Konsep nrimo ing pandum saat ini dianggap tidak relevan oleh kebanyakan orang untuk saat ini, namun terdapat para pelestari budaya wayang kulit di Desa Jleper Kabupaten Demak justru masih memegang teguh konsep nrimo ing pandum meskipun untuk mencukupi kebutuhan terkadang kurang dan percaya rejeki sudah ada yang mengaturnya. Penelitian ini menggunakan metode kualitatif dengan pendekatan fenomenologis deskriptif yang bertujuan mengetahui gambaran penerimaan diri dalam konsep nrimo ing pandum pelestari budaya wayang kulit di Desa Jleper Kabupaten Demak. Subjek dalam penelitian ini berjumlah lima orang. Teknik pengumpulan data menggunakan wawancara dengan teknik purposive sampling. Hasil penelitian ini adalah kelima informan telah menerapkan penerimaan diri dalam konsep nrimo ing pandum sebagai pelestari budaya wayang kulit melalui “wong urep kui arep nguber opo? Yo sak madyane ya sak lakune” jika rejeki sudah ditetapkan sedemikian maka harus diterima dengan keikhlasan, legowo, sabar, dan sikap nrimo. Dalam dunia seni, pendapatan memang penting, tapi pengabdian jauh lebih penting. Tugas utama pelaku seni yaitu mengupayakan agar seni tradisi wayang kulit dapat terus berkembang (eksis) dan semakin dikenal semua kalangan.

ABSTRACT:
The concept of nrimo ing pandum is currently considered irrelevant by most people at this time, but there are preservationists of wayang kulit culture in Jleper Village, Demak Regency who still adhere to the concept of nrimo ing pandum even though it is sometimes not enough to meet their needs and believe that good fortune has already been arranged. This research uses a qualitative method with a descriptive phenomenological approach which aims to find out the picture of self-acceptance in the concept of nrimo ing pandum preserving shadow puppet culture in Jleper Village, Demak Regency. The subjects in this research were five people. Data collection techniques used interviews with purposive sampling techniques. The results of this research are that the five informants have implemented self-acceptance in the concept of nrimo ing pandum as preservers of shadow puppet culture through "wong urep kui arep nguber opo? Yo sak madyane ya saklakune” if good fortune has been determined in such a way then it must be accepted with sincerity, legowo, patience and a caring attitude. In the world of art, income is important, but dedication is much more important. The main task of artists is to ensure that the traditional art of wayang kulit can continue to develop (exist) and become better known to all groups.