TEROB VOLUME 16 NOMOR 2 April 2026 Development of Songs in the Wayang Kulit Performances of Sanggar Hamiluhung In Kubu Raya Regency Revinta Nira Anggraeni (Tanjungpura University/Indonesia/ F1111211009@student.
Imam Ghozali (Tanjungpura University/Indonesia/ imam.
ghozali@fkip.
Mastri Dihita Sagala (Tanjungpura University/Indonesia/ mastri.
dihita@fkip.
ABSTRACT
DOI: https://doi.
org/10.
20111/terob.
121 Wayang Kulit is a cultural heritage that has been *Correspondensi Revinta Nira Anggraeni recognized internationally.
This study reveals the development of songs in certain sections of the Wayang Kulit performances of Sanggar Hamiluhung.
The method used in this research is qualitative descriptive with an 1Email: F1111211009@student.
ethnomusicological approach.
Data were collected Email :
through interviews, observation, and documentation study.
The validity of the data was tested using source Received:08-02-2026 triangulation and prolonged observation, while data Accepted:04-04-2026 analysis employed the steps proposed by Miles and Published:15-04-2026 Huberman.
The results show that the songs in the gorogoro section of the Wayang Kulit performance are developed beyond the standard repertoire.
The developed songs are created through a musical arrangement process.
Terob Journal is licensed under a Creative The instruments used have also been expanded from the Commons Attribution-ShareAlike 0 traditional set by adding modern instruments.
The duration International License of the goro-goro section has likewise been extended.
The Copyright: A 2026 by the authors.
development of the songs is influenced by artists' creativity, community interest, and technological support.
The findings of this study indicate that the development of songs does not occur suddenly but rather through a long process.
This research can be used as one of the efforts to preserve the Wayang Kulit art form.
In order for this art form to be widely accepted by society, continuous education, the regeneration of artists through learning in formal and non-formal education, as well as community- or studio-based training, are required.
Keywords: Song.
Wayang Kulit.
Sanggar.
Music Traditional TEROB VOLUME 16 NOMOR 2 April 2026
INTRODUCTION
Art is a product of human culture accompaniment that accompanies each scene, while visual arts are reflected in developed, and published as a means the form of the puppets, stage design, of advancing civilization and human According to Dicky .
n collaboration not only enriches the Rondhi, 2017, p.
human creations audience's aesthetic and emotional are called works of art if they are made appreciation, but also serves as an with the intention of being enjoyed or important means of preserving and appreciated for their beauty by many developing cultural traditions that have Art is classified into several existed for centuries.
Through the main branches, such as visual arts, integration of these various artistic theater or drama, music, literature, and elements.
Wayang Kulit is able to Thus, in practice, artistic convey moral messages (Anis Mirna expression is often not limited to one Defi, 2.
, life philosophies (Andani.
Instead, rich and profound works of art can emerge from the (Setiawan, 2.
in a way that is combination and collaboration of interesting and easily understood by various types of art.
This In the context of traditional arts.
Additionally, this collaboration opens collaboration between various art up space for innovation and creativity forms has become an integral part of in presentation, ensuring that Wayang Indonesia's cultural heritage.
This can Kulit be seen in the traditional arts of the changing times without losing its Javanese people, namely Wayang traditional essence.
Thus, this art form Kulit.
In Wayang Kulit performances, not only survives but also evolves there is collaboration between the arts alongside the dynamics of modern of drama, music, and visual arts (Kasinathan et al.
, 2.
Drama is According Haryanto .
n seen in the storyline and characters (Danuari, 2.
, there are around presented by the puppeteer, music is forty-six types of wayang in terms of TEROB VOLUME 16 NOMOR 2 April 2026 history and development.
Haryanto keyboard, sapeAo, electric bass, and also explains several reasons why it is panting .
mall-sized gambu.
called Wayang Kulit/ purwa.
Some The phenomenon of collaboration interpret purwa as meaning the first or with modern music occurs at Sanggar earliest, so Wayang Kulit purwa is Hamiluhung.
Sungai Raya District, interpreted as the first to appear in Kubu Raya Regency.
This studio is the Indonesia.
Wayang Kulit art has first Wayang Kulit art studio to be prominent characteristics, such as the established in Sungai Raya District use of traditional gamelan musical (Listiantoro, 2.
The traditional art Wayang Kulit Sanggar ornaments, and also in the form of Hamiluhung has been passed down presentation, such as stage layout, from generation to generation and has costumes, and makeup, which also its own characteristics and distinctive features as the identity of the Javanese Wayang Kulit art was In addition, the Wayang Kulit originally created as a medium for art of the Hamiluhung Studio not only religious preaching but has evolved introduces the art of drama, but also into a form of entertainment.
From this incorporates elements of music.
The function.
Wayang Kulit has also existence of the traditional Wayang undergone various developments, one Kulit art of the Hamiluhung Studio is of which is in its musical form proof that the Javanese community in (Setiawan.
Kubu Raya Regency still preserves and (Anwar, 2022, p.
that, in general, maintains the traditional arts of the traditional wayang performances use a Javanese tribe.
Based on the researcher's However, in Wayang observations.
Sanggar Hamiluhung Pulau art, there is an innovation that often uses songs outside of the combines traditional standard repertoire, especially in the and modern (Wester.
musical instruments.
The goro-goro instruments used include multiple (Mulyono, 2.
, this section consists instruments .
uch as bedug and jimb.
According TEROB VOLUME 16 NOMOR 2 April 2026 flexible while still maintaining their The punakawan comedy distinctive characteristics and moral scenes feature Semar.
Gareng.
Petruk, and Bagong.
In this scene is very open
for the puppeteer to raise any theme
METHODOLOGY
that is current in society.
Usually.
This study uses a descriptive through these jokes, the puppeteer research method with a qualitative wants to convey moral messages.
The approach is ethnomusicology, which The campursari songs from the 90s to the The same applies to the aesthetic, psychological, and cultural phenomenon (Lukyantus et al.
, 2.
The Arang Sungai Raya support the aesthetics of the Sanggar Limbung Hamiluhung Wayang Kulit District.
Kubu Raya.
The research data This research is obtained was primary data explaining important to respond to changes in the song patterns and their use, how the public taste, which demands more songs were developed in the Wayang interesting entertainment that is in line Kulit with the times.
In addition, this performances, and the factors that research is also important to preserve traditional arts amid the influence of Meanwhile, obtained from videos of Wayang Kulit Because audiences now prefer popular Sanggar Hamiluhung performances to Village.
Sanggar Hamiluhung Wayang Kulit instruments, new ways are needed to performances were after the songs were developed.
The data sources used interesting and relevant, without losing in this research were interviews with their traditional values.
This research key informants, namely Mr.
Ilham is expected to help develop wayang Listiantoro.
Mrs.
Lis Damayanti.
Mr.
kulit performances that are more Mohamad Rifa'I, and Mr.
Erwan TEROB VOLUME 16 NOMOR 2 April 2026 Suparlan.
Data collection techniques Agus met was the Regent of Kubu Raya.
Muda Mahendrawan.
After that, interviews, and documentation studies.
on September 19, 2020.
Ki Agus Data analysis used data reduction, grouping, and triangulation to obtain Hamiluhung Wayang Studio.
The first valid results.
Wayang Kulit centered at the Hamiluhung Studio on RESULTS AND DISCUSSIONS .
A Brief History Establishment being attended by the Regent of Kubu Sanggar Raya and the Deputy Regent of Kubu Wonodadi 1 Street.
In addition to Raya, the inaugural performance.
Hamiluhung The establishment of Sanggar which strictly implemented health Hamiluhung was initiated by the late protocols, was also attended by a Ki Agus Kisbiantoro, who at that time number of local artists from Kubu joined Sanggar Nastiti Laras owned by Raya and the Chairman of the Mr.
Munasrip, which was founded Persatuan around the 1990s (Suparlan, 2.
(Pepad.
of West Kalimantan.
Prof.
Because the studio was rarely used.
Slamet Raharjo, and several other many of the gamelan instruments were parties (Listiantoro, 2.
Pedalangan Indonesia Ki Agus took the initiative When Ki Agus Kisbiantoro passed and was determined to build and away on July 21, 2023, his son Ilham develop a wayang studio centered on Listiantoro Jalan Wonodadi.
Another reason for legacy by managing the Hamiluhung Studio until now and forming a studio Sanggar continued his Hamiluhung was to replace the Bambang (Suparlan, 2.
Ki Agus began Purwanto (Listiantoro, 2.
Sanggar seeking support and assistance from Hamiluhung still exists today among various parties to help him pioneer the the community, especially in the Kubu development of the studio that had Raya area.
Regular training sessions at been established.
The first person Ki the studio are still held every Tuesday TEROB VOLUME 16 NOMOR 2 April 2026 and Friday, attended by students and Cakradiningrat, young people from Japon (Jawa Wirata Parwa, and many more.
The Pontiana.
inclusion of carangan plays in Wayang .
Hamiluhung Studio Shadow Puppet Performance The Sanggar Semar Maneges.
Kulit performances is due to high demand from the audience and to prevent the audience from getting Hamiluhung bored with the stories being presented.
Wayang Kulit performance includes Wayang various important elements, namely Sanggar Hamiluhung usually take the Dalang.
Niyaga, and Sindhen place from around 9:00 p.
to 4:30 (Rifa'I, 2.
The Dalang is the figure There are also performances that who moves the puppets, voices the only last about 3 hours, called characters, and narrates the story.
The Pagelaran Padet or condensed time Niyaga, also known as the gamelan (Suparlan, 2.
In the Wayang Kulit player, plays the gamelan instruments performances at Sanggar Hamiluhung, and creates an emotional atmosphere the role of pathet is very important in accordance with the storyline.
The because it regulates the emotional Sindhen is a female singer who sings atmosphere throughout the story.
Javanese songs as part of the musical Pathet means a series of notes or the accompaniment (Sunardi et al.
, 2.
foundation of a note in a song or The stories in Sanggar Hamiluhung's Pathet is divided into 3 Wayang Kulit are usually taken from types, namely Pathet 6.
Pathet 9, and great epics such as the Mahabharata or Pathet Manyuro (Suparlan, 2.
Ramayana, which are referred to as Pathet is divided according to the parts Lakon pakem .
tandard storie.
and content of the story.
The following addition to Lakon pakem.
Sanggar is an explanation of the parts found in Hamiluhung also presents Lakon- the Wayang Kulit performance at lakon, which are their own creations.
Sanggar Hamiluhung:
The Lakon Carangan .
riginal storie.
in the Wayang Kulit performances at Sanggar Hamiluhung include Wahyu Kulit The first part is called Jejer .
The tone .
in this opening section is Pathet 6, which TEROB VOLUME 16 NOMOR 2 April 2026 symbolizes the beginning, a calm conflict and the conclusion of the atmosphere, and the introduction of The problems that arise in the the characters and story situation pasulayan section are resolved, and (Listiantoro, 2.
This section the story reaches its climax and contains the beginning of the story, closing scene, such as Tancep or what is known as the Failed War Kayon, which depicts the soul .
n This leaving the mortal world for the section begins at 9:00 p.
to 12:00 eternal realm.
This section lasts Western Indonesian Time.
from around 2:00 a.
to 4:30 a.
The second part is called pasulayan .
The tone in this part is Pathet 9, which symbolizes middle age, where the story begins to enter a complicated phase and the tension .
Song Patterns Hamiluhung's Sanggar Wayang Kulit Performances The This section contains the arrangement of song patterns found climax or peak of the story's in the Sanggar Hamiluhung Wayang problems, known as the War of Kulit performance:
Flowers.
This section also contains the Goro-goro scene, which tells the story of the Punakawan and takes place around 12:00-2:00 a.
The third part is called Pangudhare Prakara .
roblem solvin.
The tone in this part is pathet manyura.
The name Manyura comes from the word peacock, which symbolizes spiritual maturity and nearness to the purpose of life or death.
This part contains the Bruboh War or the resolution of the war.
The Bruboh War presents the resolution of the Srepeg Used during scenes involving rapid movement, such as when characters walk hurriedly, or there is an important event that changes the The characteristic of Srepeg itself is that it has a fast and dynamic rhythm in gamelan.
This rhythm is usually spirited, energetic, and full of tension.
The songs sung by the sinden also have their own meaning, which is to give advice.
The following is the srepeg notation TEROB VOLUME 16 NOMOR 2 April 2026 used in wayang kulit performances:
a Buka The "Buka" section is the opening of the Sampak Nem gending before the main section is played.
The numerical notation represents the notes in the slyndro scale, a The dot (.
) signifies silence/ suwuk or only the filling of the ricikan .
ender, the slyndro manyura scale .
= nem, 5 = ma, 3 = lu, 2 = ro, 1 = j.
positions of the notes in the Used to mark scene transitions, characters, or drastic changes in The characteristic of Sampak itself is a fast rhythm with steady, a The curved symbol above the numbers indicates a pattern that must be played quickly or with a staccato characteristic of Sampak The numbers 5, 3, 6, 2 are the slyndro pathet nem scale.
a The numbers 6-5-3-2-1 are notes in transition from a calm mood to a climactic scene.
The following is the sampak.
a 5555 3333 3333 5555 6666 .
This is a characteristic of movement, usually followed by the sound of a gong .
umbers in circles such as c, the Sampak notation used in wayang c, c indicate gong strikes as kulit accompaniment:
a sign that the phrase is a Suwuk The "Suwuk" section is the closing Sampak Nem composition, marking the end of a Presented .
Picture 1.
Structure of Sampak Nem Notation TEROB VOLUME 16 NOMOR 2 April 2026 332c, 222c, 552.
The numbers in circles are gong opening section .
yak-aya.
strikes that mark the end of a Opening Section (Buk.
phrase or the closing.
a Buka: The opening section is Ayak Used kendhang, with the notation blocks typically indicating the tempo and initial measure for changing locations, or everyday adjusting the overall rhythm of The characteristic of the gamelan ensemble.
Ayak is that it has a light and lively a Numbers such as .
6 or .
rhythm, sometimes sounding like a above indicate the transition to This rhythm can be flexible the next note, with dots above and can be played in various scales and below as octave markers .
lendro or pelo.
The following is dot above means a high note, a an explanation of Ayak slendro dot below means a low not.
pathet 6, pathet 9, and pathet Balungan a Each row of numbers .
Ayak slendro in pathet 6 represents a sequence of notes in the slendro pathet nem scale, played consecutively.
a Numbers with a circle or small number above them: Indicates the striking of a gong, kenong.
Picture 2.
Ayak Slendro Notation This notation is a form of melody skeleton in the Srepeg type of Javanese gendhing, commonly used to accompany dance or wayang kulit or kempul.
a Numbers in a circle: Mark the gong strike.
Small numbers above: Mark the kenong strike .
, 3A means kenong on note TEROB VOLUME 16 NOMOR 2 April 2026 a Sections marked with square composition, usually played by brackets indicate a complete opening instruments such as musical phrase that is repeated.
the rebab or gender.
Swk.
(Suwuk / Phrase Close.
a Repeating a The Swk.
section usually ends 1, .
2, .
with a gong strike .
umber 6 in , arranged over the opening the circl.
, as well as the note melody sequence 1 6 5 6 etc.
sequence 6656 and 321.
as a a The circled numbers .
, .
characteristic closing feature in indicate the points at which the Ayak-Ayak Lasem.
large gong .
ong agen.
or a The suwuk section provides suwukan gong is struck as the resolution and affirms the end main marker of the gendhing of the musical phrase.
Ayak slendro pathet 9 Tanggung Rhythm a Tanggung Rhythm: This is a opening, usually used in a tighter tempo and pitch range .
, often used for Picture 3.
Ayak slendro pathet 9 This notation is a balungan pattern .
elodic framewor.
in the a Each Javanese slendro system, often used sequence of numbers 3 2 3 5 / as an opening accompaniment in 2 3 2 1, etc.
, where each wayang kulit performances, dance, number represents a note on and karawitan.
The "Slendro 9" type the slendro scale .
-2-3-5-.
, refers to a nine-note pattern in one without notes 4 and 7.
ayak-ayakan sentence.
a Curved marks .
, 6 with a Opening Section curved lin.
indicate long notes a Opening: Consists of the initial or repetitions, and the cross series of notes to open the TEROB VOLUME 16 NOMOR 2 April 2026 instrument stroke or a special a Open: Played by the kendhang rhythmic cue according to as the initial tempo setter and local tradition.
trigger for all instruments.
a Circled numbers mark the end a Notation: .
1 etc.
of a phrase by the gong, as a followed by the melody notes resolution and affirmation of 2321 2321 3532 etc.
the musical sentence boundary.
a The dots above/ below the Ayak slendro pathet manyuro numbers indicate high/ low This notation (Picture .
is the notes within the octave.
opening melody .
alungan/ song a Buka ends with a note in framewor.
in the slendro pathet parentheses .
, the number 2 manyura scale, often used in wayang in a circl.
, marking the fall of the main instrument, usually transition and to reinforce the gong suwukan or kenong.
The balungan structure Main Section (Balunga.
is arranged in phrases, complete with a Sequential numbers such as instrument markers such as gong, 3532, 5356, 3532 are the kenong, kempul, and other rhythmic sequence of slendro scale notes .
-2-3-5-6, without 4 and .
a The numbers in circles .
cu, c, c, .
are the points at which the gong or kenong a cu = gong ageng/ kenong on a c = kenong at pitch 2 Picture 4.
Ayak-ayak talu notatition a c/c kenong at note 1 Opening Section TEROB VOLUME 16 NOMOR 2 April 2026 a Two asterisks (**) indicate that performed is generally determined by the section is repeated or the dalang or niyaga, according to referenced in the lik section.
the mood and needs of the story.
The differences between the songs Srepeg Lik section 6.
Srepeg 9, and Srepeg Manyura can ("Lik.
") is generally played be seen from the act being performed.
after the main section, serving If the act is still in the pathet 6 region, as a variation or repetition with the lyrics and melodies sung by the certain changes in the melody.
sindhen are more advisory in nature.
a The sequence of notes in the lik If it has entered the Pathet 9 region, is similar to the main pattern, the lyrics and melodies are more narrative in nature.
Meanwhile, if it a The has entered the Pathet Manyura sometimes repeated.
region, the lyrics and melodies tend Basically.
Srepeg.
Sampak, and Ayak are types of rhythms or accompaniment patterns in Javanese gamelan music that play an important to be more assertive.
Song Development in the Wayang Kulit Performances of Sanggar Hamiluhung role in creating atmosphere and supporting the performance.
These Song rhythms not only function as musical traditional framework is a form of accompaniment, but also serve as according to Javanese karawitan emotions in the wayang story.
It can take the form of practice, these rhythms are often used as a foundation for the sindhen to pesindhen ornamentation, rhythmic variations in the penggendang, or (Atmojo.
Interestingly, the lyrics or verses sung by the sindhen are not Traditional songs such as fixed and can be adapted to the Srepeg.
Ayak-Ayak.
Sampak, and The choice of songs to be Perahu Layar are still used, but with TEROB VOLUME 16 NOMOR 2 April 2026 However, traditional boundaries must be maintained, such as not changing the basic structure of pattern for battle scenes:
(Main melod.
: 6 .
5 3 .
(Bonang ngeli.
: 1 2 3 2 1 6 5 | 2 3 the song .
athet and melodic for.
and retaining the function of the song (Kendhan.
according to the standard.
This creation should only be done by puppeteers or niyaga who understand the philosophy of karawitan so as not to deviate from the cultural meaning.
Although the structure of gending like Srepeg or Ayak-Ayak is fixed, the Garap Theory allows for creative space for musicians to interpret thru ("dhodhogan") pattern quickly Lyrics used:
Raden A Man eman A eman eman Ya mas A Mumpung anom A Ngudi Sontoloyo A grayah-grayah tangane Gones A Sing kuning A kuning Man eman eman eman In battle scenes, use heavy without damaging the essence of the kendang and bonang.
Sinden can sing song (Nugroho, 2.
In practice, songs with themes of spirit and the creativity is evident in the flower Sinden usually sing lyrics war scene with Sampak, which is .
r cakepa.
in the form of songs or played faster and more dynamically, free expressions, depending on the or in the romance scene with Ayak- needs of the scene, pathet, and Ayak, which is performed more softly pakeliran style.
Srepeg lyrics are and expressively.
The main goal is to often flexible, but several themes adjust the atmosphere of the scene to audience, and remain rooted in humor, and character reinforcement.
classical values, while also being relevant to today's audience.
The development of the srepeg notation TEROB VOLUME 16 NOMOR 2 April 2026 .
Factors Affecting the Development songs that are appropriate for of Songs in the Wayang Kulit each scene, and even innovates Performances of the Hamiluhung by inserting new songs that are Studio still traditional in nature but Artists' Creativity relevant to the times.
This aligns Preserving the Art of Wayang with the social construction Kulit at Sanggar Hamiluhung theory where society sees and The creativity of artists is very important in preserving the art of Wayang Kulit Sanggar Hamiluhung.
The role of artists is one of the factors that influence the preservation of Wayang Kulit art, especially in developing Wayang Kulit The artist known to preserve the art of Wayang Kulit Sanggar Hamiluhung is Ki Agus Kisbiantoro .
was one of the artists who wanted to preserve Javanese culture in Kubu Raya.
The second artist is Mr.
Ilham Listiantoro, who is the successor of the late Ki Agus Kisbiantoro.
In addition to his role as a puppeteer.
Mr.
Ilham also plays a major role in developing songs for Wayang Kulit performances.
He works with Niyaga .
amelan player.
and Sindhen .
to select recognizes that identity thru the consistency of these artists in their work (Putri et al.
, 2.
The third group of artists are the Niyaga and Sindhen.
Without Wayang possible, especially without the Sindhen.
Nowadays, it is rare to find singers who can sing with the proper sindenan technique.
this context, the roles of the dalang, niyaga, and sindhen are not just jobs, but social roles that shape identity and preserve and develop cultural heritage.
Community Support Community participation has a preservation of Wayang Kulit in Kubu Raya Regency.
Support is appreciation of the audience who TEROB VOLUME 16 NOMOR 2 April 2026 arranging them according to Sanggar trends, and documenting and Hamiluhung at various major Appreciation also comes The use of modern from young people, especially instruments such as bass drums the Japon (Jawa Pontiana.
and cymbals also adds variety that cannot be achieved with practice at the studio.
This involvement is an important technology and modern musical factor in the development and sustainability of Wayang Kulit in innovation, maintain relevance, the area, in line with Anthony and expand the reach of Wayang Giddens' Kulit.
Thus, emphasizes that society and preservation of tradition with the community play an important development of the times.
role in cultural regeneration (Salmin.
& Jasman, 2.
Support from Technology and Modern Musical Instruments Technological support plays a major role in the development of Wayang Kulit Hamiluhung Sanggar Technology can bridge cultural transmission that can be creative and collaborative (Sagala, 2.
Through social media and digital platforms, artists can deepen and disseminate their ideas, such as CONCLUSION The musical rules in Sanggar Hamiluhung's Wayang Kulit performances are applied to certain .
, pasulayan .
, and pangudhare prakara .
However, the goro-goro entertainment-oriented, has undergone Sanggar Hamiluhung continues to uphold tradition by not abandoning the rules.
Songs outside the standard are selectively inserted into the entertainment section without disrupting the storyline.
In addition, the created standard songs must not TEROB VOLUME 16 NOMOR 2 April 2026 eliminate the pathet or rules that apply addition, social media can be used as a in the standard.
This development is platform to promote and obtain driven by the creativity of artists, feedback on new songs performed in the show.
Furthermore, documenting advances, and the audience's desire for more entertaining performances.
This Wayang Kulit performances can evolve with the allows the public to respond directly.
times, including the presence of modern musical instruments, changes in public taste, and economic demands.
Although Wayang Kulit performances are bound by pakem, new creations can still be adapted without neglecting traditional boundaries, so that the art of Wayang Kulit remains preserved.
The author hopes that this research will encourage readers to preserve the art of Wayang Kulit, development of songs in Wayang Kulit performances, so that it remains Hamiluhung Studio.
The suggestions for artists, especially puppeteers, musicians, and singers, to continue developing their creativity in creating new songs that maintain traditional values while adapting to the times, so that Wayang Kulit remains attractive to the younger generation.
TEROB VOLUME 16 NOMOR 2 April 2026
REFERENCES