Cepot's character

It is said that the wayang performance begins from the human consciousness that he has a shadow as a gift from God. Thus, this performance is used to accompany various kinds of magical-religious magic actus. With various creations, wayang performances gradually transformed so that the birth of various performing arts in accordance with the uniqueness of the region.

In Tatar Sunda, for example, we must be familiar with the art of wayang golek performance, wayang wong Cirebon or Priangan, wayang chess, wayang cepak, and so on. From the traditional to the contemporary, the art of wayang golek performances seemed to fiddle with feelings to continue to stay up to enjoy the antics of the panakawan, such as Cepot, Dewala, Udel (Gareng), and Semar.

Because the intensity of the puppet show performance is somewhat diminished, television has become a medium to cure my longing for the art of hybrid culture (between Java and Sunda). I am going to stare at the television next Saturday night because there is an event titled Ngedate Sareng Cepot. In fact, in the month of fasting there is an Asep Show event that combines elements of modernity on the one hand and traditionality on the other. Thus, "glocalism" is the appropriate term for incorporating Asep Sunandar Sunarya style ngadalang. He does not have to be glued to the grip when holding a puppet show.

His expertise and his courage breaking down-more accurately reconstruct the grips or rules of traditional puppets deserve our thumbs. By incorporating the values ​​of modernity, he (through Giri Harja) seeks to create the plot, setting, and type of wooden puppets while including humans when the performances take place on television. This indicates that the wayang golek Sunda is not anti-change. The art of this performance continues to adjust with the times to remain loved by its citizens.

Thus, the expression of time, the time is an inconsistent justification for the epistemology of Asad Sunandar Sunarya style ngadalang praxis.

Why should Cepot?

LANTAS, why in Sundanese wayang golek puppet art more popular in my ear and maybe you come from amongst the panakawan, like Astrajingga or Cepot? What's wrong with Cepot? Is Cepot private person so that Sundanese and non-Sundanese people love it a lot? In fact, wayang purwa as his ancestors is taken from the epic Mahabaratha and Ramayana. It should be more popular is a figure of the knights and kings.

However, it does not happen in Sundanese wayang golek performance. Si Cepot and other panakawan still be excellent in every show. Can not believe it? Just imagine if the story of puppet theater puppet (puppet theater) is not present them, certainly not a pleasure to watch. So, no exaggeration if the important wayang golek performances are excluded, especially the typical puppet figures urang Sunda, namely the Cepot or Astrajingga-some call it Sastrajingga.

I think the uniqueness and individuality of the Cepot can be seen from his words and his humorous behavior and contains the values ​​of philosophy of life, a kind of world view held by the citizens of Sunda. In the opinion of Ajip Rosidi (1984), Cepot has a distinctive character, who often states capable, arrogant, selfish, cunihin, culametan, but he dares to defend the truth, faithfulness and resourcefulness.

Other personality traits are humorous and often relativize the life of the world. Therefore, the Cepot stuck in the collective memory of urang Sunda so that beat the popularity of Arjuna and Gatotkaca. He can bring the lovers of wayang golek show merehatkan fatigue life with his jokes. In accordance with the language of religion, worldly life is a game (laibun) and laughing matter (lahwun).

When the Cepot is not performing in the performance of wayang golek, the show will feel bland and seem incomplete like a vegetable without salt. Not surprisingly, Cepot became a favorite figure in various circles. Old-young, rich-poor, officials-people love the lunge of urang Sunda in life represented by the Cepot.