Analysis of Balinese Basita Paribasa in Wayang Joblar Abg With the Play Tualen Dadi Caru: A Reflection of Balinese Cultural Values

The International Journal of Social Sciences World TIJOSSW is Available Online at: https://www.growingscholar.org/journal/index.php/TIJOSSW Vol. 7 No. 2, JulyDec 2025, Pages: 96 ~ 107 DOI: https://doi.org/10.5281/zenodo.17713137 ISSN 2690-5167 Growingscholar Publisher 96 Analysis of Balinese Basita Paribasa in Wayang Joblar Abg With the Play Tualen Dadi Caru: A Reflection of Balinese Cultural Values Nyoman Astawan 1, Luh De Liska 2, Dewa Ayu Widiasri 3, I Wayan Gunartha4, Ni Luh Gede Liswahyuningsih5 Article history: Received: 23/09/2025; Accepted: 20/11/2025; Displayed Online: 25/11/2025; Published: 30/12/ 2025 Keywords Abstract Balinese Basita Paribasa; Wayang Kulit Joblar ABG; Tualen Dadi Caru; Cultural Values; This study analyzes Balinese Basita Paribasa (Balinese proverbial expressions) used in the performance of Wayang Kulit Joblar ABG with the play Tualen Dadi Caru as a reflection of Balinese cultural values. Employing a qualitative descriptive approach within the frameworks of linguistic stylistics and ethnography of communication design, this research aims to identify the forms, functions, and cultural meanings of Balinese Paribasa embedded in the performance dialogues. The analysis reveals twelve types of Paribasa used, including sloka, sesenggakan, peparikan, and sesawangan, which serve educational, inspirational, social criticism, and entertainment functions. These expressions reflect values of religiosity, life wisdom, social critique through humor, and intergenerational transmission of values. Through aesthetic language styles such as repetition, parallelism, and extended metaphor, Balinese Paribasa functions as a medium for cultural value transfer and moral education. This study emphasizes the importance of preserving and digitalizing Paribasa as part of the revitalization of Balinese culture. 1. Introduction Wayang performances in Indonesia, particularly in Bali, play an essential role as a form of traditional heritage and as a medium of cultural education (Doni Agustina et al., 2015); (Wijaya, et al., 2025). However, the trends of modernization and globalization have often reduced young 1 Study Program of Indonesian and Regional Language Education, UPMI Bali, Indonesia. Email : [email protected] 2 Economics Education Study Program, UPMI Bali, Indonesia. Email : [email protected] 3 Study Program of Indonesian and Regional Language Education, UPMI Bali, Indonesia. Email : dewaayuwidiasri[email protected] 4 Study Program of Indonesian and Regional Language Education, UPMI Bali, Indonesia. Email : [email protected] 5 Study Program of Indonesian and Regional Language Education, UPMI Bali, Indonesia. Email : niluhgedeliswahyunin[email protected] 97 Analysis of Balinese Basita Paribasa in Wayang Joblar ABG With the Play Tualen Dadi Caru: A Reflection of Balinese (Nyoman Astawan , Luh De Liska , Dewa Ayu Widiasri, Dewa Ayu Widiasri, Ni Luh Gede Liswahyuningsih) generations’ interest in classical arts. This condition highlights the urgency to re-explore the cultural dimensions of wayang performances as a medium for transmitting cultural values. Therefore, this study focuses on the linguistic aspects of wayang as one of its fundamental cultural elements. From the perspective of cultural linguistics, specific linguistic styles such as Basita Paribasa Bali carry significant cultural meanings (Pratiwi et al., 2019)(; (Dewi et al., 2018). According to Kardana, Basita Paribasa represents a cultural asset that embodies teachings, admonitions, and moral norms of Balinese society (Kardana et al., 2022); (Setiawan, 2023). At this level, the present study has the potential to contribute to scientific understanding by revealing the linguistic functions involved in transmitting traditional cultural values. Innovations in wayang, such as Wayang Kulit Joblar (WKJ), demonstrate a trend of integrating modern elements, including the use of Balinese paribasa and pop music, to attract younger audiences (Marajaya, 2016). However, such productions face challenges related to the regeneration of young dalang (puppet masters) and the declining interest of the new generation in traditional forms. Wayang Joblar, particularly the ABG version, has become a local phenomenon packaged in a pop-modern format that incorporates Basita Paribasa Bali as part of the characters’ dialogue and rhetoric (Marajaya, 2016). The humorous and expressive character of Joblar effectively conveys humor, social critique, and Balinese cultural values in an accessible form. Observational data show that the use of Basita Paribasa serves as a bridge between cultural messages and entertainment. This phenomenon emerges as a cultural strategy to maintain relevance in the modern era. The collaboration between dalang such as I Ketut Muada and academic institutions (for instance, the Indonesian Institute of the Arts—ISI Denpasar) has encouraged innovations in language use and performance aesthetics (Marajaya, 2016). Another driving factor is the need to preserve cultural values amid globalization through media that are close to younger audiences. Previous research has largely focused on aesthetic innovation and social criticism in wayang performances such as Wayang Kulit Joblar, Cenk Blonk, and Sidia (Suwija, I. N., Cika, I. W., Ratna, N. K., & Suastika, 2008); (Yulianti & Marhaeni, 2021); (Made Diana Dwi Putra et al., 2013). However, in-depth studies examining the specific role of Basita Paribasa Bali in cultural discourse through wayang media remain limited. There is a gap in stylistic studies of Balinese paribasa that analyze their linguistic forms and functions within the communicative context of Wayang Joblar ABG. Scientifically, this study is significant for filling the gap in stylistic studies of unique linguistic features within Balinese culture. From a practical perspective, the findings may serve as a model for cultural revitalization through creative media, supporting the regeneration of audiences and young dalang in Bali (Putra & Sari, 2019); (Supariadi et al., 2020). Moreover, the empirical results are expected to provide strong justification for policies concerning local language and culture education in institutions such as ISI and cultural agencies. This research is expected to contribute to two main areas: first, to the theoretical development of stylistics and cultural discourse studies on regional proverbs through the analysis of the forms and functions of Basita Paribasa Bali; second, to the practical field by offering a cultural communication strategy through creative media such as modern wayang, which can benefit cultural policymakers and performance practitioners. Accordingly, this study reflects the urgency to preserve and utilize Balinese linguistic and cultural assets through wayang performances. This aligns with the main objectives of the research: (1) to identify the linguistic forms of Basita Paribasa Bali used in the Wayang Joblar ABG performance with the play Tualen Dadi Caru; (2) to analyze the communicative functions of Basita Paribasa Bali in the performance context, including educational, persuasive, social-critical, and entertainment functions; and (3) to explain the role of Basita Paribasa Bali in transmitting 98 TIJOSSW Vol. 7 No. 2, JulyDec 2025, Pages: 96 ~ 107 Balinese cultural values to audiences, particularly the younger generation, through modern wayang media. To support this study, three main theoretical frameworks are employed: (1) Cultural Linguistics Theory. This theory explains the close relationship among language, collective cognition, and cultural systems (Sharifian, 2017); emphasizing that local linguistic expressions— such as idioms, metaphors, and proverbs—encode the cultural values and knowledge systems of their speech communities. In this context, Basita Paribasa Bali functions not only as a tool of communication but also as a repository of values, norms, and ethics of Balinese culture; (2) Functional Pragmatics Theory. This theory is used to analyze the communicative functions of utterances, including intentions, purposes, and effects of Basita Paribasa within wayang discourse. According to (Halliday, 1994), language serves three main metafunctions: ideational, interpersonal, and textual. Basita Paribasa Bali can be analyzed through these three functions in the Wayang Joblar ABG performance; (3)Traditional Stylistics Theory. This theory examines the distinctive linguistic forms and stylistic features in literary or aesthetic expressions. Leech, G. N., & Short, (2007) state that stylistics investigates non-neutral language choices, including diction, metaphor, repetition, and irony for aesthetic and communicative purposes. In this sense, Basita Paribasa Bali, as a distinctive speech style, carries unique rhetorical and artistic elements. These three theories are applied integratively to analyze the data, enabling the study to explain the formal (stylistic), functional (pragmatic), and cultural (cultural-linguistic) dimensions of Basita Paribasa Bali in the Wayang Joblar ABG performance with the play Tualen Dadi Caru. 2. Research Method This study employed a qualitative approach (Moleong, 2017). This approach was chosen because it aimed to understand the form, function, and cultural values of basita paribasa (Balinese proverbs) used in the Wayang Joblar ABG with the play Tualen Dadi Caru performance. The qualitative approach emphasizes in-depth analysis of naturally occurring linguistic data within cultural practices. This research was descriptive-qualitative in nature, adopting a linguistic stylistics and ethnography of communication design. According to Creswell (2014) descriptive-qualitative research involves interpreting the meaning and cultural context embedded in linguistic data. The stylistic design was employed to reveal linguistic features and structural patterns of paribasa, while the ethnography of communication design was used to explore their functions and roles within sociocultural interactions during the performance. The research location included performance venues or digital documentation of Wayang Joblar ABG with the play Tualen Dadi Caru, accessible through cultural events in Bali or digital video archives. The research object was the basita paribasa utterances found in dialogues, narrations, and character conversations within the Wayang Joblar ABG with the play Tualen Dadi Caru performance. The focus was placed on the linguistic forms, pragmatic functions, and cultural meanings of these expressions. Data were collected using several techniques, such as: (1) Observation, both direct and indirect, of Wayang Joblar ABG with the play Tualen Dadi Caru performances, either live or through video documentation, (2) In-depth interviews with dalang (puppet masters), audiences, and cultural experts to understand perceptions and cultural values embedded in the paribasa, (3) Document study, including scripts, transcripts, cultural notes, and publications related to basita 99 Analysis of Balinese Basita Paribasa in Wayang Joblar ABG With the Play Tualen Dadi Caru: A Reflection of Balinese (Nyoman Astawan , Luh De Liska , Dewa Ayu Widiasri, Dewa Ayu Widiasri, Ni Luh Gede Liswahyuningsih) paribasa in Balinese culture, (4) Recording and transcription of linguistic data from the performances for stylistic and pragmatic analysis. The collected data were analyzed through the following steps: (1) Identification and classification of linguistic data, particularly the forms of basita paribasa found in performance transcripts, (2) Stylistic analysis, which included examining diction, metaphors, syntactic structures, and language styles, (3) Pragmatic analysis to identify the communicative functions of the utterances (educational, humorous, critical, advisory, etc.) within the performance context, (4) Cultural meaning interpretation using a linguistic-cultural approach to interpret local values, norms, and ideologies reflected in the data, (5) Data triangulation by cross-checking findings from interviews and documentation to enhance the validity of the results (Moleong, 2017). The main research instrument was the researcher as the key instrument (human instrument), directly involved in observation, interviewing, and data interpretation. Supporting instruments included: (1) Interview guide, (2) Observation sheet, (3) Audio/video recording devices, and (4) Transcription and text analysis templates (Moleong, 2017). To ensure data validity, the following techniques were employed: (1) Source triangulation, by comparing data from observations, interviews, and documentation, (2) Member checking, by confirming interpretive results with informants, (3) Peer discussion, to test the logic and consistency of analysis, (4) Audit trail, through systematic documentation of all data collection and analysis procedures (Sugiyono, 2019). 3. Results and Discussion Research Findings The classification results of the forms, functions, and cultural values presented in Balinese paribasa (proverbs) used in the Wayang Kulit Joblar ABG with the play Tualen Dadi Caru performance are presented in the following table. 1. Sloka No. Balinese Paribasa Quotation Stylistic Structure Communicat ive Function Cultural Values Character/ Speaker Dialogue Context Meaning 1. "Sukem bawantu, Sriem bawantu, Purnem bawantu” Repetition, initial rhyme Inspirational and educative A mantra of reverence for the universe Ki Dalang Safety mantra Silent, full of meaning 2. “Ambek Sang Para martha Pandita wus limpad saking suniate’’ Repetition, end rhyme Inspirational and educative Purity, wisdom Bagawan Narada Advice on the existence of the earth A priest’s behavior must not deviate 3 “Om sukem bawanthu, srirem bhawantu, purnem bhawantu” Repetition, initial rhyme Prayer Safety Dalang Narrative Silent, full of meaning 100 TIJOSSW Vol. 7 No. 2, JulyDec 2025, Pages: 96 ~ 107 2. Sesenggakan No. Balinese Paribasa Quotation Stylistic Structure Communicative Function Cultural Values Character/ Speaker Dialogue Context Meaning 4 “Buaya ngangsar, dandang gemulan” Repetition, end rhyme Inspirational and educative Humor, social critique Tualen & Merdah Verbal exchange between characters Joyful 5 “Nyelati kalung ngoyong ditunggak tiyinge” Repetition, end rhyme Inspirational and educative Wisdom Sangut & Delem Dialogue between characters Prosperous 6 “Care kelian negen memeri muani” Repetition, end rhyme Inspirational and educative Social satire Sangut & Joblar Dialogue between characters Talkative 3. Peparikan No. Balinese Paribasa Quotation Stylistic Structure Communicat ive Function Cultural Values Character /Speaker Dialogue Context Meaning 7. "Enceh Ening" Parallelism , broad metaphor Inspirational and educative Wisdom Tualen Werdah Advice Child 8. “Tan ana wong swasta anulus” Parallelism , broad metaphor Inspirational and educative Wisdom Sangut Joblar Figurative advice No one is perfect 9. “Ing arsa mangun karsa, Ing madya mangun kusuma, Ing ade ape” Broad metaphor Inspirational and educative Satire Sang Suratma Dialogue between characters Talking a lot without results 10 “Jangan menghina lebih baik membina” End-rhyme repetition Inspirational and educative Wisdom Joblar & Sangut Dialogue between characters Advice 11 “Kucoba melempar manggis manga kudapat” End-rhyme repetition Inspirational and educative Humor, social critique Inul & Sangut Dialogue between characters Not yet destined 12 “Semangka ditebe, Kacang mewadah plastik” End-rhyme repetition Inspirational and educative Social critique Sangut & Joblar Dialogue between characters Insult 13 “Danawan, sastrawan, Taiwan” End-rhyme repetition Inspirational and educative Wisdom Sangut & Joblar Dialogue between characters Balance 101 Analysis of Balinese Basita Paribasa in Wayang Joblar ABG With the Play Tualen Dadi Caru: A Reflection of Balinese (Nyoman Astawan , Luh De Liska , Dewa Ayu Widiasri, Dewa Ayu Widiasri, Ni Luh Gede Liswahyuningsih) 4. Sesawangan No . Balinese Paribasa Quotation Stylistic Structure Communic ative Function Cultural Values Character / Speaker Dialogue Context Meaning 14 “Bintang kukus, endag diduwur gununge“ Broad metaphor Inspirational and educative Satire Tualen Verbal exchange between characters Admiration 15 “Adi enggung, aje kolen, kakang mang, Aje doh“ End-rhyme repetition Inspirational and educative Wisdom Delem & Sangut Dialogue between characters Abundance / Having everything 16 “Ana manusia aneh tapi nyata, nyata tapi aneh” End-rhyme repetition Inspirational and educative Social critique Sangut & Raksasa Dialogue between characters Vague / Unclear 5. Raos Ngempelin No. Balinese Paribasa Quotation Stylistic Structure Communicative Function Cultural Values Character/ Speaker Dialogue Context Meaning 17 “Ratu Tebe tara, titiang nunas ica…” Broad metaphor Inspirational and educative Satire Sang Suratma & Atma Humorous interaction between characters Requesting 18 “Tel..tel Ceh ening” Initial repetition Educational Advice Tualen Werdah Dialogue between characters Life 6. Cecangkriman No. Balinese Paribasa Quotation Stylistic Structure Communicative Function Cultural Values Character/ Speaker Dialogue Context Meaning 19 “Manusia Tablit” Broad metaphor Educative Satire Sang Suratma & Atma Humorous interaction Know-itall 7. Sesimbing No. Balinese Paribasa Quotation Stylistic Structur e Communicative Function Cultural Values Character /Speaker Dialogue Context Meaning 20 “Won San hatin cangge jak ci…” Endrhyme repetition Inspirational and educative Social criticism Delem & Sangut Dialogue between characters Complaining 21 “Malam ngambil komputer, siang dihukum” Endrhyme repetition Inspirational and educative Humorous social criticism Joblar & Sangut Dialogue between characters Stealing 102 TIJOSSW Vol. 7 No. 2, JulyDec 2025, Pages: 96 ~ 107 22 “Mangkin sampun sandi kala…” Endrhyme repetition Inspirational and educative Openness Sangut Joblar Sung dialogue between characters Sign of wrongdoing 8. Sesapan No. Balinese Paribasa Quotation Stylistic Structure Communicat ive Function Cultural Values Character/ Speaker Dialogue Context Meaning 23 “Dedarine 2x mengardi tirtha…” Endrhyme repetition Educational– inspirational Sacredn ess Heavenly nymphs Dialogue between characters Safety 24 “Kesamakena moge-moge mangguh kadirgayusan… ” Repetition of sacred rhyme Educational– inspirational Wisdom Dalang Narrative Prayer for safety 25 “Mijil ageni maring siwa dware…” Endrhyme repetition Educational– inspirational Wisdom Dalang Narrative Hope 9. Wewangsalan No. Balinese Paribasa Quotation Stylistic Structure Communicative Function Cultural Values Character/ Speaker Dialogue Context Meaning 26 “Gadang gadang buah bonine…” End-rhyme repetition Educational– inspirational Social criticism Waitress/ Café lady Dialogue between characters Misconduct / inappropriate social behavior 10. Beblabadan No. Balinese Paribasa Quotation Stylistic Structure Communicative Function Cultural Values Character/ Speaker Dialogue Context Meaning 27 “Bale gede meadegan besik” End-rhyme repetition Educational– inspirational Wisdom Sangut & Delem Dialogue between characters Protector 11. Cecimpedan No. Balinese Paribasa Quotation Stylistic Structure Communica tive Function Cultural Values Character/ Speaker Dialogue Context Meaning 28 “Krek-krek ngejohan” End-rhyme repetition Educational– inspirational Wisdom Sangut & Delem Dialogue between characters Cleaning 103 Analysis of Balinese Basita Paribasa in Wayang Joblar ABG With the Play Tualen Dadi Caru: A Reflection of Balinese (Nyoman Astawan , Luh De Liska , Dewa Ayu Widiasri, Dewa Ayu Widiasri, Ni Luh Gede Liswahyuningsih) 29 “Nyemumuk badeng, celek tekejut” End-rhyme repetition Educational– inspirational Wisdom Tuawalen & Delem Dialogue between characters Overheating / feeling overheated 12. Sesonggan No. Balinese Paribasa Quotation Stylistic Structure Communicative Function Cultural Values Character/ Speaker Dialogue Context Meaning 30 “Air tenang menghanyutkan” End-rhyme repetition Educational– inspirational Wisdom Sangut & Joblar Dialogue between characters Dangerous 31 “Buaya ngangsar” End-rhyme repetition Educational Advice Tualen & Werdah Dialogue between characters Be careful / caution 3. Discussion 3.1. Classification of Balinese Paribasa in the Wayang Kulit Joblar ABG Performance The analysis identified twelve types of Balinese Paribasa found in the Wayang Kulit Joblar ABG with the play Tualen Dadi Caru performance, namely sloka, sesenggakan, peparikan, sesawangan, raos ngempelin, cecangkriman, sesimbing, sesapan, wewangsalan, beblabadan, cecimpedan, and sesonggan. For instance, the sloka type is reflected in the utterance “Sukem bawantu, Sriem bawantu, Purnem bawantu,” recited by the dalang as a mantra for protection and well-being. Meanwhile, the sesenggakan type appears in the humorous expression “Buaya ngangsar, dandang gemulan,” delivered by Tualen and Merdah to criticize wasteful behavior in society through satire. 3. 2. Communicative Functions of Paribasa Educational Function, Paribasa serves as a medium of moral and ethical education. For example, the expression “Jangan menghina lebih baik membina” (“Do not insult, better to guide”) emphasizes that nurturing others is more meaningful than criticizing them. This aligns with the traditional function of wayang as a medium for public education. Inspirational Function, several paribasa convey spiritual encouragement and life guidance. The expression “Ambek Sang Para martha Pandita wus limpad saking suniate” asserts that a pandita (spiritual leader) must remain on the path of purity. This reflects the importance of moral exemplarity in Balinese social and religious life. Social Critique Function, social criticism is often conveyed through satire and humor. The saying “Malam ngambil komputer, siang dihukum” explicitly criticizes theft, while “Kucoba melempar manggis manga kudapat” humorously illustrates the inconsistency and irony in social relations. Entertainment Function, humor is the main medium for conveying moral lessons. For example, the expression “Nyelati kalung ngoyong ditunggak tiyinge” (“Trying to lick a necklace hanging from the ceiling”) uttered by Sangut and Delem makes the audience laugh while indirectly communicating messages about prosperity and contentment. 104 TIJOSSW Vol. 7 No. 2, JulyDec 2025, Pages: 96 ~ 107 3. 3. Represented Cultural Values Religiosity and Sacredness; religious values are reflected in paribasa expressed as prayers and mantras. For example, the expression “Kesamakena moge-moge mangguh kadirgayusan, morsatem Jagathita ya ica dahrma” conveys the hope that humans may always be blessed with safety and worldly happiness. Life Wisdom; paribasa functions as a vehicle for imparting life wisdom. The saying “Tan ana wong swasta anulus” (“There is no perfect human being”) teaches humility and self-reflection, reminding individuals to accept imperfection as part of human nature. Social Criticism through Humor; social criticism is vividly expressed through humorous paribasa, such as “Buaya ngangsar, dandang gemulan,” mocking wasteful behavior, and “Gadang gadang buah bonine, pici pici wadah pipis…” depicting moral deviation and social incongruity. Intergenerational Value Transmission; characters like Tualen and Narada frequently use paribasa to give advice to younger characters, such as Merdah or Joblar. For instance, “Enceh Ening” contains parental advice directed at children, demonstrating the function of paribasa as a medium for intergenerational transmission of values. 3. 4. Analytical Summary The Balinese Paribasa featured in Wayang Kulit Joblar ABG with the play Tualen Dadi Caru plays an essential role as a medium of moral education, social critique, spiritual reflection, and reinforcement of Balinese cultural values. The aesthetic dimensions of language, realized through repetition, rhyme, metaphor, and parallelism, enhance the beauty and depth of meaning within each expression. Thus, the wayang kulit performance successfully embodies a harmonious integration of entertainment, guidance, and cultural and spiritual order. 4. Conclusion The analysis of Balinese paribasa (proverbial expressions) in the Wayang Kulit Joblar ABG performance with the play Tualen Dadi Caru revealed that the presence of paribasa serves not merely as a linguistic and aesthetic element but also embodies profound educational, religious, social, and cultural values that are deeply integrated into the performance context. From the perspective of linguistic forms and classifications, twelve types of Paribasa Bali were identified in the performance, namely sloka, sesenggakan, peparikan, sesawangan, raos ngempelin, cecangkriman, sesimbing, sesapan, wewangsalan, beblabadan, cecimpedan, and sesonggan. This diversity reflects the richness of Balinese oral literary traditions that continue to thrive within the art of pedalangan (puppetry). Each type exhibits distinctive linguistic features, such as repetition, parallelism, and extended metaphor, that enhance both the aesthetic and rhetorical quality of the characters’ dialogue. In terms of communicative function, Balinese Paribasa in this performance fulfills four main roles. First, the educational function, which conveys moral and ethical teachings, as reflected in the saying “Jangan menghina lebih baik membina” (“It is better to guide than to insult”), emphasizing tolerance and constructive behavior. Second, the inspirational function, which promotes spiritual awareness and life wisdom, as illustrated in “Ambek Sang Para martha Pandita wus limpad saking suniate”, idealizing the purity and inner sanctity of a priest. Third, the social critique function, expressed through humor and satire, such as “Malam ngambil komputer, siang