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Adaptation Strategies of Ubrug Theatre on Wayang Nganjor Group Theatre in Pandeglang Regency Banten

Catharsis · Vol. 14 No. 2 (2025) · hlm. 119–131

DOI
10.15294/catharsis.v14i2.25594
ISSN
2502-4531, 2252-6900
Terbit
2025-11-30
Penerbit
Universitas Negeri Semarang
Bahasa
eng

Abstrak

This research aims to identify the strategies of Ubrug theatre adaptation in the theatre performance of Wayang Nganjor Group in Pandeglang Regency, Banten Province. It focuses on the Ubrug’s meaning, identity, and elements that are preserved and adapted in the Wayang Nganjor Group theatre, as well as its founder’s perceptions related to the meanings and functions of the adaptation strategies to preserve the traditional values and create new aesthetics in the Wayang Nganjor Group performances. Based on the observation and in-depth interview results with the founders of Wayang Nganjor, it is found that the Wayang Nganjor Group theatre performances are Ubrug improvisational dialogue, structure and narrative of Wayang Golek show as well as the typical rhythm play of Rampak Beduk which are combined creatively by reflecting the cultural interpenetration and creative reconversion from the hybridization of Néstor Garcia Canclini, also shows the space of symbolic negotiation from third space theory by Homi L. Bhabha, where the elements of Ubrug, Wayang Golek, and Rampak Bedug meet and influence each other as well as create new asthetics. The founders of Wayang Nganjor stated that these adaptation strategies are an effort to introduce the art tradition that is more relevant to society’s taste, especially the young generation. It is also an effort to foster awareness towards the local language of Banten and local values in Banten traditional arts. The impact of the research shows that this model of adaptation strategies effectively strengthens the cultural identity, modernizes the traditional performance without losing local identity, and exemplifies the practice model of cultural hybridization that is sustainable and contextual in the preservation of contemporary art.

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  • State University of Semarang
  • Hasanuddin University
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Rekan penulisOrganisasiArtikel bersama
Udi UtomoState University of Semarang3
Restu Ayu MumpuniState University of Semarang2
Langlang HandayaniState University of Semarang2
Teguh DarsonoState University of Semarang2
Haydnn Caesha MaulanaState University of Semarang2
Widodo WidodoState University of Semarang2
Eko SugiartoState University of Semarang2
Hany NurpratiwiState University of Semarang1
Siti Ekowati RusdiniState University of Semarang1
Sunarno SunarnoState University of Semarang1
Usrek Tani UtinaState University of Semarang1
Musa Abdul HalimState University of Semarang1
Iklas Adi PangestuState University of Semarang1
Nabila Rakha PutriState University of Semarang1
Suharto SuhartoState University of Semarang1
Prima Suci LestariState University of Semarang1
Fitri aji Nury astutiState University of Semarang1
Malarsih MalarsihState University of Semarang1
Achmad ZairinState University of Semarang1
Riska Dwi DamayantiHasanuddin University1
Givan Sonya GaniState University of Semarang1
Ritchie Manuel PratamaState University of Semarang1
Eko RaharjoState University of Semarang1
Nugroho KwiduraState University of Semarang1
Johan Rendra AfrihanaAfiliasi tidak diketahui1
Khaerul Umam DiazAfiliasi tidak diketahui1
Muhammad Panji Wahyu MuktiState University of Semarang1
Siti AesijahState University of Semarang1
Fazri Ivan YahyaState University of Semarang1
Anik PrabowoState University of Semarang1
Bagus Adhie SaputraState University of Semarang1
Tegar SeptianayawantoState University of Semarang1
Dini Permata RisqiState University of Semarang1
Nafik SalafiyahState University of Semarang1
Mochammad Usman WafaState University of Semarang1
Sunarto SunartoState University of Semarang1
Indry Ayu NovitaState University of Semarang1

Afiliasi berasal dari OpenAlex; metadata OAI-PMH jurnal tidak memuatnya. Penulis tanpa ID OpenAlex dicocokkan berdasarkan nama, sehingga dua orang bisa tergabung atau satu orang bisa terpisah.

Sumber metadata: OAI-PMH (metadata jurnal) https://journal.unnes.ac.id/journals/catharsis/oai, pertama di-harvest 5 Nov 2026, terakhir terlihat 8 Nov 2026.
Metadata asli (oai_dc)
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	<dc:title xml:lang="en">Adaptation Strategies of Ubrug Theatre on Wayang Nganjor Group Theatre in Pandeglang Regency Banten</dc:title>
	<dc:creator xml:lang="en">Ayunda, Pinta Resty</dc:creator>
	<dc:creator xml:lang="en">Haryono,  Slamet</dc:creator>
	<dc:creator xml:lang="en">Sinaga, Syahrul Syah </dc:creator>
	<dc:subject xml:lang="en">Adaptation Strategy, Theatre, Ubrug, Wayang Nganjor</dc:subject>
	<dc:description xml:lang="en">This research aims to identify the strategies of Ubrug theatre adaptation in the theatre performance of Wayang Nganjor Group in Pandeglang Regency, Banten Province. It focuses on the Ubrug’s meaning, identity, and elements that are preserved and adapted in the Wayang Nganjor Group theatre, as well as its founder’s perceptions related to the meanings and functions of the adaptation strategies to preserve the traditional values and create new aesthetics in the Wayang Nganjor Group performances. Based on the observation and in-depth interview results with the founders of Wayang Nganjor, it is found that the Wayang Nganjor Group theatre performances are Ubrug improvisational dialogue, structure and narrative of Wayang Golek show as well as the typical rhythm play of Rampak Beduk which are combined creatively by reflecting the cultural interpenetration and creative reconversion from the hybridization of Néstor Garcia Canclini, also shows the space of symbolic negotiation from third space theory by Homi L. Bhabha, where the elements of Ubrug, Wayang Golek, and Rampak Bedug meet and influence each other as well as create new asthetics. The founders of Wayang Nganjor stated that these adaptation strategies are an effort to introduce the art tradition that is more relevant to society’s taste, especially the young generation. It is also an effort to foster awareness towards the local language of Banten and local values in Banten traditional arts. The impact of the research shows that this model of adaptation strategies effectively strengthens the cultural identity, modernizes the traditional performance without losing local identity, and exemplifies the practice model of cultural hybridization that is sustainable and contextual in the preservation of contemporary art.</dc:description>
	<dc:publisher xml:lang="en">Universitas Negeri Semarang</dc:publisher>
	<dc:date>2025-11-30</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="en">Peer-reviewed Article</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://journal.unnes.ac.id/journals/catharsis/article/view/25594</dc:identifier>
	<dc:identifier>10.15294/catharsis.v14i2.25594</dc:identifier>
	<dc:source xml:lang="en">Catharsis; Vol. 14 No. 2 (2025): November 2025; 119-131</dc:source>
	<dc:source>2502-4531</dc:source>
	<dc:source>2252-6900</dc:source>
	<dc:source>10.15294/catharsis.v14i2</dc:source>
	<dc:language>eng</dc:language>
	<dc:relation>https://journal.unnes.ac.id/journals/catharsis/article/view/25594/5599</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Catharsis</dc:rights>
</oai_dc:dc>