PENCIPTAAN KARYA SENI PEDALANGAN WAYANG KULIT TRADISI DAN INOVASI SENI RITUAL DALEM PURUSA PREDANA “PUTRI MURTI”

Authors

  • Putu Diki Laksamana Institut Seni Indonesia Denpasar
  • I Bagus Wijna Bratanatya Institut Seni Indonesia Bali
  • Ni Luh Ayu Cempaka Dewi Institut Seni Indonesia Bali

DOI:

https://doi.org/10.59997/dmr.v5i1.4915

Keywords:

KATA KUNCI Putri Murti, Ratu Rupini, Calonarang

Abstract

The story takes place in a realm called Uma Praksa, where a kingdom named Brahma Purana is ruled by Queen Ratu Putri. One night, during a royal meeting attended by Indurasmi, Ratu Putri recalls a tale told by the Brahmin Vishnu Yogi—that she can only be defeated by a powerful incantation known as Durga Murti Putri. The following night, Ratu Putri’s disciples, including Ni Sindur, gather at Setra Gandamayu for a ritual. After their meditation, Dewi Durga appears and grants them a divine blessing. They return to the palace, and later that night, Ratu Mohini, Raja Putra, Ni Condong, and Waraha Putra perform a sacred offering in Alas Putra, led by Ratu Mohini’s father, Sage Sri Nadaswara. During the ceremony, a thunderous roar surprises the assembly as Hayagriva, an avatar of Vishnu, descends. Meanwhile, Kala Boma summons Delem and Sangut to announce his plan to destroy Uma Praksa and its surroundings. That night, chaos unfolds as Kala Boma attacks the kingdom. Ratu Putri’s disciples and Raja Putra’s siblings, including Ratu Rupini and her allies, engage in fierce battle. Ratu Putri transforms into Rangda Putih, while Ratu Indurasmi becomes Rangda Bang or Durga Bang. The war rages for 108 days until Raja Putra, guided by Hayagriva, confronts and awakens his sister, Ratu Putri. Raja Putra then transforms into Banaspati (Barong). In their final transformation into Barong and Rangda, Raja Putra and Ratu Putri vanish, never returning to their human forms.

Downloads

References

[1] Cudamani, Karmaphala dan Reingkarnasi. Jakarta: Yayasan Wisma Karma, 1992.

[2] I. N. Sedana, “Teori dan Metode Kreativitas Seni Berbasis Tradisi Kreatif Sanggit / Kawi Dalang,” Institut Seni Indonesia Bali, Denpasar, No. DIPA 023.17.2.677544/2021, 2021.

[3] I. N. Sedana, “Disertasi, Kawi Dalang: Creativity in Wayang Theatre,” 2002.

[4] I. B. P. Suamba, Agni Purana. Denpasar: Penerbit Upada Sastra., 1995.

[5] I. M. Suarsa, Cerita Calonarang. Surabaya: Penerbit Paramita, 2015.

[6] C. Premadasa, Darah Memerah di Rukuh Setra. Denpasar: Penerbit Yayasan Dharma Serathi, 1989.

[7] I. K. Jelantik, Geguritan Lokika. Denpasar: Penerbit CV. Kayumas Agung., 2015.

[8] G. A. B. Adnyana, Pala Sruti Itihasa Jenjang Belajar Weda. Denpasar: Penerbit Pustaka Bali Post., 2009.

[9] S. Mulyono, Wayang: Asal Usul, Filsafat dan Masa Depannya. Jakarta: Penerbit PT Gunung Agung, 1978.

[10] L. M. Warsito, Kamus Indonesia – Jawa Kuno. Jakarta: Penerbit IKIP, 1992.

Downloads

Published

2025-05-20

Issue

Section

Articles