Ever diungkakan that for the Javanese 'between work, interaction and prayer there is no intrinsic difference principle "(Magnis-Suseno, 2001: 82) thus any activity or motion is fully controlled by the' awareness'. And the derivation of the whole philosophy of Java is a 'patent' such knowledge in a work. Essentially, the work is a living embodiment of the true peak for the Javanese.
From the heyday was known and dikenanglah various Poet, Reader, Heritage and the tomb, as a living museum: sites and cultural rites, even to its existence today. However it should be noted, post Ronggowarsito poet who is often referred to as the cover, or the militias after the fall of Diponegoro (1825-1830), faces a lot of Java experience a shift and change. Java no longer produce a true life cycle. This is further aggravated-gentry gentry that Java as a middle class in the structure of social hierarchy that Java does not play a significant role. Yetdecline was offset by the socialization of art in society, because indeed that is all they can do. Commenting on the situation, in an early days 42 years ago, Anderson says:
"In the countryside changes occur more slowly, and there is an old Javanese culture most strongly maintains grip over the human soul. Nevertheless, autumn has arrived. In Javanese culture tree leaves fall one by one "(2003: 70).
There is for Java today is the culture as a commodity, its main tourist commodities. One is left, katakalah so, is PUPPET. However now this art form can continue to survive-even toch remained in touching nuance-and he is believed to be one of the goal past the defense of Java today. Java Padanyalah actually rely.
Puppet plays an important role in the history of Java, even though he was considered not genuine coming from Java. Research on the origins of the puppet itself has not reached an agreement to this day. Puppet ascribed to India and made the 8-9 orbit BC by Vyasa (Krishna Dvipayana).
However, not the name of Vyasa are a candidate for the author of Mahabharata, there are two other speakers on the side of Vyasa said, they are Ugrasravas and Vaisempayana. Initially the book consists of some 24,000 couplets, and in turn grow up to 100,000 couplet (Amir, 1997:42).
Javanese puppet plays themselves are often adapted the two great epic, Mahabharata and the Ramayana or carangannya (a branch of the story) and this is going on since the beginning of its development. In Java, for example, play Arjunawiwaha, or at least in literary form was first adapted to the time of King Dharmawangsa, the 11th century AD, while the Ramayana adapted a bit first.
Then Kakawin Ramayana made by Yogisvara ± 903 M. Kakawin follows Bhattikavya version made in Khasmir in the 5th century AD and not the first and last books menyantumkan Valmiki, the Bale Kanda and Uttara Kanda. Interestingly, not long after the penyadurannya, Kakawin direct Ramayana staged. This is evidenced by the inscription Balitung, "... the Teeth for Hyang macerita kumara Bhima yes ..."or "Teeth hold a puppet show and take the play a young Bima" (Amir, 1997: 34, 40).
Puppet become a distinctive art form, mainly because he actually comes from the tradition of the palace, but then instead of living in most of the people. According to Geertz (1981: 358) is due to the nature of the people most likely to ritualists, polytheistic and magical while the gentry tended to close the mystical-Pantheists and speculative.
Socially, the puppet has a privileged position because he is regarded as one art form that is able to bridge the barriers that exist. Ben Anderson (2003: 12) describes as the
".... The religious mythology is almost universally accepted, is capable of fostering an intellectual and emotional attachment to the deep. (...) Javanese wayang mythology is an attempt to explore the poetic existential position of the Javanese, his relationships with the natural order of real and supernatural world, to colleagues and to himself. In sharp contrast with the great religions of the Near East, however, the 'religion' puppet does not have a prophet, the Bible or the Redeemer. This tradition does not view the world in a linear motion trajectories, or preach the message of universal salvation. Nor did he offer as an ecstatic revelation of the future as in the traditionChristian, merely the tidal time constant ".
Explanation relativism Anderson puppet shows, including the values contained in it, which may be analogous to the translation of the term puppet assumed to originate from the word shadow. The dichotomous logic of complementary in the puppet is the most fundamental of life. This is not just a dichotomous effect at the time or the incident but also to the character, role, character and function of those who nudge each other and Anderson called the whole intersection as "tension that is consistent and energetic stability of the Weltanschauung" or to follow the formula Claire Holt, "stable world that is based on the conflict".
Take as an example, Kresna Duta. Famous play depicting Krishna in Baratayuda hands down. Krishna incarnation of Vishnu who became a figure who knows what to and what will be. Nothing hinders his will to follow and fulfill the destiny determination. In the play it is described how the four horses and their retinue figures were actually answering the complementary nature of the Hindu pantheon as well as attacks shirk (charges of ideolatry) are often blamed for the puppet, in addition to connectivity and sentence Kalimasada Yudhishthira's Creed Keep Sunan Kali.
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