Widely known as Slamet Haryadi, teacher to many children's puppeteers through Sanggar Pengalasan, a puppeteer's school which he founded and managed with full volunteerism and self-help. Basically, Slamet is a teacher. Bachelor of Education. Not surprisingly, the studio is managed like a "school". The rest, Slamet is also a dance artist. Dancers and choreographers. And, which is much more noted, Slamet is a cultural activist. Throughout his life, he was devoted to serving cultural movements, enlivening the arts in his environment.
Although Slamet pioneered, founded and managed a special "puppeteer school" for children since the 90s, he is still humble in stating that he is not a puppeteer. Even so, Slamet had the courage to accept the puppet master's relay from the cultural heritage of the wayang beber sheet episode "Panji Remeng" in his neighboring village, Bejiharjo. Slamet received the relay from Ki Natasukardiya, a puppeteer from the same village as Wayang Beber, Wiladeg, Karangmojo, Gunungkidul. Every time the wayang beber was opened and played, Ki Slamet Haryadi was asked to be the puppeteer.
At his house, which is also the headquarters of Sanggar Pengalasan, apart from being a place to practice dance and other arts, his focus is on holding a "dalang school", especially for wayang kulit purwa. The students are children from all over Gunungkidul and some come from outside the area. It was Slamet himself who had to prepare the training facilities and infrastructure. Armed with experience as a teacher, although he is not a puppeteer, nor is he a descendant of a puppeteer, Slamet ventured to become a "master puppeteer", to the extent of his knowledge and skills. The basis of having artistic talent, knowledge and skills is also learned and sufficient material is obtained so that methodologically it can be taught, trained and given to students. Slamet was very happy when he started getting attention from various parties to help lighten his load. Even when a number of alumni had graduated from art degrees and were willing to serve as teachers at the Pengasihan Studio, it seemed as if Slamet had received immeasurable happiness.
Slamet structured his dalang school like a formal school. There are levels, there is a curriculum, there are methods, there are media, there are teachers, there is a process of teaching and learning activities, there is an evaluation. Even the education administration system is structured like a school, there is an identification number, a report card, counseling data, graduation certificates, and a list of alumni. At present, a number of Sanggar Pengalasan alumni who have graduated to become graduates in various study programs, there are some who help serve as teachers or mentors in Sanggar Pengalasan. Another important fact is that Slamet is diligent in involving his students in participating in puppeteering competitions at the local, regional and national levels. Many of them won the race and then developed into puppet masters with their age. In fact, graduates of the Reasoning Studio have excelled as puppeteers at the national level, one of whom has even been asked to play wayang in the United States.
As long as he includes his students in the competition arena, Slamet provides additional training portions and directly accompanies them to the competition arena. Slamet never gets tired of accompanying his students to puppetry art competition locations in Yogya, Jakarta or other cities. Slamet very often sends more than one of his students, male or female. If they are deemed sufficient to enter the competition arena, Slamet will motivate them to be brave and happy to enter the competition arena. Slamet never forgets the participation and attention of the dalang little parents. In Slamet's view, the Reasoning Studio, which he manages independently and independently, must receive the support and participation of parents and children. Slamet put forward an atmosphere of dialogue, mutual cooperation, and deliberations with the students' parents. It doesn't cost much to organize learning, but if you have staged or sent a contingent, you will have to pay extra. Slamet never complains or laments, everything is managed with sincerity and the cooperation of various parties. Repeatedly, the students of the Reasoning Studio won the puppeteer competition. This achievement makes Slamet happy but continues to feel that it is not enough because the purpose of the puppetry education that is held is actually to participate in efforts to build national identity through character education through the arts.
Slamet admits that being a puppeteer is not the main goal of learning in his studio. Slamet put more emphasis on growing love among children for their own national culture. Through puppeteer training, or wayang performances, Slamet hopes that his foster children will be able to recognize and love the cultural works of their nation. If necessary, have the experience of being involved in playing it through practicing with psychological readiness and maturity of skills and cognition. Dalang and the world of wayang, according to Slamet, can open children's horizons that broaden their love for music (gamelan), dance moves, sound arts (antawecana, gunem, suluk and song), as well as literary arts (Javanese language) which can spread their influence. on behavior that manifests in social life (etiquette) in children.
Awareness of puppetry as a source of developing a cultural ecosystem in art education for children has become an inherent instinct for din Slamet. Moreover, he is an educator, especially a teacher at SPG, so being close to children is an important part. Slamet is trained and experienced in composing dance choreography for children and students. Likewise, the ballet format for the sake of custom and tradition has become an "art profession" that he has long embraced. However, the space for art learning for children by Slamet is not only done when receiving an incidental performance order. Slamet wants to have something that is routinely done by children in the process of making art. The studio does train tad, but Slamet wants to encourage a greater contribution to art education for children in an everyday setting, in an informal way, and in a fun but sufficient and comprehensive way. The art of puppetry is one option to complement the developmental needs of children's psychological development. In puppetry there are aspects of music, sound, movement, visuals, literature, and acting. That is what drives Slamet to be willing to work hard to revive his studio because children's growth and development requires a touch of art education so that their emotional intelligence can be awakened. The affective and psychomotor approaches are harmonious companions to the cognition approach.
Slamet also became a courtier at Kaprajan and was given the asthma mask of Mas Wedana Dwijawiharja. Born in Gunungkidul, 12 September 1953. Lives in Hamlet Wiladeg RT 02 RW 8, Wiladeg Village, Kapanewon Karangmojo, Gunungkidul.
As a teacher, Slamet is able to reach positions in the education bureaucracy. Apart from being an SPG teacher, Slamet was also a cultural inspector, Head of the Education Office Branch, and most recently as Head of UPT TK and SD. At the same time, Slamet was also active as a board member of Ganasidi Gunungkidul, then Pepadi Gunungkidul, and a member of the board of the Cultural Council. Slamet is also a motorbike from the Laras Jawi Association (gamelan game), the Kendalisada Association (puppet people), and the Pengasasan Studio (children's puppetry). In 2016 Slamet received an award for the development of puppetry from the Regent of Gunungkidul. Received Wayang Beber Preservation Charter, 2008 from the Minister of Tourism and Culture of the Republic of Indonesia. Puppeteer Calk Companion Award (2018) from Yogyakarta State University. Many tad choreographic works have been created and played in the Gunungkidul area for various purposes. The cultural works of the puppeteer educational institution are the footprints of Slamet's progress in serving his life. ***