Sungging Widagdo, Sucipto Hadi Purnomo, Teguh Supriyanto, Hikmatun Balighah Nur Fitriyati

Sanggit Lakon Carangan: Semiotic Analysis of Bagong Figures in the Ki Seno Nugroho Puppet Show

Introduction

Sanggit lakon carangan: semiotic analysis of bagong figures in the ki seno nugroho puppet show. Analyze Ki Seno Nugroho's Bagong in wayang kulit through Roland Barthes' semiotics. Discover Bagong's role as a symbol for common people, social criticism, and local wisdom in Javanese puppetry.

Abstract

Wayang kulit rose and became the prima donna through the play of the character Bagong by Ki Seno Nugroho on social media. This article aims to analyze the role and meaning of Bagong in the play of wayang kulit by Ki Seno Nugroho through a semiotic approach. Ki Seno Nugroho can bring the character of Bagong to life, not only playing a comedic role but also voicing social criticism and the values of people's wisdom. Roland Barthes' semiotic analysis method examines data in the form of signs and meanings formed in dialogues, gestures, expressions, and scenes involving Bagong. This method consists of two levels, namely denotation (literal meaning) and connotation (cultural and ideological meaning). The semiotic approach was chosen because of its relevance in unraveling the layers of meaning of a cultural text to reveal deeper cultural and ideological implications as well. The data source was taken from the video documentation of Ki Seno Nugroho's performance on the Dalang Seno YouTube channel with the plays Bagong Ratu and Semar Mbangun Kayangan. The results of the analysis show that (1) Bagong plays a role as a representation of the common people, (2) Bagong serves as a medium of symbolic resistance to social inequality, and (3) Bagong serves as a communicative and entertaining conveyor of local wisdom. This study confirms the position of Punakawan as an important narrative device in the play of Javanese puppetry.

Review

This article addresses a highly relevant and timely topic by examining the character of Bagong in Ki Seno Nugroho's *wayang kulit* performances, particularly its ascent on social media. The focus on *Sanggit Lakon Carangan* and the figure of Bagong, who has significantly revitalized traditional puppetry, is commendable. The chosen methodology, Roland Barthes' semiotic analysis, is well-suited for unraveling the multi-layered meanings within a rich cultural text like *wayang kulit*. The abstract clearly outlines the research objective—to analyze Bagong's role and meaning—and identifies specific data sources from Ki Seno Nugroho's YouTube channel, signaling a focused and data-driven approach. The study effectively presents its core findings, identifying Bagong as a representation of the common people, a medium for symbolic resistance against social inequality, and a communicative conveyor of local wisdom. These conclusions offer valuable insights into how traditional characters can be contemporized to voice social criticism and resonate with modern audiences. While the application of Barthes' denotation and connotation levels is mentioned, the paper could benefit from a more explicit explanation, perhaps in its introduction or methods, of how "Sanggit Lakon Carangan" (as mentioned in the title) specifically relates to or influences the semiotic analysis, especially for an international readership less familiar with the term. Further, exploring the *how* of social media's role in amplifying Bagong's "prima donna" status, beyond just stating it, could add another layer of depth to the context. Overall, this article makes a significant contribution to the fields of cultural studies, semiotics, and performance analysis, particularly concerning the evolution and contemporary relevance of Javanese *wayang kulit*. By demonstrating Bagong's multifaceted role beyond mere comedic relief, the research successfully confirms and enriches our understanding of the Punakawan's enduring importance as a narrative device that bridges tradition with contemporary social commentary. The study offers a compelling case for how traditional art forms can remain dynamic and critically engaged, effectively using a classic character to reflect and critique modern societal issues, making it a valuable read for scholars interested in cultural semiotics and the performing arts.

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