DISCUSSION

4.1 RESULTS AND DISCUSSION

The result of the research is referring to the data source of this research, namely narration and
context of Jidor Sentulan in Jombang. And the data of this study are (1) semiotic linguistic
forms, (a) icons, (b) indexes and (c) symbols on literary stage in East Java and (2) parole,
which are contained in concrete combination speech, expression, and gestures.
The findings of the data in this study are contained in the narrative of the literature stage Jidor
Sentulan in Jombang which has data in the form of (a) icons in semiotic discussion, Icon: is a
sign that can be understood by its resemblance to something that can represent and Icons also
called images from representation of something who are represented.
sample data include:
Icon Data: (4.1.01) Quote
    "Not rewangi hot-hot, udan kodanan, not rewangi mlebu alas metu
                        base, cyclone mlenthung corn sajagung Mbem ".

Translation

"At noon I am willing to be hot, if rain rain, go out into the forest,
                       until the feet blister as big as the corn, Mbem. "

The icon is word'alas' or 'forest' as a social bookmark. In the narrative it is described that
'alas' or forest is a place of livelihood or a place to farm. The word 'alas' which means to
replace and resembles the word 'forest' and implies that the livelihood of society at that time
was very heavy and united with nature. Describing at that time people in the search for
livelihood should try to trace the forest and open the forest for farming. They cultivate, hunt
and earn a fortune in the forest, to meet the needs of his life. These conditions and situations
illustrate the icon of the social marker of the livelihoods of the village community at that
time.
 Icon Data: (4.1.02)
 
Figure (4.1. 02) Icon of "costume or shirt used by activists
Jidor is red and white

Icon in the form of object depiction in the costume or clothes worn by activists or players
Jidor Sentulan describes the unity of East Java society in art that contains its own philosophy
and bring cirikhas art or literature stage of East Java. The costume is a red-and-white striped
shirt, indicating cirikhas or identical as East Java art activists. Because the red and white
striped shirt costume is not only used by activists Jidor Sentulan but also worn by activists in
Tulungagung art, the art of Reog Ponorogo, Cow Keraban art activists who are in Madura
and Senterewe located in Jember and others. So this costume represents the meaning of
character of East Java art activist whose character is like hard work and brave, while the color
means the meaning of white color which means sacred in culture and red color means brave
in maintaining their respective regional culture and dare to socialize nationally and
internationally. Character of culture that will become characteristic of Indonesian nation
culture.
Icon Data: (4.1.03)
 
Picture (4.1.0.3) Mask characterizing the Tembem and Penthul
made of'ohoh 'or' Uni 'tree

An ornament-shaped icon or animal mask like a giant head but has a long tail like a dragon's
tail, a tiger or a tiger and a monkey animal or a turtle which is a social marker icon depicts
and represents the human intentions that can not be separated from the proximity of other
beings, the animals. And the property in the form of the mask is made of kayulho 'or uni fruit
tree. And the embodiment of wood lho'menggambarkan and represent the word wood that
contains the meaning of the surrender of his servant to Allaah swt.Topeng -topeng shaped
like puppet figures, namely Petruk and Gareng, but at the characterization in Jidor Sentulan it
is called Penthul and Tembem.Melihat icon icon concluded that the core meaning of
characterization played by art activists of life is solve problems with interacting between
humans because humans are created with various masks. Mask can be interpreted as
character, social condition, physical condition, ability, and disability. Everything is a mask
that at one time the form can be changed in accordance with the provisions of the
creator.Pemaknaaari penentanPenthuldanTembemitu also have characteristic Javanese arts
containing the same philosophical values of Java only different versions in the story of
Javanese arts. The similarity of the character's character can have an impact on the same
characteristics and can be representative of each other in the cultural context of society.

The findings obtained in this study, the words or the shape of the image of the object on the
literary stage narrative Jidor Sentulan in Jombang which has data in the form of (b) index in
the semiotic discussion, Index is a sign that describes the causal relationships and symbols for
conventional associations.
sample data include:
Index Data (4.1.01)
"Yo sing important by wisik into two things, literally'bedhug 'which means means of
percussion and' bedhug 'which means' the sun's day is right in the vertical position. It is a sign
of the time of prayer dhuhur that has been agreed together conventionally by Muslims as a
sign of the sign of prayer time five times. Daytime sun will appear increasingly docked
towards dhuhur and if lingiring too tilted is approaching the afternoon. The afternoon time
also indicates the existence of the depiction of the field conditions there are efforts to perform
Jidor Sentulan under the hot sun until the sun is getting lersir.Secara lexical term this bedhug
has produced two different interpretations, but both support each other. The reduced 'bedhug'
gives rise to symbols that have an indication of the struggle of artists in the spirit of staging
the Sentulent Jidor with a rhythm that is relatively fast and constant rhythm. While the
sentence cuts' tengahe lingsir "can also be interpreted two things follow the meaning of
lexical bedhug itself. If the word is a percussion tool, it is defined as a percussion instrument
(so-called bedhug) whose center is reduced by a heavy blow to the bedhug, so that the middle
part of the bone sheet on the bedhug shrinks and is irregular brown.This , signaling a stunted
effort by the players to accompany the sholawat and introduce the teachings to the public.
Bedhugitu when sounded will sound dur ... dur or dor ... dor, therefore called Jidor. this
symbol signifies also as a marker of religion, which describes at the time of performing
literature appear to be used as a propagation to spread the religion of Islam. The word
'tengahe' according to some speakers is defined as tumenga ngarep-arep pitulungane 'sing
luwih kuwasa (hoping for almighty help),' lingsir 'is understood to be floating (float).
Drumming the bedhug in the context of Jidor Sentulan is a sign of eagerly expecting help
from God, which in the end man must cast his mind to God in every effort. The word choice
used in the word "Bedhug tengahe lingsir" has poetic essence, which implies hope to be close
to the creator, and through tools to perform the worship of Muslims. (2) Parole The findings
obtained in this study, the words or shape of the image object on the literary stage narrative
Jidor Sentulan in Jombang which has data in the form of (2) parole, contained in the
combination of signs in concrete form of speech, expression, and gestures. Parole is a
practice of using language and its system concretely in society. The red, yellow and green
colors of traffic signs are a traffic sign system whose meaning (stop, get ready, walk) is
governed by a convention or social agreement. Parole is how every motorist uses the traffic
sign system in his or her own way (expression). Any cultural expression (literature, dance,
art, film, fashion, products, architecture) is the language of this parole level. In the literature
stage Jidor Sentulan in East Java Examples of data include: Parole Data (4.2.01) Parole
embodied in tiger casting figures make this animal as a mystical inspiration coveted by the
Java community. Power of strength, tranquility, uniqueness and charisma become the parole
of association in society. And also the power of expression, and gestures embodied by tiger
actors can bring effectiveness to society in association about the values of myths are strongly
attached to the figure of the Javanese tiger. Sometimes some people believe that the Javanese
tiger is the incarnation of their great-grandfather. If referring to the above explanation, it
seems indirectly there is the linearity of the identity of the Semendhung Beetle in the Jidor
Sentulan with the characterization of Java tiger. To realize the character of the Beetle
Semendhung which is the figure of the Javanese beetle tiger, Jidor Sentulan tends to adopt the
physical character of Singo Barong on the performance art of Reog from Tulungagung.Data
Parole (4.2.02) Figure (4.2.02) The PenthulParole figure contained in Penthul figures have a
temperament that is also related to the behavior of the speeches of Javanese culture. This is
reflected in the gesture of facial expression on the Penthul's nose longer than Tembem's nose.
The long nose has a close relationship with the symbolization of two Javanese puppets.
Figure Petruk who has a tall, long body with typical nose. In the shadow puppets it is obvious
that Petruk's nose is so long as Pinocchio's nose on a children's story film. In a puppet
episode. Petruk in his youth is also a magic knight in his area and wander to try out the other
supernatural powers. Petruk also likes to joke. In this case the figure Penthul and Tembem
seem to have equality with Petruk and Gareng. They are packed in a humorous form but are
full of wise knights that have the Parole effect in the Jidor Setulan.Data Parole (4.03)
Drawing (4.2.0.3) The WiragunaParole Mbah figure related to the Wagaguna figure, our
perception will be towards Kalamakara who are greedy, wicked, cruel. But there is a very
contradictory side or a portrait paradox on Jidor Sentulan. Such figures actually become a
helper in the rhythm of the story. In this narrative depicted there was a teacher or clever
people of ancient times who could heal someone who was sick or injured, he lived disebuah
hermitage. Mbah Wiraguna called smart people who can heal by reciting mantras and prayers
that lead to Islam but wrapped with kejawen and acculturation of Hinduism and Buddhism.
The lagoon in Sentul Sentral really is a repellent of custody that is healer for Tembem and
Beetle Semendhung.Tindak said Mbah Wiraguna reflects the myths that are in the direction
of Sentulan society, that the Sentul Jidor Staging can be invited with the aim to repel distress
for those who have intent, (discourse developed in Sentulan society). Then it is in accordance
with the function of Kalamakara and Wiraguna. Both figures have the same relative form
(spooky), the same nature (repellent of logs) only different functions. One is often at the
entrance to the temple, while Wiraguna is in the performing arts. Therefore it can be
concluded that the existence of Wiraguna that paradox is taken from Hindu culture or Hindu
temples that his people believe that the character of Kalamakara is the evil spirit exorcist.
Wiraguna in Jidor Sentulan also has the same function as Kalamakara, the exorcist of evil
spirit and disease.