The study aimed to determine the response of growth and production of peanuts to the provision of goat manure and banana hump liquid organic fertilizer. This study used a Randomized Block Design (RBD) with 3 replications. Factorial consisting of II treatment factors, Factor I treatment of giving goat manure and Factor II, the treatment of Hump Banana POC treatment The parameters observed in this study; Plant height (cm), number of branches (branches), number of pods per sample (fruit), wet weight of production per sample (g), wet weight of production per plot (g), production dry weight per sample (g), and dry weight Production Per Plot (g). The results showed that goat manure had an effect on growth but did not affect the production of peanut plants, liquid organic fertilizer of banana humps had an influence on the growth and production of peanut plants, Combination of goat manure and banana hump liquid organic fertilizer had no significant effect on growth and production of peanut plants.

Penerapan One Village One Product (OVOP) di Indonesia mengadopsi OVOP di Jepang. Diinisiasi oleh Kementerian Perindustrian Republik Indonesia, OVOP merupakanpendekatan dalam mengembangkan Industri Kecil Menengah (IKM), khususnya IKM bidang kerajinan, dengan produk unggulan tertentu termasuk di Kasongan dengan produk unggulan gerabah. Dengan mengacu pada keberhasilan OVOP di Jepang, penerapanOVOP di Kasongan tidak bisa lepas dari prinsip dasar OVOP. Penerapan OVOP diKasongan juga merupakan salah satu strategi pengembangan Klaster IKM Gerabah diKasongan melalui peningkatan daya saing sehingga efektivitas dan efisiensiimplementasinya harus dievaluasi. Penelitian ini bertujuan untuk menganalisis danmengevaluasi implementasi program OVOP di Kasongan yang selanjutnya dihasilkanrekomendasi. Penelitian ini menggunakan pendekatan kualitatif yang menitikberatkan padametode triangulasi dalam menganalisis data. Metode pengumpulan data primer dilakukanmelalui wawancara semi terstruktur dengan narasumber baik dari unsur pengelola OVOPdi Kasongan dan unsur IKM Gerabah di Kasongan peserta program. Data hasil wawancaradireduksi ke dalam tabel dan kemudian dianalisis. Data sekunder berasal dari datadokumentasi dan studi pustaka. Dari analisis data ditemukan bahwa implementasi ProgramOVOP di Kasongan belum dilengkapi dengan buku petunjuk teknis OVOP dan sangatbergantung pada keberadaan seorang tokoh. Prinsip Local but Global, prinsip Self relianceand creativity, dan prinsip Human resource development yang seharusnya ada ternyatabelum sepenuhnya dilakukan. Dengan kata lain, implementasi Program OVOP diKasongan belum sesuai dengan prinsip dasar OVOP. Ketidaksesuaian ini menjadikanProgram OVOP belum efektif dan efisien sebagai sebuah strategi pengembangan IKMsebagaimana yang diharapkan oleh Kementerian Perindustrian. Dalam hal ini,implementasi Program OVOP di Kasongan belum efektif dan efisien dari aspek pencapaian tujuan, integrasi, dan adaptasi. The implementation of One Village One Product (OVOP) in Indonesia adopts OVOP in Japan. Initiated by Ministry of Industry of the Republic of Indonesia, OVOP is the approach in developing Small and Medium Industries, particularly in the field of handicraft with certain featured product, including Kasongan with pottery as its featured product. By referring to the success of OVOP in Japan, the implementation of OVOP in Kasongan cannot be separated from the basic principles of OVOP. The implementation of OVOP in Kasongan is one of development strategies for cluster of Small and Medium Industries in the field of Pottery in Kasongan through the improvement of competitiveness, so effectiveness and efficiency of its implementation must be evaluated. This research aims to analyze and evaluate the implementation of OVOP program in Kasongan which then results in the recommendation. This research used the qualitative approach which focuses ontriangulation method in analyzing data. The method of primary data collection wasimplemented through a semi-structured interview with informants from the management ofOVOP in Kasongan and Small and Medium Industries of Pottery in Kasongan as theparticipants of program. The data of interview were reduced into table and analyzed. Thesecondary data are from documentation and literature review. From the data analysis, it isfound that the implementation of OVOP Program in Kasongan is not yet completed with thebook of technical instruction of OVOP and it highly depends on the existence of a figureThe principles of Local but Global, Self-reliance and creativity, and Human resourcedevelopment should exist, but they are not yet fully implemented. In other words, theimplementation of OVOP program in Kasongan is not yet in accordance with the basic principles of OVOP. This inconsistency makes OVOP Program ineffective and inefficient asa development strategy of Small and Medium Industries as expected by Ministry of IndustryIn this case, implementation of OVOP Program in Kasongan is not yet effective and efficientviewed from the aspects of goal achievement, integration, and adaptation.

AbstrackRelationship of Bima and Drona in Dewa Ruci story is unique. Eventhough Drona puts Bima into danger, Bima chooses Drona as a teacher. It is because Bima has not obtained a very good spiritual knowledge about life yet since a hero is supposed to have high spiritual qualities and good prayers. The wayang tradition describes Bima as a cruel hero who is not religious, and Drona does not have good brahman qualifications, either. This leads to an assumption that their relationship must be important and meaningful. The question is what does the relationship between Bima-Drona mean, namely Bima as the learner who becomes the recipient of spiritual knowledge of welfare and Drona as his teacher? With structural mythological analysis, it can be concluded that the relationshp between Bima-Drona is an identification of Vãyu-Vãta as the transformation of prana in the Syiwapuja rituals. AbstrakBima dan Drona dalam cerita Dewa Ruci adalah hubungan yang unik. Meski Drona menjerumuskan Bima, namun Bima memilih Drona sebagai guru. Apalagi hal yang berhubungan dengan pengetahuan spiritual yang sangat baik tentang kehidupan, di mana dapat ditemukan oleh pahlawan yang memiliki kualitas spiritual yang tinggi, doa yang baik, tetapi Bima belum. Tradisi wayang memaparkan bahwa Bima adalah pahlawan yang kejam, tidak berkarakter religius dan Drona belum memiliki kualifikasi brahmana yang baik. Fenomena itu memunculkan asumsi bahwa hubungan tersebut pasti bermakna. Pertanyaannya adalah apa arti Bima-Drona, yaitu Bima sebagai penerima pengetahuan spiritual tentang kesejahteraan dan Drona sebagai gurunya? Dengan analisis mitologi struktural dapat disimpulkan bahwa Bima-Drona adalah identifikasi Vãyu-Vãta sebagai transformasi prãna dalam upacara ritual Syiwapuja.

Antansena adalah putra Dewi Urangayu, salah satu istri Bima. Dia adalah karakter yang unik di dunia wayangNgayogyakarta. Sebagai seorang ksatria Pandawa, Antasena mewakili kekuatan dan kebijaksanaan, rendah hati, danunik. Dia memiliki perilaku yang aneh terhadap saudara yang lain. Dia tidak pernah berkata sopan kepada siapapun, seperti Bima, ayahnya. Dia memiliki karakter yang khas yang tidak ditemukan dalam tradisi Mahabharata atautradisi wayang lainnya. Keberadaannya dilengkapi dengan karakternya, sejarah, dan kehidupan dari lahir sampaimati di dunia. Antasena yang benar-benar dibuat untuk menempatkan ide. Melalui mitologi wayang, karakterAntasena dari aspek kedatangannya adalah identifi kasi laut sebagai budaya Jawa akan menjelaskan konsep ’JembarTanpa pagut’, kualitas jiwa yang harus dibangun oleh orang Jawa untuk menghadapi kehidupan. Melalui hubungananalogi tersebut, kehidupan nyata orang Jawa harus memahami diri mereka ke tempat itu.Kata kunci: Antasena, wayang, konsep ’jembar tanpa pagut’ABSTRACTThe Antasena Play: ”Jembar Tanpa Pagut” Concept in Wayang Ngayogyakarta Tradition. Antansena was Dewi Urangayu’s son, one of Bima’s wives. He was a unique character in Ngayogyakarta wayang world. As a Pandawa knight, Antasena represented a powerful, wise, low-profi le but unique knight. He had such an odd behavior against his other brothers’. He never said politely to anyone, just like Bima, his father. He is the specifi c character in Ngayogykarata wayang tradition, because it will not be found in Mahabharata tradition or other wayang traditions. His existence comes with his character, history, and life from birth to death in wayang world. As a culture, Antasena is absolutely made for placing an idea. Through wayang mythology, a mean in Antasena character from his coming aspect is an identifi cation of ocean as Javaneses culture would explain the concept of ‘jembar tanpa pagut’, a soul quality which must be built by Javaneses to face life. Through such analogy relation, Indonesian’s real life (especially Javaneses) should understand themselves to place it.Keywords: Antasena, ocean aspect, ”jembar tanpa pagut” concept, life quality perfection leading.

Wahyu Cakraningrat Play in Structuralism Paradigm. Lakon Wahyu Cakraningrat as a cultural phenomenonis basically a means of communication between composer with readers, viewers and listeners to the puppeteer.It is created by using a symbol system in the puppet, so that in every play of puppet, it always contains the meaningwhich can be known and understood well by the composer, puppeteer, and the community. These rules manage thesystem of symbols in the phenomenon of puppet plays, in their capacity as the “grammar” puppet plays with usingLevi-Strauss’s structuralism paradigm. This is going to be gained the interpretation that Lakon Wahyu Cakraningratis a work of art presenting some knowledge of Javanese culture.