished fighting with Anoman, his brother who intended to test Bima’s Harmonia: Journal of Arts Research and Education 22 (2) (2022): 418-433424 determination, he immediately continued his journey to find Tirta Perwitasari. The transition from pathet sanga to manyura is here, starting with the puppeteer’s ada-ada describing Bima’s steadfastness in facing danger. Figure 3. Ada-ada in pathet manyura The structure of wayang Dewaru- ci refers to the division of three pathets in a classic performance for one night but adapted to the short duration of the per- formance. This makes Dewaruci flexible in performance. The performance begins with an introduction to music, followed by a brief ayak-ayak patalon that combines pelog and slendro laras (scale)—an unusual thing in classical wayang performances. This, once again, gives the impression of flexibi- lity and dynamic. After that, in Dewaruci’s performance structure, the scenes and pie- ces are divided into three pathets, as descri- bed in Table 1. The Dewaruci puppet show also emphasizes visual aspects that attract the audience. Using the well-known sabet technique, Ki Manteb presents an enchan- ting sabet throughout the show. So far, Ki Manteb has been seen as the antithesis of the puppeteer Ki Anom Suroto, who pri- oritizes sound. In the hands of Ki Manteb, puppet seems to “have a soul” (A Setia- wan, 2021). Figure 4. Bima fights against an annoying gi- ant when he is looking for kayu gung susuhing angin. Dewaruci’s visual aspects, especi- ally in the war scenes, are not made pro- minent or exaggerated. Puppet is a black- and-white depiction of life, where every war means a war between good and evil. There are no harsh words or saru (indecent words) as part of the entertainment, as is popular with today’s puppet audiences. This is understandable because Dewaruci Table 2. Pathet distribution in Dewaruci Pathet Scene Gending Pathet Nem Bima has a dialogue with Drona, asking for directions in seeking kasampurnan knowl- edge; Bima looks for kayu gung susuhing angin Drona advises Sengkuni The war fails Drona was advised by oleh Bathara Indra Tembang Megatruh, Slendro Manyura Srepeg, Slendro Nem Sampak, Slendro Nem Kandhang Bubrah, Slendro Many- ura Tropong Bang, Pelog Lima Pathet Sanga Gara-gara Bima looks for tirta perwitasari Bima’s war with Anoman Tembang Pocung, Slendro Sanga Payung Agung, Slendro Sanga Srepeg, Slendro Sanga Sampak, Slendro Sanga Pathet Manyura Bima looks for tirta perwitasari Bima meets Dewaruci Anoman’s war with Kartamarma Bima sungkem to Drona Srepeg, Slendro Manyura Sampak, Slendro Manyura Dhoni Zustiyantoro et al., Luwes and Philosophical: Dewaruci Puppet Performance 425 has been carefully prepared for learning for the younger generation. Furthermore, it can be used to teach puppets in schools because of its short duration. Meanwhile, in today’s full-length puppet, guyon saru is common in all scenes, not especially the limbuhan and gara-gara. Guyon saru are nee- ded to maintain economic, social, symbo- lic, and cultural capital and adjust the au- dience (Himawan, 2019). In the end, Dewaruci’s flexibility ful- filled the elements of creating dense pake- liran, tanduk, and tutug (Senawangi, 1983). Tanduk means that the puppeteer must be clever and skilled in pronouncing janturan, pocapan, and ginem, so that it feels good to be heard and easily understood by the au- dience. In Kamus Bausastra, tanduk means “Pratingkah, patrap kanggone tumandang; so- lah bawa sing dicakke; cara utawa patrap sing becik”, behavior, acting, deeds done, ways or good behavior (Poerwadarminta, 1939). Thus, tanduk means that Dewaruci has been adapted to the audience in puppet. The narration no longer uses archaic and diffi- cult word choices in terms of the language used. Even if necessary, use Indonesian - a language that is now more often used by Javanese people, especially in urban areas. However, the essence of tanduk is that it is communicative according to the Javanese society’s situation and conditions and does not abandon the rules in the puppet world. Tutug is a story that is told sequen- tially and does not overlap. In Bausastra, tutug means “Dumugi tekan ing pungkasan; wis katok, wis marem”, until the end, it’s finished, satisfying. Dewaruci has been staged thoroughly and continuously, co- herently and with purpose. The delivered story is compact and concise, not long- winded, and full of entertaining elements. However, Dewaruci did not leave the es- sence of the puppet story. Kasampurnan in Dewaruci Bima’s life journey in the context of Nem-Sa psychology of raos (feel) is a ref- lection of the search for identity through a life lesson. Bima is a palace prince who has not found happiness. Drona as a teach- er, provides a way to interpret happiness. Bima is given two orders: to go to Mount Candramuka to look for Kayu Gung Susu- hing Angin and swim in the Minangkal- bu Ocean to look for Tirta Perwitasari. In order to feel happiness, one needs to feel sorrow or misery. Through this understan- ding, a paradigm emerges that life is so- metimes happy, and there are times when it feels difficult. Struggle, sacrifice, con- cern, and suffering are one form of feeling “hard.” The process of learning, asking questions, and facing obstacles is a way for humans to find a way through kandha- takon (talking-asking) and finally get jawah kawruh, a lot of knowledge (Wicaksono, 2016). From this, humans understand that failure will be a valuable experience that will eventually lead to self-improvement efforts. Bima’s strong determination to seek happiness manifests the attitude of nyawang karep (seeing desires) (Nurhadi & Swandayani, 2010). Figure 5. Bima Pup- pet character Figure 6. Dewaruci puppet character Bima’s meeting with Dewaruci is an aspect of pethukan which eventually gives rise to pangawikan pribadi (introspection). There is a field of meaning that needs to be interpreted in viewing the journey of life as happiness or distress. If someone is still bounded by lust (bab ungkul and raos dar- be), this makes that humans have not been separated from their emotional ties. He has not found his true identity; in other words, he has not become an independent human being. In the concept of kawruh Jiwa, it can be said that kawruh kasampurnan is when a human has reached the stage of being free (manungsa tanpa tenger) so that awareness of their human nature emerges. Harmonia: Journal of Arts Research and Education 22 (2) (2022): 418-433426 In Suryomentaram’s theoretical fra- mework (Rusdy, 2014; Sugiarto, 2015; Suryomentaram, 1985b, 1985a), kasampur- nan relation is represented in the concept of happiness in life. There are six concepts (Nem-Sa) to achieve a perfect life, as exp- lained in Table 3. Table 3. Suryomentaram’s Concept of Kaw- ruh Jiwa Nem-Sa. Suryomenta- ram’s Kawruh Jiwa Definition Indicator Sacukupe Feeling enough with what you have, not ambi- tious and chas- ing the world Feeling happy in his life only from what he has now and at the moment. Sabutuhe Oriented only to what is needed, not greedy and selfish. Owning things or achieving things is only based on need, not greed and ambition. Saperlune Limit yourself to what you need, not what you want. Been achieved or owned. Able to be happy with what has been achieved or owned. Sapenake Make yourself comfortable by minimiz- ing desires and ambitions. Able to be happy by minimizing the desire to have (raos darbe) for goods or things that bring unhap- piness. Sabenere Understanding what is right in Javanese culture’s social context, culture, and norms. Happy for acting cultur- ally correctly, not according to oneself or class. Samesthine Understanding what should be done so there is no wrong step. Happy because know what to do and don’t make mistakes Source: The Results of Literature Study Analysis. In the context of Javanese culture, the concept of perfection is unique. The most prominent characteristics are avoi- ding worldly traits and passions, not being oriented toward material possessions, and surrendering all incidents and events to God. Suryomentaram believes that the center of the true perfection of Javanese people’s life is centered on the passion for knowing and controlling desires (nyawang kekarepan) and not getting stuck in fulfil- ling them (Kholik & Himam, 2015). Howe- ver, for the Javanese, no creature is perfect. Because of that, the aspect that must be put forward is self-introspection (pangawikan pribadi), which will be a guideline for me- asuring one’s abilities and capacities in va- rious contexts and life situations (Pratisti & Prihartanti, 2012). This Dewaruci play puppet, apart from providing an analysis of the rela- tionship between kawruh kasampurnan and kawruh begja, there is also the concept of measurable behavior through Nem-Sa con- siderations. Sabutuhe The concept of sabutuhe from Bima’s point of view is to carry out Drona’s orders only to look for Kayu Gung Susuhing An- gin and Tirta Perwitasari. He has no hope of seeking happiness through power and wealth. This can be compared to the figure of Sengkuni who is so close to Duryodha- na. Bima’s death is a way for Sengkuni and Kurawa to gain the wealth of the Astina country. For Drona, Sengkuni cannot place olah rasa. As a result, his life goals imme- diately only think about the world. Rasa is a benchmark for someone to be sabutuhe or even dissolve in greed. Dalam perspektif Suryomentaram, ketamakan Sengkuni yang hanya memikir- kan semua hal di dunia berlawanan den- gan konsep pencarian kebahagiaan. Dalam kebudayaan Jawa, kebahagiaan bisa diraih dengan merasa cukup dengan apa yang su- dah dimiliki saat ini. Drona, dalam konsep Suryomentaram tentang sabutuhe, mengin- gatkan Sengkuni agar orang tidak tamak dan menuruti nafsu duniawi, tapi mulai Dhoni Zustiyantoro et al., Luwes and Philosophical: Dewaruci Puppet Performance 427 memikirkan persoalan rasa. Rasa dalam kebudayaan Jawa adalah lapisan terdalam yang dapat menjangkau dimensi keilahian (Stange, 2008). All his life Sengkuni only thought about worldliness and seeking wealth, never thinking about the issue of rasa which for the Javanese is an important aspect that must be put forward. For Java- nese society, the issue of rasa tends to be complicated and very personal (Zustiyan- toro, 2020). In Suryomentaram’s perspec- tive, Sengkuni’s greed, which only thinks about all things in the world, contradicts the concept of seeking happiness. In Java- nese culture, happiness can be achieved by feeling sufficient with what you currently have. Drona, in Suryomentaram’s concept of sabutuhe, reminded Sengkuni not to be greedy and indulge in worldly desires, but to start thinking about rasa. Rasa in Java- nese culture is the deepest layer that can reach the dimension of Godliness (Stange, 2008). Saperlune The sacukupe concept in Dewaruci play can be seen in Drona’s behavior. Re- gardless of the alibi of cunning nature or not, he has carried out Duryudana’s order to harm Bima. He ordered Bima to go up to Mount Candramuka and to Samudra Minangkalbu. However, he himself is not so sure whether the trip to the haunted mountain and the ocean within it will ac- tually kill Bima. For him, a person’s life or death depends on the power of the Crea- tor, not because of the imagination of ordi- nary people. This shows that Drona has saper- lune character or is just as necessary in living life. Drona wants Bima to pass va- rious tests of life by penetrating danger. The Javanese will quickly say that people with no experience with “Durung tau ng- lakoni kok” have never done/experienced it (a comment). Thus, experiencing by doing becomes one of the important star- ting points in practicing perfection. If you only understand concepts and have never practiced them, then a person is not said to be experienced and, thus, is considered durung Jawa (has not yet lived Javanese va- lues). The concept of saperlune can be exp- lained from Suryomentaram’s perspective, which means that humans only need to carry out what is their duty in the world. Other things beyond that, including the final results that will be obtained, are not within the authority of humans. This is in line with the Islamic view, which sta- tes that humans are only authorized to try, but God determines. However, in the same religious tradition, there are also ver- ses that state that God will not change the condition of people without real, hard ef- fort. Thus, saperlune, in Suryomentaram’s view, contains a reflective dimension that even though humans have tried their best to achieve goals, there are things that their power cannot reach. Saperlune will also prevent deep disappointment if later the goal has not been achieved. Sacukupe After sinking deep into the ocean and meeting Dewaruci, Bima was happy and reluctant to go home. According to him, the meeting with Dewaruci was fun, but Dewaruci explained that there were still other tasks that needed to be completed. As a knight, he must complete the obliga- tions he bears. Therefore, he cannot dissol- ve in happiness and must keep fighting. Dewaruci reminded Bima to solve other unresolved problems immediately. Dewaruci also reminded that what Bima is currently experiencing is only temporary. After this (life in the world), there will be a more lasting life that one will experience. Human life in this world is only tempora- ry. Eternity and peace will be determined by what is done in the world. Javanese cul- ture recognizes the expression “Urip mung mampir ngombe” (life only stops by for a drink). Because of that, it doesn’t take long for people who stop by to drink, just for a moment. In Suryomentaram’s perspective, the sacukupe principle makes people aware that they have enough in their daily lives to focus on goals, the future, and other im- portant things. Harmonia: Journal of Arts Research and Education 22 (2) (2022): 418-433428 Sabenere (acting right) Dewaruci’s story has a sabenere con- tent through the concept of the teacher- student relationship. Bima carried out Drona’s teacher’s orders, even for others, but still obeying the teacher was the right action. Likewise for Drona, even though he was ordered to kill Bima, he still did not have the heart to kill his protégé who was very devoted. He also explained that the meaning of happiness and distress in this life all depends on self-assessment. The scene above shows that Bima is trying to act rightly (sabenere) by fol- lowing the orders of Drona’s teacher. In Suryomentaram’s perspective, tumindak bener (acting right) means acting in line with values in Javanese culture and not going against the grain. Various norms, ethics, and principles are not to be viola- ted because Javanese society prioritizes harmony in their daily lives (Suseno, 2001; Widodo, 2017). Figure 7. Drona orders Bima to find out Kayu Gung Susuhing Angin in Mount Candramuka. Samesthine Seeking knowledge is an obligation that every individual should own. In this context, Bima embodies this norm or pau- geran through effort. Bima’s action reflects samesthine or necessity, which is the action that must be carried out because the action is necessary. The urgency of Kayu Gung Susuhing Angin is the answer from samest- hine, it is carried out for a life that has great intentions and is oriented towards a long- term vision for the search for perfection. The means is to look for the deepest soul of human beings so that humans can know their purpose (nyawang karep). Without this provision, humans will narrowly interpret the joys and sorrows of life. In Suryomentaram’s perspective, Bima and Drona’s dialogue conveys that a student must do what the teacher asks him to do. The order that has to be obli- ged is also the happiness itself because Bima interprets it as an order that must be carried out. Bima carried out the order without burden and doubt, so Dewaruci’s puppet illustrates the obedience of stu- dents to their teachers (Udasmoro, 2012). The samesthine’s attitude to obey is part of liberation because there is no need to build dissent and oppose the guru. The samest- hine attitude in Suryomentaram’s thought construction is represented by Bima by po- sitioning himself as a student who obeys the orders of Drona as the teacher. Sakepenake In this aspect, sakepenake (feeling comfortable, doing the most convenient way as one wants to) is not manifested in the desires of the ego itself but is set forth in the paradigm of how to find com- fort within oneself. In Dewaruci, Kunthi, Bima’s mother, is worried that what Drona ordered was a mistake that plunged Bima into disaster. Likewise, Bima’s brother, Hanuman, is worried for Bima’s safety be- cause he is facing an unimaginable situa- tion. Even so, Bima convinced the two of them that he could only do what he could to answer his anxiety. That was the way out and the answer to what he had been looking for. For Bima, comfort is obtained when life is based on submission to God. Even though there is fear like an ordinary human being, but he has surrendered to God for him to feel comfortable. Bima’s sakepenake principle is carried out by putting aside his own worries and alleviating worries. This is Suryomentaram’s way to undergo sake- penake, namely saiki, kene, neng kene (now, like this, here) (Sumanto, 2016; Suryomen- taram, 1985a). In this context, people are required to think critically because sakepe- nake will certainly play a role as a guide for action. When the action is related to other Dhoni Zustiyantoro et al., Luwes and Philosophical: Dewaruci Puppet Performance 429 people with different experiences and in- sights, it can cause misunderstandings and even disputes because the two have dif- ferent dimensions. Suryomentaram gave an answer to that, namely by feeling other people’s feelings. This is the highest stage of kawruh jiwa, with a willingness to under- stand others and, on the other hand, accept any results and not disturb the mind. This is called subjective well-being which is re- lated to religious orientation and the choi- ce of meaning in life. Subjective well-being stems from sakepenake, the principle of ma- king the soul as comfortable as possible in accordance with predetermined choices. Analysis of the Dewaruci shadow puppet performance shows that the pin- nacle of happiness understands one’s own soul (kawruh jiwa) by being able to act ac- cording to the context of the situation, the goals to be achieved, and harmony with culture. By understanding the soul, hu- mans understand true happiness (Sulistia- ni et al., 2020). Therefore, the psychological principles of sabutuhe, saperlune, sauntunge, sabenere, samesthine, and sakepenake become dominant in the element of acceptance of Bima in Dewaruci. The distinctive cha- racters that are built throughout the story show harmony with human principles in Javanese culture. This is in line with the quantitative study conducted by Wahyu- ni et al. (2019) which shows that 82.7% of elderly people in Yogyakarta have a high quality of life because they practice values in Javanese culture (Wahyuni et al., 2019). Javanese culture is an important part of society and a guardian of social cohesion. Some Javanese values that are internalized are politeness in a language in the commu- nity, harmony, an attitude to accept eve- rything that happens in life that God has predestined, and the routine of carrying out religious and cultural rituals. For this reason, these values must be transformed for the next generation so that they are not extinct by eroding popular culture. Decolonization in Indonesia, Future Im- plications As is done in this research, decolo- nization in art research provides at least three big hopes in the Indonesian context. First, it provides a completely different perspective. Mastery of Western theory has made saturation in studies related to literature and art because it will continue to be repeated research and stagnate. De- colonization implies transformation and changing perspectives about possible fu- tures (Twitchin, 2021). Decolonization also shifted Western domination which has so far determined the level of scientific re- search. In academic writing, campuses in Indonesia refer to English as not only an international language but also a “scienti- fic language.” This shows that sociologi- cally, Western nations and civilizations are considered more advanced and superior to eastern nations and civilizations. Apart from being measured in a cultural con- text, progress is further measured from the economic, political, scientific, and techno- logical aspects. Progress in this field has created material prosperity, the origin of capitalism. Second, providing an equal place for local thoughts and theories to align with the West. This is a fundamental principle in decolonization. The East’s feelings of inferiority and second class are construc- tions created by the West. Third, and this is most important, decolonization means un- derstanding people according to their con- text. Western theories cannot always exp- lain the context and instead uproot culture from its own context by using a Western lens to measure, evaluate and interpret it. Decolonization in literature and art is im- portant because both are means and repre- sentations of a typical local culture, which cannot always be seen and explained using a Western perspective. If so, local under- standing is needed to understand people according to the context. In indigenous psychology, human behavior can be exp- lained in terms of the goals it sets for itself, the skills it develops, the belief that its be- havior can affect outcomes, and the results that determine actions (Kim et al., 2006). Indigenous psychology advocates exami- ne people’s knowledge, skills, and beliefs Harmonia: Journal of Arts Research and Education 22 (2) (2022): 418-433430 about themselves and how people work with others in their cultural context. Ne- vertheless, decolonization is an ongoing effort that never ends so people can deve- lop their thinking. CONCLUSION Studies show that Ki Manteb Soedar- sono’ s Dewaruci contains both luwes and philosophical elements. We have shown that decolonization studies can understand art in its cultural context. Using a local perspective, This study shows that peop- le can be understood according to con- text, and thus, make culture more advan- ced and civilized. The Dewaruci shadow puppet performance by Ki Manteb Soe- darsono illustrates that people in Javanese culture already have their own system to be able to realize happiness and perfection in their lives. As a performance, Dewaruci is the ideal form of today’s wayang which is luwes but still philosophical. However, it does not eliminate the philosophical as- pects as practiced by Bima. Perfection in life can only be achieved if Javanese people are fully sure that life has been predestin- ed by God, as reflected in the character of Bima in Dewaruci. At the same time, atten- tion must be paid to the fact that kawruh jiwa also warns of the excessive nature of modern civilization which is too concerned with the progress of the future and shack- led to the past. Undoubtedly, both of them can endanger the human soul if they are left uncontrolled. Thus, kawruh jiwa must be considered a thought capable of saving and liberating humans from the future and unreal and baseless knowledge. Decoloni- zation studies raise critical awareness as well as not being caught up in an exagge- rated attitude toward colonial culture in all fields. ACKNOWLEDGMENTS This study is part of my dissertati- on research at the Doctoral Program in Language Education, Universitas Negeri Semarang, with the title Characters of the Javanese Novel from the Perspective of Suryomentaram’s Psychology. I sincerely thank Promotor, co-promotor, and co-pro- motor, who have approved the proposal and guided this research. Even though the object of study is different, this study shows that Suryomentaram’s theory can be used in art research. I also thank Dr. Yusro Edy Nugroho and Dr. Hari Bakti Mardikantoro, examiner for the disserta- tion proposal who provided corrections and input; colleagues in the Department of Javanese Language and Literature FBS UNNES; Dr. Udi Utomo and Dr. Suharto from the UNNES’ music and dance educa- tion Department who provided suggesti- on and correction to this article; also, Mas Indrawan Nur Cahyono, S.Sn. which has corrected the notation writing. REFERENCES Aragon, L. V. (2012). Copyrighting Culture for the Nation? 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