There is a viral song or Javanese song on social media entitled “Lela Ledhung”, this song is very much performed or used as a backsound for a video. Lela Ledhung is a song created by Markasan. The song was intended by Markasan as a lullaby, which later became quite popular in the post-independence period of the Republic of Indonesia. Lela Ledung went viral because of the Yogyakarta Royal Orchestra’s performance at the 2024 State Sovereignty Day Concert. Lela Ledhung, which has a pelog tune, was arranged by ML. Widyoyitnowaditro (Joko Suprayitno, S. Sn., M. Sn.) into an orchestra format nicely. 

Lela Ledhung is one example of a Javanese dolanan song. Tembang dolanan Jawa is a type of traditional song that is full of cultural values. Known as songs that are often played in children’s games, tembang dolanan contain deep philosophies that not only teach moral values, but also preserve local wisdom through music. Tembang dolanan is an important part of the Javanese musical tradition, involving memorable wordplay and tones. The language used in tembang dolanan is simple and easy to pronounce, referring to Winarti (2010) tembang dolanan shows several language functions as a means of communication in Javanese.

Based on Winarti’s research. D (2010) in the Widyaparwa Scientific Journal of Language and Literature on Dolanan Song Lyrics as a Form of Javanese Language Communication, several language functions exist in the song Lela Ledhung, which is:

•  Regulatory function

The song Lela Ledhung has a regulatory function located in the lyrics “Cep menenga aja pijer nangis” which means to tell someone, because basically this regulatory function is characterized by the use of command words.

• Interaction function

Interaction words are often found in dolanan songs such as greetings and questions, such as in the lyrics “Anakku sing ayu rupane” which is a greeting for her beautiful-faced child.

• Personal function

Personal functions usually show about themselves, for example showing beautiful traits for their own children.

• Heuristic function

It is the use of language to gain knowledge and is educational in nature, for example “Dadia wanita utama” and “Dadia pendekaring bangsa”.

• Imaginative function

Giving ideas that are imaginative and imaginary, as in the lyrics “Kae bulane ndadari kaya ndhas buta nggilani” gives the imagination that the moon is big like a buta or giant.

• Informative Function

Many dolanan songs use language that contains information, giving statements or explaining something. An example in the song Lela Ledhung is found in the lyrics that if you become the main person, you can raise the degree and name of your parents.

• Poetic Function

A song created must contain elements of beauty in it, such as the use of rhyme and certain language styles or diction, for example “Tak emban slendhang bathik kawung” followed by “Yen nangis mundhak gawe confused” has the same rhyme “ung”.

The functions in Lela Ledhung also apply to other dolanan songs. Although the language used is simple, dolanan songs have many functions and values in them, which can provide teaching and lessons for social life. With the spirit of cultural preservation, Javanese dolanan songs are not only entertainment, but also an effective medium to convey noble teachings that are still relevant for modern life today.

Reference

Winarti, D. (2010). Lirik Lagu Dolanan Sebagai Salah Satu Bentuk Komunikasi Berbahasa Jawa: Analisis Fungsi. Widyaparwa, 38(1), 1-12.

Picture Reference

music.youtube.com

[Public Relation Faculty of Cultural Science UGM, Editor: Sandya Kirani]

In order to introduce sesajen to students of the Javanese Language, Literature and Culture Study Program and preserve Javanese culture, the Javanese Language, Literature and Culture Study Program held a workshop with the theme of Javanese sesajen, successfully held on Wednesday, December 4, 2024. The workshop was attended by the lecturers of the Tata Cara course R. Bima Slamet Raharja, S.S. M.A., and Dr. Rudy Wiratama, S.I.P. M.A., as well as students of the Javanese Language, Literature, and Culture Study Program class of 2023, who were enthusiastic to explore further the meanings of offerings in Javanese tradition. The resource person presented was a cultural activist who has very extensive knowledge of sesajen, Faizal Noor Singgih, S.T.P. explained the various types of sesajen and their symbolic meanings.

Javanese people mostly interpret an object as a symbol, one of which is an sesajen used as a form of offering that is usually used in traditional ceremonies or spiritual rituals, has an important role in the lives of Javanese people. The essence of sesajen is as a symbol of ngawruhi or giving reminders to ancestral spirits, nature, or as a form of gratitude and prayer for the blessings given by God Almighty.

The workshop aims to introduce the importance of the sesajen tradition and how to make it properly in accordance with the cultural values contained in it. The workshop participants were given the opportunity to directly see various kinds of sesajen with their respective meanings. In the explanation of the speaker, Faizal Noor Singgih, S.T.P., said, “Through this workshop, we hope that students can better understand the essence of sesajen, not only as objects used in rituals, but also as part of a cultural heritage that must be preserved because Javanese people really believe in symbols, one of which is this sesajen used to show prayer and gratitude.”

Each type of sesajen has its own meaning. Sesajen made from natural materials such as flowers, fruits, rice and leaves have deep symbolism, reflecting the harmony of humans with the surrounding nature. The speaker explained about the various kinds of sesajen and the meanings they contain. One of the sesajen that is at least provided during the traditional ceremony is the pisang sanggan, which is a banana totaling 1 catch. Sanggan comes from the word “sangga” which means buffer or support which is interpreted as the basis of all series of ceremonies. pisang sanggan are usually equipped with coins which mean prayers to God asking to complete everything if something is missing and there are also roses as a symbol of wewangen or fragrance for the ancestors.

Pisang sanggan with flowers and coins

In addition to pisang sanggan, one form of sesajen that is often served is tumpeng robyong which is a savory rice and some complementary side dishes. Tumpeng robyong is very identical with eggs, shallots, and red chilies that are skewered into a single unit. It serves as a symbol of fertility, prosperity, and harmony between humans and nature. Usually served in happy events such as celebrations, tumpeng robyong is expected to be a symbol that the owner hopes that all events run smoothly and are assisted by many people. The use of savory rice in this tumpeng symbolizes the Javanese people to always remember the Prophet Muhammad SAW.

The form of tumpeng robyong

Faizal Noor Singgih, S.T.P. also added that “desa mawa cara, negara mawa tata” so each region must have different forms and contents of sesajen. Sesajen is not interpreted as something that leads to polytheism. However, it teaches Javanese people how to symbolize a prayer and give it meaning.

One of the workshop participants, Bagus Ulinnuha, revealed that he learned many new things about the meanings of offerings in more detail thanks to this workshop. “I just found out that every element in the sesajen has a very deep meaning. I am very lucky to have the opportunity to participate in this,” he said.

Explanation from the speaker: Faizal Noor Singgih, S.T.P.

The preservation of this sesajen tradition is considered important, considering that more and more young people are starting to alienate from their cultural roots. This workshop is expected to be a starting point for the community to better appreciate the cultural heritage that has been passed down by the ancestors and remove the negative stigma regarding sesajen. It is hoped that with this workshop the Javanese community, especially the younger generation, will be able to understand more deeply the meaning of the symbols that have been passed down by the ancestors and can implement them in their daily lives.

[Public Relation Faculty of Cultural Science UGM, Editor: Sandya Kirani]

Temu Budaya Nusantara is an annual event of IMBASADI (Association of Regional Language and Literature Students throughout Indonesia), whose venue is rotated according to the plenary meeting. As a result of the XXIX Nusantara Culture Gathering National Conference at I Gusti Bagus Sugriwa State Hindu University, Bangli, on November 8, 2023, Gadjah Mada University (UGM) was chosen as the host of the Temu Budaya Nusantara XXX in 2024 under the Javanese Language, Literature and Culture Study Program, Faculty of Cultural Sciences, Gadjah Mada University.

The Temu Budaya Nusantara XXX in 2024 be held on November 11-15, 2024. Proudly, the Javanese Language, Literature and Culture Study Program welcomed the delegation guests. The participants enthusiastically followed the series of Temu Budaya Nusantara XXX 2024 events from the first day to the end of the event.

This year’s Temu Budaya Nusantara carries the theme “Manggala Gadjah Mada: Ancala Raksi Budaya”. With deep meaning to the majesty of Maha Patih Gajah Mada, and the fragrance of culture. As such, many activities were carried out that were closely related to the cultures of each delegation present. The delegations present included Bugis Makassar Regional Literature (Hassanudin University), Javanese Language Education (Sebelas Maret University), Javanese Language Education (PGRI Semarang University), Batak Literature (University of North Sumatra), Religious Literature and Balinese Language Education (I Gusti Bagus Sugriwa State Hindu University), Regional Literature (Sebelas Maret University), Balinese Language Education (Ganesha Education University), Javanese Language and Literature Education (Semarang State University), and finally, Javanese Language, Literature, and Culture (Gadjah Mada University).

Temu Budaya Nusantara XXX began with the opening of the event which was held directly at Soegondo Auditorium, 7th floor, Faculty of Cultural Sciences, Gadjah Mada University. Beginning with the Golek Ayun-Ayun Jugag dance, followed by showing the teaser of Temu Budaya Nusantara XXX and several remarks starting from the representative of the Head of the Javanese Language, Literature and Culture Study Program, Dr. Sri Ratna Saktimulya, M.Hum., remarks from the chief executive of Temu Budaya Nusantara XXX, Bima Muslih, and others.

Performance of Golek Ayun-Ayun Jugag Dance by students of Javanese Language, Literature, and Culture Study Program.

Temu Budaya Nusantara XXX was opened with the symbolic opening of Gajah Mada’s wayang by the representative of the Head of the Javanese Language, Literature and Culture Study Program, Dr. Sri Ratna Saktimulya, M.Hum. The opening was also enlivened by an exhibition of regional musical instruments and a traditional culinary festival from each delegation’s home region. Then the event continued with delegation orientation to get to know each other and perform their best yells. In the evening, the delegates participated in a series of Cultural Performances which contained performances of script readings in the regional language of each delegate.

Dr. Sri Ratna Saktimulya, M.Hum. symbolically opened the Temu Budaya Nusantara XXX.

There are a lot of competitions held in this Temu Budaya Nusantara XXX. The competitions that have been held include the Batik Design Competition which is carried out online with an assessment system through the calculation of the most likes on the Instagram account @manggala.gadjahmada. In addition to the batik design competition, Temu Budaya Nusantara XXX also held other competitions, including the National Scientific Writing competition, Fairy Tale Competition, TikTok Nusantara Competition, Documentary Competition, and Essay Competition. Another activity that is no less interesting is Tilik UGM, where delegation participants take a series of UGM campus tours and learn the history of Gadjah Mada University.

Awarding of competition winners was held on the fourth day of Temu Budaya Nusantara XXX. The awarding night also featured a puppet show called Gajahmada Kridha (Ra Kuti Balela) masterminded by a student of the Javanese Language, Literature and Culture Study Program class of 2023, Ki Rafi Nur Fauzy. All delegates participated in the awarding night which was also the closing of the Temu Budaya Nusantara XXX. Many members of the public also watched the Gajadmada Kridha puppet show.

Trophies of the winners of the Temu Budaya Nusantara XXX series of competitions

On the last day, the delegates participated in a series of Cultural Tourism activities to Pakualaman Temple. The delegates and some of the organizers of Temu Budaya Nusantara toured Pura Pakualaman accompanied by several lecturers from the Javanese Language, Literature and Culture Study Program and ended with the return of the delegates to their hometowns.

Temu Budaya Nusantara XXX is a representation of the young generation who actively participate in preserving their respective cultures. Coming from different regional backgrounds, cultures, and customs, IMBASADI is able to unite this diversity. With the implementation of Temu Budaya Nusantara XXX, it shows that there are still many students who are concerned with regional culture and have the skills to develop it, it is fitting for the new generation to promote the diversity of regional cultures in Indonesia with their abilities.

[Public Relation Faculty of Cultural Science, Editor: Sandya Kirani]

Rafael Raga Budi Panuntun, a student of the Javanese Language, Literature and Culture Study Program class of 2021, successfully became the scriptwriter and director of a theater entitled “Ngathabagama” with the theme Panji which brought Sleman Regency to win the overall champion and best presenter in the 2024 DIY Provincial Theater Festival. Ngathabagama Theater was nominated as the best presenter, best director, best music director, best artistic director, best ensemble, and brought home the rotating trophy of the DIY Theater Festival.

Quoted from instagram account @rafaelragabp

Raga’s success should be an inspiration, in the midst of his academic busyness, Raga can still work and create a beautiful theater and become the best presenter. The process carried out by Raga is quite long, starting from initiating ideas, writing scripts, and so on. Ngathabagama Theater is a theater that was formed by accident, starting from a theater festival at the Sleman Regency level. Kapanewon Minggir has been the champion in Sleman Regency for 2 consecutive years. In 2023, Kapanewon Minggir presented a theater titled “Hagbala” with the theme of Yogyakarta, History and, Romanticism which was also written and directed by Rafael Raga Budi Panuntun, even 50% of this theater is self-made, starting from production, music, artistic, fashion, and others. Hagbala succeeded in winning the 1st place at the Sleman Regency level and the 3rd place at the DIY Province level.

After successfully becoming a champion with Hagbala in 2023. In 2024, Rafael Raga and Kapanewon Minggir advance to participate in the theater festival again in Sleman Regency. Raising Ngathabagama as the title of the presented theater, again succeeded in becoming the champion. Raga revealed that he wrote his script and ideas during KKN (Real Work Lecture) activities. This shows that with all his busyness, Raga was able to create an extraordinary work that was unexpectedly led him to become the best presenter in the 2024 DIY Theater Festival.

The theme of the 2024 DIY Theater Festival refers to the technical instructions from the DIY Cultural Service (Kundha Kabudayan) which is Panji. Panji’s romance and love with Sekartaji are brought into a theater. However, Raga revealed that he wanted Ngathabagama to be taken from another point of view, namely that the story of Panji and Sekartaji who always got a blessing from a nature or can be called the absolute destiny of God. Raga did research and found that Panji and Sekartaji always get a destiny that separates them, whether separated by time, someone, or circumstances.

The script that Raga wrote did not escape Raga’s consultation with the lecturer of the Javanese Language, Literature, and Culture Study Program, Dr. Rudy Wiratama, S.I.P., M.A., an academic and Wayang Gedhog practitioner who uses the theme of Panji and Sekartaji. With the conversation that Raga did with Dr. Rudy Wiratama, S.I.P., M.A., will strengthen the story and can be held accountable for its validation.

After doing a lot of research and discussion, Raga found that Panji and Sekartaji are always separated by fate, one of them is separated by the god Bathara Kala which is represented as Kala is time. Raga got an unusual idea, which is working on the Panji theater this time by showing Bathari Durga or the mother of Bathara Kala who gives wiradat to Panji and Sekartaji and separates the two of them to get a stronger essence.

Raga crossed between Wayang Gedhog and Wayang Purwa to find out the weakness of Bathari Durga. The weakness of Bathari Durga is Semar or Sang Hyang Ismaya, Semar can defeat Bathari Durha by reciting the way of the guardian, to prevent further evil. Caraka walik is a Javanese script (Hanacaraka) that is read backwards, believed to be able to ward off bad things, Raga took the title of the theater this time from the first line of caraka walik, Ngathabagama.

Many Javanese chronicles, both fiction and non-fiction, place the central story of Panji and Sekartaji. Raga’s knowledge of various kinds of Javanese literary works made him confident to write this script. The story of Panji and Sekartaji has not only become the wealth of the Nusantara but for the whole of Southeast Asia. There are also many essences of Wayang Purwa that are raised for Ngathabagama theater, such as Semar, Bathari Durga, the role of the gods, the urning of the nature of the wiradat, a romance story that has many relationships with literary works, and local wisdom such as the use of caraka walik which is widely known to expel or restore bad circumstances.

Not only the presentation of Ngathabagama theater, Raga also created an original soundtrack for Ngathabagama with the title “Kalasmara” which supports the dialogue between Panji and Sekartaji. This Kalasmara was created by Raga to archive theatrical presentations that have been carried out so that they still have a different essence. Raga added that he did not want a stage to only end in 30 minutes to 1 hour on stage, but to have another form of work that can forever be a memory and archive in the future.

The story of Raga in the creation of performing arts based on Javanese literary works is expected to be able to inspire students of the Javanese Language, Literature, and Culture Study Program to be able to create and utilize the knowledge that has been obtained. Many works of art can be created equipped with knowledge from the Javanese Language, Literature, and Culture Study Program.

Thursday night (14/12/2024), the Javanese Language, Literature and Culture Study Program held a puppet show with the play Gajahmada Kridha (Ra Kuti Balela). The night was also the night of the awarding to the winners of the Temu Budaya Nusantara XXX competition, this puppet show was also held in commemoration of World Shadow Puppet Day. The puppet performance was held in Greenland, Faculty of Cultural Sciences, Gadjah Mada University. Masterminded by M. Rafi Nur Fauzy, a 2023 student of the Javanese Language, Literature and Culture Study Program and in collaboration with the Surakarta Style Javanese Arts Unit (UKJGS) UGM, the Gajahmada Kridha puppet show went smoothly.

Based on an interview with Rafi, Gadjahmada Kridha (Ra Kuti Balela) tells the story of Gajah Mada’s role in suppressing the rebellion of Ra Kuti, a Dharmaputra or courtier at that time. Ra Kuti’s rebellion was based on dissatisfaction with King Jayanegara who was very weak and easily manipulated by his subordinates. This made some of his courtiers unhappy, including Ra Kuti. Ra Kuti wanted to restore the dignity of Majapahit at that time. However, it turned out that Ra Kuti’s idea was not approved by the community so that the community considered that Ra Kuti was committing a rebellion. When Ra Kuti successfully occupied the capital, Jayanegara was escaped by Bhayangkara’s troops. After strategizing, the Bhayangkara troops were able to turn the situation around and Ra Kuti died at the hands of Gajah Mada.

The rebellion carried out by Ra Kuti changed an Gajah Mada who was initially only a commander of soldiers then appointed as patih. The beginning of Ra Kuti’s rebellion as Dharmaputra was caused by a divide and conquer, by Mahapati, a cunning person. He made a strategy so that all Majapahit predecessors were finished and Mahapati could steer the country, even though he did not want the position of king. Gajahmada, who knew Mahapati’s guise, succeeded in making Mahapati die at the hands of Gajah Mada.

Puppet performance of Gajahmada Kridha (Ra Kuti Balela)

There were many processes involved in writing the script for this puppet show. With the help of R. Bima Slamet Raharja, S.S., M.A., and Dr. Rudy Wiratama, S.I.P., M.A., as academics and wayang practitioners, Rafi revealed “Initially I read Negara Kertagama but there was no explicit role of Gajah Mada in it. Then in consultation with Mr. Bima and Mr. Rudy, I was advised to read comics, tutur tinular, and Pararaton.” Being able to perform his own hand-drawn sanggit is a proud and enjoyable thing for Rafi. However, unfortunately there is a lack of appreciation from the Faculty of Cultural Sciences regarding this puppet performance. It is a good first step for the Javanese Language, Literature and Culture Study Program to organize a puppet show at the Faculty of Cultural Sciences, especially to introduce students and residents of Universitas Gadjah Mada to puppetry.

It is hoped that with this wayang performance, more and more students and the general public will be interested in puppetry, because basically puppets in this globalization era are more flexible, not fixated on puppetry conventions. It does not require classical wayang, but it can also be contemporary according to each taste. For the younger generation to be able to love wayang from what they find interesting, it can be from the music accompaniment, the story, and the characters. There are many life lessons that can be learned from puppetry, which can be used for later life.

[Public Relation Faculty of Cultural Science UGM, Editor: Sandya Kirani]