The transfictional and transmedial journey of Petruk: Artistic transformations from puppetry to theatre and painting in the context of two Indonesian presidencies
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Abstract
This study examines how artists create a new realm of artistic imagination through the processes of transfiction and transmedia, utilizing the works of Danarto and Djoko Pekik as case studies. Specifically, this study analyzes Danarto's theatre script Bèl Geduwèl Bèh, created during the Suharto regime, and Djoko Pekik's painting Petruk Jadi Ratu Semar Kusirnya (Petruk Becomes a King; Semar is His Coachman), inspired by the shadow puppet performance Petruk Dadi Ratu (Petruk Becomes a King). By applying the theory of possible worlds, this study reveals how these works transform the previous artistic realm, creating a new imaginary world. This study employed several steps: (1) identifies the shadow puppet Petruk Dadi Ratu as a key work of transfiction and transmedia; (2) traces its influence on Bèl Geduwèl Bèh and Petruk Jadi Ratu Semar Kusirnya; and (3) analyzes the relationship between these imaginary worlds and socio-political reality during the presidencies of Suharto and Joko Widodo. This study finds that (1) Bèl Geduwèl Bèh presents a utopian world without rulers and authorities, contrasting with the totalitarian socio-political reality of Indonesia during the Suharto era, while (2) Petruk Jadi Ratu Semar Kusirnya reflects the Joko Widodo regime's utopian vision. This study proposes a cross-media reading strategy for artistic and literary works, contributing to the humanities by exploring how the transformative power of imagination generates possible worlds that reflect Indonesia's socio-political reality.
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