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| Wayang golek | |
|---|---|
 | |
| Types | Traditional puppet theatre |
| Ancestor arts | Sundanese people |
| Originating culture | Indonesia |
| Wayang puppet theatre | |
|---|---|
| Country | Indonesia |
| Reference | 00063 |
| Region | Asia and the Pacific |
| Inscription history | |
| Inscription | 2008 (3rd session) |
| List | Representative |
| Wayang Kulit,Wayang Golek,Wayang Klithik | |
Wayang golek (Sundanese:ᮝᮚᮀ ᮍᮧᮜᮦᮊ᮪,romanized: wayang golèk(in thelemes register);[1] is one of the traditionalSundanese puppet arts fromWest Java,Indonesia. In contrast to thewayang art in other areas of Java that use leather in the production ofwayang,wayang golek is a wayang art made of wood.Wayang golek is very popular in West Java, especially in the Pasundan land area.[2][3] Today,wayang golek has become an important part ofSundanese culture.
On November 7, 2003,UNESCO designatedwayang the flat leather shadow puppet (wayang kulit), the flat wooden puppet (wayang klitik), and the three-dimensional wooden puppet (wayang golek) theatre, as aMasterpiece of the Oral and Intangible Heritage of Humanity. In return for the acknowledgment, UNESCO required Indonesians to preserve the tradition.[4]
The termwayang golèk is theSundanese word in thelemes register,[1][5] consisting of two wordswayang (ꦮꦪꦁ) andgolèk (ᮍᮧᮜᮦᮊ᮪).Wayang for "shadow"[6][7] or "imagination" andgolèk for "find wood".[5] The words equivalent inIndonesian arebayang andkayu golek. In modern daily Sundanese and Indonesian vocabulary,wayang can refer to the puppet itself or the whole puppet theatre performance.[1]
The history of thewayang golek began in the 17th century. Initially, thewayang golek art emerged and was born on the north coast of the island ofJava, especially inCirebon, thewayang used is thewayang cepak in the form of apapak or flat head. According to legend, Sunan Suci used this wayang cepak tospread Islam in the community. At that time, thewayang cepak performance still usedCirebonese in its dialogue. Thewayang golek art began to develop in West Java during the expansion of the Mataram sultanate.
Wayang golek began to develop withSundanese as a dialogue. In addition to being a medium for spreading religion,wayang golek serves to complement Thanksgiving or ruwatan events. At that time the puppet show was still without usingsindhen as an accompanist.Wayang golek began using the accompaniment of sinden in the 1920s. Until now thewayang golek continues to develop as entertainment for the community, especially in Sundanese land.
In thiswayang golek show, as with other wayang shows, plays and stories are played by a puppeteer. The difference is the language in the dialogue that is brought is Sundanese. The standard and thewayang golek are also the same aswayang kulit, for example in theRamayana andMahabharata stories. But the difference is in the character of the clown, the naming and form of the clown have their version, namely the Sundanese version.
In addition to theRamayana andMahabharata stories, there are also stories and carangan stories. In thiswayangan story, the mastermind makes his story line which is usually taken from folklore or daily life. in the storycarangan usually contains moral messages, criticism, humor and others. In the story,carangan is not only used to develop the story but also to measure the quality of the mastermind in making the story. In this puppet show besides being accompanied by sinden also accompanied by Sundanesegamelan such assaron, peking, celery,bonang,kenong,gong, rebab, kempul xylophone, drums, and culant drums.
In its development,wayang golek remains one of the traditional arts of the pride of the people of West Java. Provenwayang golek still colors various events such as ruwatan, thanksgiving, and other large events. In addition, some artists continue to develop it with several additional creations to make it look attractive and stay sustainable without eliminating the grip on it.
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