POTEHI : TEATER BONEKA TIONGHOA PERANAKAN DI JAWA Kajian Bentuk, Struktur, dan Fungsi Pertunjukan
Potehi is a hand-glove puppetry theatre. When the Chinese came to Indonesia in the sixteenth century. It was performed in their ships (jungjung) when they were docked. The Hokkian dialect was used at that time. As many Chinese migrated and lived in Indonesia, they brought along the Potehi. At develo...
| Main Authors: | , |
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| Format: | Thesis |
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[Yogyakarta] : Universitas Gadjah Mada
2014
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| _version_ | 1797035951716827136 |
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| author | , HIRWAN KUARDHANI , Prof. Dr. C. Soebakdi Soemanto, SU |
| author_facet | , HIRWAN KUARDHANI , Prof. Dr. C. Soebakdi Soemanto, SU |
| author_sort | , HIRWAN KUARDHANI |
| collection | UGM |
| description | Potehi is a hand-glove puppetry theatre. When the Chinese came to
Indonesia in the sixteenth century. It was performed in their ships (jungjung)
when they were docked. The Hokkian dialect was used at that time. As
many Chinese migrated and lived in Indonesia, they brought along the
Potehi. At development if Potehi performance in Java to use Melayu Pasar or
Melayu Rendah (now Indonesian Language) which was indeed the lingua
franca at that time, although song and poetry were still in Hokkian. It is very
interesting. The process of acculturation with the local society resulted in a
very unique Potehi which is different from its original version.
This research is multi-disciplinary using theory of dramaturgy,
transformation, semiotic, and oral tradition. The study, research, written
about the puppet theatre of Potehi is still rarely found as well. Therefore. To
collect the primary data, the researcher applies a life history approach,
which is obtained through primary sources i.e: Thio Tiong Gie, Gunawan,
Giok Sam, Sesomo the type old sehu. The observation technique is through
involving participation in deep interviews.
The result of the research shows that glove puppet theatre of Potehi
in China also refers to the Chinese opera. In Java, puppet theatre of Potehi
has been disconnected from its original Chinese opera and now has unique
style due to its adoption of Javanese shadow puppetry, but form,
structure,andstage is still Chinese opera. Stage of Potehi was make as knock
down in order to easy pack. Stage of Potehi full carving an relief about
symbol. Analyzing symbols stage of Potehi is interesting because we know
hopes of sehu Potehi in foreign country.
When Soeharto regime in New Era (Orde Baru) the Tionghoa
Peranakan cultural activities were suppressed for 32 years. Potehi could only
be staged inside the Chinese Tridarma temple at isolated yard, without any
loudspeaker. Not to mention the difficulty to obtain permission from the
government. The various restrictions had paralyzed the appreciation of
Chinese culture. When President Abdurrahman Wahid governed the country
(known as the Reformation Era), he lifted the entire ban and gave more
freedom to Chinese ethnic. Chinese can celebrate their customary and
religious ritual openly. Chinese New Year is set as one of the national
holiday. The art of Tionghoa-Peranakan shows began to revive. The Potehi
puppetry theatre shows can be performed without barrier. |
| first_indexed | 2024-03-13T23:38:31Z |
| format | Thesis |
| id | oai:generic.eprints.org:133185 |
| institution | Universiti Gadjah Mada |
| last_indexed | 2024-03-13T23:38:31Z |
| publishDate | 2014 |
| publisher | [Yogyakarta] : Universitas Gadjah Mada |
| record_format | dspace |
| spelling | oai:generic.eprints.org:1331852016-03-04T07:57:00Z https://repository.ugm.ac.id/133185/ POTEHI : TEATER BONEKA TIONGHOA PERANAKAN DI JAWA Kajian Bentuk, Struktur, dan Fungsi Pertunjukan , HIRWAN KUARDHANI , Prof. Dr. C. Soebakdi Soemanto, SU ETD Potehi is a hand-glove puppetry theatre. When the Chinese came to Indonesia in the sixteenth century. It was performed in their ships (jungjung) when they were docked. The Hokkian dialect was used at that time. As many Chinese migrated and lived in Indonesia, they brought along the Potehi. At development if Potehi performance in Java to use Melayu Pasar or Melayu Rendah (now Indonesian Language) which was indeed the lingua franca at that time, although song and poetry were still in Hokkian. It is very interesting. The process of acculturation with the local society resulted in a very unique Potehi which is different from its original version. This research is multi-disciplinary using theory of dramaturgy, transformation, semiotic, and oral tradition. The study, research, written about the puppet theatre of Potehi is still rarely found as well. Therefore. To collect the primary data, the researcher applies a life history approach, which is obtained through primary sources i.e: Thio Tiong Gie, Gunawan, Giok Sam, Sesomo the type old sehu. The observation technique is through involving participation in deep interviews. The result of the research shows that glove puppet theatre of Potehi in China also refers to the Chinese opera. In Java, puppet theatre of Potehi has been disconnected from its original Chinese opera and now has unique style due to its adoption of Javanese shadow puppetry, but form, structure,andstage is still Chinese opera. Stage of Potehi was make as knock down in order to easy pack. Stage of Potehi full carving an relief about symbol. Analyzing symbols stage of Potehi is interesting because we know hopes of sehu Potehi in foreign country. When Soeharto regime in New Era (Orde Baru) the Tionghoa Peranakan cultural activities were suppressed for 32 years. Potehi could only be staged inside the Chinese Tridarma temple at isolated yard, without any loudspeaker. Not to mention the difficulty to obtain permission from the government. The various restrictions had paralyzed the appreciation of Chinese culture. When President Abdurrahman Wahid governed the country (known as the Reformation Era), he lifted the entire ban and gave more freedom to Chinese ethnic. Chinese can celebrate their customary and religious ritual openly. Chinese New Year is set as one of the national holiday. The art of Tionghoa-Peranakan shows began to revive. The Potehi puppetry theatre shows can be performed without barrier. [Yogyakarta] : Universitas Gadjah Mada 2014 Thesis NonPeerReviewed , HIRWAN KUARDHANI and , Prof. Dr. C. Soebakdi Soemanto, SU (2014) POTEHI : TEATER BONEKA TIONGHOA PERANAKAN DI JAWA Kajian Bentuk, Struktur, dan Fungsi Pertunjukan. UNSPECIFIED thesis, UNSPECIFIED. http://etd.ugm.ac.id/index.php?mod=penelitian_detail&sub=PenelitianDetail&act=view&typ=html&buku_id=73745 |
| spellingShingle | ETD , HIRWAN KUARDHANI , Prof. Dr. C. Soebakdi Soemanto, SU POTEHI : TEATER BONEKA TIONGHOA PERANAKAN DI JAWA Kajian Bentuk, Struktur, dan Fungsi Pertunjukan |
| title | POTEHI : TEATER BONEKA TIONGHOA PERANAKAN DI JAWA
Kajian Bentuk, Struktur, dan Fungsi Pertunjukan |
| title_full | POTEHI : TEATER BONEKA TIONGHOA PERANAKAN DI JAWA
Kajian Bentuk, Struktur, dan Fungsi Pertunjukan |
| title_fullStr | POTEHI : TEATER BONEKA TIONGHOA PERANAKAN DI JAWA
Kajian Bentuk, Struktur, dan Fungsi Pertunjukan |
| title_full_unstemmed | POTEHI : TEATER BONEKA TIONGHOA PERANAKAN DI JAWA
Kajian Bentuk, Struktur, dan Fungsi Pertunjukan |
| title_short | POTEHI : TEATER BONEKA TIONGHOA PERANAKAN DI JAWA
Kajian Bentuk, Struktur, dan Fungsi Pertunjukan |
| title_sort | potehi teater boneka tionghoa peranakan di jawa kajian bentuk struktur dan fungsi pertunjukan |
| topic | ETD |
| work_keys_str_mv | AT hirwankuardhani potehiteaterbonekationghoaperanakandijawakajianbentukstrukturdanfungsipertunjukan AT profdrcsoebakdisoemantosu potehiteaterbonekationghoaperanakandijawakajianbentukstrukturdanfungsipertunjukan |