Tunggul Wulung dikategorikan orang sakti oleh sebagian orang-orang di wilayah Jepara. Kesaktian beliau di antaranya : mampu menempuh perjalanan jauh ( Jepara – Pati, sekitar 40 km ) dalam waktu 10 menit berjalan kaki. Cerita yang lain menyebutkan bahwa Tunggul Wulung mampu berkotbah dalam waktu dan jam yang sama di dua tempat yang berbeda ( artinya : beliau bisa memecah dirinya menjadi dua ). Terdapat lebih banyak lagi cerita tentang kesaktian dan hal-hal spektakuler yang beliau kerjakan yang beredar di khalayak. Tunggul Wulung juga mengajarkan dan mempraktekkan cara-cara kekristenan yang berbeda dengan kekristenan umum ( barat ). Tidak mengherankan jika mantram, ubo rampe kembang menyan, dan lain sebagainya merupakan hal yang lazim dalam praktek hidup kekristenan Tunggul Wulung. Secara garis besar, Tunggul Wulung mempraktekkan kekristenan yang “njawani”.
Kebetulan Tunggul Wulung adalah seorang pribumi asli yang “mengenal Kristus” karena mendapatkan panggilan langsung melalui laku. Tunggul Wulung tentang perkenalan dan pemahamannya tentang Yesus Kristus, Alkitab dan Kekristenan dapat dikategorikan “mandiri”, terbatas dalam singgungan dan masukan dari konsep-konsep Teologia Kristen barat. Tunggul Wulung menghasilkan pandangan teologis dan praktek hidup kekristenan berdasarkan Alkitab yang diinterpretasikan berdasarkan konsep-konsep filosofis Timur ( Jawa ). Tunggul Wulung sebagai seorang Kristen berperilaku selayaknya orang Timur. Konsep-konsep pemikiran Tunggul Wulung tentang Yesus, Alkitab dan kekristenan “seringkali dianggap miring” oleh sebagian orang. Tunggul Wulung dianggap mistis, klenik, sinkretis dan lain sebagainya. Pandangan miring tersebut seringkali ditegaskan dengan dukungan dukungan praktek hidup “sakti” Tunggul Wulung yang seringkali dipertanyakan : apakah dari Tuhan atau dari bukan Tuhan.
Menarik sekali menanggapi justifikasi “miring” yang dikenakan kepada Tunggul Wulung oleh sebagian orang. Justifikasi ini tentu didasarkan sebuah “paradigma berpikir” yang menjadi “standart acuan”. Dengan kata lain, penilaian ketidaklaziman Tunggul Wulung ini muncul dari “sebuah kelaziman umum” yang ada di pikiran para penilai. Kelaziman tersebut adalah standart yang telah ada. Apakah standar kelaziman tersebut? Standar kelaziman tersebut adalah system interpretasi barat yang menghasilkan teologia dengan frame “barat”, dan praktek-praktek hidup barat yang timbul dari system interpretasi dan “teladan barat”.
Konsep barat, entah Eropa atau Amerika telah menjadikan dirinya “seolah-olah” Alkitab itu sendiri. Praktek-praktek kekristenan ala Barat seolah-olah merupakan sebuah praktek hidup Kekristenan yang benar. Akibatnya : “segala sesuatu di luar kelaziman Barat” dianggap sumir. Pertanyaannya adalah : apakah memang demikian?
Pendapat teologi yang teraplikasi dalam hidup mau tidak mau merupakan hasil interpretasi yang dibangun dari sebuah paradigma berpikir. Demikian halnya pendapat teologia barat yang menghasilkan praktek-praktek hidup kekristenan adalah produk “paradigma pikir Eropa”. Ketika Alkitab ini ditafsir oleh orang-orang barat dengan paradigma pikir mereka merupakan sesuatu yang sah. Tetapi ketika produk interpretasi ini dijadikan sebuah standar acuan kebenaran, tentu perlu dipertanyakan dan dipertentangkan. Alkitab tidak sama dengan Barat. Kekristenan yang benar tidak sama dengan kekristenan ala Barat. Kekristenan “produk Barat” sah bagi orang-orang Barat, tetapi belum tentu pas dan relevan dengan orang-orang Kristen di Indonesia. Mengapa? Karena Indonesia tidak sama dengan barat. Produk teologia semestinya relevan dengan manusia pelakunya. Kristen Indonesia semestinya menerapkan praktek hidup Kristen berdasarkan produk teologia yang sesuai dengan frame keIndonesiaan. Kekristenan Indonesia dan produk teologianya yang berbeda dengan “Barat” tidak berarti menyimpang. Berbeda iya, kalau salah tidak. Sangat naïf jika memaksakan kebenaran Barat bagi Timur ( Indonesia ).
Apa yang dipikirkan dan dikerjakan oleh Tunggul Wulung merupakan sebuah kemandirian. Berteologi dan bertindak Kristen sesuai ala berpikir Timur ( Indonesia ). Tidak semestinya jika paradigma Barat menjadi standar justifikasi bagi keindonesiaan Tunggul Wulung. Teologia Barat punya hak hidup dan wilayahnya sendiri, demikian pula teologia Kristen Timur punya hak dan wilayahnya sendiri. Istilah mistik, klenik, dan sinkretis yang dikenakan kepada Tunggul Wulung merupakan sebuah arogansi “paradigma Barat” terhadap teologia Timur. Kata lain : keserakahan rasionalisasi Barat terhadap tata pikir Ketimuran. Tentu hal ini tidak bisa dibiarkan.
Berinterpretasi dan berperilaku Timur merupakan hak dan keharusan Kekristenan Timur. Hak ini sama diberikan kepada orang-orang Kristen Barat untuk bebas berinterpretasi dan berperilaku Barat. Kemandirian berteologi,berinterpretasi dan berperilaku dalam konteks merupakan hak dan juga kewajiban. Tujuannya supaya kekristenan membumi di mana dia berada. Karena sesungguhnya, demikianlah semestinya Alkitab dihidupkan oleh setiap manusia di mana saja dia berada, sesuai dengan konteks budaya masing-masing. Mari berteologia dan berinterpretasi dalam konteks secara lebih percaya diri. Yesus Kristus empunya semesta raya dengan segala kekhasannnya masing-masing, memberkati.
Oleh : “Kintaka Pepeling Hyang”
FOTO MASTER
Kamis, 07 Januari 2010
Selasa, 29 Desember 2009
Wayang Kulit Pakeliran Padat
Wayang kulit is performed the whole night commencing at about 09.00 PM to 05.00 AM. It needs around eight hours to perform a plot of stories from Ramayana or Mahabrata epoch.
DALANG (The Puppet Master or The Story Teller)
After deciding the title of wayang story, a dalang (puppet master), a dalang to perform the show must be appointed. Dalang position is very important, as he is the leader of the performance. Sometimes dalang could be chosen first, afterwards a consultation with him could be held to choose an appropriate title.
Dalang comes from the words juru udalan (juru : an expert, a skillful man - udalan abbreviated to dalan, then becomes dalang means to tell stories), so dalang is a story teller.
Dalang is an overall artist. He must have a broad knowledge of several disciplines of arts, such as :
1. Mastering deeply the stories of wayang Ramayana as well as Mahabharata, knows the characters of wayang figures.
2. Having a thorough knowledge of Javanese philosophy and moral ethics, as Javanese philosophy and moral ethics are inter-connected, or might be almost similar.
3. Having an accurate information in many aspects of life in the country (or even internationally in this era of information and globalization).
4. Having a good and clear voice, as he has to imitate about 50 (fifty) wayang figures with different voices. He has to explain every occasion, which has or should happened. And he has also to perfectly master the language 'high' and 'ordinary' used in dialogue, song and narration. He has to be a good singer, as he has to sing a lot during a performance.
5. Having the ability of preparing the scenario, so that plot of stories should flow smoothly, in accordance with standard patterns.
6. He has to know gamelan (Javanese musical instruments) used to accompany the show. He has also the capacity of a conductor as he should command the gamelan music; when it should begin and stop, and he should ask the gamelan crew what kind of music or song to be played.
7. He has to lead the chorus of pesinden (women singers), usually consists of three to five singers and wira swara (male singers).
8. He has to be skillful to move the puppets attractively.
9. He has to know how to make good jokes, at the sametime advising the audience unnoticeably.
This part of play occurred at midnight at the Goro-goro episode, which last about one hour. During that time the Ponokawan appears. At most occasion the dalang plays a role as mouthpiece of the sponsors. In a performance organized by Agency of Family Planning, he should arise the topics of Family Planning. In front of the arm forces or police forces, he should speak of leadership and discipline. Before an audience in university he should speak of knowledge, good conduct and the goals of life.
In the village, he should speak about the spirit of cooperation, development and any topics, which should give optimism to the villagers. The topics might be different, but here are similarities; he should tell it jokingly, interrupted by many songs, sung by the pesinden - women singers, accompanied by gamelan music. He should insert some advises on morality, hard working and every deed must be conducted properly not hurting other's feeling, not breaking the laws, especially the highest law such as the law of God.
Generally the Goro-goro time is full of laughters and musics, which make the audience happy and entertained.
Last but not least a dalang must be a healthy man or woman (nowadays, there are some women dalang), with a good physical endurance because dalang has to sit cross legged for eight hours on a mat to perform wayang.
The STAGE
It is needed to accommodate the performance, sometimes it is an elevated stage around 0,5 to 1 meter higher than audience's chairs.
On stage there is a white cotton screen illuminated by blencong (an oil lamp, hangs above the dalang), nowadays, a spotlight is used. From behind the scene, some audience watch the performance. They see the shadow of the puppets. Shadow in Javanese is wayang, from here the words of wayang kulit come. The mass of the audience sits in front of the screen to watch the wayang played by dalang.
On the right and left side of dalang, the wayang figures were arranged stuck to a banana tree poles. And at the left and right ends of the screen, banquets of bananas and leaves tree are decorated. Behind dalang the gamelan music instruments are arranged and played by the wiyogo (gamelan players).
The chorus of some pesinden (woman singers) as well as male singers are sitting there too. Next to the left side of dalang, there is a wooden box used by dalang to beat his instruments. The 'keprak', several pieces of small size iron plates hit by dalang by using right foot. From time to time, dalang during narration hit the wooden box with his hand by a 'cempolo' (wooden mallet).
The SHOW
The gunungan (from gunung : mountain) or kekayon, a mountain like leather puppet has an important part in wayang performance. Symbolizing the power of life of the creator, gunungan is used to begin the play, change one scene to other or imagine wind, obstacles, mountain, clouds or seas.
Before commencing wayang performance, a set of traditional offerings have been prepared with incense burning, a prayer to God Almighty is said in the hope the wayang performance should be conducted safely and the message should be accepted by the audience.
The pattern of wayang show begins with court audience, followed by a battle between a ksatria and giants (buto) lead by Buto Cakil. The ksatria wins the battle by killing Buto Cakil, it's symbolizing that every good efforts should end successfully after eliminating the obstacles.
Then, the appearance of the famous Ponokawan, which is very comical and full of laughter, songs and music. Nowadays, some guest stars such as local famous singers and jokers might take part in the interlude made the show livelier.
Followed by some meeting and decisive battles until morning. At the end a wooden puppet (in javanese Golek) is played by dalang. The word golek means to search, in that case the audience is requested to search, the meaning of the story which has been performed the whole night. Gunungan is stuck in the middle of the screen.
Lessons from Wayang Kulit Performance
1. On the top, it's a lesson of morality, honesty, truth should win against evil.
2. One has to choose what to do in accordance with his own belief.
• Kumbakarna has to choose to fight despite Rahwana's sinful deeds, not to defend his brother but to defend his country. "Right or wrong is my country".
• Wibisana, he chooses to defend the absolute truth. A sin committed by his own brother - the king, must be condemned. He decides to join Rama, the right side.
3. It is reflecting events in life.
• One must work hard decently before attaining his goals.
• Lust of material wealth should bring disaster to other people and at the end should ruin his own life.
• Love affaires exist since ancient time. But do not follow the wrong examples, such as the one between Begawan Wisrawa and Sukesi, Rahwana's parents.
4. Life Purification.
A king gives up his own crown, goes to solitude and lives as a Begawan to meditate, purifying his soul to reach a true holiness.
5. Everyone is longing to live in a just (adil) and prosperous (makmur) society, in the safe, peaceful and secured situation with the blessing of God Almighty.
LKLK IN THE CULTURAL REFRESHING
PERFORMANCE OF LEATHER PUPPET
PENTAS WAYANG KULIT PAKELIRAN PADAT
A. PENTAS WAYANG KULIT PAKELIRAN PADAT
Pakeliran padat adalah pentas wayang kulit dengan durasi waktu lebih pendek dari waktu pentas normal. Pentas wayang kulit pakeliran padat berdurasi 2 – 3 jam untuk satu ceritanya. Pentas wayang kulit sistem pakeliran padat, sajian pentasnya sama persis dengan pentas wayang kulit normal, perbedaan hanya pada durasi waktu pentas dan pemadatan cerita. Tetapi, pentas wayang kulit system pakeliran padat sama sekali tidak mengurangi esensi pemahaman cerita.
B. PEMBIAYAAN
Pentas wayang kulit pakeliran padat membutuhkan biaya Rp 10.000.000,- untuk satu kali pentas,* tidak termasuk makan tamu.
C. Kontak Person
Jika berminat dengan penyelenggaraan wayang kulit pakeliran padat dapat menghubungi :
1. Sofwan Faisal : 081904755580
2. Utomo : 081329438028
D. PILIHAN CERITA
1. Pakem Mahabaratha
2. Pakem Ramayana
3. Lakon Carangan
DALANG (The Puppet Master or The Story Teller)
After deciding the title of wayang story, a dalang (puppet master), a dalang to perform the show must be appointed. Dalang position is very important, as he is the leader of the performance. Sometimes dalang could be chosen first, afterwards a consultation with him could be held to choose an appropriate title.
Dalang comes from the words juru udalan (juru : an expert, a skillful man - udalan abbreviated to dalan, then becomes dalang means to tell stories), so dalang is a story teller.
Dalang is an overall artist. He must have a broad knowledge of several disciplines of arts, such as :
1. Mastering deeply the stories of wayang Ramayana as well as Mahabharata, knows the characters of wayang figures.
2. Having a thorough knowledge of Javanese philosophy and moral ethics, as Javanese philosophy and moral ethics are inter-connected, or might be almost similar.
3. Having an accurate information in many aspects of life in the country (or even internationally in this era of information and globalization).
4. Having a good and clear voice, as he has to imitate about 50 (fifty) wayang figures with different voices. He has to explain every occasion, which has or should happened. And he has also to perfectly master the language 'high' and 'ordinary' used in dialogue, song and narration. He has to be a good singer, as he has to sing a lot during a performance.
5. Having the ability of preparing the scenario, so that plot of stories should flow smoothly, in accordance with standard patterns.
6. He has to know gamelan (Javanese musical instruments) used to accompany the show. He has also the capacity of a conductor as he should command the gamelan music; when it should begin and stop, and he should ask the gamelan crew what kind of music or song to be played.
7. He has to lead the chorus of pesinden (women singers), usually consists of three to five singers and wira swara (male singers).
8. He has to be skillful to move the puppets attractively.
9. He has to know how to make good jokes, at the sametime advising the audience unnoticeably.
This part of play occurred at midnight at the Goro-goro episode, which last about one hour. During that time the Ponokawan appears. At most occasion the dalang plays a role as mouthpiece of the sponsors. In a performance organized by Agency of Family Planning, he should arise the topics of Family Planning. In front of the arm forces or police forces, he should speak of leadership and discipline. Before an audience in university he should speak of knowledge, good conduct and the goals of life.
In the village, he should speak about the spirit of cooperation, development and any topics, which should give optimism to the villagers. The topics might be different, but here are similarities; he should tell it jokingly, interrupted by many songs, sung by the pesinden - women singers, accompanied by gamelan music. He should insert some advises on morality, hard working and every deed must be conducted properly not hurting other's feeling, not breaking the laws, especially the highest law such as the law of God.
Generally the Goro-goro time is full of laughters and musics, which make the audience happy and entertained.
Last but not least a dalang must be a healthy man or woman (nowadays, there are some women dalang), with a good physical endurance because dalang has to sit cross legged for eight hours on a mat to perform wayang.
The STAGE
It is needed to accommodate the performance, sometimes it is an elevated stage around 0,5 to 1 meter higher than audience's chairs.
On stage there is a white cotton screen illuminated by blencong (an oil lamp, hangs above the dalang), nowadays, a spotlight is used. From behind the scene, some audience watch the performance. They see the shadow of the puppets. Shadow in Javanese is wayang, from here the words of wayang kulit come. The mass of the audience sits in front of the screen to watch the wayang played by dalang.
On the right and left side of dalang, the wayang figures were arranged stuck to a banana tree poles. And at the left and right ends of the screen, banquets of bananas and leaves tree are decorated. Behind dalang the gamelan music instruments are arranged and played by the wiyogo (gamelan players).
The chorus of some pesinden (woman singers) as well as male singers are sitting there too. Next to the left side of dalang, there is a wooden box used by dalang to beat his instruments. The 'keprak', several pieces of small size iron plates hit by dalang by using right foot. From time to time, dalang during narration hit the wooden box with his hand by a 'cempolo' (wooden mallet).
The SHOW
The gunungan (from gunung : mountain) or kekayon, a mountain like leather puppet has an important part in wayang performance. Symbolizing the power of life of the creator, gunungan is used to begin the play, change one scene to other or imagine wind, obstacles, mountain, clouds or seas.
Before commencing wayang performance, a set of traditional offerings have been prepared with incense burning, a prayer to God Almighty is said in the hope the wayang performance should be conducted safely and the message should be accepted by the audience.
The pattern of wayang show begins with court audience, followed by a battle between a ksatria and giants (buto) lead by Buto Cakil. The ksatria wins the battle by killing Buto Cakil, it's symbolizing that every good efforts should end successfully after eliminating the obstacles.
Then, the appearance of the famous Ponokawan, which is very comical and full of laughter, songs and music. Nowadays, some guest stars such as local famous singers and jokers might take part in the interlude made the show livelier.
Followed by some meeting and decisive battles until morning. At the end a wooden puppet (in javanese Golek) is played by dalang. The word golek means to search, in that case the audience is requested to search, the meaning of the story which has been performed the whole night. Gunungan is stuck in the middle of the screen.
Lessons from Wayang Kulit Performance
1. On the top, it's a lesson of morality, honesty, truth should win against evil.
2. One has to choose what to do in accordance with his own belief.
• Kumbakarna has to choose to fight despite Rahwana's sinful deeds, not to defend his brother but to defend his country. "Right or wrong is my country".
• Wibisana, he chooses to defend the absolute truth. A sin committed by his own brother - the king, must be condemned. He decides to join Rama, the right side.
3. It is reflecting events in life.
• One must work hard decently before attaining his goals.
• Lust of material wealth should bring disaster to other people and at the end should ruin his own life.
• Love affaires exist since ancient time. But do not follow the wrong examples, such as the one between Begawan Wisrawa and Sukesi, Rahwana's parents.
4. Life Purification.
A king gives up his own crown, goes to solitude and lives as a Begawan to meditate, purifying his soul to reach a true holiness.
5. Everyone is longing to live in a just (adil) and prosperous (makmur) society, in the safe, peaceful and secured situation with the blessing of God Almighty.
LKLK IN THE CULTURAL REFRESHING
PERFORMANCE OF LEATHER PUPPET
PENTAS WAYANG KULIT PAKELIRAN PADAT
A. PENTAS WAYANG KULIT PAKELIRAN PADAT
Pakeliran padat adalah pentas wayang kulit dengan durasi waktu lebih pendek dari waktu pentas normal. Pentas wayang kulit pakeliran padat berdurasi 2 – 3 jam untuk satu ceritanya. Pentas wayang kulit sistem pakeliran padat, sajian pentasnya sama persis dengan pentas wayang kulit normal, perbedaan hanya pada durasi waktu pentas dan pemadatan cerita. Tetapi, pentas wayang kulit system pakeliran padat sama sekali tidak mengurangi esensi pemahaman cerita.
B. PEMBIAYAAN
Pentas wayang kulit pakeliran padat membutuhkan biaya Rp 10.000.000,- untuk satu kali pentas,* tidak termasuk makan tamu.
C. Kontak Person
Jika berminat dengan penyelenggaraan wayang kulit pakeliran padat dapat menghubungi :
1. Sofwan Faisal : 081904755580
2. Utomo : 081329438028
D. PILIHAN CERITA
1. Pakem Mahabaratha
2. Pakem Ramayana
3. Lakon Carangan
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