ABSTRACT: This paper is a study of the potential of “wayang” (puppet show) in Sundanese culture of Priangan subcultures, especially in the art of dance. Initially, the word “wayang” was interpreted to refer to dolls made of wood which are played by a puppeteer in a puppetry art show or to appoint the plot which is delivered by the puppeteer in a puppetry art show, and also can be directly identified with the performance of puppetry art of “wayang golek” (wooden puppet show). Furthermore, the potential of “wayang” has a strong influence or contribution to some aspects of life with some kinds of belief and also of art, including the growth of “wayang” in Sundanese dance of Priangan style. Because “wayang” implicitly contains religious meaning in the contents of the plot, so “wayang” in Sundanese dance of Priangan style cannot be separated from the mission or moral value towards the guidance of life. The origin of “wayang wong” (men/women puppet show) of Priangan was revealed as a form of dance drama show with the dialogue delivering puppet stories, either completely or partially, in which the scenes are composed in phases and there are always battles or conflicts between the evil characters and the eradicators of the evil. In addition, it was also revealed the richness of the performance forms that only describes a single moment of the puppet story, called a free dance, in the forms of single dance, dance in pairs, and dance in groups or mass dance.

KEY WORDS: Wayang; Sundanese Culture; Priangan Subculture; Wayang Dance; Priangan Style.

About the Author: Prof. Dr. Iyus Rusliana is a Lecturer at the Department of Dance ISBI (Institut Seni dan Budaya Indonesia or Indonesia Institute of Art and Culture) Bandung, Jalan Buahbatu No.212 Bandung, West Java, Indonesia. For academic interests, the author is able to be contacted via e-mail at: iyus_rusliana@isbi.ac.id

Recommended Citation: Rusliana, Iyus. (2017). “Wayang in Sundanese Dance of Priangan Style” in TAWARIKH: International Journal for Historical Studies, Vol.9(1), October, pp.59-70. Bandung, Indonesia: Minda Masagi Press and UIN SGD Bandung, ISSN 2085-0980.

Article Timeline: Accepted (March 9, 2017); Revised (July 3, 2017); and Published (October 28, 2017).

Wayang; Sundanese Culture; Priangan Subculture; Wayang Dance; Priangan Style

Abdullah, Taufik & A.B. Lapian [eds]. (2012). Indonesia dalam Arus Sejarah, Jilid 2. Jakarta: Ichtiar Baru van Hoeve.

Adimiharja, Kusnaka. (1998). “Masyarakat Egaliter” in newspaper of Kompas. Jakarta: 23 February.

Amir, Hazim. (1994). Nilai-nilai Etis dalam Wayang. Jakarta: Pustaka Sinar Harapan.

Atja & Saleh Danasasmita. (1981). Carita Parahiyangan. Bandung: Proyek Pengembangan Permuseuman Jawa Barat.

Atmadibrata, Enoch. (1986). “Dramatari sebagai suatu Bentuk Karya Seni” in Edi Sedyawati [ed]. Pengantar Elementer Tari dan Beberapa Masalah Tari. Jakarta: Depdikbud RI [Departemen Pendidikan dan Kebudayaan Republik Indonesia].

Brandon, James. (1993). On Thrones of Gold: Three Javanese Shadow Plays. Honolulu: University of Hawaii Press, reprinted.

Budd, J.M. (2005). “Phenomenology and Information Studies” in Journal of Documentation, Vol.61, No.1, pp.44-59.

Caturwati, Endang. (2000). R. Tjetje Somantri, 1892-1963: Tokoh Pembaharu Tari Sunda. Yogyakarta: Penerbit Tarawang.

Danasasmita, Saleh et al. (1987). Sewaka Darma, Sanghyang Siksa Kandang Karesian, Amanat Galunggung: Transkripsi dan Terjemahan. Bandung: Bagian Proyek Penelitian dan Pengkajian Kebudayaan Sunda (Sundanologi), Dirjen Kebudayaan, Departemen Pendidikan dan Kebudayaan.

Dervin, B. (2003). “Human Studies and User Studies: A Call for Methodological Interdisciplinarity” in Information Research, Vol.9, No.1. Available online also at: http://informationr.net/ir/9-1/paper166.html [accessed in Bandung, Indonesia: 23 February 2017].

Foley, Kathy. (l979). “The Sundanese Wayang Golek: Rod Puppet Theatre of West Java”. Unpublished Ph.D. Dissertation. Honolulu, Hawaii: University of Hawaii.

Graaf, H.J. de & Th. Pigeaud. (2003). Kerajaan Islam Pertama di Jawa. Jakarta: Pustaka Utama Grafiti, Translation.

Harrymawan, R.M.A. (1993). Dramaturgi. Bandung: Remaja Rosdakarya.

Holt, Claire. (1967). Art in Indonesia. Ithaca, New York: Cornell University Press.

Keeler, Ward. (1992). Javanese Shadow Puppets. UK [United Kingdom]: Oxford University Press.

Lombard, Denys. (2005). Nusa Jawa Silang Budaya, Jilid II. Jakarta: Gramedia Pustaka Utama, Translation.

Lubis, Nina Herlina et al. (2003). Sejarah Tatar Sunda, Jilid 1. Bandung: Satya Historika.

Lubis, Nina Herlina. (2011). Sejarah Kebudayaan Sunda. Bandung: Yayasan MSI [Masyarakat Sejarawan Indonesia] Cabang Jawa Barat.

Mellema, R.L. (1988). Wayang Puppets: Carving, Colouring, Symbolism. Amsterdam: Royal Tropical Institute, Bulletin 315.

Nurgiyantoro, Burhan. (1998). Transformasi Unsur Pewayangan dalam Fiksi Indonesia. Yogyakarta: Gadjah Mada University Press.

Poesponegoro, Marwati Djoened & Nugroho Notosusanto [eds]. (1984). Sejarah Nasional Indonesia, Jilid 2. Jakarta: Balai Pustaka dan Kemendikbud RI [Kementerian Pendidikan dan Kebudayaan Republik Indonesia].

Ricklefs, M.C. (1993). Sejarah Indonesia Modern. Yogyakarta: Gadjah Mada University Press, Translation.

Rusliana, Iyus. (2002). Wayang Wong Priangan. Bandung: Kiblat Buku Utama.

Rusliana, Iyus. (2008). Wayang dalam Tari Sunda. Bandung: Penerbit STSI [Sekolah Tinggi Seni Indonesia].

Rusliana, Iyus. (2014a). Dramatari Sunda: Konsep, Metode, dan Pergelaran. Bandung: Sunan Ambu Press and STSI [Sekolah Tinggi Seni Indonesia] Bandung.

Rusliana, Yus. (2014b). “Traditions of Wayang Wong Priangan: Dance Drama of West Java” in Jurnal Balungan, Vol.9(1). Available online also at: http://www.gamelan.org/balungan/back_issues/balungan [accessed in Bandung, Indonesia: 23 February 2017].

Salmun, M.A. (1958). Kandaga Kasusastraan Sunda. Bandung: N.V. Ganaco.

Sedyawati, Edi. (1986). “Perkembangan Dramatari di Indonesia” in Edi Sedyawati [ed]. Pengantar Elementer Tari dan Beberapa Masalah Tari. Jakarta: Depdikbud RI [Departemen Pendidikan dan Kebudayaan Republik Indonesia].

Sjamsuddin, Helius. (2007). Metodologi Sejarah. Yogyakarta: Penerbit Ombak.

Soedarsono. (1997). Wayang Wong: Dramatari Ritual Kenegaraan di Keraton Yogyakarta. Yogyakarta: Gadjah Mada University Press.

Soetarno, A.K. (1992). Ensiklopedia Wayang. Semarang: Dahara Prize.

Solichin. (2011). Falsafah Wayang. Jakarta: Yayasan Senawangi.

Somantri, R. Tjetje. (1948). “Riwajat Beladjar Tari-tarian Djawa” in magazine of Budaja, 5 [November]. Bandung: Djawatan Kebudajaan, Kementiaan PPK Perwakilan Djawa Barat.

Suharto, Ben. (1986). “Bagaimana Mempersiapkan Pementasan suatu Dramatari” in Edi Sedyawati [ed]. Pengantar Elementer Tari dan Beberapa Masalah Tari. Jakarta: Depdikbud RI [Departemen Pendidikan dan Kebudayaan Republik Indonesia].

Sumiati, Lilis. (2012). “Tari Wayang: Karakter Satria Ladak” in PANGGUNG: Jurnal Ilmiah Seni & Budaya, Vol.22, No.1. [January-March], published by STSI Bandung.

Sumiati, Lilis. (2014). “The Transformation of Jayengrana Dance from the Perspective of Anthony Giddens’s Structuration Theory” in TAWARIKH: International Journal for Historical Studies, Vol.5(2), April. Available online also at: http://mindamas-journals.com/tawarikh/article/viewfile/576/574 [accessed in Bandung, Indonesia: 23 February 2017].

Suryana, Jajang. (2002). Wayang Golek Sunda: Kajian Estetika Rupa Tokoh Golek. Bandung: Penerbit Kiblat Buku Utama.

Winarso, Haryo et al. [eds]. (2014). Perfroming Indonesia: Music, Dance, and Theatre from West Java. Washington D.C.: Embassy of the Republic of Indonesia.

Zahorka, Herwig. (2007). The Sunda Kingdoms of West Java: From Tarumanagara to Pakuan Pajajaran with the Royal Center of Bogor. Jakarta: Yayasan Cipta Loka Caraka.