TAFSIR PERIODISASI GARA-GARA: ANALISIS PENGUBAHAN GARA-GARA DALAM EMPAT LAKON WAYANG KULIT
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Abstract
“Gara-gara” is an important scene in the plot of shadow puppet plays. The diversity of plays
performed or documented in the written texts tends to result in a comparison study of the plays
which is based on the time or the period of the appearance of “gara-gara”. Time dimensions
of the appearance of “gara-gara” provide opportunities for the presence of similarities and
differences. The current article puts forward the result of content analysis in a qualitative
research comparing and contrasting “gara-gara” of “Antasena Gugur” performed by Ki
Sugino Siswocarito from Banyumas, “Gancaring Palasara”, a shadow puppet play from
Surakarta, “Bogadhenta Gugur” performed by Ki Hadi Sugito, and “Abimanyu Gugur”
performed by Ki Timbul Cermomanggolo from Yogyakarta. The result of the content analysis
demonstrates that there is a tendency of creating differences through the alteration in “garagara” which hides the values of just a need to look different. Hence, the alteration of the core
of the pre-scene of the play and the composition of the “panakawan” in “gara-gara” can be
interpreted as a sign of periodization.
“Gara-gara” is an important scene in the plot of shadow puppet plays. The diversity of plays
performed or documented in the written texts tends to result in a comparison study of the plays
which is based on the time or the period of the appearance of “gara-gara”. Time dimensions
of the appearance of “gara-gara” provide opportunities for the presence of similarities and
differences. The current article puts forward the result of content analysis in a qualitative
research comparing and contrasting “gara-gara” of “Antasena Gugur” performed by Ki
Sugino Siswocarito from Banyumas, “Gancaring Palasara”, a shadow puppet play from
Surakarta, “Bogadhenta Gugur” performed by Ki Hadi Sugito, and “Abimanyu Gugur”
performed by Ki Timbul Cermomanggolo from Yogyakarta. The result of the content analysis
demonstrates that there is a tendency of creating differences through the alteration in “garagara” which hides the values of just a need to look different. Hence, the alteration of the core
of the pre-scene of the play and the composition of the “panakawan” in “gara-gara” can be
interpreted as a sign of periodization.
Article Details
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