The “ Pakeliran Padat ” wayang show as an alternative to evoke interest in wayang and gamelan

This study aims to examine the effect of the "Pakeliran Padat" wayang show on the interest and sense of belonging towards wayang and gamelan, the accompaniment music for wayang show. The study tried to address the concern about the possibility that one of the nation’s cultural resources and a noble form of art, namely the arts of wayang and gamelan , may be abandoned by the future generation as the owner of this heritage. The method used in this study was the quantitative method using the t-test procedure to obtain information about whether the "Pakeliran Padat" wayang show has any effect on the interest of the respondents in wayang kulit and gamelan before and after the show. In this study, students watched the wayang and gamelan show to completion with an appreciative expression in an enjoyable atmosphere. Based on the questionnaires they filled in after the show about their perception on the wayang and gamelan show, it is evident that they enjoyed the show. This indicates a significant difference in mean scores between the before (81.53) and after watching the show (86.40) is 5.13, meaning that it has a significance of 0.012 or smaller than the standard significance number of 0.05.


INTRODUCTION
There is a concern that with the great stream of global influence and its effect on all aspects of life of the Indonesian nation, interest in gamelan (traditional Javanese music) and wayang kulit (shadow puppet theatre in which the puppets are made of leather), begins to fade, even diminish. Interest and sense of belonging to the local culture (gamelan music and wayang kulit) continue to decline as evident by the low number of audience for gamelan and wayang kulit shows, with even fewer younger audience or university students. Similarly, there was not many people attending the wayang show held by the Department of Fine Arts Education in the Faculty of Languages and Arts of Yogyakarta State University on March 10, 2012. There were not many lecturers among the audience, and even fewer students.
The very present reality above shows that interest in gamelan and wayang kulit as the cultural, or more accurately artistic, resources has become sadly low. There are many factors that are suspected to contribute to the increasingly low interest in gamelan and wayang kulit. Based on the observation on various shows of gamelan and wayang kulit in various places, especially in Yogyakarta (a city that is rooted in cultural preservation), several aspects that can affect interest in gamelan and wayang kulit include the fact that the show begins very late at night and finishes in the morning (long duration), as well as the components of the show which can be tedious as the language is difficult to understand, even more for non-Javanese people, such as suluk (the melodic story telling of the dalang or puppet master that resembles nembang or the traditional Javanese way of singing), and janturan (the way the dalang introduces a scene that takes place at the time).
Another factor that is suspected to affect the low interest in attending a wayang kulit show is the story, which can be difficult to enjoy by the audience, especially when the dalang does a tedious job describing the story. As an audience, students certainly expect that the story will be relevant with their experience. In general, they will be interested to follow the show when the topic relates to what they have in mind. It is only natural that the audience has an expectation that the story presented in the wayang kulit show reflects their world. The world of students in general is one that is related to scientific, logical, factual, and up-to-date way of thinking.
In regard to the background that is based on the facts in the field, it is our job as the ones who inherit the culture of our nation to contribute our ideas and take real actions that can incite love and a sense of belonging to our cultural heritage.
Gamelan and wayang kulit have been the culture of our nation of Indonesia since hundreds of years ago. Despite having the traditional characteristics, in the development of gamelan, the Javanese gamelan is particularly quite well-known by the international audience. The latest development even finds various Javanese gamelan groups from other countries. When there were reports that our cultural heritage has been claimed by other nations, it shows a logical fact that we truly become increasingly apathetic.
Based on the name, in Yogyakarta State University, the faculty name that contains the term "arts" is the Faculty of Languages and Arts. As a faculty that is deeply rooted in the arts, there have been many efforts done to preserve culture and arts, including gamelan and wayang kulit. As described earlier, the wayang kulit show held by the Department of Fine Arts is a form of real action taken by the faculty as one of the efforts to preserve the art of gamelan and wayang kulit. In reality, the faculty has consistently made various efforts and taken actions to preserve culture and the arts, including the art of gamelan and wayang kulit. Moreover, the faculty also requires all students (from all departments) to take the courses of Cultural Appreciation and Artistic Appreciation, which consist of an active process related to culture or arts in the learning activities. Through these two courses, students are expected to obtain practical experiences related to culture and arts, including gamelan and wayang kulit, that undeniably contains extraordinary values. In the implementation, the activity of watching or appreciating the live show of gamelan, and especially wayang kulit, is not an easy thing to do. In addition to being rarely held, these shows are commonly performed in the night-time and with a long duration. When watching/appreciating a wayang kulit show, it is recommended that one follows the show from the very beginning to the very end. However, because of the long duration, it is not uncommon that the audience leaves before the end of the show. Therefore, there is a need to present the wayang kulit show in a shorter form in terms of the story and the duration, hence the name "Pakeliran Padat", which means "the condensed wayang show." The background of this study is the motivation to take real actions in order to stimulate the sense of love and belonging, especially for the students of the Faculty of Languages and Arts at Yogyakarta State University in the form of the "Pakeliran Padat" wayang show.
Based on the description, there were several problems this study aimed to address: 1. Can the "Pakeliran Padat" wayang show stimulate a sense of love and belonging to gamelan music and wayang kulit? 2. Is there a difference in perceptions towards gamelan music before and after watching the the "Pakeliran Padat" wayang show? 3. Is there a difference in perceptions towards wayang kulit before and after watching the the "Pakeliran Padat" wayang show?

METHOD
This research was basically quantitative. The method used to answer the research question number 1, namely whether the pakeliran shadow puppet performance can stimulate a sense of love and belonging to the gamelan and wayang kulit was a questionnaire that was distributed directly to the audience of the wayang kulit performance. Then to answer the research questions number 2 and 3, namely whether there is a difference in perception of gamelan music and wayang kulit between before and after watching a wayang kulit performance, a difference test analysis was used by differentiating the average score (t-test) obtained from the questionnaire filled out by the audience before and after watching the shadow puppet show.

An overview of wayang
According to Serat Sastramiruda, which was translated by Kamajawa (1981: 12), wayang was first created by King Jayabaya in the Javanese year 869 Saka. It was explained that wayang was initially drawn on a lontar (palm) leaf. The first character illustrated by King Jayabaya was the god Bathara Guru, followed by other Hindu gods. When the drawing of characters was done, they were named wayang purwa. Wayang means 'shadow' (the illustrations are not presented, only their shadows), and purwa refers to the characters that come from the purwa age (the beginning age). In the following development, the types of wayang expand into wayang beber, wayang gedog, wayang krucil, wayang golek, wayang klithik, wayang orang, etc.
The use of the term wayang kulit began during the age of the wali songo (the nine revered saints of Indonesia) under the first king of Demak (Northern Java), Sri Sultan Syah Alam Akbar in the year 1443, in which wayang was made from buffalo leather (Kamajaya, 1981 : 12). It was told that in the year 1031, Empu Ajisaka (the King of Purwacarita) completed wayang purwa with a guideline for wayang purwa episodes about stories of the gods. Next, 24 years after the first king of Jenggala named King Lembuamiluhur ruled, in the year 1145 (Kamajaya : 13), gamelan by the name laras slendro was first used to accompany wayang purwa by King Suryawisesa, son of King Lemburamiluhur (the second king of Jenggala).
The use of gamelan as the accompaniment music for wayang show as mentioned above shows that gamelan and wayang are inseparable from one another. Although a gamelan show can stand on its own without wayang, a wayang show will not come to life without the accompaniment of gamelan music.
We all can appreciate the extraordinary values of both gamelan and wayang kulit as art forms, in terms of the artistic values of the sound (gamelan), the shape (fine arts) of wayang kulit, the literature in the way the characters communicate (literary), the movements of the wayang kulit played by the dalang (dance), and other values. Therefore, it would be a shame that the artistic heritage of our nation (gamelan and wayang) be left to die due to the lack of real actions and efforts to grow a sense of love and belonging.

Gamelan
Indonesia, specifically Java, has their own history about the origins and creation of the gamelan music instruments based on an ancient book written in Javanese characters that has been translated into the Indonesian language by Kamajaya (1981). The story was that gamelan was formed by the creation of sounds called Lokananta by a human incarnate of a god named Bathara Guru. Bathara Guru was incarnated into a human named His Majesty The King Mahadewa Budha who ruled the kingdom of Medangkamulan. To complete his kingdom, he created a palace of great comfort and beauty that resembles Heaven. To complete the beauty and comfort of the palace, music instruments called Lokananta were created. Lokananta was what we know now as gamelan (Kamajaya, 1981 : 13).
In further development, gamelan can be categorized into two types, namely gamelan salendro (slendro) and gamelan pelog. Gamelan slendro has 5 notes, while gamelan pelog has 7 notes. Although it has 7 notes, gamelan pelog typically only uses 5 notes in practice. For this reason, both slendro and pelog are pentatonic instruments (penta means 'five' and tonic means 'tone'). In both slendro and pelog, the notes are called by their Javanese names: 1 is ji, 2 is ro, 3 is lu, 4 is pat, 5 is lima, 6 is nem, and 7 is pi.
The Javanese people know exactly what gamelan or a set of gamelan is. They are generally familiar with the terms gamelan, karawitan and gangsa. Gamelan is a product of culture that meets the human need for arts (Kuswanto, 2009: 15).
The discussion about gamelan cannot be separated from the karawitan. The term karawitan is used to refer to the art of gamelan that is widely used by the Javanese people. They generally define karawitan based on the word rawit which means 'small', 'subtle' or 'complicated'. Supposedly, in Surakarta Palace, the term karawitan is also used as an umbrella term for several branches of arts such as tatah sungging, carving, dance, to puppet mastery (Supanggah, 2002:5¬6). The term karawitan in a narrow definition is used to call a type of music or sound that contains one or two of the following traits (Supanggah, 2002:12): (1) using the gamelan music instruments partly or entirely and laras slendro or pelog partly or entirely.
(2) using the Javanese scale laras slendro and/or pelog with the gamelan instruments or non-gamelan instruments, vocals, or a combination of both.
Gamelan is an ensemble music that typically shows off metallophone, gambang, gendang (drum) and gong. Most of the gamelan music instruments produce sound by being struck with a mallet or a beater. Gamelan is music; meaning that it is just like music in general which consists of beautiful sounds that incite a sense of beauty. The word 'ensemble' comes from the French word 'ensemble' which means 'together'. Gamelan music is more beautiful when played together in a group. A deeper understanding on the concept of being "together" in the word 'ensemble' signifies that playing the gamelan music teaches the players to always prioritize teamwork in solving a problem. This is a logical understanding, as it is important to get used to solve problems by working on a task together because it will usually lead to better results.

Pakeliran Padat
We all certainly feel that there are many things in the world that must be done and finished quickly to complete certain tasks. In this study, it is especially an important concern to find a way for the audience to watch a show in short duration without reducing the plot and meaning of the story, especially for a wayang kulit show/performance which unfortunately becomes less attractive by the day to young people.
The long duration of the show is often suspected as one of the reasons why the audience do not stay until the end of the show. Therefore, there needs to be innovations to reduce the audience's reluctance to stay and watch a wayang kulit show to completion, such as condensing the duration of the show. "Pakeliran Padat" (condensed puppet theatre) is a solution that can be developed as an effort to make the audience stay until the end of the show and even draw attention and a sense of interest/love. The first "Pakeliran Padat" wayang kulit show was first held at the Surakarta Indonesian College of the Arts in 1973 (Supriyono, 2008 : 329). Three years later (in 1976), the next "Pakeliran Padat" wayang kulit show received a more solid response from the public. A "Pakeliran Padat" show may be done from 1 (one) or 2 (two) hour(s) to four hours at most.
The idea of 'condensed' does not only mean condensing, compressing, or shortening the duration, but also refers to the creative action and process which involves all the elements in the wayang kulit show. These elements include the theme or lakon, antawacana which includes janturan, pocapan, and catur, vocal work or sulukan (sendhon, ada-ada, pathetan, kombangan), garap sabet, and the music accompaniment (Supriyoko, 2008 : 329). "Pakeliran Padat" is typically held in special occasions, such as exams, festivals, competitions, or other appreciation-based events.

Student perception towards wayang and gamelan
According to Drever (1986, in Lufri 2007 perception is a process to remember or identify something, usually used in the sense perception, when the object that we remember or identify is an object that affects the sense organs. According to Soemanto (2006: 25), perception is a reponse that is resulted from an observation. There are three types of responses, namely (1) past response or memory response, (2) present response or imaginary response, and (3) future response or anticipatory response. According to Salma & Eveline (2008: 134), perception in learning affects 1) memory, 2) the development of concept, and 3) the shaping of attitude. Additionally, Slameto (2003: 102) defines perception as a process that concerns the intake of message or information into the human brain continuously making a direct connection. The connection is made through the senses of sight, smell, hearing, taste, and touch.
According to several views on perception above, it can be concluded that perception can be defined as one's response, opinion, assessment, view, or reaction towards an object of attention. The difference of perceptions may be caused by the difference in physical readiness from the sensory organs, interests, past experiences, attention levels, and stimulus levels.
The phenomenon that becomes clear is that students in general increasingly drift away from the art of wayang and gamelan. This is evident by the low attendance rate among students during a wayang show in campus. The audience usually consists of the elderly from the surrounding community members and very rarely includes students. This means that students do not yet possess a sense of love or belonging. The sense of belonging typically comes after the sense of love or interest. This study focuses on the sense of love and belonging based on the perception.
Wayang and gamelan are two words that need each other. This means that when we talk about wayang (including wayang kulit) we certainly cannot leave out gamelan, as a wayang show/performance very much needs a music accompaniment of gamelan music. There are many ways that can be done in terms of making people who may not be familiar with wayang (or not liking wayang enough) and gamelan into people who love them. Initiating to watch a wayang show (which is typically accompanied by the gamelan music) is one of them.
To make someone interested in, or more than that, love wayang and gamelan, and to evoke the sense of love and belonging towards them, there are several ways that can be done. Considering the different perceptions of the people due to the attention level and the stimulus level, when one is presented with a real stimulus in the form of the wayang and gamelan show, there will be different perceptions between before and after watching the wayang and gamelan show. The change of perceptions before and after watching a wayang and gamelan show means a change of feeling. The change of perception can be used as one of the indicators that there is a change of feeling, from disinterested or not yet interested into being interested in and loving wayang and gamelan. This means that there is a process of inciting a sense of interest and love. After the interest becomes deeper, it can lead to a sense of love towards wayang and gamelan, and finally a sense of belonging.

Research results
A study on wayang and gamelan has been done at the Faculty of Languages and Arts of Yogyakarta State University, especially at the Department of Music Education in May 2012. The respondents were students with a criterion of not taking courses related to gamelan and wayang. Courses at the Department of Music Education at the Faculty of Languages and Arts at Yogyakarta State University related to wayang and gamelan include Art Appreciation, Culture Appreciation, and Karawitan. Students taken as a sample in this study did not take these courses.
In the natural state as illustrated above, students (respondents) were given questionnaires about their perception on gamelan and wayang. After they responded to the questionnaire based on the reality of their experience, they were conditioned to move on and go about their lives. Two months afterwards, they were invited to see the wayang and gamelan performance and asked once again to fill out the questionnaire. The results are as follows.

Student perception prior to the wayang show
Students were in the Research Method class when they were asked to fill in the questionnaires. Therefore, they concentrated more on the class. When asked to fill the questionnaire, they were still focused on the Research Method class. As a result, they were able to fill in the questionnaire in a natural state with no pressure.

Student perception after the wayang show
Data on student perception towards gamelan music and wayang were taken a few months after the preliminary data collection (before the show), specifically on May 2, 2012 at the karawitan Laboratory in the Faculty of Languages and Arts of Yogyakarta State University. Quite a while after the first data collection, the respondents were invited to watch a wayang show with gamelan as the accompaniment music. After watching the show, they were given questionnaires and asked to respond to the questionnaires based on their experiences. The results are presented in the following section.  1  90  16  52  2  97  17  62  3  93  18  93  4  95  19  89  5  88  20  87  6  82  21  82  7  90  22  88  8  97  23  66  9  75  24  63  10  93  25  55  11  92  26  66  12  82  27  93  13  87  28  88  14  63  29  80  15 70 30 84  The difference between student perceptions before and after the wayang show The final analysis is a difference test between before and after watching the wayang and gamelan show. The results are as follows.

CONCLUSIONS
Based on the research findings, it can be concluded that there is a significant difference between student perceptions towards wayang and gamelan before and after the wayang and gamelan show. This is indicated with a significant difference between the mean scores before (81.40) and after (86.53) the show at a significance rate of 0.012, which is smaller than 0.05.
The improved perceptions that are understood as a sense of interest or love suggest that the treatment in this study succeeds in at least being a reminder, as well as evoking a sense of love and belonging towards important things that we must preserve, namely wayang and gamelan.