getting to know
Punokawan Museum wayang
W getting to know
Punokawan Museum wayang
content Introduction to Museum Wayang History of Museum Wayang
Introduction to Punokawan
The Punokawans : - Gareng - Petruk - Semar - Bagong
Types of Wayang (Punokawan)
Bibliography
history of
Museum wayang Museum Wayang started as a church building which was build in 1640 with the name “de Oude Holandsche Kerk. The building suffers huge destruction from earthquake and fixed in 1732 and renewed as “de Nieuw Holandsche Kerk” The minister of art and culture decided to take over the building in 1939 and taken over by the dutch, but returned in 1957 as in 1968 it is switched to a more foxed museum and that is the Museum Wayang by the Governor of Jakarta at that time Mr.H.Ali Sadiron. In 16 of September, the building was renovated and extended to a wider area.
The facility they offer is 3D Room, performance area, a master piece area where they keep historical and important collection including items that Indonesia receive from other countries as a token of gratitude, friendship. Other facilities are their main showroom and library. Their main collection of Wayang covers all the main wayang such as Wayang klutz Purwa Ngabean, Wayang klutz Banjar, Wayang Kulit Sadat, wayang Wahyu, and etc. Other than Wayang, they also show collections of dolls/puppets that is cultural and historically related to indonesia such as the 1st ever Until dolls that was featured and aired in national television for 10 years. They also have musical instruments that are used at important ceremonies and wayang performance such as the Gamelan.
The garden of the Wayang Museum located on the former yard of the Dutch church was the funeral site of General Governor Jan Pieterszoon Coen
punokawan
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In Javanese wayang (shadow puppets), the panakawan or panakavan (phanakavhan) are the clow them – Semar (also known as Ki Lurah Semar), Petruk, Gareng and Bagong. Semar is the personifi dhanyang or guardian spirit of the island of Java. In Javanese mythology, deities can only manifes ing humans, and so Semar is always portrayed as short and fat with a pug nose and a dangling he His three companions are his adopted sons, given to Semar as votaries by their parents. Petruk is Gareng as short with a club foot and Bagong as obese.
wn servants of the hero. There are four of fication of a deity, sometimes said to be the st themselves as ugly or otherwise unprepossessernia. portrayed as tall and gangling with a long nose,
The panakawan characters are generally much-loved by audiences who att greeted with laughte
However, there are sometimes underlying tensions in Indonesian society betw ters capture and Islamist religious puritan hardliners wh
tend wayang plays in Indonesia and their appearance in the plays is usually ter and anticipation.
ween the Hindu elements of Javanese culture which the panakawan characho oppose secular and other strains of Javanese culture
gareng His actual Gareng is Nala Gareng , just society is now more familiar with the name “ Gareng “ . Gareng is a clown who legged limp . This is a Gareng sanepa of nature as a subject that is always careful to act . In addition , other physical disabilities Gareng is hand ciker or broken . It is sanepa that Gareng has properties like not to take the property of others . Told that his right heel exposed to some kind of disease bubul . In a carangan Gareng never be king Pandu Pragola Paranggumiwayang with the title . At that time he managed to defeat King Welgeduwelbeh king of Borneo which is nothing but the embodiment of his own , namely Petruk . Formerly , Gareng intangible handsome knight named Bambang Sukodadi of pedepokan Bluktiba . Gareng very powerful but arrogant , so it is always challenging duel every knight he encountered . One day , when the recently completed tapanya , he met another warrior named Bambang Panyukilan . Because of a misunderstanding , they even fight . From the results of the fight, no one wins and loses, even their faces were both broken . Finally Jangganan Samara Anta willing to accept them , as long as both warriors were willing to accompany him into the knights virtuous officials ( Pandavas ) , and finally they both agree . Gareng later became the oldest child ( eldest ) of Semar .
petruk Petruk is one of the four Punokawan, together with Semar (the leader/father figure), Bagong, and Gareng; Petruk acts as the middle child. They are portrayed living together as a harmonious family. The Punokawan, often referred to as clowns in English, provide comic relief in the stories they are in, but also serve to speak to the audience and convey ideas of the dhalang (puppeteer), including social criticism. Petruk is depicted as having lengthy limbs and a long nose; his nose is generally considered his most distinctive feature. In wayang performances the dhalang generally provides a “warrior’s voice” for Petruk, as opposed to the nasal voice used for his brothers. He is married to Dewi Ambarawati, whom he won the right to marry after defeating four other suitors in a vicious battle. Together they have a son, Lengkungkusuma The name Petruk may derive from the Arabic Fat-ruk, the first word in the Sufi creed fat-ruk kulla maa siwallahi (“leave all but Allah”). The character is known by a variety of alternative names, including Kanthong Bolong (holed pocket), Dawala, Dublajaya, and Pentung Pinanggul.
Gareng Semar As Semar is one of the few characters in wayang stories not from Indian mythology, his origin is obscure. One hypothesis is that he and his sons are old indigenous deities who became cursed and demoted to servants with the importation of the kshatriya heroes of the Indian epics.Semar also resembles the vidusaka clown figure of Indian Sanskrit drama. The first known appearance of Semar is during the Majapahit era. In 1358 in relief of Sudamala in Candi TIgamangi, and in Candi Sukuh dated 1439. The relief was copied from a wayang story from the period, where Semar was first known to be appeared. He is one of the punokawan (clowns), but is in fact divine and very wise. He is the dhanyang (guardian spirit) of Java, and is regarded by some as the most sacred figure of the wayang set.[2] He is said to be the god Sang Hyang Ismaya in human form. The name Semar is said to derive from the Javanese word samar (“dim, obscure, mysterious”). He is often referred to with the honorific, “Kyai Lurah Semar” (“the venerable chief”)
bagong Semar is the incarnation of a god named Batara Ismaya revealed to the world with his brother , namely Togog or Batara Antaga to care for their younger offspring , namely Guru . Togog and Semar equally apply to their father , namely Trance Single , so that each is a friend . Single Trance replace ask the question reads , who their real friends of man . Togog replied “ desire “ , while Semar replied “ shadow “ . From these answers, Single Trance also creates desire to be human Togog dwarf named Bilung , while Semar shadow created into a round -bodied man , named Bagong . Another version says , Semar is Batara Ismaya grandchildren . Semar serve a hermit named Rishi Manumanasa which later became the ancestor of the Pandavas . When Manumanasa want to achieve moksha , Semar feel lonely and request for a friend . Manumanasa replied that his most faithful of his own shadow . Immediately Similarly , the shadow of Semar was turned into a human , and named Bagong .
types of
wayang Wayang comes in different size and types and in this case there are a couple different type of Punokawan Puppets that is interpreted by different makers coming from different Culture
wayang kulit
Surakarta This collection was a gift from KI. Manteb Sudarsono, a respected puppet master from Surakarta, Central Java. This Wayang has a huge historical value as it is one of the earliest one that is used by KI. Manteb Sudarsono which is in 1975 when he was starting off and learning how to make Wayang This Wayang Kulit Surakarta that is made in the form of the Punokawans are being exhibited since 2003.
wayang golek
Sunda Made from Sunda it is called the wayang Golek Sunda. Popular in the area usually as a puppet , these Punokawan Puppets follows the story of finding the truth with the good Ramayana and Mahabarata.
wayang klitik purwa
jawa tengah Wayang Klitik is a puppet that is made out of wood with a narrow shaped scale however the hands are made from Ox skin as it resambles a Wayang Kulit. This scene in Klampis, Ireng, Kyai lurah Semar who is actually Dewa Ismaya that went to become a human with his children. They were sent to the earth to help all the warriors who have good attitude from Ramayana’s era to Maha Bharata until the Bharata Yuda War. The characters that is showcased are Kyai Lurah Semar, Gareng, Petruk, and Bagong
topeng wayang
jawa tengah A traditional mask from Central Java and located not far on the end of the museum This mask is mostly used for Wayang Orang (Human Puppet/Theatre) when performing. In this case, the characters of the Wayang that is showcased are Gareng, Togog, Semar, and Bagong.
wayang kulit
cirebon One of the most popular Wayang Kulit as it is simple to make and easy to use and usually sold for souvenirs. In thiscase there is 9 characters which is a symbol for 9 wali in doing the Muslim Traditions.
By having this exhibition, it is expected that people become aware of the importance of Wayang to our culture and the importance of understanding Punokawan for our life reference as the morale of their story is basically positive feedbacks for all people no matter what background they are from. This is also made to increase awareness for younger generation to understand our culture.
bibliography
Keeler, Ward. Javanese Shadow Plays, Javanese Selves Princeton University Press, 1987 Robert Ince, (August 12, 2003). Semar. Joglo Semar (Online). Keeler, Ward. Javanese Shadow Plays, Punokawan to RamayanaPrinceton University Press, 1987 Long, Roger Javanese shadow theatre: Movement and characterization in Ngayogyakarta wayang kulit , 1981
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