Srikandhi Dances Lengger: A Performance of Music and Shadow Theater in Central Java

584 Pages·2009·11.847 MB·English

by  René T.A. Lysloff

SRIKANDHI DA NCES LÈNGGÈR
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V E R H A N D E L I N G E N
VAN HET KONINKLIJK INSTITUUT
VOOR TAAL-, LAND- EN VOLKENKUNDE
248
rené t.a. lysloff
SRIKANDHI DANCES LÈNGGÈR
A performance of music and
shadow theater
KITLV Press
Leiden
2009
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Published by:
KITLV Press
Koninklijk Instituut voor Taal-, Land- en Volkenkunde
(Royal Netherlands Institute of Southeast Asian and Caribbean Studies)
P.O. Box 9515
2300 RA Leiden
The Netherlands
website: www.kitlv.nl
e-mail: [email protected]
KITLV is an institute of the Royal Netherlands Academy of Arts and Sciences
(KNAW)
Cover: Creja ontwerpen, Leiderdorp
ISBN 978 90 6718 298 0
© 2009 Koninklijk Instituut voor Taal-, Land- en Volkenkunde
No part of this publication may be reproduced or transmitted in any form or by any
means, electronic or mechanical, including photocopy, recording, or any information
storage and retrieval system, without permission from the copyright owner.
Printed in the Netherlands
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Contents
Acknowledgments vii
List of illustrations ix
Part 1 Background
I Cultural universals and local traditions 1
II Shadow theater as a cultural institution 19
III The temporal organization of wayang kulit 35
IV Wayang temporalities 55
V Sugino and his audience 77
VI Music and intra-cultural difference 97
Part 2 Translation
Synopsis 111

Act 1: Pathet nem 127
Interlude: Gara-gara 235
Act 2: Pathet sanga 259
Act 3: Pathet manyura 311

Appendices
I Music transcription: Overture (Talu) 339
II Music transcription: Act 1 (Pathet nem) 355
III Music transcription: Interlude (Gara-gara) 419
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vi Contents
IV Music transcription: Act 2 (Pathet sanga) 473
V Music transcription: Act 3 (Pathet manyura) 507
VI Illustrations 523
Bibliography 549
Index 559
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Acknowledgments
The learning, the interest, and the effort that resulted in this book would
not have been possible without the help of many generous people, both in
America and in Java. To my teacher and dear friend, Rasito Purbo Pangrawit,
I owe my deepest gratitude for all the hours he spent working with me
during my research in Banyumas. He gave up much of his valuable time in
teaching and explaining Banyumas music and theater to me as well work-
ing with me in the early stages of the transcriptions. I also wish to thank Ki
Sugito Purbocarito, Ki Sugino Siswocarito, Ki Taram, and Ki Darmosoewito,
for their gracious cooperation, their many anecdotes, and especially their
continued patience. A special thanks goes to my friend, Eko Punto Adji
Hartono, who helped me throughout my stay in Java in 1986-87 and also
worked with me on the text transcriptions. To each of the musicians who
performed with these outstanding dhalang, I owe a lasting debt of gratitude
for sharing their time, knowledge, and experience.
The fieldwork that led to this study was supported through a Fulbright-
Hays Dissertation Fellowship and a grant from the Wenner-Gren Foundation
for Anthropological Research in 1986-87, and a grant under the Fulbright
Southeast Asian Regional Research Program in 1994. Sponsorship for my
stay in Java was kindly provided by LIPI (Lembaga Ilmu Pengetahuan
Indonesia), Departemen Pendidikan dan Kebudayaan, and IKI (Institut
Kesenian Indonesia) headed by Dr. Soedarsono.
My gratitude goes out to Judith and Alton Becker for sharing their wis-
dom and time in the early stages of this project. To my friend and colleague,
R. Anderson Sutton, thanks for his generosity in making available the mate-
rials he collected during his own work in Banyumas, and especially for ini-
tially sparking my own interest in Banyumas. To my students, friends, and
colleagues, especially S (you know who you are), for your faith in me. Most
importantly, to Deborah Wong: for being there during those best years.
My sincerest thanks goes to my friend and colleague, HendrikMaier,
who read a draft of this book and urged me to submit it to KITLV Press.
Thank you, Henk, for your many useful suggestions and ideas. I also wish to
express my profound appreciation for the patience and editorial assistance I
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viii Acknowledgments
received from KITLV Press in preparing this book for publication, especially
Marjan Groen and Dan Vennix. Thank you for your professionalism, your
good humor, and your excellent work in making this book a reality.
Finally, love and gratitude to S for believing in me.
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List of illustrations
Appendix 6 (pp. 525-48):
1 Prabu Suyudhana, King of Ngastina
2 Dhang Hyang Durna, Royal Priest of Ngastina
3 Prabu Ajijaya Diningrum, King of Jongparang
4 Radèn Jatikusuma, Crown Prince of Jongparang
5 Patih Tenung Turanggamaya
6 Patih Tenung Turanggadhèsthi
7 Prabu Baladéwa, King of Madura
8 Sang Hyang Kanéka Putra (Narada)
9 Prabu Kresna, King of Dwarawati
10 Radèn Arjuna (Janaka)
11 Radèn Wrekudara (Bima)
12 Radèn Srenggini
13 Radèn Gatotkaca
14 Ki Lurah Togog
15 Sarawita
16 Ki Lurah Semar
17 Nala Garèng
18 Pétruk
19 Bawor
20 Dèwi Banowati, Queen of Ngastina
21 Dèwi Wara Srikandhi
22 Dèwi Wara Sumbadra
23 Gonjing Miring
24 Jaé Wana
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