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This research is meant to prove the result of aesthetic aspect in wayang kulit performance of Jawa Timur style categorized as ‘kerakyatan (folk)’ pakeliran. The problem is analyzed based on the concept of ‘garap pakeliran’ offered by Sugeng Nugroho (2012) and the theory belongs to Umar Kayam (1981) concerning arts categorization. The method used is qualitative method with descriptive analysis. The data is collected through library study, documentation studies, interview, and field observation. The research finding shows that the current wayang kulit performance of Jawa Timur style cannot be categorized as folk art but rather to be kitsch. It represents a performing art that always change and move on along the time. It is attempted to be more interesting supposed to be survived and to earn money.Keywords: wayang kulit, Jawa Timuran, performance treatment.

This paper aims to discover the intertextual relationship between the story Banjaran Kunthi and other basic stories which already existed beforehand, and also with a number of classical shadow puppet (wayang purwa) story sources, based on an intertextual theory in a literary study. The results of the research show that banjaran is a form of wayang story which tells about the life of a particular character in a single performance. The ideas, events, characterization, and composition of scenes which make up a banjaran story are the result of a transformation of a series of particular wayang stories, either directly or through a basic story which already existed beforehand. To a certain extent, the scenes in a banjaran story show no coherence with a number of the basic stories which are adopted and the various episodes contained in the series of wayang stories.Keywords: Banjaran Kunthi, story, intertextual relationship.