status, warrior or princess attitude, seductive or submissive character, and also active and passive
interaction; and (b) camera angle and visual composition, how the creator positioned the character
in a relationship with others may emphasize the social relationship in the narrative (whole story)
or in moment opname (still frame visualization).
4 CONCLUSIONS
This paper discussed the matter briefly and only on surface. It only discussed a small part of the
entire study and research on the works of Teguh Santosa, especially wayang comics, which is still
ongoing. This study has no intention to disrespect and reduce the appreciation for the late Teguh
Santosa as one of the Indonesian comics maestros. It’s just showing and trying to understand that
he was referring to the tradition as it is, with the intention of preserving culture. The traditional
Javanese patriarchal culture inherent in the wayang story’s narrative is reflected in the princess
figures’ portrayal in particular, seen from their position, posture, and gesture.
The courtesy of ideal women according to Javanese culture was strongly reflected and visualized
within each scene of Teguh Santosa’s wayang comic, and more. In addition to a more realistic
approach, he also gave a sensual touch to the female characters that are unlikely to be found in
the original Javanese wayang image, as a hallmark of his comic style. This showed a comic artist
who lived at that time, with the spirit of the time and the cultural background of his family. Teguh
was raised in a family of traditional Javanese ketoprak artists in the city of Malang, who also
consumed modern (Western) popular culture that was trending. As a result, these different values
were mixed in his works and became a unique artistic signature. However, beyond that, Teguh
gave us a ‘prototype’ of visual translation method or system to adopt traditional Javanese wayang
imageries into a modern visual representation that can be implemented in the digital media, yet
still conveys the values of local wisdom.
REFERENCES
Ariani, I. 2016. Feminisme dalam Pergelaran Wayang Kulit Purwa Tokoh Dewi Shinta, Dewi Kunti, Dewi
Srikandi. Jurnal Filsafat 26(2):272–290.
Gunawan, I. 2018. Cerita-Gambar, Highlight Perkembangan CerGam di Indonesia 1925-1985. Brosur Pameran
Gudang Garam Art Award 2018: Dunia Komik “Bahasa Budaya Cerita Gambar”, xviii–xii. Jakarta: Galeri
Nasional.
Hardjowirogo 1949. Sedjarah Wajang Purwa. Jakarta: Penerbit Balai Pustaka.
Koesoemadinata, M.I.P. 2018. Visual Adaptation of Wayang Characters in the Comic Arts of Teguh Santosa.
Mudra Jurnal Seni Budaya 33(3):401–408.
Koesoemadinata, M.I.P. and Aditya, D.K. 2016. Visualizations of Wayang Characters in Comics (Case Study:
Bima and Arjuna Characters in the Arts of Ardisoma, Teguh Santosa and Is Yuniarto). Proceeding The 3rd
International Conference on Creative Industries, Bandung Creative Movement (BCM) 2016:274–282.
Nirwana, A. 2018. Menimbang Sandhora: Telaah Komik Teguh Santosa. Malang: Ma Chung Press.
Nirwana, A. and Ginting, D. 2017. Nilai Kemanusiaan dalam Bingkai Pluralisme dan Multikulturalisme dalam
Komik Sandhora (1970) Karya Teguh Santosa. Andharupa, Jurnal Desain Komunikasi Visual & Multimedia
03(01):92–114.
Sudjarwo, H.S., Sumari, and Wiyono, U. 2010. Rupa & Karakter Wayang Purwa: Dewa-RamayanaMahabharata. Jakarta: Kakilangit Kencana.
Valiandra, D. 2016. Mengintip Proses Kreatif Teguh Santosa. In Malik, A. and Jai, S. (eds), Maestro of
Darkness: Teguh Santosa, 1942–2000: 3–5. Malang: Media Nusa Creative.
297
interaction; and (b) camera angle and visual composition, how the creator positioned the character
in a relationship with others may emphasize the social relationship in the narrative (whole story)
or in moment opname (still frame visualization).
4 CONCLUSIONS
This paper discussed the matter briefly and only on surface. It only discussed a small part of the
entire study and research on the works of Teguh Santosa, especially wayang comics, which is still
ongoing. This study has no intention to disrespect and reduce the appreciation for the late Teguh
Santosa as one of the Indonesian comics maestros. It’s just showing and trying to understand that
he was referring to the tradition as it is, with the intention of preserving culture. The traditional
Javanese patriarchal culture inherent in the wayang story’s narrative is reflected in the princess
figures’ portrayal in particular, seen from their position, posture, and gesture.
The courtesy of ideal women according to Javanese culture was strongly reflected and visualized
within each scene of Teguh Santosa’s wayang comic, and more. In addition to a more realistic
approach, he also gave a sensual touch to the female characters that are unlikely to be found in
the original Javanese wayang image, as a hallmark of his comic style. This showed a comic artist
who lived at that time, with the spirit of the time and the cultural background of his family. Teguh
was raised in a family of traditional Javanese ketoprak artists in the city of Malang, who also
consumed modern (Western) popular culture that was trending. As a result, these different values
were mixed in his works and became a unique artistic signature. However, beyond that, Teguh
gave us a ‘prototype’ of visual translation method or system to adopt traditional Javanese wayang
imageries into a modern visual representation that can be implemented in the digital media, yet
still conveys the values of local wisdom.
REFERENCES
Ariani, I. 2016. Feminisme dalam Pergelaran Wayang Kulit Purwa Tokoh Dewi Shinta, Dewi Kunti, Dewi
Srikandi. Jurnal Filsafat 26(2):272–290.
Gunawan, I. 2018. Cerita-Gambar, Highlight Perkembangan CerGam di Indonesia 1925-1985. Brosur Pameran
Gudang Garam Art Award 2018: Dunia Komik “Bahasa Budaya Cerita Gambar”, xviii–xii. Jakarta: Galeri
Nasional.
Hardjowirogo 1949. Sedjarah Wajang Purwa. Jakarta: Penerbit Balai Pustaka.
Koesoemadinata, M.I.P. 2018. Visual Adaptation of Wayang Characters in the Comic Arts of Teguh Santosa.
Mudra Jurnal Seni Budaya 33(3):401–408.
Koesoemadinata, M.I.P. and Aditya, D.K. 2016. Visualizations of Wayang Characters in Comics (Case Study:
Bima and Arjuna Characters in the Arts of Ardisoma, Teguh Santosa and Is Yuniarto). Proceeding The 3rd
International Conference on Creative Industries, Bandung Creative Movement (BCM) 2016:274–282.
Nirwana, A. 2018. Menimbang Sandhora: Telaah Komik Teguh Santosa. Malang: Ma Chung Press.
Nirwana, A. and Ginting, D. 2017. Nilai Kemanusiaan dalam Bingkai Pluralisme dan Multikulturalisme dalam
Komik Sandhora (1970) Karya Teguh Santosa. Andharupa, Jurnal Desain Komunikasi Visual & Multimedia
03(01):92–114.
Sudjarwo, H.S., Sumari, and Wiyono, U. 2010. Rupa & Karakter Wayang Purwa: Dewa-RamayanaMahabharata. Jakarta: Kakilangit Kencana.
Valiandra, D. 2016. Mengintip Proses Kreatif Teguh Santosa. In Malik, A. and Jai, S. (eds), Maestro of
Darkness: Teguh Santosa, 1942–2000: 3–5. Malang: Media Nusa Creative.
297