Introduction
����������� The Indonesian movie industry does not only take the common themes but
also the local wisdom-nuanced themes (Hidayat
et al., 2019). It is surprising that the
Archipelago-nuanced films have been able to penetrate the international arena (Kholidun
& Channa, 2021). As an illustration, the film
entitled Sekala Niskala
penetrated the international arena in 2018 (Hadibrata,
2015). The film entitled Semirang Si Penari Gambuh is the visualization of the story of Pandji, which is then expected to introduce the story
created in the Archipelago to the international arena, and in Indonesia it can
be used as the learning and informational media for the public (Nurcahyo,
2022). The visualization of this story
cannot only be viewed but it can also be used as part of the media used as a
guide to the character education for the young generation through the character
Pandji Semirang. Before the
character could only be observed through the traditional presentation of Gambuh, but now it can be observed through the picture
produced through the process of digital designing. The essence why the
character Panji Semirang
has been presented in the form of a film is that he works hard to make Pandji aware of the magic shackling his soul. In addition,
he is also loyal and disciplined. This film presents the aura of Gambuh using a different medium without leaving its spirit.
This film was prepared in March 2022 and the pictures were taken on 30 July
2022.
����������� Gambuh is the oldest form of the Balinese dance drama
contributing to the forms of the dance dramas appearing after it. It was
created in the Old Bali era. Its appearance can be traced through several
manuscripts of palm leaves (lontar) and inscriptions mentioning the matters pertaining
to Gambuh. For example, the Candra Sangakala manuscript of palm leaves
dated 929 Saka Year (1007 AD), in which it is explained that Gambuh is a combination of the Balinese dance and Javanese
dance. The Baturan
Inscription dated 944 Saka Year mentions the terms masuling (playing the flute), juru suling (the flute player) (Santosa
et al., 2022). It also mentions that the flute is
the main instrument of the gamelan accompanying the Gambuh
dance drama. Apart from that, it is also mentioned in the Samprangan inscription dated about XIV century that the Majapahit
Aryans created the Gambuh drama dance after they
could successfully conquer Bali.
����������� It is
identified that Gambuh is taken from the story of Panji. The characters use the verbal language and
dialogical technique (antawacana, tetandakan)
in its presentation. The main characters speak the Old Javanese language and
the servants (punakawan/abdi) speak
the Balinese language (Setiawan
et al., 2018). The characters involved in its
presentation can be classified into the male and female characters. The
characters can be differentiated through whether they are female or male, their
basic attitude (agem),
dance moves, vocal, whether they are hard and subtle characters, the types of
make-up, clothing and crown worn, and the type of gamelan accompanying it.
����������� As a
classic dance drama, the patterns of the Gambuh dance
drama are already standard (Gunawan,
2019). Its royal nuance is prominent as it
presents the life journey of the kings in Java and often mentions Kediri, Singasari, Gegelang, Pranaraga, Pamaton, Kebalan, Lasem, Pajarakan, Pandan Alas, Mataum, Mataram, Tuban, Trate Bang, in its plot.
The characters in the Gambuh drama dance are Condong, Kakan-kakan, Putri/Galuh, Demang,
Tumenggung, Rangga, Arya, Kade-kadean, hard/old Prabu, Prabu Lasem, Begawan, Semar, Togog, Turas,
Potet, Prabangsa, Banyak Talawarsa, Banyolan, and so forth.
����������� The
songs accompanying the Gambuh drama dance performed
at Batuan Village, Gianyar
are bapang selisir, subandar, playon, maskumambang, bapang gede, kunjur, sekar gadung, lengker,
sumeradas, gadung melati, gabor, brahmara, jaran sirig, bia kalang,
geguntangan, tangis, batel, tabuh gari,
ginanti, sekar and lelet/eled. Four
techniques of playing the flute (patet) are applied; they are tetekep selisir, tetekep baro, tetekep lebeng,
and tetekep sundaren.
����������� The Gambuh gamelan instruments include 4-10 flutes, a pair of kendang kerumpungan
(two drums, one is set in such a way that it is referred to as male and the
other is set in such a way that it is referred to as female), kajar, kempur, ceng-ceng/rincik (symbals), klenang, kenyir, gumanak, gentorag, and rebab. Based on the text and context, Gambuh can be performed in relation to the Bali Hindu
religious rituals referred to as Panca Yadnya. Panca means five
(�lima�) and Yadnya
means holy offering. Therefore, Panca Yadnya means five types of holy victims sincerely
offered. Panca Yadnya includes
Dewa Yadnya,
the holy victim sincerely offered to God; Pitra Yadnya, the holy victim sincerely
offered to the ancestors; Rsi Yadnya, the holy victim sincerely offered to the
priests for what they have done to develop religious teachings; Bhuta Yadnya, the
holy victim sincerely offered to the spirits controlling the lower nature; and Manusia Yadnya, the
holy victim sincerely offered to clean human beings physically and mentally.
Research Method
����������� The story of Panji in the form of Gambuh dance drama specifically performed at Batuan Village, Gianyar is the
material analyzed in the current study based on the need for its transformation
into the digital domain/film. The descriptive qualitative method is applied and
the data were collected through observation, interview, and library research.
As the first step, the arts Gallery (Sanggar Seni) �Satriya Lelana� located at Batuan, Gianyar, which has a Gambuh
association (sekaa Gambuh), was
observed to see how the Gambuh drama dance at Batuan Village was traditionally performed, what story was
presented, and the characters involved in its presentation. The second step was
that several Gambuh artists were interviewed as the
key informants from whom the supporting data needed were obtained concerning
the process of preparing the film. They are I Made Suteja
and I Wayan Gendra. The
next step was that the books, articles, journals, the research results and
texts related to Gambuh were read to find out the
dialogues involving each character needed as the data of the study. The
dialogues are in the Old Javanese language and Balinese language. The last step
was that the texts were elaborated with the data of the dialogue texts obtained
from the informants.
Results And Discussion
����������� In 2022 the writer had an opportunity to collaborate with the Ministry of
Education and Culture of the Republic of Indonesia through �Balai
Pelestarian Nilai Seni Budaya (BPNSB)� in the
production of a film with �love� as its theme taken from the story of Panji (Malat). It was supported by Sanggara
Seni Satrya Lelana, Batuan, Gianyar, which prepared the artists needed when pictures
were taken. The short film is entitled �Panji Semirang Si Penari Gambuh�. The collaboration lasted for more or less three
(3) months, starting from when the audio-visual was taken. Before the story
presented was decided, several discussions were held to coordinate and to have
the same perception of the story of Panji Semirang.
Picture 1
The Interview with the Producer
Document: Budiarsa, 2022
_files/image002.jpg)
����������� Through
the intensive discussions, it was decided that the following characters would
appear in the scenes of the plot. They were one Galuh
Daha, one Condong, two Kakan-kakan, one Galuh Ajeng, one Panji, and two Kade-kadean. They were supported by 30 viewers, one story
teller, and 15 crew members who were responsible for the clothing, make-up and
property worn by the characters. It was decided that the characters wore the
traditional innovative make-up and clothing. The main characters spoke the Old
Javanese language and the servants spoke the Balinese language.
The information obtained by interviewing I Wayan Gendra on 2 July 2022 is as
follows.
�The Old Javanese language spoken by the main
characters can be adjusted to the film produced. If it is too long, it can be
shortened. It is not the same as the Old Javanese language variety spoken in
the traditional performance with its complete patterns. What is important is
that the essence of the dialogues describes what, where, and so forth. The
character Panji and the character Galuh
Daha use short dialogues and the servant or Condong is supposed to the develop the translation. �
The information obtained from I Made Suteja, whom was interviewed on 5 July 2022, is as follows.
�Although this film is produced in the digital form,
it is expected that it should be designed in such a way that it will not
degrade the soul of Gambuh. If the plot and climax of
the story of Panji Semirang
is good, there will be a conflict between the black magic and white magic.� This will be very good as it can function as
a guide for the viewers to being always in the righty way. The characteristics
of the characters, the body postures of the actors, the make-up and clothing
they will wear should be selected in such a way that the result will be
maximum. Attention should also be paid to the music accompanying the
performance so that it can liven up the atmosphere.�
From the information obtained from
the above informants, it can be affirmed that the film should be produced
without leaving the soul and identify of Gambuh as a
classic music; it should be produced based on what is needed. Apart from that,
attention should be paid to the elements such as the dialogues, the actors, the
make-up and clothing, the music accompanying the performance, the location
where it is performed. The development of digital technology is also expected
to be able to promote the story of Pandji in the
international scene. Further, the story taken can be used as a meaningful guide
to the common society.
Through several discussions with the
producer, it was agreed that the pictures would be taken at Puseh
Temple (a Cultural Heritage), Batuan Traditional
Village, and at a traditional house located at Negara Village, Batuan, Gianyar. The crew
members� responsibilities were as follows. The title was �Panji
Semirang Si Penari Gambuh�. I Wayan Budiarsana, S.Sn., M.Si. was the story and dance director as well as the story
teller. Dirmawan was the scenario writer, and the
Shooting Script was written by Harvan Agustriansyah. The writer translated the Indonesian
language into the Old Balinese Language based on the characters, scenes,
atmosphere and what was needed during the production process.
Synopsis
����������� It is
narrated that Galuh Daha is
very sad when she hears that Raden Jenggala (Panji), her lover, will
get married to Galuh Ajeng
(Liku Pejarakan). The
decision to get married is the consequence of being bewitched by Galung Ajeng who masters black
magic, causing Pandji to be unconscious. The news
that Panji will get married to Galuh
Ajeng spread all over the kingdom and was heard by Galuh Daha. As Galuh Daha loves Panji very much, she and her servant wish to do something
that can cause Panji, her lover, not to be married to
Galuh Daha. Remembering
that they have promised to live a lifetime, she intends to reclaim her lover
using magic. Finally, Galuh Daha
disguises herself as Panji Semirang,
Condong disguises herself into Semar,
and Kakan-kakan
disguises themselves into Kade-kadean. Then they perform Gambuh
in the wedding ceremony held for Raden Panji and Galung Ajeng. Feeling that the Gambuh
performance presents something that exactly the same as his way of life,� Raden Panji finally becomes aware and they meet again in
happiness. Galuh Ajeng feels
that she is wrong and leaves Jenggala kingdom for Pejarakan kingdom to meet her mother.
The Scene Arrangement
����������� First, the pictures were taken in the
temple area located at Batuan Village with the scene
of the wedding ceremony held for Panji and Galuh Daha/Candrakirana
watched by their people. Wearing classic clothes, Kakan-kakan
and Condong sit down in the corner watching them. Second, the pictures were taken at the
area of the traditional house located at Batuan,
where the gamelan players started playing the gamelan music. Then we saw a wide
shot of performance, the viewers who were sitting down on the ground, the
characters Galuh, Kakan-kakan
and Condong who were involved in the dialogues with
the following atmosphere.
Picture 2
Puseh Temple, Batuan
_files/image004.jpg)
Documentation: Budiarsa, 2022
Galuh
(lyrical)
Ratna Ni Condong,
muang sanak prasama (Hi Aunt Condong, the aunt of Kakan-kakan). Apa hana gatra warah
ta lawan ingsun! (what
other news will you inform me, speak up!). Natan sipi-sipi manastapa
ingsun (this heart is so sorrowful).
Kakan-kakan, dialogue:
(slow)
Singgih ratu mas (Hi the Princess). Karenga maring jenggala hana kang
pawiwahan (it�s true that the Jenggala
kingdom will soon carry out a magnificent wedding).
Condong, dialogue:
Kewanten piragi orti pawiwahan punika singsal, ratu dwagung istri (but it sounds like something wrong
with the plan of their wedding, the Princess). Galuh Daha feels very sad about the news, her expression is made
to wander far away, she looks at Kakan-kakan and Condong one by one.
Galuh says:
(curious)
Apa hana ikang baya lawan
sira ye kaka, Natan menget lawan ingsun? (what happens to my lover, Raden Panji, causing him to make
himself leave me suddenly?). While Galuh is moving
and dancing, Condong starts informing what sounds to
be wrong with the wedding.
����������� Third, in the Jenggala
Kingdom, Raden Panji with
his royal clothes is sitting on a chair. This process shows that Raden Panji is exposed to the
witchcraft carried out by Galuh Ajeng,
his prospective wife. Something is given to him and magic in the form of powder
is blown on his head. Galuh Ajeng
is happy as she will have Raden Panji
as her husband.
����������� While
Galauh Daha feels
depressed, Condong always strengthens the princess�
feeling. The dialogues and atmosphere are as follows:
Condong, dialogue:
Dukke lintang ida I raka nerima
galuh ajeng, ratu dwagung istri
(One day Raden Panji welcomes a guest
named Galuh Ajeng, the
Princess�s step younger sister).
Condong, dialogue:
Tityang ngetonin ida I raka nginem
toya atur-aturan sakeng galuh ajeng (I did see that Raden
Panji was given a type of ingredient causing him to
be as if he had been dead). The atmosphere appearing is as follows: Raden Panji is dancing with Galuh Ajeng; however, he feels
nothing as the only his body that is dancing; his soul is empty.
Picture 3
Kakan-kakan and Condong
_files/image006.jpg)
Document: Harwan, 2022
Kakan-kakan say:
Ta mengaran
pangsiwa. Sira mas pangeran menadi ile, lan arep
alaki rabi lawan galuh ajeng (that�s the magic of Galuh Ajeng, who is wicked. The
consequence is that Raden Panji
becomes mad, leaves the Princess, and only wishes to be married to Galuh Ajeng).
����������� Fourth, returning to the corner of the
area where Gambuh is performed, Galuh
Daha carefully listens to what is said by Condong.
Condong, dialogue:
Tityang nyantenan tresna sih ida
irake sareng dwagung istri (Aunt believes that the Princess is
the only royal lady who loves Raden Panji). Galuh feels sad and then
cries.
Galuh, dialogue:
Sira kaka kakeneng
desti?� (Raden
Panji is bewitched?). Kang kadi punapa neitannyan ingsun mangke? (what
should I do aunts Kakan-kakan and aunt Condong?).
Condong, dialogue:
Paneluhan wantah kasor antuk kalila
cita ratu dwagung istsri (the princess, magic can only be
neutralized using happiness �!) Galuh is thinking for
a moment, then her face becomes wrinkled and has the answer at once.
Galuh, dialogue:
Sira ya kaka suka anonton gambuh (Raden Panji likes Gambuh performance).
Condong, dialogue:
Patut pisan ratu� dwagung istri, sedurung kasep ratuu (that�s true the Princes, before everything comes late). Galuh, Kakan-kakan, and Condong leave the corner of the arena where Gambuh is performed.
����������� Fifth, the viewers in one of the corner
of the arena where Gambuh is performed appear again
to act, those who are sitting on the ground clap their hands. Then the camera
traced the Story Teller sitting among the viewers with the following narration.
The Story Teller says:
Pawiwahan ring Jenggala
tan urung pacing kelaksanayang.
Napike diah galuh pacang ngemolihang
tresna asih raden Panji? Abot pisan negemanahang
antuk galah sane kosekkang (the great wedding in the Jenggala
kingdom will be carried out soon. Will the Princess Galuh
Candra Kirana be loved
again by Raden Panji? This
is not an easy problem within a limited period of time).
����������� Sixth, the scene is that Galuh Daha transforms herself
into a man acting the role played by Panji Semirang. Galuh is made to appear
with moustache and men�s clothing by Condong and Kakan-kakan. The scene when Galuh
transforms himself into Panji Semirang
accompanied by the voice over (VO) made by Galuh
takes place at the traditional house.
Galuh, dialogue:
Mangke kinkin akena prasama bipraya
a ngigel Gambuh (we are prepared to offer the best Gambuh performance for lovely older brother Lord Panji). Wit mangke, ingsun bipraya Amari aran Panji Semirang
(starting from now, I transform myself into Panji Semirang). Ratna ni condong, menadi Semar (you Condong transform into Semar). Sanak prasama menadi kadean (you Kakan-Kakan transform into Kade-Kadean).
Seventh, the
scene taking place at the Jenggala Royal Palace is
enlivened by the Gambuh performance. Raden Panji�s eyes are close. The
gamelan music accompanying the performance sounds beautiful, and Raden Panji and Galuh Ajeng sit side by side. The
servants screen Panji Semirang
using an umbrella or fan him. One of the dancers dances as Panji
Semirang, the other dances as Semar
and the last dances as Kade-kadean. The face of Panji Semirang has already looked
like the face of a man, and his eyes pay attention to Raden
Panji, who is handsome and sitting next to Galuh Ajeng. Galuh
Daha is sadly involved in the following dialogue.
Galuh, dialogue:
Manastapa ingsun a ngetonin sira ye kaka mas (I am extremely sad to see Raden Panji sitting next to
another). Nanging ingsun reres a ngigel Gambuh (but I should be strong enough to continue the Gambuh performance).
����������� Eighth, The Jenggala
Royal Kingdom � the Gambuh Performance. In the Gambuh performance, Panji Semirang is surrounded by Semar
and Kade-Kadean. Panji Semirang is sitting on a chair saying nothing, acting as if
he were losing his intelligence.� The
dialogue is as follows:
Semar (Condong),
dialogue:
����������� Ratu dwagung putra, sedih manah
tityang saantukan Ida I Raka pacang alaki
rabi sareng istri tiyosan (Hi Panci Semirang, I�m very sad to
see your condition as you�ll get married to another lady).
Kade-Kadean (kakan-kakan),
dialogue:
Singgih pakulun
mas pangeran, menget pwa kita lawan
diah daha (Dear Panji
Semirang, be aware please, you�ll only give your love
to one Daha princess only).
Panji Semirang,
dialogue:
Kakang i semar, patik kita,
ingsun natan sidha atemu lawan
sira yayi mas mirahku (Hi uncle Semar, Hi Kade-Kadean,
I feel really lost and don�t know the direction where to go to meet my lover
the Princess. The scene taking place at the moment is that Raden
Panji starts being aware, Galung
Ajeng starts feeling disturbed by the performance of Gambuh Panji Semirang.
Panji Semirang keeps paying
attention to Raden Panji
who smiles when viewing the Gambuh performance. Raden Panji becomes more aware
and asks Galung Ajeng next
to him.
Raden Panji,
dialogue:
Ingannika yayi, menawa ingsun sama
lawan wong pradesa? (Hi my prospective wife, am I like them, do I get lost?)
Galuh Ajeng,
dialogue:
Kaka mas pangeran, natan sisu mapan pepareng
lawan ingsun (Hi Raden Panji, you don�t get lost as you�re with me).
Raden Panji,
dialogue:
Sakewala Panji Semirang sama kelawan
lampah kaka (but the story of Panji Semirang, the gambuh dancer, is
similar to the way of my life, Hi Galuh Ajeng).
Galung Ajeng,
dialogue:
�(being
restless)
Natan, natan bener kaka, wong paradesa ngawi-ngawi (that�s wrong my older brother, they
only pretend to be like that). The plot � Panji Semirang is getting more intense with the Gambuh dance, and Galuh Ajeng cries to ask for the Gambuh
performance to be stopped.
Galuh Ajeng,
dialogue:
(being angry)
Mandeg, mandeg-mandeg
prasama � ingsun arep kita mandeg
a ngigel! (stop, stop all, I ask the Gambuh
performance to be stopped!). Panji Semirang, Kade-Kadean and Semar stop the performance as instructed by Galuh Ajeng. Then Panji Semirang is approached by Raden Panji and unmasks him; then,
the figure behind Panji Semirang
is exposed; the figure is Galuh Daha,
who is beautiful.
Raden Panji,
dialogue:
(being aware)
Yayi, mas mirah
sira ya kaka (Galuh! My
Lover). Apart from the situation that the scene is far enough, Galuh Ajeng looks angry and cries
seeing that Galuh Daha
turns to be in the guise of Panji Semirang.
Panji Semirang (Galuh), dialogue:
Singgih ingannika
kaka, ingsun sira yayi Galuh Daha,
natan rered ngruruh sira kaka (Hi my older sister, I�m the Prince�s
older sibling, who has never felt tired to look for you).
Panji and Galuh Daha look intimate when they meet each other, causing Galuh Ajeng to say the following
sarcastically:
Lah ta Galuh Ajeng, kita natan
sidha angawe gargita mas pangeran, ta nemitanyan sira kaka menget mangke, lepas dening teluh
desti (Hi Galuh Ajeng,
you�ll never give happiness to Raden Panji as that�ll make you aware of the magic used on
another).
Galuh Ajeng,
dialogue:
Kita panji semirang angawe ingsun wangsul
alaki rabi. Yukti kita stri corah
(you�ve ruined the plan of my marriage with Raden Panji, how dare you, wicked lady.
Picture 4
The Story Teller
_files/image008.jpg)
Document: Harvan, 2022
����������� Utsaha diah galuh ngewangun sesolahan gambuh kearseyang pisan olih ida dwagung
putra. Dwagung putra gargita pisan.
Gargitan idanne mewastu ngawe eling
ring angga sarira, lepas saking teluh
desti trangjana galuh ajeng (the attempt made
by Galuh Daha/Candra Kirana to become Panji Semirang, the Gambuh Dancer, highly interests Raden
Panji. Raden Panji becomes happy. Such happiness enables him to open his
feelings and to make him aware again of the magic used by his prospective wife,
Galuh Ajeng, on him.
����������� Ninth, the marriage of Raden Panji with Galuh Daha. Having worn the
simple wedding costume, Raden Panji
and Galuh Daha will get
married. Kakan-kakan and Condong
and the Servant of Raden Panji
surround them. Raden Panji
and Galuh are very happy.
Picture 5
The Marriage of Panji and Galuh Daha
_files/image010.jpg)
Document: BPNB Bali, 2022
Ingannika yayi, paramasuksma, sida kaka menget mangke (Hi Galuh,
thank you for having looked for me. Your birth is my happiness, therefore, the
magic on me has disappeared).
Galuh, dialogue:
Singgih kaka mas pangeran,
kaka mas ta bungah yayi (Hi my lovely older brother Prince Panji, you�re my happiness). In the last scene Panji and Galuh Daha are happy, as they have been made to meet again.
The Educational Values
����������� It
can be observed from the plot of the story of Panji
visualized in the form of a film is included in the Program of 18 values of
character education proposed by the Ministry of National Education and Culture (Ni
Ketut & Ni Komang, 2020). Thy are religious value: the
attitude and behavior of being loyal to the religion adhered to, being tolerant
to other religious worship, and living harmoniously with the adherents of the
other religions; 2) being honest; the behavior based on the attempt made to
make what one does and says trusted; 3) being tolerant; the attitude and
behavior to appreciate the religions that the others adhere to, the ethnic
groups that the others belong to, the way in which the others behave, and the
things that the others do; 4) discipline; the behavior of showing orderliness
and being loyal to different terms and regulations; 5) working hard; the
behavior of showing the attempts to overcome different things obstructing the
learning process and the process of doing what is supposed to do; and the
behavior of doing what is supposed to do as well as possible; 6) being
creative; thinking and doing things in order to create the ways and produce the
things which are better than what one has already created and produced; 7)
being independent; the attitude and behavior that are not easily dependent on
others when completing what is supposed to do; 8) being democratic; the way of
thinking, behaving, and acting that do not discriminate the way of thinking,
behaving, and acting of others; 9) being curious; the attitude and behavior
that always attempt to know better what is learned, observed, and heard; 10)
the spirit of nationality; the way of thinking and acting and being insightful
that place the interests of the nation above personal and group interests; 11)
loving the homeland; the way of thinking, behaving and acting shows loyalty,
care about and high appreciation of the language, physical, social, cultural,
economic and political environments of the state; 12) appreciating achievement;
the attitude and action that encourage one�s self to produce something that is
useful to society, and recognize the success achieved by others; 13) being
friendly/communicative; the action showing being happy to talk to others,
making friends with others, and working together with others; 14) loving peace;
the behavior of speaking and acting that can make others feel happy with and
safe from the others� existence; 15) being fond of reading; being prepared to
spare time for reading different reading materials giving virtue to one�s self;
16) caring about environment; the attitude and action that always attempt to
avoid the surrounding environmental degradation, and to develop the attempts
that can be made to be able to repair the natural damages already taking place;
17) caring about social things; the attitude and behavior always leading to the
desire of helping others and society needing assistance; 18) being responsible;
the attitude and behavior to do what is supposed and obliged to do, in
accordance with what one should do for one�s self, society and environment (the
nature, socio-culture), the state and the Almighty God.
����������� Out of the 18 values of educational character, the ones that are related
to the values of the story of �Panji Semirang as the Gambuh Dancer�
are as follows (Murgiyanto,
2018): being religious and the struggle
between the white magic and black magic reflect the Galuh
Daha�s belief that she cannot separate herself from
what she has proposed to God as the thing determining the cycle of life. Being
loyal; the value of Galuh Daha�s
loyalty cannot be denied resulting from different things obstructing her love
relationship with Panji. Being honest; the value
implemented through honest love will defeat evil. Working hard; the value of
working hard can be observed from how Galuh Daha does her best to regain her bewitched lover by
performing a dance that can release the black magic used by Galuh
Ajeng. The value of being responsible is implemented
through the attempt made to make herself and her lover, Raden
Panji, happy.
Conclusions
����������� The visualization of the story of Panji in the
film of �Panji Semiarang as
the Gambuh Dancer� is a production taking the theme
of love involving the character Panji and the
character Galuh Candrakirana
(Galuh Daha). The film is
the result of the collaboration with the Ministry of Education and Culture of
the Republic of Indonesia and BPNB-Bali and Sanggara Seni Satrya Lelana,
Batuan, Gianyar. The
pictures were taken at the area of Puseh Temple, Batuan Village, Gianyar and at a
traditional house located at Negara Village, Batuan.
By maintaining the classic elements of the Gambuh
performance, the film produced is different from that visualizing the story of Gambuh by the other Gambuh
dancer. The characters appearing in its scenes are Condong,
Kakan-kakan, Galuh Daha, Galuh Ajeng,
Panji, and Kade-kadean.
����������� �The set of gamelan music used to illustrate
the performance include the songs lagu Selisir, Batel, sumeradas, tangis, and maskumambang. It is presented using the Old Javanese
language and Balinese language. It presents the classic atmosphere and uses the
make-up and clothing traditionally innovated and modified as needed. The
pictures were taken on Saturday, Saniscara Merakih, 30 July 2022.
����������� The
story is intended to make the wide society aware that it should be able to
maintain the Gambuh performance that is highly
meaningful, and can be used as a means of character education for the young
generation in the digital era to strengthen the identity of the nation and
state, based on the local wisdom with universal insight.
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