Articles

Pedalangan Literature

Pedalangan literature is literary devices created by dalang in the performing art of wayang. Padalangan literature consists of murwa or pelungan (opening of pedalangan poem or suluk), nyandra janturan (first scene description) and pocapan scene narration), suluk (padalangan poem), antawacana (wayang dialogue), sabetan (body language of wayang), suara (voice, sound, and onomatopoea), tembang (song), and mantra (magic poem).

Murwa

Murwa is the opening poem of wayang show, in pedalangan of East Java known as pelungan; in Central Java it is known as ilahengan; and in West Java it is murwa. Below are the examples of a short murwa and long one:

Kembang sungsang binang kunang
Cahaya nira kadya gilang gumilang

A long murwa below is from the pedalangan of West Java:

Adam adam babuh lawan
Ingkang ngagelaraken cahya nur cahya
Dangiang wayang wayanganipun
Perlambang alam sadaya
Semar sana ya danar guling
Basa sem pangangen-angen
Mareng ngemaraken Dzat Kang Maha Tunggal
Wayang agung wineja wayang tunggal
Wayang tunggal

Nyandra

Nyandra is a scene description by using prosy language in wayang performance. There are two kinds of nyandra: janturan and pocapan. Janturan is scene description with gamelan music; and pocapan is scene narration without gamelan music. The example of nyandra below is modified by Ki Harsono Siswocarito based on pedalangan of West Java:

Sinareng nira kenya pertangga, watri gumanti sang hyang latri kapundut ima-ima gambura kalawan ancala. Gambura is the beginning, ancala is the hill of mountain, si Walangtunggal the story signed by asta gangga wira tanu patra. Asta is hands, gangga is water, wira is wise man, tanu is ink, patra is words.

Words and ink are created into the alphabets of wilanjana wilanjani. Wilanjana is the alphabet of Ha, wilanjani is the alphabet of Alip. The alphabet of Alip spreading out in the West, became thirty letters, Alip ba ta sa. Don't finish the alphabet of Alip, it is not the right place to concern with the alphabet of Alip. Vanishing the alphabet of Alip is existing the alphabet of Ha. The alphabet of Ha spreading out in the East, falling into the island of Java, was created into the alphabet of kalih dasa, kalih two, dasa ten, the twenty letters are divided into four mazhab, such as:

Ha na ca ra ka is east, da ta sa wa la is south, pa da ja ya nya is westt, ma ga ba ta nga is north. Ha na ca ra ka is the governor, da ta sa wa la is the ordered, pa da ja ya nya is the bad heart, ma ga ba ta nga can not be said. The alphabet has died in the north.

Vanishing the twenty alphabet, exists again the alphabet, wulanjana wulanjani. Wulanjana ia desire of father, wulanjani is desire of mother. The desire of father falls into the desire of mother, goes into kenya puri. Kenya is woman, puri is a palace.

Which palace is going to be the opening? The…… palace is used as the beginning. Basically the state is panjang punjung pasir wukir loh jinawi. Panjang is told by people, punjung is highly distinguished, pasir is ocean, wukir is mountain, loh jinawi is very welthy, not lack of clothes and food, and diamonds.

Who becomes the king? The king sits in the ivory throne of gilang kencana crowned by binokasri jewelry, wearing gelung gono, gelung gongsor, kelat bahu kempal dada, strapping on his keris of Kyai Jagapati, pendok carved by coriander motif, its amar-amaran yellow silk, white silk, black silk, red silk, dodot gresik wayang.

One playing dalang is dora sembada, dora is lie, sembada is fit. What cause becomes fit? There is a fact. What fact? There is wayang purwa. Wayang is shadow, purwa is the beginning. Only following an ancient plot, following old traces, old man began, young man just does.

But the difference is that the ancient wayang has been changed into wayang golek. What is the meaning of golek, disenggol or touched until dead lying, and its eyes still opening. However, the word golek according to Javanese is to look for. Looking for what, looking for its origin, because golek is not different from man. Hush dangerous golek is made similar to man. Is not golek made of wood, carved, painted, becoming a doll. Why can the doll speak alone and live? Golek is moved without move, gesture without gesture, because golek is spoken by dalang. Do not feel to be a dalang, only feeling to play wayang, to play dalang. Playing of what? Playing of wooden puppets, you see, audience need entertaining, better that sleeping in the evening.

Mountain without valley there is not a black monkey. The Long tale is made short, the short is cut, sebat kang genjotan.

Pocapan

Pocapan is scene narration without gamelan music to tell its event. Below is an example of pocapan in Jaya Renyuan performed by dalang Dede Amung Sutarya:

Padmanegara nyandak dua hulusapu bade dicipta ku Kresna. Atuh Kresna rep sidakep ana sinuku tunggal babakane caturdriya--catur papat, driya angen-angen, sir budi cipta kalawan rasa. Pangambung teu diangge ngangse; soca teu diangge ningal; cepil teu diangge ngarungu; baham teu diangge ngucap lir ibarat anu paeh ngadeg, nanging bentena pedah ngangge ambegan.

Nanging tadige manggahing nu Mahakawasa teu weleh nganter ka manusa rek hade rek goreng asal tanggel jawab dirina pribadi. Maksudna diduluran, maksadna diijabah. Ilang dua hulu sapu, janggelek dados ponggawa, anu hiji dados satria.

Suluk

Suluk is the poems sung by dalang is wayang show. Below are the examples of suluk from the pedalangan of West Java.

Sample 1

Saur nira tandana panjang
Sinenggih sabda ya uninga lawan
Sabda ya uninga lawan
Sauri nira tandana panjang sinengih
Sabda uninga wis mama
Ulun layu dening sekti ala bakti dening asih
Ya ding asih
Wong asih ora katara

Sample 2

Betet ijo Kepodang ulese kuning
Abang manuke wulung kadya wowor
Sandang rawit puter gemeke ya lurik-lurik
Dadanira kinuwungan ya kinuwungan
Kadya bocah ngangge kakalung
Ningsor waringin wulung

Sample 3

Sri tinon ing pasewakan
Busana manekawarna
Murub mubyar cahayanira
Kadya kunang-kunangan
Sri tinon ing pasewakan
Busana manekawarna
Murub mubyar socanira
Kadya parada tinabur
Kadya kunang-kunangan
Sekar wijaya kusuma lawan

Antawacana

Antawacana is a dialogue between wayang figures, and a dialogue between wayang figure and nayaga (musicians), wirasuara (man singer), or jurukawih (woman singer) is called aside. Antawacana is presented after pocapan. Below is an example of dialogue in Jaya Renyuan garapan performed by dalang Dede Amung Sutarya:

KRESNA: Eladalah, Yayi, Yayi Setiaki.

SETIAKI: Kaula nun.

KRESNA: Kakang Patih Udawa.

UDAWA: Lo, lo, lo, Hahahah… pun kakang Patih Udawa.

KRESNA: Marajeng ka payun calikna.

SETIAKI: Ti payun anu kapihatur pun rayi nyanggakeun sembah pangabakti mugiya ditampi.

KRESNA: Sembah Rayi ditampi kudua panangan kiwa kalawan tengen, disimpen di luhur dina embun-embunan, di handap dina pangkonan, dicatet dina tungtung emutan anu teu keuna kuowah gingsir.

SETIAKI: Ngahaturkeun nuhun. Kalih perkawisna—

KRESNA: Kumaha, Yayi?

SETIAKI: Bilih aya kalepatan ageng sumawanten alit, agung cukup lumur, neda jembar hapunten anu diteda.

KRESNA: Perkawis kalepatan sok bujeng ku aya basana menta dihampura, sanaos teu aya basana akang parantos jadi lautan hampura kana kalepatan sampean, Yayi.

SETIAKI: Ngahaturkeun nuhun.

Sabetan

Sabetan is the body language of wayang including dancing, acting, and fighting. Dancing is the gesture of wayang accompanied by song and gamelan music. Acting is the gesture of wayang only accompanied with kecrek or kendang. Fighting is the gesture of wayang in war accompanied with gamelan music or only with kecrek or kendang.

Suara

Suara is voices, sounds, and onomatopoeia to complete sabetan, especially fighting. Below is an example of suara from a lakonet (lakon or drama in internet) by Ki Harsono Siswocarito:

“E-e-babo-babo… Gog—ada p-penjelajah r-rimba Pringga-dingatala. S-siapa, Gog?
“Sst! Jendral Arjuna!”
“E-e-babo-babo… s-serbu!”—(Clap!)—“C-ciaat!”—(Dez! Zplak! Deb! Bugh!)—“Hugk-khoeekh uhuooo… m-mati a-aku, Gog!”—(Bruk!)
“Cakil mati, Lung!”
“Biarin saja, Gog!”
“Grr-babo-babo, keparat! Hadapi aku Dityakala Badai-segara! Heh, konco-konco: Pragalba, Rambut Geni, Padas Gempal, Jurangrawah, Buta Ijo, Buta Terong, Buta Endog—ayo keroyok si perwira keparat itu!”
“C’mon!” + “OK!” + “Move!”
“Satu, dua, tiga! Ciat! Ciat! Ciiaatt!”—(Blaarr!)—“Aduh! Ahk! Khk! Klk!”—(Blug! Blug! Blug!)
“Zuilah! Mampuz zemua!” + “Benal! Ayo lali, Mas!”
(Jleg!)—“Brenti!”
“Ziapa lu? O yez! Kenalin—gue Mr George! Yez, Mr Joz!”
“Busyet! Keren juga nih Buto—pake nama beken segala! Elu kalah, Reng.”
“Em… lu siape, Pelo?”
“Mistel Gabliel! Ayo pelgi ah! Usah ngulusin olang tak kaluan!”—(Bugh! Bugh!)—“Adow! Main pelmak lagi! Blantem-blantem, tapi spoltif! Ngawul’u!”
(Dor-dor!)—“Beres, Gong!”

Tembang

Tembang is song sung by pesinden (woman singer), wirasuara (man singer), or dalang. The opening song of wayang show is sung by woman singer. Song along with wayang show is sung by woman and man singer. Songs in Limbukan and Gara-gara are sung by dalang duet with woman singer or guest stars. Below is an example of the opening song from the pedalangan of West Java:

Sampurasun dulur-dulur
Nu aya di pilemburan
Wilujeng patepang dangu
Ti abdi saparakanca
Ti abdi saparakanca
Gamelan Munggul Pawenang
Nyanggakeun hiburanana, Juragan
La mugiya janten panglipur
Pangbeberah duh kana manah

The song below is sung by si Cepot in Dede Amung Sutarya's Jaya Renyuan:

"Lagu Nu Ngusep"

Barung herang liar mijah
Clom kiriwil ari anclom ngagiriwil
Mawa epan rupa-rupa
Clom kurunyud lamun anclom sok ngurunyud
Plung kecemplung plung kecemplung
Empan teuleum kukumbul ambul-ambulan
Kenur manteng jeujeur jeceng
Leungeun lempeng panon mah naksir nu mandi
Kop tah lauk mere dahareun
Mangga mangga mangga geura tuang
Geura raos ditanggung deudeuieun
Mangga mangga ulah isin=isin
Empan cangkilu ungkul dilangkung
Empan papatong kalah dipelong
Ku epan colek kalah ngadelek
Lekcom lekcom panon belek nyambel oncom

Lakon

Lakon is dramatic story for wayang show. Lakons of wayang purwa derives from Mahabarata, Ramayana, Serat Paramayoga, Serat Pustaka Rajapurwa, Serat Purwakandha, etc. Lakons of wayang madya and wayang wasana derives from babads. Lakons of wayang wahyu derives from the bible.

Mantra

Mantra, magic poem in pedalangan, consists of two categories. First, mantra recited by dalang before performing wayang show. Second, mantra recited by a figure of wayang to show its power. The first example is the mantra of opening performance from Mpu Tan Akung:

Ingsun Angidhepa Sang Hyang Guru Reka,
Kamatantra: swaranku manikastagina.

The second one is mantra penyirepan recited by Indrajit to make other characters sleep:

Rep sirep si Megananda
Wong sarewu padha tumut
Salaksa wong serah nyawa

Pedalangan literature is very plural and has many genres. This case indicates that the plurality of Indonesian pedalangan has many kinds of styles: there are pedalangan styles of West Java, Centra Java, East Java, Bali, Lombok, Banjar, and etc. (Ki Harsono Siswocarito).

Gitadarma Dr Mintaraga

GITADARMA DR MINTARAGA

Kembang sungsang cahya kunang
Kadia lintang gilang gumilang
Tembang hyang pangreka dalang
Dadia piwulang wong ngawayang

MERCUKUNDA, SURALAYA—Tribuwana Maharaja Sang Hyang Otipati Pramesti Guru Jagatgirinata is Sang Hyang Manikmaya, leader of Jagat Pramudita sitting on the throne of Dampar Kencana on a silk carpet embroidered by jewelry, visited by the diva leaders of Triloka.

GIRINATA: Kakang Panji Kanekaputra, why hasn't the catastrophe of Triloka finished yet? Even it turns to be calamity. All divas live in misery, all angles are sad; hapsaras are wounded, the sufferings of hapsaris are sorrowful. These all should be overcome, Kang Narada.

NARADA: Eladalah, Adi Guru—dangerous! The weather is deadly bad, Candradimuka is wildly mad, divas are very sad, Tribuwana is threatened by the giant mal-troops because General was refused to be the husband of Supraba. They will not go back to Manimantaka if they do not bring her. That's it, Indra?

INDRA: Yes, Sir! Supraba refuses to love Niwatakawaca. I myself don’t' want to be his father-in-law. Grr phew! How can a giant have a diva as his father-in-law? Sinner!

GIRINATA: O the world of diva! Basically the giants have no ethic. How impolite he is. If they can not be educated, execute! If they don't want to go back, exhale! If they force, terminate! Chase them away from Suralaya.

NARADA: All right, Gusti!—Bayu! Prepare the Triloka's soldiers. Kill the giant troops of Niwatakawaca!

BAYU: Yes, Sir!

“Batara Brama, Batara Surya, Batara Wisnu, Batara Bayu, Batara Sambu, Batara Kamajaya, Batara Yamadipati, Batara Kuwera, Batara Karaba, Batara Bermana, Batara Bermani, Batara Aswan, Batara Aswin, Batara Citragada, Batara Citrasena, Batara Sambodana, Batara Rawiatmaja, Batara Bermanakanda, Hyang Dewatama, Hyang Dewanggana, Hyang Dewasana, Hyang Dewangkara, Hyang Pancadewa, Hyang Pancaweda, Hyang Patuk, Hyang Temboro,—attention!”
“Yes, Sir! Yes, Sir! Yes, Sir!—”

Tribuwana's troops
Ready to make war

Giant troops
Are in action

SELAMATANGKEP GATE.—The giant troops are ready to fight to force the divas give Supraba. The war strategy of General Krudaksa, the commander of Manimantaka, looks very powerful. In the left side stands Colonel Discreet; in the right side, Captain Wirakta; and in the back side, Lieutenant Kalawaktra.

KRUDAKSA: Krrk-phew! Diva, diva! Resisting Gusti Niwatakawaca's love is asking for catastrophe. If Supraba is not given to us, Kahyangan Solendrabawana will go to wreck and ruin! Even I'll make Suralaya damaged, ruined, destructive, vanished. Krrk-phew!

DUSKERTA: Good! Don't show off, diva! A giant can get married with an angle. To make inheritance better! Though the giant's smelly, his wife's pretty; though the giant's stingy, his wife's pretty; though a giant, his wife is Supraba. Good, isn't it? Ha, ha, ha!

WIRAKTA: Yeach! Supraba is very pretty. Truly pretty angle has no rival, perfectly beautiful! Oh, Supradin, e, Suprana, ha! It's wrong again—Supra what?

KALAWAKTRA: Walakadalah, Gusti! Look! The gate is opened! The divas are well equipped to fight!

KRUDAKSA: Bastard! Attack!

“Attack! Attack! Attack!—”

The giants attack
The divas back

Wildly battling!
Madly fighting!

“Go forwad, Diva!”
“Brave to Brama?”
“Brama? O, this is the warrior of Deksinapati: why is the diva of fire so cold n frozen! Whoosh!”—(Clap!)
Boxing-attacking (Clunk!) kicking-beating (Plunk!)—“Taste it diva—whoa!”—(Boom!), till blue and black! “Mercy me!”

Uncounted wounded!
Uncounted injured!

“Where is the warrior of divas?”
“Bayu: go forward!”
Boxing-clashed (Thwack!) and kicking-smacked (Smack!)—‘Gulp! Gulp ouch phew! Mad giant! Attack my back! Ouch… oh, oh, ouch! Give up!”—(Crash!)
“Dangerous, Surya!” + “Wisnu, back off!”

Divas' fighting
N to sky flying

NARADA: Dangerous, Adi Guru! The giant troops are really powerful, superpowerful! They make all divas powerless. How is this?

GIRINATA: Be calm, Kang Panji! Indra, look for a diva's warrior. Go to Indrakila—visit Prof Mintaraga.

Indra: Ay, My Majesty!

Batara Indra
Goes to Indrakila

In the middle tale
As comes gara-gara

KARANG KADEMPEL.—The sky above a village in a hilly mountain is like a crimson umbrella. The weather is brightly red! The peak of Indrakila hill looks powerfully beautiful! Singing a kidung song from a palm fiber hut is interesting. Panakawan are singing, dancing and joking.

Gandasari buah ati
Pujaan urang sadaya
Buku pinuh kupapaes
Alus jadi patamanan

“Ha, ha, ha, ha… Sundanese Asmarandana! It's Ok, too. Em, waiting for my boss concentrating, contemplating n meditating—here it is: strange! Em, yesterday he was flirted by Suralaya's chicks, he was still ignorant! Those pretty angles were not gazed by him at all. Even, I couldn’t bear. Ha, ha, ha….”
“That's it, Gong—strictly devoted: meditation for manggayuh karaharjaning praja mamayuayuning bawana.”
“Em, Reng—what's up?”
“Dangerous! A boar in the Lab!”
“Ha? Let's look!”

MINTARAGA: I shot it!

PADYA: I, the shooter!

SEMAR: Stop, Indra!

INDRA: Ha, ha, ha… sorry, Ki Semar—I pretended and teased Mintaraga for Suralaya. He is asked to be a diva's warrior to execute the giant troops of Niwatakawaca. How is it, Prof?

MINTARAGA: OK. I need Ms Supraba participating.

INDRA: All right.

Soon Mintaraga goes
To do his holly duty

Kicking-attacking
Of kembang battling

RIMBAMALA.—Mintaraga is battling with the troops of Manimantaka.

“S-stop! W-who are u?”
“Gong, let's beat em!”
“Great!”—(Thwack! Clunk!) falling-surrendering (Crash! Boom!)—“Feel this! Whoosh!”—(Clunk! Boom!)—“O-o-ouch!”
“Phew! Bastards! Kaladurga, Kaladurjana, Kaladuraksa, Kaladurmala, Kalastuwila, Kaladaksa, Kaladarba, Kalagarba, Kala-duskerta, Kaladusta, Kaladursila—attack!”
“Reng, let's attack em with grenades!” + “Ok!”—(Click! Whoosh!)

(BOOOM!)

The giant troops
Are all vanishing

And no longer
Supraba arrives

SUPRABA: Hello, Prof! Why should I follow u? I'm afraid of the giant. Phew… yuck!

MINTARAGA: Emancipation! This is the conflict of love that turns politically to multi-conflicts. Pretty woman, if smart, can be a political asset. Take a look! Because of love resistance, Niwa-takawaca wants to destroy Suralaya. Libidinal Resistance turns to be a destructive aggression. Dangerous! He should be executed! Nah, in order that he opens his secret, you flirt him—adore him deadly, seduce him madly, tease him till drunk and surrender!

SUPRABA: OK.

Together they go
To Manimantaka

A Giant love song
Ala Niwatakawaca

MANIMANTAKA.—Suddenly the madly crazy face of General Niwatakawaca looks happily when he meets Supraba.

NIWATAKAWACA: Hait, Supraba! Ha, ha, ha, ha… finally you come here,, oh… Supraba, a multi-pretty chick, a sweet-romantic gal, a sexy-foxy lady, an interesting-wanting virgin, a beautifully wonderful woman, oh… Supraba, I like gazing, looking at u, oh… Supraba, since an ancient time I always miss u, for long time I has been loving u, oh… Supraba, what is wrong with me? Maharaja, wealthy, oh… Supraba, I'm really wow! Do u know that? Whoa, ha, ha, ha….

SUPRABA: So sure, Sir! Wow! Manimantaka is glamour, powerfully beautiful gigantically pretty! I regret I ever refused your love. H-u-uh, cause of my dad, neko-neko! Mercy me, Sir? Truly I love u. thou u are giant, u are a king, very wealthy and super-powerful….

NIWATAKAWACA: Whoa, ha, ha, ha… exactly true, oh… Supraba, no one can be my rival! I'm super-powerful, great-plus-glorious n tough-plus-steady, oh… Supraba, cause I'm smart to hide my weakness—

SUPRABA: What's it?

NIWATAKAWACA: Tongue!

As the secret's opened
The Pasopati stabs it

Niwatakawaca
Suddenly dies

Semarang, 30 November 2007 Ki Harsono Siswocarito

Nurkala Kalimantra Riot In Suralaya

NURKALA KALIMANTRA RIOT IN SURALAYA

The glass screen, Gusti
Is shadowing wayang
Wayang's obeying dalang
Dalang's ruling wayang
Its shadow is sign, Gusti

MERCUKUNDA, SURALAYA—Sang Hyang Pramesti Guru Jagatnata is Sang Hyang Otipati, the king of Jagat Triloka, sitting on the throne of Kursi Gading Gilang Kencana, visited by divas, bataras, sanghyangs, gods, goddess, all citizens of Sorgaloka.

JAGATNATA: My brother, Kakang Panji Narada—what does really happen in this Kahyangan? The Magma of Candradimuka bubbles, lava seethes, earth quakes, Gerbang Selamatangkep cracks, Palace damages. What is this, Kang Panji?

NARADA: Mercy me, Adi Guru—very very sorry. Those all are caused by the giant soldiers from the state of Tunggulwesi led by General Nurkala Kalimantra. He wants the throne of heaven. That's it, Gusti Pramesti.

JAGATNATA: O the heaven of divas! How cursed he is! Why isn't he banned?

NARADA: It is, Adi Guru—Cingkarabala and Balaupata succeeded to block the giant soldiers by closing Gerbang Selamatangkep. And now they are in the desert of Repatkepanasan. To follow it up, we are waiting for your command, Adi Guru.

JAGATNATA: Don't let those creatures trample Kahyangan down. Let them go! Chase them away! If needed, kill them!

NARADA: All right, Gusti! Let me go—Indra!

INDRA: Yes, Sir!

NARADA: Equip all war power of to attack the mal-troops of Nurkala Kalimantra.

INDRA: Yes, Sir!

“Attention! All divas are well prepared: Batara Brama, Batara Wisnu, Batara Surya, Batara Bayu, Batara Kamajaya, Batara Sambu, Batara Kuwera, Batara Yamadipati, Batara Aswan, Batara Aswin, Batara Bermana, Batara Bermani, Batara Bermana-kanda, Batara Citragada, Batara Citrasena, Batara Sambodana, Batara Rawiatmaja, Batara Karaba, Hyang Patuk, Hyang Tem-boro, Hyang Dewanggana, Hyang Dewasana, Hyang Dewang-kara, Hyang Sanggana, Hyang Pancadewa, Hyang Pancaweda, Hyang Dewatama,—”

“Yes, Sir! Yes, Sir! Yes, Sir! Yes, Sir!—”

All divas are prepared
To attack Triloka's foes!

The mal-giants
Are in action

REPATKEPANASAN—General Nurkala Kalimantra is waiting hatefully, standing angrily.

KALIMANTRA: Grrrk-cuah-huahaha… e, e, bojleng-bojleng the devil's evil! Where is Jagatnata? Surely he is hiding in the armpit of an angle! Afraid of me! Huahaha… is such a model fitting to be maharajadiraja of all divas? Descend from the throne, Jagatnata! Give it to me! If not, Suralaya will go heavily wrecked and ruin!

KALAMURKA: The deuce, Gusti—look! Selamatangkep Gate opens. The divas declare to war!

KALIMANTRA: Grrrk-cuah! The cursed devils! Attack!

“Attack! Attack! Attack! Attack—”

The giants move
Attacking!

Angrily! Cruelly!
The giants fight!

“You dare to diva?”
“Why not? You are fighter, so am I! You are manly, so am I! Prove: who is better, to be the best fighter!”
“Khhk-cuah! Mad giant!”—(Clap!)—“Ciiaatt!”—(Jder!)
Boxing! Fighting!
(Bet!)—“Hih!”—(Dez! Dig! Bugh!)—“Hegkh!”—(Bruk!)
“Stand up, Diva!”
“Ouch… m-mercy m-me….”
Kicking! Attacking! (Brak!)—“Aakkhh!”
Without moving he is dying.
“Brama, loser! Bayu, back off!”
“All divas, back off! Back off!”
“Back off! Back off! Back off!—”

NARADA: Bad luck! All divas lose their power. Wisnu!

WISNU: Yes, Sir!

NARADA: Forward!

WISNU: Yes, Sir !

“Nurkala Kalimantra! Fight me Batara Wisnu!”
“Who? Wisnu? March—where is the champion of divas? Grrrk-cuah! Look, are you sleeping? O facing downward! What are you doing, Wisnu?”
“No mal-question! Feel this missile of Cakra—you die!”—(Wuzz! Clap!)
(Krep!)—“Huahaha… such a missile does not wrok!”—(Pluk! Ccss!)
“Crazy! Useless, Wisnu!”
“Ouch, damn it—”
“Run! Run! Run!”

Diva's fighting
All away flying

NARADA: Oops, Adi Guru—bad luck! All divas had no power, all angles didn't win. What is to do now, Adi Guru?

JAGATNATA: Kakang Panji Narada, please go down to earth to look for a champion of divas—a man of planet a guy of earth!

NARADA: All right, Adi Guru!

As comes gara-gara:
Sign of middle tale

KARANG KABOLOTAN.—A suburban village. Old Dusun. Far-touching Dukuh. Lonely isolated! In the middle of clearing, in the valley, in the foot of a mountain, there is a hut made of palm-fiber. That is the house of Ki Semar Badranaya and all the sons of Panakawan of Amarta. Without city pollution, they live happily. live is full of joy joke.

Lir ilir, lir ilir
Tandure wus sumilir

“Er, Truk—come here! Bring me a golok and bamboo.”
“What for?
“For fire! Let's be hot: evening—fog is going down. Er, where is Bagong?”
“Beats me! Looking for boar, maybe? The weather like this: so many corn-bugs in the clearing.”
“And, Father—where is he?”
“Waiting for Mr. Jun!”
“In the hill?”
“Ho-oh, brrr… cold!”
“Burn this corn!”
“Ah, boring! In such a nuance: I miss my lover! Hehehe….”

Love adoring
Miss hunting

“Indah, my beloved!”
“Wow!”

SEMAR: What's up, Mr. Jun?

ARJUNA: The Parachute Tunggulnaga rescuer of missile Ardadedali falls right here in this hill. Look, here you are! Fortunately, it is not exploded together with the aircraft loaded with Ardadedali that had been shot by the enemy.

SEMAR: O, o, o.

ARJUNA: Now, let's go to Indraprasta. I hope my brother Yudistira has found the state principles of Kalimasada.

SEMAR: OK, Sir.—Sons, let's go down town!

“Nah!” “Ok, Dad!”
“Come on, Gong. Town!”

Goes downhill Arjuna
Passing through jungle

The ban of Cakil
The evil devil

MARGASOPANA—General Arjuna and Panakawan fight the band of bandits.

“S-stop! W-what is y-your name? W-where are y-you g-going? F-from w-where? Five thousands! Hurry up!”
“What! Robbing me?”
“Hit n beat, Gong!”
(Thwump!)—“Ghk!”
“Pragalba, Rambutgeni, Galiuk, Bita Terong—march attacking!”
“Yes, Sir!” “All right!” “Great!” “Ok!”—(Jlap! Jlap! Jlap!)—“Look out!”—(Klick!)—“Hiiaa!”—(Dreder-der...!)—“You die!”
“Hehehe… Fool giant!”

All giants die
Then Arjuna meets Narada

NARADA: Eladah… bergenzong so long no sing song! Luckily, Jun—we meet. And Ki Semar, too, hahaha… how are you?

SEMAR: Dull news! Eh, Nar—why does diva idle here? Are you jobless in Kahyangan?

NARADA: Sorry, Ki Semar—you see…. Kahyangan is riotous! Suralaya is attacked by mal-troops of Nurkala Kalimantra. Divas lose, mortally wounded, surrendered! All angles are restless! I am ordered to look for a champion of divas in this earth. That's it, Ki Semar.

SEMAR: O, o, o… what's his name? Nurkala Kalimantra! Eureka! He has the similar family tree with the giant-king Kalimataya who attacked Suralaya but was destroyed by the great expert of nuclear Prof. Manumayasa. Now there is no champion for divas but General Arjuna.

NARADA: All right, Ki Semar! Are you ok, Jun?

ARJUNA: Yes, Sir!

In a hurry Arjuna goes
To Suralaya mal-foes

The giant's wounded. Died!
Without hurting heart!

REPATKEPANASAN—Ardadedali missile destroys Nurkala Kalimantra. Exploding!

“Kalimantra dies!”
“Long live Arjuna!”

Kalimantra vanishes
Kalimasada exists

Semarang, 27 November 2007 Ki Harsono Siswocarito

The Death Of Kalakarna

The Death Of Kalakarna

In the early morning
The king holds meeting
With vizier he’s discussing
The princess kidnapping

MANDRAKA.—PRABU SALYA ordered PATIH TUHAYATA to look for Surtikanti around the country. TUHAYATA has been back and ready to give information to the king.

SALYA (curiously). Have you found the princess?

TUHAYATA (feeling guilty). No, sir. But I’d met her lover in Petapralaya and told him about this case.

PUJAWATI (amazingly). She’s not there?

TUHAYATA. No, Madam! But he has promised to help us to find her.

SALYA (cheerfully). Well, but how?

TUHAYATA. He told me that he’s going to meet Janaka in Madukara. Maybe he is the man who kidnaps the Princess.

PUJAWATI. No way! He’s her friend.

SALYA. I think it’s possible. All right, Vizier—you may go and keep searching.

TUHAYATA. Yes, sir!

MADUKARA.— SURYAPUTRA goes to Madukara Palace. He is mad at JANAKA and accuses him of kidnapping her lover. They are about to fight.

SURYAPUTRA (angrily). Janaka! Where’s Surtikanti? Don’t you dare kidnap my darling!

JANAKA (calmly). I don’t hide your lover. But I know the man who has kidnapped her.

SURYAPUTRA (startled). Who? Where’s he? Tell me, Janaka!

JANAKA (smiling). He’s Kalakarna—the King of Awangga.

SURYAPUTRA (while leaving). Ok! I’m going there. I’ll kill him! See you later, Janaka!

AWANGGA. In the front-yard of Awangga Palace, SURYAPUTRA meets KALAKARNA. They have a big fight.


SURYAPUTRA (shouting to KALAKARNA). Hey, you—bastard! Where’s my lover?

KALAKARNA (laughing at him). Who? Yer lover? Huahahahah… not yers! She’s mine!

SURYAPUTRA (spitting on the ground). Khk-cuah! Go to hell—son of a bitch!

(Because of his anger, KALAKARNA tries to hit and kick him.)

(SURYAPUTRA jumps aside and gets a spear.)

SURYAPUTRA (aiming his spear quickly at KALAKARNA). Now, you dead! (He stabs his spear in KALAKARNA’S heart.)

KALAKARNA. Oh, no!

(KALAKARNA falls in war.)

AWANGGA. After killing KALAKARNA, SURYAPUTRA looks for his lover in Awangga Palace. He meets her in the park.


SURYAPUTRA (approaching his lover). Hallo, my dear! Are you OK?

SURTIKANTI (smiling sweetly). Hi! How could you find me here? How did you know if Kalakarna had kidnapped me?

SURYAPUTRA (gazing softly at her). Janaka told me. At first, I accused him of kidnapping you. I know who he is—a playboy.

SURTIKANTI (launghing). Are you jealous?

SURYAPUTRA (smiling). Yes!

SURTIKANTI. Why? He’s your brother.

SURYAPUTRA. My rival!

SURTIKANTI. Really?

SURYAPUTRA (proudly). Yes! Let’s go.
(They go home happily, and the curtain falls slowly.)