Materi Carita Wayang

Summary

The video script provides an introduction to traditional Indonesian wayang (shadow puppetry), explaining its history, types, and cultural significance. It covers the various forms of wayang, such as Wayang Kulit, Wayang Golek, and Wayang Wong, and discusses their role in storytelling, education, and entertainment. The script also touches on epic stories like the Mahabharata and Ramayana, which are often depicted in wayang performances. The video emphasizes the importance of wayang in preserving cultural heritage and its transformation over time to include modern elements.

Takeaways

• 😀 The script begins with greetings and welcomes, indicating an educational setting at SMA Negeri Hiji Banjar.
• 📚 The main subject of the script is the story of wayang, a traditional form of puppet theater in Indonesia.
• 🎭 Wayang stories are categorized as a type of prose literature and have a rich cultural history tied to Hindu epics like the Mahabharata and Ramayana.
• 🎨 The term 'wayang' originates from 'bayang' or 'Kalangkang,' which means shadow or reflection, representing the characters in the story.
• 📖 Wayang functions not only as entertainment but also as a medium for education, information, and religious teachings.
• 🎨 The script explains various types of wayang, including wayang purwa, wayang kulit, wayang gedog, and others, each depicting different stories and characters.
• 🤴 Key characters from the Mahabharata and Ramayana epics are discussed, such as Pandawa, Kurawa, Rama, and Shinta.
• 🔄 The transformation of wayang stories into different formats, such as poetry, comics, novels, and theater, is mentioned.
• 🧙‍♂️ The script describes specific parts of a wayang story, including kakawin, murwa, nyandra, and antawacana, which structure the storytelling process.
• 🏰 The script concludes with an overview of various significant figures and items in wayang stories, such as magical weapons and sacred symbols.

Q & A

What is the primary topic discussed in the script?

The primary topic discussed in the script is traditional wayang stories and their significance in Indonesian culture, especially in terms of entertainment, education, and religious elements.

What are the different types of wayang mentioned in the script?

The script mentions several types of wayang, including Wayang Purwa, Wayang Kulit, Wayang Gedog, Wayang Golek, Wayang Potehi, Wayang Wong, Wayang Beber, and others.

What is the purpose of wayang stories, according to the script?

The purpose of wayang stories is multifaceted, serving as entertainment, education, a medium for conveying information, and as a means of religious and cultural expression.

What are the two epic stories mentioned in the script that form the basis of many wayang performances?

The two epic stories mentioned are the Mahabharata and the Ramayana, both of which originated in India and were adapted into wayang performances in Indonesia.

What roles do the characters Semar, Cepot, Dawala, and Gareng play in wayang stories?

Semar, Cepot, Dawala, and Gareng are additional characters introduced in wayang stories to enliven the narrative and add humor, preventing the storyline from becoming monotonous.

How does wayang serve as a medium for religious instruction?

Wayang serves as a medium for religious instruction by incorporating religious themes, such as Hindu epics, into the stories. The script mentions how wayang was used to introduce Islamic teachings during the spread of Islam in Indonesia.

What is the structure of a wayang performance, as detailed in the script?

A wayang performance is structured into several parts: kakawin (a form of poetry or description of the scene), murwa (an introduction), nyandra (prologue describing the kingdom or characters), and antawacana (dialogue between characters).

What is the significance of the character transformations mentioned in the script?

Character transformations, like the addition of Punakawan figures (Semar, Cepot, etc.), are significant because they represent adaptations of traditional wayang stories to suit changing cultural and social contexts.

How are the stories of the Mahabharata and Ramayana incorporated into wayang performances?

The stories of the Mahabharata and Ramayana are central to wayang performances, with characters like Pandawa, Kurawa, Rama, and Sinta forming the core narratives in various adaptations, such as Wayang Kulit and Wayang Golek.

What types of weapons and magical powers are mentioned in the script, and who wields them?

The script mentions several weapons and magical powers, such as Dasamuka's sword Candrahasa and Gatotkaca's armor Antakusuma. Arjuna is described as having the powerful arrows Pasopati and Sarotama.

Outlines

00:00

🎭 Introduction to Wayang Stories

This paragraph introduces the concept of wayang, a traditional form of storytelling through shadow puppets, commonly performed in Indonesia. It explains the cultural significance and functions of wayang stories, which serve as entertainment, education, and a medium for conveying religious and moral teachings. The paragraph also touches upon the various types of wayang and their historical roots.

05:01

🗡️ Types of Wayang and Their Stories

This section details the different types of wayang performances, each with its unique style and storyline. It mentions wayang purwa, wayang kulit, wayang gedog, wayang golek, and other regional variations. The paragraph describes the stories these performances typically depict, such as those from the Mahabharata, Ramayana, and other local legends, highlighting the diversity and richness of wayang culture.

10:01

⚔️ The Epic Ramayana and Its Characters

This paragraph focuses on the Ramayana epic, one of the most significant narratives in wayang performances. It outlines the main plot involving the kingdoms of Ayodhya and Lanka, the key characters like Rama, Sita, and Ravana, and the epic battle between them. The text also emphasizes the transformation of these stories over time, including the introduction of comedic characters to keep the performances engaging.

15:04

📜 Structure of a Wayang Story

Here, the structure of a typical wayang story is discussed. The paragraph breaks down the narrative into key sections: kakawen (introduction), murwa (opening), nyandra (prologue), and antawacana (dialogue). It describes how each part contributes to the storytelling, with specific emphasis on the use of language, music, and dialogue to convey the story’s themes and emotions.

20:17

👑 Key Characters and Their Attributes

This paragraph provides an overview of the main characters often featured in wayang stories, including warriors, kings, sages, and their special powers or weapons. It mentions figures like Abimanyu, Gatotkaca, and Pandu Dewanata, detailing their roles, relationships, and significance within the narratives of the Mahabharata and Ramayana.

25:19

🙏 Conclusion and Cultural Significance

The final paragraph summarizes the cultural importance of wayang as a medium for teaching and preserving moral values, religious beliefs, and historical events. It also reflects on the enduring legacy of wayang in Indonesian culture, noting how it continues to be a source of inspiration and education for future generations. The text concludes with a traditional closing remark, signifying the end of the presentation.

Keywords

💡Wayang

Wayang refers to a traditional form of puppet theater originating from Indonesia, particularly Java and Bali. It involves storytelling through puppets, which are often made of leather or wood. In the video, wayang is the central theme, exploring its cultural significance and different types, such as Wayang Kulit and Wayang Golek.

💡Mahabharata

The Mahabharata is an ancient Indian epic that narrates the struggle between two groups of cousins, the Pandavas and the Kauravas, culminating in the great war of Kurukshetra. The video discusses how the Mahabharata's stories are adapted into the wayang tradition, highlighting the epic's influence on Indonesian culture.

💡Ramayana

The Ramayana is another ancient Indian epic, focusing on the journey of Prince Rama to rescue his wife Sita from the demon king Ravana. Similar to the Mahabharata, the Ramayana's tales are integrated into wayang performances, reflecting the epic's importance in cultural narratives presented in the video.

💡Punakawan

Punakawan refers to a group of clown-like characters in the wayang tradition, including Semar, Cepot, Dawala, and Gareng. These characters serve to lighten the mood and provide commentary on the main storyline. In the video, Punakawan are mentioned as important figures who add humor and relatability to the serious narratives of wayang.

💡Sastra Buhun

Sastra Buhun is a term that refers to ancient or traditional Sundanese literature. In the context of the video, it relates to how wayang stories are considered a form of Sastra Buhun, preserved and passed down through generations, showcasing the rich literary heritage of the region.

💡Wayang Kulit

Wayang Kulit is a type of wayang performance that uses flat leather puppets. The puppets' shadows are projected onto a screen during the performance. The video describes Wayang Kulit as one of the most popular forms of wayang in Java, often used to tell stories from the Mahabharata and Ramayana.

💡Wayang Golek

Wayang Golek is a form of wayang that uses three-dimensional wooden puppets, typically found in West Java. The video highlights Wayang Golek as a medium for storytelling, especially for narratives derived from the Mahabharata and Ramayana, emphasizing its cultural significance in Sundanese tradition.

💡Dalang

Dalang refers to the puppet master or narrator in wayang performances. The Dalang is responsible for manipulating the puppets, voicing the characters, and guiding the story. The video underscores the Dalang's crucial role in bringing the wayang stories to life, ensuring the preservation and continuation of this art form.

💡Gamelan

Gamelan is a traditional ensemble of musical instruments from Indonesia, primarily consisting of percussion instruments like metallophones, xylophones, drums, and gongs. In wayang performances, as mentioned in the video, the Gamelan provides the musical accompaniment that enhances the narrative and emotional impact of the stories.

💡Baratayuda

Baratayuda is a term used in Javanese culture to refer to the battle between the Pandavas and Kauravas, as depicted in the Mahabharata. The video discusses Baratayuda as a significant theme in wayang performances, symbolizing the ultimate battle between good and evil.

Highlights

Introduction of the speaker and welcome message.

Explanation of what constitutes a wayang (traditional puppet theatre) story.

Discussion on the different types of wayang, such as wayang purwa, wayang kulit, and wayang golek.

Introduction to the Mahabharata and Ramayana epics and their significance in wayang stories.

Details about the characters and storylines in the Mahabharata, focusing on the Pandavas and Kuravas.

Insights into the Ramayana epic, emphasizing the conflict between Rama and Ravana.

Explanation of the transformation of traditional wayang stories into various modern forms like comics and novels.

Discussion on the inclusion of additional characters like Punakawan to enrich the wayang narratives.

Breakdown of key parts of a wayang story: kakawen, murwa, nyandra, and antawacana.

Overview of different categories of wayang characters, such as kings, warriors, and sages.

Explanation of the significance of weapons and magical powers used by characters in wayang stories.

Mention of specific wayang stories, such as those featuring Pandawa and Kurawa.

Discussion of the transformation of wayang stories across different media.

Explanation of wayang story structures and dialogues.

Concluding remarks emphasizing the cultural significance of wayang stories.

Transcripts

Hai tututu tututu tututu tututu tututu

tututu

[Musik]

Hai kamu waalaikum warahmatullah

wabarakatuh

[Musik]

Hai Sampurasun Wilujeng Sumping ka

sadayana di SMA Negeri hiji Banjar

Alhamdulillah depan bisa mesin puring

Ayub saepurohman spring saku pangatik

bahasa Sunda sejak Aduh bikin materi anu

Aya 44 tali sarung materi Bahasa Sunda

kelas

hai hai

hai hai

Hai Dina danget ayeuna material numeris

dipedar nyaeta ngeunaan Carita wayang

[Musik]

the same MB urang buat lebih jeruk

ledakan cerita wayang tachain hidupku

dua valhalla naon NU disebut cerita

wayang

Hai Oge menawan W uneg-uneg Dina Carita

wayang teh

[Musik]

hai hai

Hai Sarata kumaha struktur Dina Carita

wayang

[Musik]

Hai tah jadi anu disebut cerita wayang

teh nya eta Carita anu sok dilalakonkeun

didapat gelaran wayang Carita wayang ke

asup Kana karya sastra wangun lancaran

atau sok disebut prosa sarota kwanda

prosa Buhun

Hai istilah wayang teh robahan tidak

kecap bayang atau Kalangkang tak Hartina

lalakon ruangan atau di kira-kira Adek

pengadeg tour diwujudkan ku peta-peta

Wayan Jeng dilalakonkeun ku dalang Bari

dipirig gamelan

Hai salajengna urang gua mengenakan

fungsi cerita wayang NU kahiji fungsi

cerita wayang teh nyaeta pikun hiburan

atau rekreasi tah jadi masyarakat bisa

memanfaatkan cerita Wayan pikun sarana

hiburan atau rekreasi

Hai luka2 fungsi cerita wayang Teh

nyaeta bikin pendidikan atau edukasi tak

jadi Dina Ussy cerita wayang teh

ngandung gambaran-gambaran kahirupan

manusa anu bisa jadi film The Nun German

USA China ngalaksanakeun kahirupan

sapopoe

Hai Luka pilu Bu fungsi cerita wayang

teh nyaeta pikun informasi tak jadi Dina

Carita wayang mah bisa bikin nepikeun

informasi atau hal-hal atau kejadian

nuker lumangsung bisa bunderan

Hai Anu coopad fungsi cerita wayang

Tenyata pikun dari j.tah jadi di mencari

tawa yang mah sok dipatalikeun yang

unsur-unsur religi contoh na aayegi

tradisi bisa Boden urang anu masih keneh

sok dilaksanakannya Eta tradisi ngaruwat

Teteh biasana media nanya at aku media

Carita wayang

hai hai

Hai lelakon wayang teh rupa-rupa

gumantung karena warna wayang na tah

ayeuna mah urang pedal W warnaning

wayang anak kunci hirup di Indonesia

Hai muka hiji aya nu disebut wayang

Purwa hari Purwa teh nyaeta robahan Tina

parwa anu Hartina mimiti white yang

parwa atau Purwa teh ngalalakonkeun

babon cerita Mahabharata Jing Ramayana

Hai Anu kadua Ayo disebut wayang kulit

Tahiti selesai hiji Wayan anu sumebyar

di Pulau Jawa anu KB dikenal mah Mekar

jadi sabar haversi contohnya Ayah wayang

gedog ku yang dulu wayang potehi wayang

krucil jeung sajabana

Hai Anu katilu aya nu disebut wayang

gedog quiet teh mangrupa wayang kulit

anu ngalalakonkeun cerita Panji seperti

lalakon Panji Semirang

Hai Anu kaopat Ainu disebut wayang

Gelung atau golek lung pahit Eh salah

sahiji jenis wayang kardus Nobar di

daerah Jawa Barat Iwa yang belum Teh

nyaritakeun lalakon Mahabharata ing

Ramayana anu K5 Ainu disebut wayang

golek iket atau wayang cepak Tarra itu

nyaritakeun lakon Prabu Damarwulan Minak

Jingga jeung sajabana

[Musik]

Hai hanuka genep aya nu disebut Wayang

Titi atau ah potehi tahite nyaritakeun

lalakon Tina gressina atawa Tionghoa anu

k7i anu disebut wayang krucil ta itu

cara wayang golek kene diuangkan

Surabaya Ma disebut wayang klithik

lalakonna nyaeta Amir Hamzah umarmaya

jeung sajabana anu kadar lapan aya nu

disebut wayang beber nyaeta wayang anu

lalakonna digambar di nawon Pluit

dibeberkan hanukkah salapan aya nu

disebut wayang wong atau wayang orang

nya etawa yang anu dilalakonkeun

langsung ke Jelema lalakonna biasanya

cotina cerita Mahabharata

Hai Anu ke-10 aya nu disebut wayang

lilingong nah dihubungkan Cianjur mah

disebutna wayang klithik contoh lakona

nyet memupuk kembang jembatan besi jeung

sajabana

Hai hanuka 11 aya nu disebut wayang

Suluh nyata wayang Tina kulit nyeri

taken lalakon ayeuna ngeunaan sajarah

Indonesia jeng pikun penyuluhan tokohna

nya eta Jalma ke ayeuna Ken

Hai Anu k12a ini disebut wayang klithik

ngeadd acara wayang golek tapi lalu

titik t'aime biasana ditangkap nanti

berang-berang

Hai selesai jenis Carita wayang aneh

sumebyar di Jawa Barat nyaeta wayang

golek taek Carita wayang golek teh

nyopotin a Carita Mahabharata ting

Ramayana Oge sok disebut cerita Galur

atau Galur lalakon contohna lalakon

pandawan perdanya Bale sigala-gala Jeng

Babadan alas Amer Tina cerita

Mahabharata trust Ayah lakon Anoman Duta

Rama Tambak Jeng kumbakarna gugur Tina

cerita Ramayana

Hai selanjung Na urang Pedar ngeunaan

Epik Mahabharata Cing Ramayana

sesuai dengan cerita Ramayana kucing

Mahabharata teh asalna Ti India tah asup

ka urang marenggeng masuknya agama Hindu

tatras waktu agama Islam Sumbar di

Indonesia para wali ngamangpaatkeun Eta

Epic Gresik er Islam nyaeta make media

wayang

hai hai

Hai Epik Mahabharata nyaritakeun turunan

Raja Barata luka baut perang sadulur anu

sok disebut Baratayuda antara Pandawa

nyaeta rundayan tipe Pandu jeung Kurawa

rundayan Destarata sedangkn Epik

Ramayana intinya medar lalampahan drama

nyata Raja alodia Anu kawinka Shinta

[Musik]

Hai nah ini disebut Epik Mahabharata

jadi Barata teh semoga budak anu

dingaranan abiyasa tak terus abyasa teh

Boga 2 pamajikan nyaeta ambika Jing

ambalika Cina abiyasa Jeng ambika moga

turunan anu dingaranan destara tatras

desperate kawin jeung Gandari anu

ngalahirkeun sagunduk daging nuturi

buyar jadi 100 orok anu kahiji

dingaranan Duryudana NU kadua dulu

Sasana gym saterusna tahi teh anu

disebut pasukan Kurawa saterusna tinaa

biasa Jeng ambalika teh Boga budak anu

dingaranan Pandu dewanata tah

pandudewanata teh Boga 2 pamajikan

nyaeta Kunti anjing madrim tahti Dewi

Kunti mah bogatyr budak nyetok

Yudhistira Bima

King Arjuna sedangkan tim a dream nyaeta

Nakula Jing Sadewa tah 5 budak ieu teh

disebut

[Musik]

21 Wina ayat kejadian nubi sebut

Baratayuda nyaeta perang satu runan

perang sadudulur antara Kurawa Dieng

Pandawa

[Musik]

Hai Gina Epik Ramayana iye nyeri Taken 2

kerajaan nyaeta Ayudia anu dipimpin

Kurama Jing Alengka Nudy pink PINku

Rahwana alias Dasamuka di kerajaan

Ayodya ramah teh Boga permaisuri anu

ngarana cinta oke Boga Adi fenomena

laksamana sedangkn di kerajaan Alengka

Rahwana teh Boga anak Arung karena

indrajit Jeng Wibisana Oge Boga Adi

tarung anak kumbakarna

G2 kerajaan iye akhirnya perang di

Alengka kusabab Rahwana bogoheun pisan

ka Sinta sedangkan Shinta hari tagged

jadi permaisuri di kerajaan Ayodya nyata

permasuri narama tah tidak perang iye

anu unggul teh nyaeta ramma kusabab di

bantuanku pasukan Wanara Hanoman Subali

sugriwa

hai hai

Hai nah ini kurang pedas ngeunaan

transformasi Carita wayang tak jadi

cerita wayang tank halaman transformasi

upamana baik munculnya tokoh-tokoh

ngulaan atau Punakawan seperti tokoh

Semar Cepot Dawala Gareng tahiyat tokoh

teh mangrupa tokoh tambahan Dina Carita

wayang anu fungsina kena hidupkan

suasana sangka anti monoton

[Musik]

Hai Carita wayang teh Kadin akun mah

ditulis deui atau ditransformasi Ira

Wangun sisindiran sajak komik wawacan

novel teater cerita baru dah yummy

sajabana

hai hai

gmail.com

Hai setelah jeng na urang pedal menahan

undakan Nick Dina Carita wayang

[Musik]

Hai ke kahiji tayang ngaran Satria gym

kesatriaan anak tadi dia Abimanyu

satriati palangkawati trust kaya Arjuna

satriati Madukara Aya Aswatama satriati

sokalima rasanya Gatotkaca satriati

pringgandani

k.h. a

Hai salajengna Ayah ngaran raja jin

nagarana anu kahiji ayah Prabu Basudewa

Raja tim Mandura trust each Prabu

Destarata rajati Astina trase ya Prabu

Dasamuka rajati Alengka teras Oge Aya

Prabu Kresna raja T2 rawati

Hai salajengna ayang ngaran Pandita Jing

patapaa na nu kahiji ia Bagawan abyasa

patapaa anak di saptaarga kedua Resi

Bisma patapaan a ditolak Anda dekati lu

ya Pandita Durna tatapana di sokalima

goopad ya resi Subali patah Pak nadi

huha kiskenda

hai hai

yo yo

hai hai

Hai salajengna Ayah pakar anjing ajian

Aji anak-anak kahiji saya Dasamuka Boga

senjata candrasa pedang sokayana Oge

ajian pancasona trust muka dua ayat

Gatotkaca semoga baju keren tak Kusuma

Jing ajian narantaka lengkapi lu kaya

Arjuna Boga panah Pasopati panas

sarotama tanah Arab Dadali jengkris

pulang Geni anu coopad peyek Ratna Boga

senjata Cakra Oge ajian Wijaya Kusuma

mk5 Ayah Yudistira moga ajian Jamus

kalimusada gym ajian song-song

tunggulnaga

hai hai

[Musik]

Hai salajengna Kayak ngaran anak-anak na

anu kahiji abyasa Boga anak Destarata

pandudewanata Jeng yamawidura Tresno K2

Arjuna Boga anak Abimanyu Bambang Irawan

Bambang Wisanggeni pergiwa Jin pergiwati

transmoka tilu kaya Dasamuka semoga anak

indrajit gym trisirah terus Muka 4 ayat

Bima juga anak Gatotkaca jin antareja

hai hai

[Musik]

Hai salajengna kurang pedas menggunakan

bagian Carita wayang tah jadi Dina

bagian cerita wayang teh dibagi-bagi

deui NU kahiji Ayo disebut kakawen anu

kadua disebut murwa anu katilu disebut

nyandra luka opat disebut antawacana

[Musik]

Hai Luka hiji-hijina bagian cerita

wayang teh aya nu disebut kakawen

taharica KWT y tembang dalang Gino

pagelaran wayang golek trust ngagunakeun

basa Kawi betina mangrupa deskripsi

kekayaan adegan nuklir dicari taken

contohna kayak kecap sound Mira tanhana

panjang sinonggi Sabda uninga tahu kecap

eta teh dicokot natina bahasa Kawi

Hai luka2 ayo disebut murwa nahari

murwati nge-tag kekecapan bubuka dalang

sabada kakawin umum nama sokla Gunakan

Bahasa Kawi tapi para dalang wayang

golek mah loba NU ngagunakeun Basa Sunda

diucapkeun baru dipilih ku gamelan anu

hawar-hawar

Hai Luka tilu Dina bagian cerita wayang

teh aya nu disebut nyandra tak harian

rate-nya at a prologue anu dicaritakeun

shabad amurwa ras ngagambarkeun kaayaan

kerajaan kagagahan Jeng keagungan Raja

Oke keutamaan ketawa sifat sarang dosan

baru di piringku gamelan anu hawar-hawar

[Musik]

anu coopad dina bagian cerita wayang teh

aya nu disebut antawacana tahri

antawacana teh nyaeta paguneman atau

dialog antar tokoh wayang Bina pagelaran

wayang tatra Sunggal tokoh myboga Sora

anu Mandiri contohna seorang Satria

danga anu dilalakonkeun ku Kresna karena

Jing Samba trust each Sora Satria

lungguh seperti Arjuna Yudistira Jung

Abimanyu Oke ayah sarapung

gagah seperti Gatotkaca suyudana Jin

Bisma bikin wijen three kumaha prak

prakan anu disebut kakawin murwa nyandra

John antawacana tahai nama mangga urang

Tengah thandwe contoh na na

Hai aku anjing anjing shotgun Hei brush

memang wow

hai kuch mualaf aktif Dewi ngasih biar

center YT

Hai pernah temaha Yoga nyuci wakang

umat-umat touring matra Yoga waktu ring

maka yuumanga.com praktik malam karya

Syaikh wajar with Setia sang wiku aljaru

re-bye Wijaya Kusuma Wijaya Kusuma wa-mu

hai hahaha iyo Lindu abik Agustina

pirang-pirang godaan setan lu gila nah

Kyle hall ayanaz makna Allah luka bunga

nusifath mura sifat asyik maksan medar

Sari tawa yang menjadi perlambang Irwan

Musa NU gelar di marcapada

Hai Hasyim nulis parawali lu direct aku

para pujangga disusul Kuala ampuh

linuhung

Hai hasil gawe bareng para leluhur anu

parantos ngantung maryischa right away

and title postingan si multilib sinersi

location Sasmita

Hai Eta anu Jadi pipinding guarin urusan

daya by alam barzakh warga di

Oh my God serius digigit 4y tahidji

tempat lalu Kaliwungu gunung Gunung Hejo

lembok tutuwuhan Ratna Hejo lembok

Garuda Wulan Ratna tutuwuhan surat

selesai Nuari Ranu margasatwa di salad

Waduk bening Maluku Leutik fassler

kembang kembang warna-warni dipapaes

malah pantes Dayak Sane sifat tempat

tante yaeta pertapan pariwarna dialas

saptarengga

[Musik]

Hai peyang no Pandawa Kurawa Anugerah

kasih abhyasa anu parantos purnabakti

tilas Raja negara Astina

[Musik]

Hai anu dina wa grosir kasumpingan

fotona kwancen panengah Pandawa Arjuna

aleppo Joe tetap kasir Raden Gatotkaca

save tumpul Hammer itu terjebak harimau

Sapta Asri ningali pamor sang pegawai

[Musik]

water wallpaper surga warna biasa tutur

Wongso Mania malu shakhrukh singa Anda

wiring rahim Dewa Kapan mus'ad utas

dilatinkan rohani nelayan Syaikh Jakarta

weruh sadurunge winarah guru satu

winarah

ngomongin bahan rap bener-bener hidup

Gatotkaca Oke gagang semua caringcing

pageuh kancing saringset pageuh iket

yetangga rejekine keamanan di negara

Tina naon NU paham marabahaya anu bakar

datang karena gara-gara kau diestokeun

Paman dapur Nana Kok gitu Ih aplusan

hubungi teh sarang si Gareng sudah

wallachia stagnate mingpin barudak malah

segar enggak jadi ketua karang taruna

etong sama Nayla Cepot Ayah aja di luar

Nuhun Aa

Mbak Ferina beken pernah sekarang sobat

nah Kang Abas jauh Haji apa Kalau saran

Neng Fitri ujung lolos ichevo Teteh

Yoshida wala timbalan dimana-dimana jauh

kursi goreng Kediri Ice Gareng itu kabur

Nung salak Hanya tesenyum Jadi jadi

relawan anaknya tadi itu tim SAR jadi

tim SAR sih tetes sang ayah kapan umrah

tebing terjangkau pernah Khan sakitu anu

Tiasa kapihatur Insya Allah Jepang nih

Dina pangajaran Basa Sunda anu

salajengna tutus Langkung kepang Alang

bobok Safar Once

Hai makan akuntan kesuwun Billahi taufik

wal hidayah wassalamualaikum

warahmatullah wabarakatuh amin