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Kraeng Galengsong. When tracing back to the
documents and historical evidence, some of these
figures are mentioned in a story that tells about the
reign of the Mataram dynasty of Islam around the
year (1646-1677). The conflicts occurring in the
manuscript are almost similar to those described in
some historical documents (babad tanah jawi) about
the arbitrary reign of Sunan Amangkurat Agung,
without thinking of the fate of his people. The
performances of Sunan Amangkurat Agung and
Prince Anom were increasingly widespread because
Prince Anom liked Rara Hoyo, the girl who became
the concubine of Amangkurat Agung. At the height
of his rebellion, Prince Anom joined the pirates from
the Land of Sulawesi, Kraeng Galengsong to commit
a coup to his father.
In the manuscript Bedhah Kartasura, a similar
setting of events occurred at the time of Mataram
Kingdom has been moved from Pleret to Kartasura,
precisely west of Surakarta. This is in accordance
with another document written in Babad Tanah Jawi
that the court of Mataram Kartasura founded around
the year 1705-1719 AD (Fawaid, 2015). The
perpetrators were also the same, namely Mas
Garendi, Susuhunan Pakubuwono II, Raden Mas
Said, Prince Mangkubumi, and the Dutch/VOC.
Broadly speaking, the conflict was almost the same,
which is about a rebellion conducted by Raden Mas
Said, Prince Mangkubumi, and Mas Garendi assisted
by the Chinese ethnic population. The end of this civil
war was the agreement of Giyanti Agreement in 1755,
which divided the power of the Mataram Kingdom
into two, namely Kraton Surakarta Hadiningrat and
Kraton Yogyakarta Hadiningrat (Arifin, 2013).
Furthermore, in Ketoprak Adeging Praja
Surakarta script, the setting of events occurred in
Kampung or Desa Sala, the place chosen to be built
as the Kraton Surakarta (Surakarta Sultan Palace).
The book Babad Tanah Jawi mentioned that the
Kraton Surakarta was established in 1745 AD. The
figures in the story are Sunan Pakubuwana III, Kyai
Ageng Sala, Kyai Hasan Besari from Ponorogo, and
of course the villagers of Sala. Broadly speaking the
Adeging Praja Surakarta script tells about the polemic
establishment of Surakarta Kasunanan Palace,
starting from the election of a determined place
between Sukoharjo and Kadipolo areas until a chosen
Sala Village as the location where Kraton Kasunanan
Surakarta (Monfries, 2015) is established. Until now
some of the previously mentioned areas can be found
around the Surakarta Palace.
When reviewed in depth, historical information
can be found in ketoprak texts. For example, the
previously mentioned manuscripts contain historical
information that includes the setting of events, figures
or historical actors, and conflicts that are largely
similar to those in historical documents. Having
known the content of historical elements in ketoprak,
the texts of ketoprak can be used as a means to
actualize the knowledge of history, especially the
history around the city of Surakarta.
3.2 Languages in the Classical
Surakarta Ketoprak Script of
Surakarta Style
As one of the literary works, the classical ketoprak
manuscript of Surakarta style certainly has the
distinctiveness of language reflected in the dialogue
between the soldiers. Viewing from the variety of
languages used, the classical ketoprak manuscript of
Surakarta style tends to use a variety of archaic or
literary variety. This can be known from the still-
used-varieties of Bahasa Jawa Kedhaton (a Javanese
language variety commonly used in the Palace of
Solo and Yogyakarta).
The artists and practitioners of ketoprak in
Surakarta tend to use the basa kedhaton when
performing ketoprak. Basa kedhaton is the language
commonly used by the courtier and the palace
servants at the time of speaking and reporting
something to the king (Sulaksono, 2016: 83). They
still hold the idea that ketoprak art is a great art that
has high cultural values as well as wayang wong
(literally: human puppet) art and wayang kulit
(literally: leather puppet) art. Therefore, they must
use standard concessions or rules, one of which is the
use of a language that retains the use of the basa
kedhaton or archaic language. Language defense in
literary works can also increase the community's love
of the Javanese language (Saddhono and Rohmadi,
2014). The foundation of the writers of classical
ketoprak manuscript of Surakarta style in writing
their script (the script writers) puts forward the beauty
of language in the script. In contrast, the ketoprak text
of Mataraman Style of Yogyakarta tends to use every
day Javanese language commonly called the Basa
Padinan.
3.3 Costumes and Musical
Accompaniment for the Classical
Ketoprak Script of Surakarta Style
After reviewing the script from the viewpoint of story
and language, it is necessary to discuss the
performance because the final product of a ketoprak
script is a ketoprak staged performance. From the
standpoint of ketoprak, the special features of the
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