429 Social Criticism in Wayang Kulit Purwa Performance by Purbo Asmoro, Study of Interpretation (Sanggit) and Treatment (Garap) Sugeng Nugroho Institut Seni Indonesia Surakarta, Indonesia Submitted: 2023-07-07. Revised: 2023-08-15. Accepted: 2023-10-04 Abstract This study intends to examine wayang kulit purwa performances [from Central Java] of the plays Réyog Ponorogo and Sang Batara Sambo “Prahara Suralaya,” created by Purbo Asmoro (2022). Both of these works are fascinating to study because in addition to the fact that they are allusions to topical conflicts [in Indonesia] presented in the form of social commentary, the structure and tex- ture of these performances differ from the treatment of wayang purwa performances in general. This problem is studied based on the ethnoart paradigm, using the Interpretation (Sanggit) and Treatment (Garap) Theories and critical analysis. Research data was collected through literature studies, documentation studies, and interviews. The results of the study show that the social criticism revealed in lakon Réyog Ponorogo is blatant, while the social criticism in lakon Sang Batara Sambo “Prahara Suralaya” as a whole is equivocal, but in the closing scene it is blatant. In creating a ‘new’ lakon, the dalang must master various references—both written and spoken—which will later be used as hipogram texts, interpret various hypogram texts into a story, and translate them into lakon wayang. The artistic ability of the dalang greatly influences the quality of wayang per- formances, the ability of the dalang to choose the elements of pakeliran treatment to be highlighted in each scene, the dalang’s ability to organize the performance supporting team, and the ability of the dalang to read the situation of the audience. Keywords: wayang kulit purwa; Purbo Asmoro; social criticism; interpretation and treatment How to Cite: Nugroho, S. (2023). Social Criticism in Wayang Kulit Purwa Performance by Purbo Asmoro, Study of Interpretation (Sanggit) and Treatment (Garap). Harmonia: Journal of Arts Research and Education, 23(2), 429-443 Harmonia: Journal of Arts Research and Education 23 (2) (2023), 429-443 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v23i2.45759 the purpose of marking the week or bu- lan after the birth of a baby, dalang usually take the lakon from the catalogue of stories concerning the birth of a wayang character (lairan). For the purpose of a circumcision, the story is taken from a repertory of la- kon concerning the coming-of-age amulets granted to humans by the gods (wahyu). For the purpose of a wedding, the lakon comes from the repertory concerning mar- riages (rabèn). For the commemoration of someone’s death, the lakon will concern INTRODUCTION Wayang kulit purwa performances (hereafter referred to simply as pakeliran) occur in specific contexts in society and do not stand alone as art-for-art’s-sake like theater performances do. This is why the story for performance is chosen from a repertory of lakon that fits the needs of the sponsor, who may be observing a life- cycle event such as the birth of a baby, a circumcision, a wedding, or a death. For Corresponding author: E-mail: sgngnugroho@gmail.com p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 23 (2) (2023): 429-443430 a character’s willful rising up to the hea- vens to end their life (muksa) (Murtiyoso & Suratno, 1992). Hence, we can surmise that even though the main sources of stories in wa- yang are the Ramayana and Mahabharata, not all lakon are taken from [the Indian versions of] these epics. Much of the lakon repertory in wayang comes from works cre- ated by dalang themselves, which in Java- nese dalang circles are called carangan. New Javanese–created lakon that still fall wit- hin the context of the Indian Ramayana or Mahabharata, or the Pustaka Raja Purwa by Ranggawarsita (Poerbatjaraka, 1964, pp. 151–157) are referred to as carang dhinapur, while new lakon that are entirely separate from the three sources above are referred to as sempalan (Feinstein et al., 1986). Furt- her, (Poerbatjaraka, 1964, pp. 151–157) sta- tes that even much of Pustaka Raja Purwa by Ranggawarsita, which is the main sour- ce for the Javanese performance commu- nity, came from local dalang’s versions of stories back then. Often, the lakon does not come from the repertory a dalang has prepared but is determined on a request by the hiring par- ty in the moments before the performance begins. This happened at a performance by the Dalang Anom Soeroto for an event at which the sponsoring party asked for Wa- hyu Tunjung Sanga (The Nine Lotus Flowers Amulet). In fact, this lakon does not exist in the repertory. In such a situation, the dalang has to create the story on the spot, on stage (interview with Anom Soeroto, 1 May 2021). One of many reasons behind so many wahyu stories always popping up in the Central Javanese repertory—for example Wahyu Tohjali, Wahyu Cengkir Gadhing, Wahyu Hidayat Jati, Wahyu Le- gundhi Wulung, Wahyu Katentreman, to name a few (Feinstein et al., 1986)—is that these types of stories are believed to bring good fortune to the sponsor (Murtiyoso & Suratno, 1992). In the New Order Era, wayang shows occurred not only due to the needs of the general public but were also put on by governmental institutions that frequently sponsored wayang performances. In res- ponse to this development, the reperto- ry of lakon used for such performances fit the needs of the government sponsors at that time. A few of the lakon with politi- cal messages that propped up the power of the New Order regime was, to name a few, Wahyu Waringin Kencana (The Gift of the Golden Ficus Tree), Darma Bekti Putra Pandhawa (The Pandhawa Children’s Devoti- on) (Van Groenendael, 1987, pp. 204–205), and Semar mBabar Jatidhiri (Semar Lays Out His True Intent) (Darmoko, 2020). The concept of sorting wayang stories by theme was proposed in the research by (Murtiyoso & Suratno, 1992), with the cate- gories that follow. Based on the titles of la- kon, there are ten types of lakon, that is: the birth of a character (lairan), the marriage of a character (rabèn), competition over a fe- male character (alap-alapan), the death of a character in battle (gugur or léna), the buil- ding of a something (mbangun), the corona- tion of a king (jumenengan), the granting of a boon, amulet, or power (wahyu), the title being the name of a character (for examp- le, Ngruna-Ngruni, Mumpuni, Watugunung, and the like), the events of a character’s life from birth to death (banjaran), and an emis- sary from one country to another (duta). When sorted according to important event types instead, there are nine types of wayang stories, which are: a travesty com- mitted by one character upon another (paé- kan), an attack or rebellion (kraman), a love story (asmara), a search for the meaning of life (wirid), an apprenticeship (ngèngèr), a character’s transformation to a different form (kilatbuwanan), a large battle with many victims (prang ageng), the movement of a number of figures from one place to another (boyong) and allusions to speci- fic topical events (pasemon) (Murtiyoso & Suratno, 1992, pp. 49–75). Of these nine types of lakon based on important events and laid out in the work of (Murtiyoso & Suratno, 1992), the lakon pasemon (allusion) featuring social criti- cism and commentary did not exist from the New Order through the beginning of the Reformation Era. This type of allusi- Sugeng Nugroho, Social Criticism in Wayang Kulit Purwa Performance by Purbo Asmoro, 431 on–based, social commentary only arose again in 2021 at the hands of Purbo Asmo- ro. Against the backdrop of the Covid–19 which had been going on since 2 March 2020, Purbo Asmoro created two new sto- ries alluding to the situation during the pandemic, lakon Semar Namba (Semar Heals) (24 July 2021) and Tamba Teka Lara Lunga (Remedy Shows Up, Malady Gives Up) (28 September 2021). Ever since then, Purbo Asmoro’s cre- ativity through new lakon flowed nonstop. This was seen again when gamelan was dec- lared to be an Intangible Heritage of Hu- manity by UNESCO on 15 December 2021 (Tempo, 2021), and Purbo Asmoro created a new lakon with the title Dumadiné Game- lan (The Mythical Origin of the Gamelan) (22 January 2022). The controversy as to whet- her or not wayang was “haram” after Us- tadz Khalid Zeed Abdullah Basalamah’s statements (Detikcom, 2022), was met with another new lakon entitled Wayang Urip (Wayang Flourishes) (27 February 2022). When there was an uproar over the village performance tradition of réyog from Ponorogo, East Java, Indonesia being clai- med by Malaysia as their own, the lakon entitled Réyog Ponorogo (Réyog from Ponoro- go) was created (15 April 2022). Also, when the murder of Brigadir Nofriansyah Yosua Hutabarat by Irjen Polisi Ferdy Sambo re- ceived serious attention by the current In- donesian leader, President Joko Widodo, the lakon entitled Sang Batara Sambo “Pra- hara Suralaya” (The Great God Sambo “Tu- mult in the Suralaya Heavens”) (24 August 2022) was created. All of these new works by Purbo Asmoro were live-streamed over Purbo Asmoro Official on YouTube. Based on the titles of the lakon and the conflicts they address, the performances of Réyog Ponorogo (hereafter referred to by in English as Réyog from Ponorogo) and Sang Batara Sambo “Prahara Suralaya” (hereafter referred to in English as The Great God Sam- bo “Tumult in the Suralaya Heavens”) are the two social–commentary lakon the most in- teresting to analyze. These are interesting not simply because of the topical events is- sues addressed, but also because the titles themselves exude blatant social critique. In addition, the performances’ structure and texture differ from the styles of wayang performances in general. Lakon wayang which contains social criticism, has indeed been composed by Boedihardjo (The Minister of Information in 1968–1973) with the title Salya Bégal. This lakon was first presented by Manteb Soed- harsono in 1996 to celebrate Boedihardjo’s 75th birthday. Even so, the social criticism conveyed is not as clear as the lakon Réyog Ponorogo and Sang Batara Sambo “Prahara Suralaya” by Purbo Asmoro. Many previous researchers have car- ried out research on wayang performan- ces, but no one has researched it based on the theory of interpretation and innova- tion. Kats analyzed the catalog of wayang stories and the manner in which they are organized (Kats, 1923); Brandon discus- sed the lakon Rama Nitis, Irawan Rabi, Kar- na Tandhing and performance practice at the time (Brandon, 1970); Becker looked at the stories and plots of wayang (Becker, 1979); Feinstein et al. discussed the con- cept and repertory of what are known as lakon carangan (Feinstein et al., 1986); Mur- tiyoso dan Suratno discussed the reper- tory of wayang stories prevalent over the five years previous to their publication in the Surakarta area (Murtiyoso & Suratno, 1992); and Sears addressed the differences in interpretation of the Ramayana and Ma- habharata during the time of Indian, Isla- mic, Western, and post-colonial influences (Sears, 1996). Triyogo dan Wiryamartana discus- sed the inter-textuality of the lakon Banja- ran Gathutkaca (Triyogo & Wiryamartana, 2001); Kayam wrote about changes in the structure of the world of Javanese dalang and wayang due to the interest in wayang by the New Order (Kayam, 2001); Junai- di examines the symbolic meaning of the wayang kulit purwa lakon Salya Bégal, as a form of communication between the art house community and Boedihardjo (Junai- di, 2003); Murtiyoso discussed the deve- lopment of lakon (Murtiyoso B et al., 2004); Nugroho discussed the interpretation and Harmonia: Journal of Arts Research and Education 23 (2) (2023): 429-443432 treatment of lakon banjaran (Nugroho, 2012, 2015); Kathryn Anne Emerson discussed the innovations and performance practice of Purbo Asmoro (Emerson, 2017; Emer- son, 2022); Wibowo, Priyatna, and Sobarna discussed modifications to the traditional art of Wayang Topeng Malangan which had long been developed in Malang City, East Java (Wibowo, Priyatna, & Sobarna, 2019); Darmoko discussed the sections on power in the story Semar mBabar Jatidhiri (Darmo- ko, 2020); and Widyastutieningrum and Herdiani discussed the innovations in the form of the Sriwedari Wayang Orang perfor- mance in Surakarta (Widyastitieningrum & Herdiani, 2023). Although research on Purbo Asmoro’s performance style has been dis- cussed by Nugroho (2012) and Emerson (2017; 2022), both of them did not discuss the work of lakon Réyog Ponorogo and Sang Batara Sambo “Prahara Suralaya.” Likewi- se, even though social criticism in wayang performances has been studied (Junaidi, 2003)and (Darmoko, 2020), the lakon stu- died is different from the object of this re- search. Thus, this research is original. METHODS This research uses the ethnoart para- digm, which views a creative work from a stakeholder’s perspective within that cul- ture (Ahimsa-Putra, 2003). The analysis of the two lakon pasemon by Purbo Asmoro utilizes the theories of sanggit (interpre- tation) and garap (treatment) laid out by (Nugroho, 2012). Sanggit is the creative work of a dalang, and can refer to a brand new work but also a new interpretation for an existing work. Garap is the implemen- tation or treatment by which the desired interpretation is carried out by the dalang and his team, to reach the aspired quality of performance. The main aspects of Sanggit Theory in wayang include examining the structu- re of the story, the intertextuality, the re- lationships between characters and their roles in the story, the themes of the story, and the messages or food for thought em- bedded within the lakon (Nugroho, 2012, pp. 48–55). The main aspects of Garap The- ory include the producer, the tools and equipment, the elements in performance, the form of performance, the conceptor, and considerations (Supanggah, 2009; Nugroho, 2012, pp. 425–428). Interpretati- on and treatment within the pasemon lakon creations by Purbo Asmoro are also analy- zed using the critical methods of Feldman (Feldman, 1967), and the concepts of Java- nese dalang and wayang studies (Sumanto, 2002). The research data was gathered through literature studies, documentation studies, and interviews. The literature stu- dy focused on books and manuscripts that served as primary sources for the two lakon mentioned. The documentation studies in- volved analysis of the wayang performan- ces of Réyog from Ponorogo and The Great God Sambo “Tumult in the Suralaya Heavens” on the YouTube channel “Purbo Asmoro Official,” on 15 April 2022 and 24 August 2022 respectively. Interviews were con- ducted with Purbo Asmoro, other dalang, and commentators in the field of wayang. The analysis of the data was conducted in stages: choosing and filtering the data, pre- senting the data, and drawing conclusions from the data (Miles & Huberman, 1984). RESULTS AND DISCUSSION Interpretation of the Lakon: Réyog from Ponorogo The structure of the lakon Réyog Pono- rogo is binary, composed of two layers. The structure of the first layer is in three parts: (a) a réyog parade, (b) the debate between two characters who both claim réyog as their own, and (c) the scene with an elder mentor (warok) telling the village of Weng- ker about the history of réyog. The second layer is structured as a series of conversa- tions and battles concerning the history of réyog in Ponorogo. The structure of the first layer of lakon (marked with numbers) and the structure of the second layer (marked with letters) are presented below: Sugeng Nugroho, Social Criticism in Wayang Kulit Purwa Performance by Purbo Asmoro, 433 Prologue A réyog parade: jathil (are young ca- valry, either young women, or young men with an effeminate look), Bujang Ganong (a thin, young, male, the leader of King Klana’s troop who performs acrobatic mo- ves), Klana (is the antagonist archetype king in réyog culture and other East Java- nese stories, who kidnaps the archetype refined princess of the main court), and dhadhak merak (is a huge mask depicting a mythical lion wearing a headdress of pea- cock feathers, known as Singa Barong). A debate between two characters who both claim réyog as their own (see Fi- gure 1). Figure 1. Two characters both claim réyog as belonging to their culture (screenshot, Purbo Asmoro Official, 2022) Scene in Wengker Hermitage: This begins with the apprentices in Wengker Hermitage practicing supranatural self- defense skills, followed by a warok (an old mentor or trainer in the context of a tradi- tional apprenticeship who offers various types of learning philosophical, spiritual, or skill-related) instructs his students. The warok tells the story of the origin of réyog to his students (see Figure 2). Figure 2. The Scene in Wengker Hermitage (screenshot, Purbo Asmoro Official, 2022) “Outside the Audience Hall” scene in Bantarangin: A senior member of the court, together with defense minister Bu- jang Ganong, discusses the deteriorating economic situation in Bantarangin King- dom. The king only thinks of his need to travel to other kingdoms and develop his spiritual power. They decide that as senior members of the court, they need to try to get a handle on this problem. b. Scene in the Kingdom of Bantarangin: Defense Minister Bujang Ganong advises King Klana Sewandana to marry soon to assure the longeviety of his rule. After some discussion, Klana Se- wandana orders Bujang Ganong to apply for Dewi Sanggalangit’s hand in marriage on his behalf. She is the princess of Kadiri Kingdom. “Outside the Audience Hall” scene in Bantarangin: Bujang Ganong and his troops depart for Kadiri Kingdom. In the public square of Kadiri fierce battles erupt between soldiers from a num- ber of kingdoms, who are all competing for the hand of Sanggalangit. The prin- cess tries to stop the battles while putting forward the conditions for both sides to fulfill. The requirement is in the form of a new performing art called réyog. Scene in Lodaya Kingdom: King Singa Barong has fallen in love with Sang- galangit, but doesn’t have the courage to ask for her hand in marriage because he is afraid to be in competition with Klana Se- wandana. Hence, he orders Minister Singa Premada to kidnap Sanggalangit. “Outside the Audience Hall” scene in Lodaya: Singa Premada departs for Ka- diri, accompanied by an army of animal troops. Intermezzo: Gareng, Petruk, and Bagong (dressed in costumes the style of Ponorogo, East Java) talk about réyog per- formances. Scene in the middle of the forest: Sanggalangit explains to Semar that she has left the kingdom of Kadiri because she does not wish to marry anyone. If it hap- pens that one of the applicants is able to fulfill her requests, the marriage will go Harmonia: Journal of Arts Research and Education 23 (2) (2023): 429-443434 ahead only in name and only to preserve peace in the Kadiri Kingdom. Sanggalangit’s younger brother cros- ses paths with the Lodaya troops and batt- les ensue. After the troops flee, he meets with Sanggalangit. Scene in the middle of the fo- rest: Klana Sewandana meditates, as- king for guidance from the gods to fulfill Sanggalangit’s requests. His meditation is disrupted by a serpent, who transforms and turns into a priest. Klana Sewandana is given a whip known as samandiman or wuluh gadhing (ivory wool) and also 144 handsome youths on horseback, all in uni- form. Half of the horsemen youths are kid- napped by Singa Premada and guided to- ward Lodaya Kingdom. Scene in the Kingdom of Lodaya: Af- ter Singa Barong receives the handsome youth calvary, he departs for Kadiri. Klana Sewandana receives a report from Bujang Ganong concerning the loss of some of the horsemen. Bujang Ganong meditates so that the portion of the calval- ry that was deported to Lodaya will return. In the middle of their travels, the troops from Lodaya cross paths with tho- se from Bantarangin. Battles ensue. Klana Sewandana defeats Singa Barong with the samandiman whip (see Figure 3). Singa Ba- rong is ordered to accompany Klana Se- wandana on his travels back to Kadiri. Figure 3. Klana Sewandana (right) faces off with Singa Barong (left) (screenshot, Purbo Asmoro Official, 2022) Scene in the Wengker Hermitage: In the end, the warok explains that there are a number of versions of the Réyog Ponorogo outcome: (a) Klana Sewandana succeeds in marrying Sanggalangit but then later they split up, (b) Klana Sewandana is given yet another condition, that he must build a kind of tunnel, and he succeeds, (c) Klana Sewandana perishes in the tunnel that he builds. Then the warok explains the philo- sophy behind the village tradition of Réyog Ponorogo. A parade of Réyog from Ponorogo figu- res, consisting of warok, jathil, Bujang Gan- ong, Klana, dhadhak merak, and musicians (see Figure 4). Figure 4. A parade of Réyog Ponorogo figures (screenshot, Purbo Asmoro Official, 2022) This structure of scenes satisfies the concepts required by traditional Javanese wayang studies known as tutug, kempel, and mulih (Sumanto, 2002). Tutug means that the story presented comes to a resolution that is in accordance with its title. In this case Réyog from Ponorogo. Kempel means that the scenes are closely intertwined and connected. Mulih means that the conflicts in the story are resolved; the performance starts with a réyog parade and ends with a réyog parade, the story starts with a scene in the Wengker Hermitage and a discussi- on of the origin of Réyog Ponorogo, and it ends with a scene in Wengker Hermitage that explains the significance of Réyog Po- norogo. The structure of the lakon Réyog from Ponorogo is linear, and the impression is that it follows the conventional scene struc- ture of Surakarta-style wayang performan- ces and wayang gedhog performances [is a type of wayang using flat shadow puppets like wayang kulit purwa but telling the sto- ries of the Javanese legendary figure Panji Sugeng Nugroho, Social Criticism in Wayang Kulit Purwa Performance by Purbo Asmoro, 435 instead of the Ramayana and Mahabharata] in particular, that is: a scene in the outer audience hall of Bantarangin (paséban jawi), a palace scene (jejer kraton) in Bantaran- gin, an outer audience hall scene (paséban jawi) in Bantarangin that continues into a departure of the troops (budhalan). Scenes a, b, and c, in addition to having the same setting, that is the Bantarangin Kingdom, also present a repetition of the conflict. We also find a conventional structure in scenes e and f, which can be likened to the sab- rang rangkep scene [is an optional scene in traditional, all-night wayang structure. Ty- pically, part one (pathet nem) of a traditio- nal wayang starts with a scene in a familiar kingdom and moves on later to a foreign kingdom scene for a second plotline. Some- times there is yet another, different foreign kingdom scene (sabrang rangkep) before part one is over] in Surakarta-style wayang performances. So it is also with scenes g, h, and i, which can be likened to gara-gara, forest scenes and perang kembang (a battle between a virtuous prince and an ogre) in Surakarta-style wayang performances. Based on the structure of Réyog from Ponorogo, this lakon can be categorized as a mixed work between conventional perfor- mance practice, abbreviated performance practice, and condensed performance prac- tice, with a duration of four hours (see the analysis of the form of performance). The treatment of this lakon is innovative in the way the story behind Réyog from Ponorogo is told, which in most performances would be only narrated, but by Purbo Asmoro is acted out as an embedded performance (see the second layer of the structure). The lakon Réyog from Ponorogo has never before been performed as a wayang story of any kind, including wayang ged- hog stories that tell the tales of Panji, and wayang klithik that tell the tales of the Ma- japahit Kingdom (Soetarno, Sarwanto, & Sudarko, 2007). This lakon is a new work by Purbo Asmoro, created specifically to address the issue of Malaysia’s attempt to claim réyog from Ponorogo as their own. There are four versions of the backg- round story to Réyog from Ponorogo: the one set in Bantarangin, the one centered around Ki Ageng Kutu, the one with Ba- toro Katong, and the one set during Maja- pahit (Kurnianto, 2013; Sujud, 2007). Based on its layout, Purbo Asmoro’s work clearly has an intertextuality with the version of the origin of réyog set in Bantarangin, alt- hough [the details of] this tale have been reworked by Purbo Asmoro. This [the versions and his work’s connection to the Bantarangin version] was noted by Purbo Asmoro at the beginning of the performan- ce, but, as he said then, the important thing for him was that the lakon featured the main elements of réyog, which are warok, jathil, Bujang Ganong, Klana, and dhadhak merak (interview with Purbo Asmoro, 15 April 2022). The characters presented in the la- kon have clear and direct relationships to each other, and support as well as compli- ment each other. As mentioned, the lakon is structured in two layers and each character also appears in two contexts: the context of the lakon (the first layer) and the context of the tale [about réyog] within the lakon (the second layer). By looking at the presentation of the lakon itself as a whole, we can see two types of characters: main characters and suppor- ting characters. The main character is the warok who tells the tale of réyog being from Ponorogo, while the supporting characters are the disciples in Wengker Hermitage who listen to the story about réyog from Ponorogo being told by the warok. In looking at the story embedded within the lakon, we find six types of cha- racters: main character, supporting charac- ter for the main character, the antagonist character, the supporting character for the antagonist, the =tritagonist, and the supplemental characters. The main cha- racter in the [embedded] story is Klana Se- wandana. The main supporting characters consist of Bujang Ganong and the troops of Bantarangin Kingdom. The antagonist in the [embedded] story is Singa Barong. The supporting characters for the anta- gonist consist of Singa Premada and the animal troops from Lodaya Kingdom. The Harmonia: Journal of Arts Research and Education 23 (2) (2023): 429-443436 tritagonist in the [embedded] story is Prin- cess Sanggalangit. As for the supplemental characters consist of Sanggalangit’s youn- ger brother and Semar, Gareng, Petruk, and Bagong. The relationships between characters in Réyog from Ponorogo can be seen in Figure 5. Figure 5. Relationships between the characters in the story Réyog from Ponorogo The theme of Réyog from Ponorogo is social commentary and critique. This is evident from the prologue scene depicting a debate between two characters, claiming réyog as their own. The first party (repre- sented by the wayang figure on the right) accuses the second party (represented by the wayang figure on the left) of claiming réyog as his own people’s tradition. On the other hand, the second party retorts that he has no intention of claiming anything as his own but only wishes to preserve and develop réyog, since it has not been cared properly for by the first party. This criticism is communicated di- rectly and plainly in the context of the la- kon, but falls outside of the context of the embedded story. Criticism and commenta- ry that is so direct and obvious in Javanese wayang theory are known as méthok (direct) criticism or tandang kuli (workers behavior) criticism (Nugroho, 2020, pp. 35–36). The moral lesson or message for the lakon is evident when the warok spe- aks to his pupils in the Wengker Hermi- tage scene (number 3), about what réyog tradition stands for: harmony and unity, cultural identity, honesty and straight-for- wardness, virtue, a healthy body willing to work, love and empathy, a performance that calms the soul and happiness in life. The lion serves as a symbol of strength, the peacock a symbol of beauty, Klana a symbol of aspiration to gain status, Bujang Ganong as symbol of skill, the young hor- semen symbols of attraction, and the warok a symbol of someone offering true directi- on in life. Interpretation of Lakon: The Great God Sambo “Tumult in the Suralaya Heavens” The structure of the lakon The Great God Sambo “Tumult in the Suralaya Heavens” is singular—unlike the story-within-a-sto- ry structure of Réyog from Ponorogo—with the following chronology: Scene in the Dandangmangore Realm: Goddess Durga is bored in the land of demons. She has taken up residence the- re due to God Guru’s curse on her, which seems to have no end in sight. Because of this, she decides to work together with her son, the God Kala, to cause a disruption in the heavens. Scene in the Suwelagringging God- dess Chambers: Dewi Susti is devastated to find out that God Sambo, her husband, is having an affair with Dewi Swayana. This is despite their marriage producing four sons: Sambosa, Sambawa, Sambojana, and Sambodana. She plans to report the af- fair to her father. Sambawa tries to convince Citrarata to cause trouble after Citrarata’s youngest brother, Arjuwinanga, has been named head of the troops by his father, the God Indra. Citrarata cannot be swayed, to the point that a battle ensues. Sambawa and his siblings are all defeated. Citrarata, together with Citranggana, Citrasena, Jayantaka, Jayantara discuss the new division of loyalties in the army of the gods: God Sambo and God Brama’s group versus God Indra and God Bayu’s group. Sugeng Nugroho, Social Criticism in Wayang Kulit Purwa Performance by Purbo Asmoro, 437 Citrarata tells his siblings that everyone must heighten their awareness and watch over things to assure peace reigns in the world. Sambo is love-making with Swayana (see Figure 6). Suddenly Sambodana arri- ves to tell him that his mother is going to report Sambo to his grandfather, Hyang Guruweda. Sambo orders Sambodana to keep an eye on his mother [Sambo’s wife]. Figure 6. The God Sambo, love-making with Swayana (screenshot, Purbo Asmoro Official, 2022) Guruweda has had a hunch that there is trouble between Susti and Sam- bo. Suddenly, Indra arrives, accompanied by Arjuwinanga. Indra reports that in an effort to unite the military again, which Sambo broke into factions, he appointed Arjuwinanga to serve as commander of the troops. Hyang Guruweda suggests that Indra report Sambo’s actions to the God Guru [Indra’s father]. Indra departs and temporarily leaves Arjuwinanga with Guruweda. Susti shows up and reports the problems in her household. Guruwe- da suggests that Susti meet with Swayana without the knowledge of Sambo. Susti de- parts and is accompanied by Arjuwinanga. Scene in the Argamaruta Heavens: Bayu is distressed, thinking about the cha- os that has come over the heavens. The gods are supposed to protect the human race, but they do whatever is in their own interest and for power. Because of his wor- ries, Bayu tells his four sons (Sumarma, Sudarma, Sangkara, and Bismakara) to proceed with clear thinking and act with extreme caution. Scene in the Argadahana Heavens: Brama is pleased because his two sons (Maricibrahma and Naradabrahma) are si- ding with Sambo. Intermezzo: Gareng, Petruk, and Bagong (dressed in godlike outfits) joke around outside of the context of the lakon. Scene in the Cakrakembang Hea- vens: Semar visits the God Kamajaya and the Goddess Ratih to inform them about the tumult in the heavens. Kamajaya tells Semar about the split in the army troops. Semar asks Kamajaya to find a way to bring peace to the heavens. Sambodana discovers that Arjuwi- nanga is helping Susti, can catch up with him, handcuff him, and bring him to Sam- bo. Sambodana comes before Sambo, with Arjuwinanga in handcuffs. Sambo is furious with Arjuwinanga, who has ag- reed to become commander of the heaven- ly troops. Sambo feels that he himself has more of a right to organize the heavenly army than Indra, because he is the eldest son of the God Guru. His anger only grows as he hears Sambodana’s report that Arju- winanga is also interfering with Sambo’s private affairs. In the end, Arjuwinanga is beaten to a pulp by Sambo (see Figu- re 7) and thrown into the Candradimuka Cauldron. Figure 7. The God Sambo beats up Arjuwinan- ga, witnessed by Sambodana and Sambawa (screenshot, Purbo Asmoro Official, 2022) The God Yamadipati is shocked to see Arjuwinanga cast into the Candradi- muka Cauldron. But because Yamadipati is unable to come to Arjuwinanga’s assis- tance, Semar advises that Yamadipati re- port the incident to the God Guru. Harmonia: Journal of Arts Research and Education 23 (2) (2023): 429-443438 Scene in the Jonggring Salaka Hea- vens: The Gods Guru and Narada listen to Indra’s news about the tumult that has overcome the heavens. Yamadipati then arrives to report the fate Arjuwinanga has suffered. Because Guru cannot overcome all of these problems, he decides to go to Hyang Wenang to explain everything. Susti confronts Swayana and accu- ses her of being the source of all her family troubles. Swayana feels attacked and de- fends herself, even to the point that a battle starts. They engage in a number of clashes, and eventually, Susti is rendered uncons- cious. In the Candradimuka Cauldron, Ar- juwinanga is rescued by Wenang. Wenang orders Guru, who has come to see him to fully investigate the Sambo issue and to do so without covering anything up. Susti, who is unconscious, is revived by Semar and Kamajaya. Guru and Arju- winanga appear and explain everything to Semar. Semar becomes furious and really chews Sambo out for what he has done. Bayu’s four sons, who want to find Arjuwinanga, are blocked by Brama’s two sons and Sambo’s four sons, until a fier- ce battle erupts. Even Sambo joins in the battle, attacking Bayu’s four sons. Indra and Bayu descend to the battlefield and confront Sambo. Semar sees the ever–wor- sening mess and confronts Sambo on the battlefield. Sambo is rendered weak after Kala, who had entered his being much be- fore this moment, leaves his body. Durga also leaves Swayana’s body. Semar gives Sambo a lecture in front of Durga and Kala, telling him that when a person is unable to control their desires, their soul is vulnerab- le to these invasions by Kala (or, in other words, Satan) also, that those who do evil will eventually reap what they have sown. The structure of the lakon The Great God Sambo “Tumult in the Suralaya Heavens” aside from fulfilling the concept of tutug (a story that comes to an end in accordance to the title given it) is also more kempel (with scenes following one another being closely intertwined) than Réyog from Ponorogo. The density and compactness of the interpre- tation are more evident. By density here, we are not referring to the length, which is shorter than Réyog from Ponorogo, but rat- her to the structure of the story which has more “causality” from one scene to anot- her (Sudarko, 2003). For example, even though scenes one, two, three, and four have different settings and different con- flicts, they are tightly wound up together plotwise. The structure of the lakon The Great God Sambo “Tumult in the Suralaya Heavens” also fulfills the concept of mulih. The desire of the Goddess Durga from the very beginning to cause destruction and chaos in the heavens is resolved in the end by Semar preventing all her efforts. Also, the affairs and questionable actions of the God Sambo are eventually revealed. The tale of God Sambo is found in the Serat Paramayoga by Ranggawarsita, a poet from the era of King Paku Buwana VII’s reign through to King Paku Buwana IX’s reign (1845–1873) (Poerbatjaraka, 1964, pp. 151–157). It is said that the God Sambo is the eldest son of the God Guru and his wife Dewi Uma. He resides in the Suwe- lagringging Heavens. He has two wives: Dewi Susti (Hyang Guruweda’s daughter) and Dewi Swayana (Hyang Pancaweda’s daughter). The God Sambo descended to Earth at one point and became a king in Mendangprawa, named Sri Maharaja Maldewa. His defense minister was Sage Acakelasa (Padmosoekotjo, 1979, pp. 79). Even though this background exists, this tale has never before been performed as a wayang. Because of that, the lakon The Great God Sambo “Tumult in the Suralaya Heavens” can be considered a new work. The characters in this lakon are very complex and consist of a main character, a supporting character to the main charac- ter, an antagonist, a supporting character to the antagonist, a tritagonist, supplemen- tal figures, and other minor characters. All of the characters have a very close rela- tionship to each other, and support and complement each other. The main character in this lakon is the God Sambo. The supporting characters in the first layer of the story are the God Kala Sugeng Nugroho, Social Criticism in Wayang Kulit Purwa Performance by Purbo Asmoro, 439 and Goddess Durga, while the supporting characters in the second level are Dewi Swayana (who is having an affair with Sambo). The third supporting character le- vel is Sambo’s sons (Sambosa, Sambawa, Sambojana, and Sambodana), the God Bra- ma and Brama’s sons (Maricibrahma and Naradabrahma). The antagonist in this lakon is Dewi Susti (Sambo’s wife). The first level sup- porting character for the antagonist is Ar- juwinanga, while the second level suppor- ting character for the antagonist is the God Indra and his sons (Citrarata, Citranggana, Citrasena, Jayantaka, Jayantara) and the God Bayu with his sons (Sumarma, Sudar- ma, Sangkara, Bismakara). The tritagonist characters are Guru- weda, Semar, and Hyang Wenang. The supplemental characters are the gods Guru, Yamadipati, and Kamajaya. The rest of the characters, all in minor roles, are Dewi Ratih, the God Narada, Gareng, Pet- ruk, and Bagong. The relationships between the cha- racters in the lakon The Great God Sambo “Tumult in the Suralaya Heavens” can be seen in Figure 8. Figure 8. Relationships between the characters in the lakon The Great God Sambo “Tumult in the Suralaya Heavens” The lakon The Great God Sambo “Tumult in the Suralaya Heavens” theme is social commentary and critique. This is reflected in every section of the story. The God Sambo is depicted as an ambitious and audacious character. Simply to get what he wants in marrying Dewi Swaya- na and controlling the army of the gods, he is willing to go to all ends, including di- viding the loyalties of the army led by the God Indra, his younger brother. He felt felt satisfied when he received the support of the God Brama, his younger brother, as he gained control of half of the army of the gods. This is why, when Arjuwinanga was promoted by the God Indra as the com- mander of the troops with the explicit task of uniting the troops once again, the God Sambo was furious. His anger grew even more when he found out that Arjuwinanga was thought to be interfering in his perso- nal affairs. This is why Arjuwinanga was beaten up and ultimately killed. Although the content of the lakon has many similarities to the case of Ferdy Sam- bo, the social commentary is in fact veiled, which in Javanese wayang theory is called medhang miring or semon mantri (equivocal) (Nugroho, 2020, pp. 36–37). The dalang, as the creator of the lakon, did not in any way refer to the case of Ferdy Sambo. Ho- wever, at the end of the lakon, via Semar, the dalang criticizes those currently in po- wer who only think of themseves and their party. Thus the performance of The Great God Sambo “Tumult in the Suralaya Heavens” also contains direct and obvious social commentary (méthok or tandang kuli). The theme of this lakon is stated by Semar at the conclusion—anyone who cannot control their passions will be over- taken by Kala (Satan). The [Indonesian] people are currently quite disappointed with the actions of those in power who do not protect society and do not serve as role models, whereas trust is the most expensi- ve of all traits. If the people can no longer trust our leaders, the nation will fall into disrepair. A leader must be useful to the people and not only to himself and his par- ty. Anyone who is arrogant and audacious (adigang), feels they can control others (adi- gung), and feels smarter than others (adigu- na) will eventually suffer misfortune. Harmonia: Journal of Arts Research and Education 23 (2) (2023): 429-443440 Treatment of the Lakon Réyog Ponorogo and the Lakon The Great God Sambo “Tu- mult in the Suralaya Heavens” The producer Purbo Asmoro as the creator of the new works discussed, is an artist of the highest quality. He is a master of all as- pects of wayang treatment. He not only has mastery of wayang stories, but also popular legends (babad) and stories that are trans- mitted orally (gotèk). As for the wayang performance it- self, he is a master of a wide span of the Javanese language (Old Javanese, Modern Javanese, dialects, and the idiolects of spe- cific wayang characters), he is skilled in the movements of many different types of wayang figures, he has mastery of the mu- sical repertory (in fact has mastery on all gamelan instruments), has a good voice and a mastery of the repertory of sung poetry (sulukan), also the techniques for striking the copper plates with his foot which hang off the right side of the wayang box (kepra- kan) and the knocks from the wooden stri- ker (dhodhogan). His musical troupe supporting the performance—consisting of musicians (pengrawit), female vocalists (pesindhèn), and male vocalists (penggérong)—forms Purbo Asmoro’s collaborative team for every performance. This musical troupe led by Purbo Asmoro is called “Mayang- kara, “ an abbreviation of Mangèsthi Wa- yang Kagunan Rahayu. There is clearly an emotional connection between the dalang and the musical troupe, such that anything the dalang wishes from the troupe can be accomplished. As for the lakon Réyog from Ponorogo, the dalang invited a réyog group from Ponorogo in addition to Mayangka- ra. The dalang as well as all the supporting artists were wearing traditional outfits from Ponorogo (warok outfits for the men, and jathil outfits for the women). The tools and equipment The equipment used in the perfor- mances of Réyog from Ponorogo and The Great God Sambo “Tumult in the Suralaya Heavens” were exhaustive and represen- tative of the ideal, which in the world of Javanese wayang is known as mrabot. The wayang figures, the gamelan, the wayang frame (gawangan) and screen (layar) along with the performance lamp (bléncong) used were all owned by Purbo Asmoro. The wayang collection used in the la- kon Réyog Ponorogo consisted of figures of wayang characters from wayang madya, wa- yang gedhog, and wayang klithik, all owned by Purbo Asmoro. What is more, in order to realize what was needed for the story, new figures were created, such as the wa- rok, jathilan, Bujang Ganong, Klana, the li- on-peacock mask known as dhadhak merak, and the music ensemble used specifically for réyog accompaniment (see Figure 4). The wayang collection for the perfor- mance of The Great God Sambo “Tumult in the Suralaya Heavens” used wayang kulit fi- gures owned by Purbo Asmoro. The God Guru figure used was a shadow-puppet figure known as The God Guru wanda reca (statue version), which is famous for being created in the Islamic Mataram era. The God Narada figure used was from a wayang kulit style of the Kartasura Palace (wearing a crown like a king but not wea- ring priestly robes and without slippers) (Sajid, 1958). The figure used for the God Sambo is a wayang figure by Pringgasutata and commissioned by Purbo Asmoro himself (interview with Purbo Asmoro, 24 Au- gust 2022). This figure of the God Sambo wears a crown like a king, no robes, and no slippers (similar to the Narada figure from the Kartasura Palace), and has a body and clothes of light gold, with a pink face. Semar, Gareng, Petruk, and Bagong were new figures and all wore crowns and noble headdresses. The gamelan used to support the wa- yang performances of this two lakon was a full gamelan with both the sléndro and pélog scales (gamelan ageng), of the type usually for a gamelan concert in Java (a klenèngan). For the performance of Réyog Ponorogo this was supplemented by a set of accom- panying instruments used during réyog Sugeng Nugroho, Social Criticism in Wayang Kulit Purwa Performance by Purbo Asmoro, 441 brought from Ponorogo, East Java, con- sisted of a kendhang and ketipung (types of hand drums), a kethuk with pitch 2 sléndro, a kenong with pitch 5 in sléndro, a kempul on pitch 5 in sléndro, a pair of angklung instru- ments pitched 6 and 5 in sléndro, and a tra- ditional, village reeded instrument known as a slomprèt for the melodied in the pélog scale. The elements of performance The elements used to manifest in these performances included narration from the dalang and dialogue between cha- racters, movements of the wayang figures (sabet), musical selections by the gamelan (gendhing), and songs used by the dalang (sulukan). All the above elements sup- ported and complemented each other to form the package known as garap pakeliran. The narration presented by the da- lang took two forms: (1) narration spoken while a musical selection was playing, known as janturan; and (2) narration wit- hout musical accompaniment, known as pocapan. Both of these types of narrati- on serve as description—description of a scene, the telling of an event in the story, or the depiction of mood in a character’s heart. The movement techniques consist of two types: (1) “representative” movements which are modeled after realistic human or animal movements, and (2) “thematic” movements, which are meant to depict an aura, such as the daydreaming of a charac- ter, love, chaos, and the like. The musical selections serve to (1) accompany various scenes, including battles, and (2) intensify a particular atmosphere in a scene. Sulukan (poetry sung by the dalang) serve to: (1) in- tensify a certain atmosphere (if the sulukan occurs before a larger musical selection), (2) create a particular atmosphere (if the sulukan occurs in the middle of a narration or a dialogue between characters); and (3) support a particular atmosphere (if the su- lukan is presented after a musical selection) (Nugroho, 2012, pp. 429–438). The form of performance The performance of Réyog from Po- norogo is a combination of conventional, abbreviated, and condensed styles. Con- ventional wayang, or all-night wayang, is a style in which the template of scenes is set, such that even if the story is different the structure of the scenes and battles is the same. The duration is approximately se- ven hours. Pakeliran ringkes, or abbreviated performance style, resembles all-night con- ventional wayang, but each scene or battle is simply abbreviated and focused upon the main problem and main characters, such that the duration is shorter (around three to four hours). Pakeliran padat, on the other hand, is a style with an alternative structure in which the placement of scenes and battles entirely depends on the major issues faced by the main character in car- rying out the plotline. Much of the execution of these per- formances uses templates from conventio- nal treatment. For example, the way that the Bantarangin Palace scene is followed by the depature of the troops Bantaran- gin. The Lodaya Kingdom scene is also followed by the departure of the Lodaya troops. In addition, there are intermez- zo scenes with Gareng, Petruk, and Ba- gong which are removed from the context of the lakon, just like Gara-gara scene in a conventional performance. This is follo- wed by the Perang Kembang between Dewi Sanggalangit’s little brother and the ogres. But the performance of The Great God Sambo “Tumult in the Suralaya Heavens” leans more toward the structure of a pake- liran padat (condensed performance). The order of the scenes and the battles do not follow the structure of conventional all- night performances. The conceptor Kondang Sutrisno, Chairman of the Association of Indonesian Wayang, Central Branch came up with the idea of the lakon Réyog from Ponorogo. Although this lakon was then developed by Purbo Asmoro, it was requested by Kondang Sutrisno (inter- view with Purbo Asmoro, 15 April 2022). As for The Great God Sambo “Tumult in the Suralaya Heavens,” Purbo Asmoro himself Harmonia: Journal of Arts Research and Education 23 (2) (2023): 429-443442 was the one to decide to create a story around this idea. It was not at the request of anyone else. Considerations The fall of the New Order regime in 1998 was the starting point for the reform of the Indonesian nation. With the issuance of Regulation 39 in the year 1999 regarding basic human rights, all citizens of the Indo- nesian nation now enjoyed freedom in the areas of politics, economy, social engage- ment and the arts, including the receiving and diseminating of information. Because of this, dalang, whose job it is to convey the big questions of philosophy, ethics, spiri- tuality and morality to their wayang fans, were no longer hesitant to explore topical societal or governmental issues openly. Thus, Purbo Asmoro was not concerned about engaging in socio-political com- mentary through his wayang performances of Réyog from Ponorogo and The Great God Sambo “Tumult in the Suralaya Heavens” Moreover, there had already been widesp- read coverage of these two issues in both mass media and electronic media. CONCLUSION Based on the descriptions and analy- sis above, it can be concluded that the social criticism presented in wayang performan- ces can be blatant (méthok or tandang kuli), equivocal (medhang miring or semon mant- ri), or personification (nyampar pikolèh or èsem bupati). The social criticism revealed in lakon Réyog Ponorogo is blatant, while the social criticism in lakon Sang Batara Sambo “Prahara Suralaya” as a whole is equivocal, but in the closing scene it is blatant. In creating a ‘new’ lakon, the dalang must master various written and spoken references that will later be used as hipo- gram texts. The dalang must also be able to interpret various hypogram texts into a story and translate them into the treatment of lakon wayang. 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