The Aesthetics Effect of Surakarta-Style Pakeliran on East Javanese Pakeliran

This study intends to explore the aesthetics of East Javanese Shadow Puppet (Wayang Kulit Jawa Timuran) show as one of the people’s style puppet show model. The problems discussed are related to how East Javanese Shadow Puppeteers respond to the existence of The Surakartastyle shadow puppet shows that are not only flourished in the Central Java region but also in most parts of East Java. This study uses qualitative methods with descriptive analytical analysis. Research data are collected through literature studies, documentation studies, interviews, and field observations. The results of the study show that East Javanese shadow puppet show, both performance elements, the structure, and some elements of “garap pakeliran” have currently been colored by the idioms of Surakarta-style shadow puppet show.


INTRODUCTION
East Javanese-style shadow puppet show (hereinafter referred to as Pakeliran Jawa Timuran), or better known as 'wayang jekdong' or 'wayang dakdong', is a form of shadow puppet show that grows and develops in the brangwétan region, which is across the east of the watershed Brantas. This pakeliran has a relatively narrow of performing range when compared to the area of East Java Province which consists of 29 regencies and 9 cities. Pakeliran Jawa Timuran only lives in villages in Jombang Regency, Mojokerto, Malang, Pasuruan, Sidoarjo, Gresik, Lamongan, and on the outskirts of Surabaya.
Pakeliran Jawa Timuran, both the aspects of the wayang artistry, the structure of the play, and the style of the per-style of performance (Timoer, 1988, p. 19). The differences in performance patterns in each region occur because each region has its own referen-ce to puppetry which is formed from the individual styles of each puppeteer and inherited from generation to generation. Pakeliran Jawa Timuran has a more simp-le, straightforward, familiar, and flowing aesthetics (Javanese: gayeng, gobyog, ramé). The nuances of puppet art show which is gayeng, gobyog, ramé are strongly influen-ced by the nuances of togetherness and intimacy of rural and/or coastal commu-nities (pesisiran) (Kayam, 1981;2001).
Based on the field study, it was found that not all East Javanese puppeteers presented Pakeliran Jawa Timuran, because not all East Javanese people liked Pakeliran Jawa Timuran. Some communities in certain areas such as Magetan, Ngawi, Madiun, Nganjuk, Pacitan, Ponorogo, Trenggalek, Tulungagung, and Blitar, prefer Surakarta-style pakeliran, so that the puppeteers who live in the area mostly adhere to the Surakarta-style of Pakeliran. Why did this happen in the life of puppetry in East Java?
Research on the aesthetics influence of the Surakarta-style pakeliran on Pakeliran Jawa Timuran is urgent to be done, considering that until now there has been no scientific study to discuss it. The two previous writings, the Wayang Malangan, written by Suyanto (2002), emphasizes more on the origins and life of Malangan sub-style shadow puppets; while "Nyalap Nyaur: The Management Model of Jekdong Puppet Performance in the Celebration of East Javanese Traditions," Wisma Nugraha Christianto writing focuses on the management model of the East Javanese puppeteers both during quiet and crowded stage performances (Rich, 2012). Meanwhile, the article entitled "Artistic and Aesthetic Concepts of Javanese Puppetry Art," written by Nugroho (2007), only discusses the differences in artistic concepts and aesthetic concepts of Javanese puppetry in general. "Rasa: Affect and Intuition in Javanese Musical Aesthetics", Benamou's writing (2010) focuses more attention on the issue of the feeling underlying the aesthetics of traditional Javanese music. "The Concept of Taste in Purwa Wayang Kulit Show," written by Sunardi (2012), only reveals indicators of rasa regu, greget, sedhih, and prenès in a puppet show. Likewise "Estetika Wayang," Hadiprayitno (2014) writing, focuses more on the aesthetic basics in wayang kulit purwa shows.
Based on the background problems above, the problems of this research are: How did the East Javanese puppeteers react to it? That is, does the aesthetics of the Surakarta-style Pakeliran also affect Pakeliran Jawa Timuran? If the answer is 'yes', why did it happen? In accordance with the formulation of the problem set, this study aims to explore the aesthetics influence of the Surakarta-style Pakeliran on Pakeliran Jawa Timuran as a form of a popular style puppet show.

METHODS
This study uses qualitative methods with descriptive analytical analysis. The research data were collected through literature studies, documentation studies, interviews, and field observations related to the East Javanese shadow puppet show. The literature study was focused on books and manuscripts about East Javanese puppet show. The documentation study prioritizes several audio-visual recordings of Pakeliran Jawa Timuran. Interviews were conducted with puppeteers and East Javanese shadow puppet observers. The field observations focused on Pakeliran Jawa Timuran Sub-style Porongan, with the mastermind Ki Wardono (Mojokerto); Sub-style Mojokertoan, with mastermind Ki Pitoyo (Mojokerto); and Sub-style Malangan, with mastermind Ki Suyanto (Malang).

Performance Devices
The stage of Pakeliran Jawa Timuran basically does not have a significant difference with the Surakarta-style pakeliran stage. The difference is because before the pakeliran takes place, it is started with the Ngréma dance performance, then there is usually an additional stage located in front of the shadow puppet stage. This additio-nal stage is also be used for the Ngréma dance performance arena, this stage is also sometimes used for the presentation of campursari music before the Ngréma dance takes place. There is an additional stage that blends with the shadow puppet stage, located behind the seats of the panjak (Central Java: pengrawit or niyaga), there are some that are set apart from the shadow puppet stage; depending on the conditions of the venue.
The musical instruments of gamelan wayangan like the last one called are 'new traditions' that developed in Javanese shadow puppet show, both in Surakarta, Yogyakarta and also in East Javanese today. It was called a 'new tradition' because the arrangement only appeared in the 1990s, which was started by pantap style pakeliran, namely a puppet show held in the courtyard of the Central Java Governor's Office by the Committee of Permanent Appreciation and Puppetry Art Development on the initiative of Soedjadi, Chair of Ganasidi (Indonesian Puppet Art Development Agency) in Central Java. The use of drums and cymbals is for stabilizing sound effects when puppets fight, while the use of or-gans and guitars is to accompany campursari songs.
Pakeliran Jawa Timuran has a charac-teristic in sampiran arrangement (the term East Javanese Puppetry) or simpingan (the term Central Javanese puppetry), which means figures of puppets which are plug-ged in lined up on the right and left of the puppet show screen (Javanese: kelir). Sam-piran kanan (from front to back) consists of Batara Kala, Batara Bayu, Werkudara, Bratasena Baladewa, Gathutkaca, Antareja, monkeys, deities, subtle kings, king's sons/ princes (Javanese: putran), Batara Guru (facing left with the position above the other sampiran puppets), puppet princess, and small puppet figures. Sampiran kiri (from front to back) consists of giant king figures (Javanese: danawa raton), Dasa-muka, Suyudana, Dursasana, Pragota, prime ministers (Javanese: patihan), round-eyed puppet figures (Javanese: plelengan), puppet figures whose mouths are open so that their teeth and fangs appear (Javanese: prèngèsan), Setyaki, Batari Durga (facing right with the position above the other attachment puppets), the small-sized Kurawa, king seberang who has a handsome face (Javanese: sabrang bagus), and small puppet figures. Before the shadow puppet show begins, in the middle of kelir (the screen) are embedded puppet figures Semar and Bagong -sometimes accompanied by Besut -which are closed or located outside the kayon figure or gunungan.
The arrangement of shadow puppet figures in Pakeliran Jawa Timuran is different from the arrangement in the Surakarta-style pakeliran. The figures of the Baladewa in Pakeliran Jawa Timuran are included in sampiran kanan, in the Surakarta-style pakeliran is on simpingan kiri. The figures of Batara Kala and the gods in Pakeliran Jawa Timuran are included in the right side, in the Surakarta-style pakeliran included in the puppet dhudhahan category, which is puppet figures arranged in kothak or on top of the kothak lid on the right side of the puppeteer. Likewise, the small figures of Dursasana, Pragota, patihan, and Kurawa in the Surakarta-style Pakeliran be included the middle of the forest (knight confronted by panakawan: Semar, Bagong, and Besut), continued by budhalan; (2) perang gagal or perang bégal, knight figures against giants which ends with the death of the giants; (3) jejer IV in a kingdom Jejer I, ending with budhalan. The third part with the nuances of melody pathet serang, consists of three scenes: (1) Jejer V in an accross kingdom, ending with budhalan; (2) Brubuh war, a war between figures in Jejer I against the figure on Jejer V which ends with the death of one party; (3) Jejer pamungkas (the final), the closing scene in a kingdom.
There are three things that distinguish between Pakeliran Jawa Timuran and Pakeliran Surakarta style. First, Pakeliran Jawa Timuran has four pathet areas (a system that regulates the role, position, and tone area of Javanese gamelan), namely pathet sepuluh, pathet wolu, pathet sanga, and pathet serang; whereas Pakeliran Surakarta style only has three pathet regions, namely pathet nem, pathet sanga, and pathet many-ura. Second, all scenes (except paséban and war) in Pakeliran Jawa Timuran are called jejer; whereas in Surakarta style the term jejer is only used to refer to the first scene, for the following scenes are called scenes or candhakan. It is called a scene when ac-companied by a certain composition and accompanied by a narration of the puppe-teer, and is called candhakan if it is only accompanied by melody at the level of ayak-ayak, srepeg, or sampak and is not accompanied by the narration of the puppeteers. Third, in Pakeliran Jawa Timuran, there are no kedhatonan scenes -which end in limbukan -and gara-gara scenes. Kedhatonan scene is a scene that depicts a king's empress accepting the presence of the king from the courtroom, while gara-gara scene is a scene that shows panakawan (Gareng, Petruk, and Bagong) joking and singing hymns. The joking of the Panakawan Jawa Timuran (Semar, Bagong, and Besut) are displayed in jejer III when they follow the knight who became their master.
The first and second cases up to now are still preserved as typical characteristics of Pakeliran Jawa Timuran, but for the thir-in the category of wayang dhudhahan. The figures of Semar and Bagong in Surakartastyle pakeliran have never been kept together in simping with the kayon figure in the middle of kelir; these two puppet figures are in the wayang dhudhahan category.

Performance Structure
Pakeliran Jawa Timuran has a different structure from the Surakarta-style pakelir an. In East Javanese tradition, before the pakeliran began, a special East Javanese dance was performed, which is Ngréma in two styles; women style and men sty-le. The Ngréma dance is a package from the shadow puppet show and is presented between 9:00 and 23:00, in addition to the opening performance or reception of guests, this performance as well as to invite shadow puppet show viewers. Besides dancing, Ngréma dancers also sang campursari songs. They also received saweran from the spectators who participated in the dance (Javanese: ngibing) on the stage. In certain performances that are mass celebrations, before the Ngréma dance is usually enlivened with dangdut or campursari music performances which are presented by the committee from outside the shadow puppet group. They usually perform between 19:30 and 21:00.
Pakeliran Jawa Timuran has a simpler structure compared to the pakeliran structure of the Surakarta style tradition. The first part consists of four scenes: (1) jejer (standing in line) in an empire (with nuances of melody pathet sepuluh followed by pathet wolu), a king is confronted by the ministers, then the arrival of guests, and ending with all puppet figures leaving the place (Javanese: bedholan or budhalan); (2) paséban, the prime minister ordered his troops to go to a place, ending with budhalan; (3) sepisan war, war between the royal forces jejer I against troops from other kingdoms; (4) jejer II in an empire, accepts the arrival of guests, ends with budhalan. The second part with the pathet sanga nuances, consists of three scenes: (1) jejer III in the hermitage (the priest is confronted by knights with panakawan: Semar, Bagong, and Besut) or in case at this time it has begun to wear off. That is, at this time Pakeliran Jawa Timuran also displays limbukan and gara-gara as well as Pakeliran Surakarta style now in general. Limbukan's appearance in Pakeliran Jawa Timuran, refers to the 1990s-style limbukan Surakarta style pakeliran, which appears as a 'loose scene' without beginning with kedhatonan scene. Likewise, gara-gara in Pakeliran Jawa Timuran refers to the Surakarta style of the Nartasabda era (the 1970s) pakeliran which was adopted from the Yogyakarta style pakeliran. The two scenes are used by the East Javanese puppeteers to convey social messages as well as to present campursari songs both at the choice of the puppeteer or the audience's request.

Elements of Garap Pakeliran
Garap pakeliran includes all elements of pakeliran expression, which consist of: catur, sabet, gending, sulukan, dhodhogan, and keprakan. Catur is the puppeter discourse presented in pakeliran. Sabet is everything related to the wayang movements in pakeliran. Gending is gamelan music which serves to accompany the nuances of giving wayang performances. Sulukan is a combination of poetry and songs performed by puppeteer to build a certain atmosphere in the pakeliran. Dhodhogan is the sound of a wooden beater (called cempala) which is struck on the inside or outside of the puppet box to build a certain atmosphere in the pakeliran. Keprakan is the sound of a number of metal plates (called keprak) which hang on the lip of the puppet box to build a certain atmosphere in pakeliran (Nugroho, 2012). Of the six elements of garap pakeliran, there is one element of garap that has similarities between Surakarta style pakeliran and Pakeliran Jawa Timuran, which is on garap catur, while the other garap elements (sabet, gending, sulukan, dhodhogan, and keprakan ) shows typical East Java.
Catur in Pakeliran Jawa Timuran, based on the form of speech and its functions can be grouped into three types, namely janturan, pocapan, and ginem. Janturan is a narrative of puppeter to describe a scene that is presented along with the strains of melody that sound soft (Javanese: sirep). Pocapan is the puppeter's narrative to describe the events that have occurred and will occur in pakeliran which are presented without strains of melody; if using the strains of gending sounds soft it is called pocapan gadhingan. Ginem is a dialogue or monologue of puppet characters in pakeliran (Timoer, 1988). The naming of terms in this catur grouping can be ascertained to come from the term Surakarta style puppetry, except pocapan gadhingan. For Surakarta style puppetry, all the narratives of the puppeteers are presented in accompaniment of the sirep gendhing, both to describe a scene and events that have occurred and will occur in pakeliran, called janturan.
Janturan jejer 1 in the Pakeliran Jawa Timuran -although with different dialects and language styles -has the same sentence pattern and structure as janturan jejer on Surakarta style pakeliran tradition, consisting of: opening, royal names, geography, economic conditions, conditions of peace and state security, the loyalty of the courtiers, the name of the king along with its meaning and character.
The opening text of jejer I speech written as follows: "Yanenggih, sirepé data pitana sekaring panguneng-uneng, tiyang ngringgit ing sedalu menika nggelar carita jaman purwa." (This is a silence, a man masterminds the puppet show this night-long holding stories of the beginning.) This text bears similarities with the opening text of the lacerations in the Surakarta-style pakeliran which reads: "Swuh rep data pitana" (Nojowirongko, 1960, p. 70).
Janturan text that illustrates the geography of a state is written as follows: "...negari ngungkuraken gunung, ngayunaken lelayaran utawi samodra, ngéringaken pesabinan, nengenaken bengawan, mengku bandaran agung." (... a country back to the mountain, facing the ocean, on its left is agricultural land, on the right is a large river, has a lar-ge port.) This is the same as janturan text in the Surakarta style written as follows: "... nagari ngungkuraké pagunungan, ngéring-aké pasabinan, nengenaken benawi, ngayunken bandaran gedhé" (Nojowirongko, 1960). The text created by Padhasuka (Pasinaon Dha-lang ing Surakarta) in around 1923 actually depicts the geographical location of the Surakarta Palace, which is back to the mountain (Pegunungan Seribu), on the left (west) of agricultural land (Boyolali and Klaten), next to the right (east) has a Bengawan Solo stream, and in front of it in distance there is a port (Tanjung Emas, Se-marang). Because Janturan jejer text is stan-dardized as a reference for Surakarta style puppetry, the PDMN (Pasinaon Dhalang ing Mangkunegaran) also uses the same pattern, even though the Mangkunegaran Palace faces south.
(Raharja far from the attack of the enemy, while the regents seem loyal, wise, clever, able to carry out their obligations, always trying to improve the noble-ness of the king.) The text that depicts the name of the king and its meanings and characters is  " Nojowirongko, 1960, p. 71).
(... Sri Batara Kresna, Prabu Arimur-ti, Padmanaba, Narayana, Kesawa, Wasudewa, Wisnumurti, Danardana, Janardana. Titled Sri Batara Kresna, his skin is black to bone marrow and blood; if chicken is a smooth black chicken, can be used as a tool, so too Sri Krishna can be used as a means of glory of the Pandavas in Bratayuda ... giving clothes to people who do not have clothes, feeding people who are starving, giving water to people affected by drought, giving sticks to people who walk on slippery roads, giving hats to people who are overheating, giving umbrellas to people who are in the rain, entertaining people who are difficult, treating sick people.) only in the Central Java region but also in most of East Java.

CONCLUSION
Based on the description above, it can be concluded that wayang kulit as a work of art, both art and performing arts, is not a'dead' tradition, but a tradition of 'living'. This type of art always changes and develops according to the context. Likewise, Pakeliran Jawa Timuran which grows and develops as an oral tradition, always changes from time to time in accordance with the wishes of its people. Pakeliran Jawa Timuran as 'folk art' or 'small tradition' in life has become increasingly marginalized, pressured by the 'great tradition' which increasingly dominates the world of puppet shows, namely the Surakarta style of Pakeliran. Therefore, to maintain its existence, the Javanese puppeteers inevitably had to make a breakthrough by adopting several sets of performances, part of the structure of the scenes, and some elements of the Surakarta style of Pakeliran.