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| Wayang | |
|---|---|
 | |
| Types | Traditional puppet theatre |
| Ancestor arts | Javanese people |
| Originating culture | Indonesia |
| Originating era | Hindu - Buddhist civilisations |
| Wayang puppet theatre | |
|---|---|
| Country | Indonesia |
| Reference | 00063 |
| Region | Asia and the Pacific |
| Inscription history | |
| Inscription | 2008 (3rd session) |
| List | Representative |
| Wayang kulit (the leather shadow puppet),Wayang klitik (the flat wooden puppet),wayang golek (the three-dimensional wooden puppet) | |
| This article is a part of the series on |
| Indonesian mythology andfolklore |
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Traditional folk religions |
Mythological and folkloric creatures
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Wayang characters |
Rituals and traditions |
Sacred objects |
 Indonesia portal Mythology portal |
Wayang (Javanese:ꦮꦪꦁ,romanized: wayang(in thengoko register),ꦫꦶꦁꦒꦶꦠ꧀,ringgit(in thekrama register))[1] is a traditional form of puppet theatre play originating from theIndonesian island ofJava.[2][3][4]Wayang refers to the entire dramatic show. Sometimes the leather puppet itself is referred to aswayang.[5] Performances of wayang puppet theatre are accompanied by agamelan orchestra inJava, and bygender wayang inBali. The dramatic stories depict mythologies, such as episodes from theHindu epics theRamayana and theMahabharata, as well as local adaptations of cultural legends.[3][6][7] Traditionally, awayang is played out in a ritualized midnight-to-dawn show by adalang, an artist and spiritual leader; people watch the show from both sides of the screen.[3][6]
Wayang performances are still very popular amongIndonesians, especially in the islands of Java and Bali.Wayang performances are usually held at certain rituals, certain ceremonies, certain events, and even tourist attractions. In ritual contexts, puppet shows are used for prayer rituals (held in temples in Bali),[8]ruwatan ritual (cleansingSukerto children from bad luck),[9] andsedekah bumi ritual (thanksgiving to God for the abundant crops).[10] In the context of ceremonies, usually it is used to celebratemantenan (Javanese wedding ceremony) andsunatan (circumcision ceremony). In events, it is used to celebrate Independence Day, the anniversaries of municipalities and companies, birthdays, commemorating certain days, and many more. Even in the modern era with the development of tourism activities,wayang puppet shows are used as cultural tourism attractions.[11]
Wayang traditions includeacting,singing,music,drama,literature,painting,sculpture,carving, andsymbolic arts. The traditions, which have continued to develop over more than a thousand years, are also a medium forinformation,preaching,education,philosophical understanding, andentertainment.[12]
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 on 7 November 2003. In return for the acknowledgment, UNESCO required Indonesians to preserve the tradition.[13]
The termwayang is theJavanese word for 'shadow'[4][14] or 'imagination'. The word's equivalent inIndonesian isbayang. In modern daily Javanese and Indonesian vocabulary,wayang can refer to the puppet itself or the whole puppet theatre performance.[1] The termwayang is used in the Javanesengoko register and itskrama equivalent isringgit.[1]
Wayang is the traditional puppet theatre ofIndonesia.[15][3][6] It is an ancient form of storytelling known for its elaborate puppets and complex musical styles.[16] The earliest evidence ofwayang comes from medieval-era texts and archeological sites dating from late 1st millennium CE. There are four theories concerning wherewayang originated (indigenous to Java; Java–India; India; and China), but of these, two are more favored:Java andIndia.
Regardless of its origins, states Brandon,wayang developed and matured into a Javanese phenomenon. There is no true contemporary puppet shadow artwork in either China or India that has the sophistication, depth, and creativity expressed inwayang in Java, Indonesia.[17]
According to academicJames R. Brandon, the puppets ofwayang are native to Java. He stateswayang is closely related to Javanese socialculture andreligious life, and presents parallel developments from ancient Indonesian culture, such asgamelan, themonetary system, metric forms,batik,astronomy, wet rice field agriculture, andgovernment administration. He asserts thatwayang was not derived from any other type of shadow puppetry of mainland Asia, but was an indigenous creation of theJavanese. Indian puppets differ fromwayang, and allwayang technical terms areJavanese, notSanskrit. Similarly, some of the other technical terms used in thewayang kulit found in Java and Bali are based on local languages, even when the play overlaps with Buddhist or Hindu mythologies.[17]
G. A. J. Hazeu also says thatwayang came from Java. The puppet structure, puppeteering techniques, and storytelling voices, language, and expressions are all composed according to old traditions. The technical design, the style, and the composition of the Javanese plays grew from theworship of ancestors.[citation needed]
J. Kats argues that the technical terms come from Java and thatwayang was born without the help of India.[18] Before the 9th century, it belonged to the Javanese. It was closely related to religious practices, such as incense and night / wandering spirits. Panakawan uses a Javanese name,[clarification needed] different from the Indian heroes.[citation needed]
Kruyt[who?] argues thatwayang originated fromshamanism, and makes comparisons with ancient archipelago ceremonial forms which aim to contact the spirit world by presenting religious poetry praising the greatness of the soul.[citation needed]
Hinduism andBuddhism arrived on the Indonesian islands in the early centuries of the 1st millennium, and along with theology, the peoples of Indonesia and Indian subcontinent exchanged culture, architecture, and traded goods.[17][19][7] Puppet arts and dramatic plays have been documented in ancient Indian texts, dated to the last centuries of the 1st millennium BCE and the early centuries of the Common Era.[20] Further, the eastern coastal region of India (Andhra Pradesh,Odisha, andTamil Nadu), which most interacted with Indonesian islands, has had traditions of intricate, leather-based puppet arts calledtholu bommalata,tholpavakoothu, andrabana chhaya, which share many elements withwayang.[3][21]
Some characters such as the Vidusaka in Sanskrit drama andSemar inwayang are very similar. Indian mythologies and characters from the Hindu epics feature in many majorwayang plays, which suggests possible Indian origins, or at least an influence in the pre-Islamic period of Indonesian history.[17] Jivan Pani states thatwayang developed from two art forms fromOdisha in eastern India: theRavana Chhaya puppet theatre and theChhau dance.[22]
The oldest known record concerningwayang is from the 10th century. In 903 CE, the Dalinan charter was issued by KingBalitung of theSanjaya dynasty of the Ancient Mataram Kingdom. It describes awayang performance:si galigī mavayaṁ buAt thyaṁ macarita bimva ya kumāra, which means 'Galigi held a puppet show, as service to the gods, telling the story of Bima Kumara'.[23] It seems certain features of traditional puppet theatre have survived from that time. Galigi may have been an itinerant performer who was requested to perform for a special royal occasion. At that event he performed a story about the heroBhima from theMahabharata.
Old Javanese inscription called Kuṭi, probably issued in the mid-10th century by Maharaja Sri Lokapala from East Java,[24] mention three sorts of performers:atapukan (lit. 'mask dance show'),aringgit (lit. 'wayang puppet show'), andabanwal /abanol (lit. 'joke art').Ringgit is described in an 11th-century Javanese poem as a leather shadow figure.
Mpu Kanwa, the poet ofAirlangga's court of theKahuripan kingdom, writes in 1035 CE in hiskakawin (narrative poem)Arjunawiwaha, "santoṣâhĕlĕtan kĕlir sira sakêng sang hyang Jagatkāraṇa", which means, "He is steadfast and just awayang screen away from the 'Mover of the World'."[25] Askĕlir is the Javanese word for thewayang screen, the verse eloquently comparing actual life to awayang performance where the almightyJagatkāraṇa (the mover of the world) as the ultimatedalang (puppet master) is just a thin screen away from mortals. This reference towayang as shadow plays suggested thatwayang performance was already familiar in Airlangga's court andwayang tradition had been established in Java, perhaps even earlier. Inscriptions from this period also mention some occupations asawayang andaringgit.[26]
Wayang kulit is a unique form of theatre employing light and shadow. The puppets are crafted from buffalo hide and mounted on bamboo sticks. When held up behind a piece of white cloth, with an electric bulb or an oil lamp as the light source, shadows are cast on the screen. The plays are typically based on romantic tales and religious legends, especially adaptations of the classic Indian epics, theMahabharata and theRamayana. Some of the plays are also based on local stories likePanji tales.[27]
Wayang kulit are without a doubt the best known of the Indonesianwayang.[citation needed]Kulit means 'skin', and refers to the leather construction of the puppets that are carefully chiselled with fine tools, supported with carefully shaped buffalo horn handles and control rods, and painted in beautiful hues, including gold. The stories are usually drawn from the Hindu epics theRamayana and theMahabharata.[28]
There is a family of characters in Javanesewayang calledpunokawan; they are sometimes referred to as "clown-servants" because they normally are associated with the story's hero, and provide humorous and philosophical interludes.Semar is actually the god of love, who has consented to live on earth to help humans. He has three sons: Gareng (the eldest),Petruk (the middle), and Bagong (the youngest). These characters did not originate in the Hindu epics, but were added later.[29] They provide something akin to a politicalcabaret, dealing with gossip and contemporary affairs.[citation needed]
The puppet figures themselves vary from place to place. InCentral Java, the city ofSurakarta (Solo) and city ofYogyakarta have the best-knownwayang traditions, and the most commonly imitated style of puppets. Regional styles of shadow puppets can also be found inTemanggung,West Java,Banyumas,Cirebon,Semarang, andEast Java. Bali'swayang are more compact and naturalistic figures, and Lombok has figures representing real people. Often modern-world objects as bicycles, automobiles, airplanes and ships will be added for comic effect, but for the most part the traditional puppet designs have changed little in the last 300 years.[citation needed]
Historically, the performance consisted of shadows cast by anoil lamp onto a cotton screen. Today, the source of light used inwayang performance in Java is most often a halogen electric light, while Bali still uses the traditional firelight. Some modern forms ofwayang such aswayang sandosa (from Bahasa Indonesia, since it uses the national language of Indonesian instead of Javanese) created in theArt Academy at Surakarta (STSI) employ theatricalspotlights, colored lights, contemporary music, and other innovations.[citation needed]
Making awayang kulit figure that is suitable for a performance involves hand work that takes several weeks, with the artists working together in groups. They start from master models (typically on paper) which are traced out onto skin or parchment, providing the figures with an outline and with indications of any holes that will need to be cut (such as for the mouth or eyes). The figures are then smoothed, usually with a glass bottle, and primed. The structure is inspected and eventually the details are worked through. A further smoothing follows before individual painting, which is undertaken by yet another craftsman.[citation needed]
Finally, the movable parts (upper arms, lower arms with hands and the associated sticks for manipulation) mounted on the body, which has a central staff by which it is held. A crew makes up to ten figures at a time, typically completing that number over the course of a week. However, there is not strong continuing demand for the top skills ofwayang craftspersons and the relatively few experts still skilled at the art sometimes find it difficult to earn a satisfactory income.[30]
The painting of less expensive puppets is handled expediently with a spray technique, using templates, and with a different person handling each color. Less expensive puppets, often sold to children during performances, are sometimes made on cardboard instead of leather.[citation needed]
Wayang golek are three-dimensional wooden rod puppets that are operated from below by a wooden rod that runs through the body to the head, and by sticks connected to the hands. The construction of the puppets contributes to their versatility, expressiveness and aptitude for imitating human dance.wayang golek is mainly associated with theSundanese culture ofWest Java. In Central Java, the woodenwayang is also known aswayang menak (Javanese:ꦮꦪꦁꦩꦺꦤꦏ꧀,romanized: wayang Ménak),[1] which originated fromKudus, Central Java.[citation needed]
Little is known for certain about the history ofwayang golek, but scholars have speculated that it most likely originated in China and arrived in Java sometime in the 17th century. Some of the oldest traditions ofwayang golek are from the north coast of Java in what is called thePasisir region. This is home to some of the oldestMuslim kingdoms in Java and it is likely that thewayang golek grew in popularity through telling thewayang menak stories ofAmir Hamza, the uncle ofMuhammad. These stories are still widely performed in Kabumen, Tegal, and Jepara aswayang golek menak, and inCirebon,wayang golek cepak. Legends about the origins of thewayang golek attribute their invention to the Muslim saintWali Sunan Kudus, who used the medium to proselytize Muslim values.[citation needed]
In the 18th century, the tradition moved into the mountainous region ofPriangan,West Java, where it eventually was used to tell stories of theRamayana and theMahabharata in a tradition now calledwayang golek purwa, which can be found inBandung,Bogor and Jakarta. The adoption of JavaneseMataramkejawen culture by Sundanese aristocrats was probably the remnant of Mataram influence over the Priangan region during the expansive reign ofSultan Agung. While the main characters from theRamayana andMahabharata are similar towayang kulit purwa versions from Central Java, somepunakawan (servants or jesters) were rendered in Sundanese names and characteristics, such as Cepot or Astrajingga as Bagong, and Dawala or Udel as Petruk.Wayang golek purwa has become the most popular form ofwayang golek today.
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Wayang klitik (Javanese:ꦮꦪꦁꦏ꧀ꦭꦶꦛꦶꦏ꧀,romanized: wayang klithik)[1] orwayang krucil (ꦮꦪꦁꦏꦿꦸꦕꦶꦭ꧀)[1] figures occupy a middle ground between the figures ofwayang golek andwayang kulit. They are constructed similarly towayang kulit figures, but from thin pieces of wood instead of leather, and, likewayang kulit figures, are used as shadow puppets. A further similarity is that they are the same smaller size aswayang kulit figures. However, wood is more subject to breakage than leather. During battle scenes,wayang klitik figures often sustain considerable damage, much to the amusement of the public, but in a country in which before 1970 there were no adequate glues available, breakage generally meant an expensive, newly made figure. On this basis thewayang klitik figures, which are to appear in plays where they have to endure battle scenes, have leather arms. The name of these figures is onomotopaeic, from the soundklithik (ꦏ꧀ꦭꦶꦛꦶꦏ)[31] that these figures make when worked by thedalang.
Wayang klitik figures come originally fromeastern Java, where one still finds workshops turning them out. They are less costly to produce thanwayang kulit figures.
The origin of the stories involved in these puppet plays comes from the kingdoms of eastern Java:Jenggala,Kediri andMajapahit. From Jenggala and Kediri come the stories of Raden Panji andCindelaras, which tells of the adventures of a pair of village youngsters with theirfighting cocks. TheDamarwulan presents the stories of a hero from Majapahit. Damarwulan is a clever chap, who with courage, aptitude, intelligence and the assistance of his young lover Anjasmara makes a surprise attack on the neighboring kingdom and brings downMinakjinggo, anAdipati (viceroy) ofBlambangan and mighty enemy of Majapahit's beautiful queenSri Ratu Kencanawungu. As a reward, Damarwulan is married to Kencanawungu and becomes king of Majapahit; he also takes Lady Anjasmara as a second wife. This story is full of love affairs and battles and is very popular with the public. Thedalang is liable to incorporate the latest local gossip and quarrels and work them into the play as comedy.
Wayang beber relies on scroll-painted presentations of the stories being told.[32]Wayang beber has strong similarities to narratives in the form ofillustrated ballads that were common at annual fairs in medieval and early modernEurope. They have also been subject to the same fate—they have nearly vanished, although there are still some groups of artists who supportwayang beber in places such asSurakarta (Solo) in Central Java.[33]Chinese visitors to Java during the 15th century described a storyteller who unrolled scrolls and told stories that made the audience laugh or cry. A few scrolls of images remain from those times, found today in museums. There are two sets, hand-painted on hand-made bark cloth, that are still owned by families who have inherited them from many generations ago, in Pacitan and Wonogiri, both villages in Central Java. Performances, mostly in small open-sided pavilions or auditoriums, take place according to the following pattern:
Thedalang gives a sign, the small gamelan orchestra with drummer and a few knobbed gongs and a musician with arebab (a violin-like instrument held vertically) begins to play, and thedalang unrolls the first scroll of the story. Then, speaking and singing, he narrates the episode in more detail. In this manner, in the course of the evening he unrolls several scrolls one at a time. Each scene in the scrolls represents a story or part of a story. The content of the story typically stems from the Panji romances which are semi-historical legends set in the 12th–13th century East Javanese kingdoms of Jenggala, Daha and Kediri, and also in Bali.[34]
Wayang wong, also known aswayang orang (lit. 'humanwayang'), is a type of Javanese theatrical performance wherein human characters imitate the movements of a puppet show. The show also integrates dance by the human characters into the dramatic performance. It typically shows episodes of theRamayana or theMahabharata.[35]
Wayang topeng (Javanese:ꦮꦪꦁꦠꦺꦴꦥꦺꦁ,romanized: wayang topèng)[36] orwayang gedhog (ꦮꦪꦁꦒꦼꦝꦺꦴꦒ꧀)[1] theatrical performances take themes from thePanji cycle of stories from the kingdom ofJanggala. The players wear masks known aswayang topeng orwayang gedhog. The wordgedhog comes fromkedhok (ꦏꦼꦝꦺꦴꦏ꧀) which, liketopeng, means 'mask'.[37]
Wayang gedhog centers on a love story about Princess Candra Kirana ofKediri and Raden Panji Asmarabangun, the legendary crown prince of Janggala. Candra Kirana was the incarnation ofDewi Ratih (the Hindu goddess of love) and Panji was an incarnation ofKamajaya (the Hindu god of love). Kirana's story has been given the titleSmaradahana ("The fire of love"). At the end of the complicated story they finally marry and bring forth a son named Raja Putra. Originally,wayang wong was performed only as an aristocratic entertainment in the palaces ofYogyakarta andSurakarta. In the course of time, it spread to become a popular and folk form as well.
Wayang characters are derived from several groups of stories and settings. The most popular and the most ancient iswayang purwa, whose story and characters were derived from the Indian Hindu epics theRamayana andMahabharata, set in the ancient kingdoms of Hastinapura, Ayodhya, and Alengkapura (Lanka). Another group of characters is derived from thePanji cycle, natively developed in Java during theKediri Kingdom; these stories are set in the twin Javanese kingdoms ofJanggala and Panjalu (Kediri).
Wayang purwa (Javanese:ꦮꦪꦁꦥꦸꦂꦮ,lit. 'ancientwayang')[1] refer towayang that are based on the Hindu epics theRamayana andMahabharata. They are usually performed aswayang kulit,wayang golek, andwayang wong dance dramas.[38]
InCentral Java, popularwayang kulit characters include the following (Notopertomo & Jatirahayu 2001):[39]
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Derived from thePanji cycles, natively developed in Java during theKediri Kingdom, the story set in the twin Javanese kingdoms ofJanggala and Panjalu (Kediri). Its form of expressions are usually performed aswayang gedhog (lit. 'maskedwayang') andwayang wong dance dramas of Java and Bali.
Menak (Javanese:ꦩꦺꦤꦏ꧀,romanized: Ménak)[40] is a cycle ofwayang puppet plays that feature the heroic exploits of Wong Agung Jayengrana, who is based on the 12th-century Muslim literary heroAmir Hamzah.Menak stories have been performed in the islands of Java and Lombok in the Indonesian archipelago for several hundred years. They are predominantly performed in Java aswayang golek, or wooden rod-puppets, but also can be found on Lombok as the shadow puppet tradition,wayang sasak.[41] Thewayang golek menak tradition most likely originated along the north coast of Java under Chinese Muslim influences and spread East and South and is now most commonly found in the South Coastal region of Kabumen and Yogyakarta.[42]
The wordMénak is a Javanese honorific title that is given to people who are recognized at court for their exemplary character even though they are not nobly born. Jayengrana is just such a character who inspires allegiance and devotion through his selfless modesty and his devotion to a monotheistic faith called the "Religion of Abraham." Jayengrana and his numerous followers do battle with the pagan faiths that threaten their peaceable realm of Koparman. The chief instigator of trouble is Pati Bestak, counselor to King Nuresewan, who goads pagan kings to capture Jayengrana's wife Dewi Munninggar. The pagan Kings eventually fail to capture her and either submit to Jayengrana and renounce their pagan faith or die swiftly in combat.
The literary figure of Amir Hamzah is loosely based on the historic person ofHamza ibn Abdul-Muttalib who was the paternal uncle ofMuhammad. Hamzah was a fierce warrior who fought alongside Muhammad and died in the battle of Uhud in 624 CE. the literary tradition traveled from Persia to India and from then on to Southeast Asia where the court poet Yasadipura I (1729-1802) set down the epic in theJavanese language in theSerat Menak.[43]
[44] The woodenwayang menak is similar in shape towayang golek; it is most prevalent on the northern coast of Central Java, especially theKudus area.
Wayang kancil (Javanese:ꦮꦪꦁꦏꦚ꧀ꦕꦶꦭ꧀) is a type of shadow puppet with the main character ofkancil (Javanese:ꦏꦚ꧀ꦕꦶꦭ꧀)[45] and other animal stories taken fromHitopadeça andTantri Kamandaka.Wayang kancil was created bySunan Giri at the end of the 15th century and is used as a medium for preaching Islam inGresik.[46] The story ofkancil is very popular with the children, has a humorous element, and can be used as a medium of education because the message conveyed through thewayang kancil media is very good for children.[editorializing]Wayang kancil is not different fromwayang kulit;wayang kancil is also made from buffalo skin. Even the playing is not much different, accompanied by agamelan. The language used by the puppeteer depends on the location of the performance and the type of audience. If the audience is a child, generally the puppeteer uses Javanese Ngoko in its entirety, but sometimes Krama Madya and Krama Inggil are inserted in human scenes.The puppets are carved, painted, drawn realistically, and adapted to the puppet performance. The colors in the detail of thewayang kancil sunggingan (Javanese:ꦮꦪꦁꦏꦚ꧀ꦕꦶꦭꦱꦸꦁꦔꦶꦁꦔꦤ꧀) are very interesting and varied. Figures depicted in the form of prey animals such as tigers, elephants, buffaloes, cows, reptiles, and fowl such as crocodiles, lizards, snakes, various types of birds, and other animals related to thekancil tale. There are also human figures, including Pak Tani and Bu Tani, but there are not many human figures narrated. The total number of puppets is only about 100 pieces per set.
The historically popularwayang kulit typically is based on the Hindu epics theMahabharata and theRamayana.[47] In the 1960s, the Christian missionary effort adopted the art form to createwayang wahyu (Javanese:ꦮꦪꦁꦮꦃꦪꦸ). The JavaneseJesuit Brother Timotheus L. Wignyosubroto used the show to communicate to theJavanese and other Indonesians the teachings of theBible and of theCatholic Church in a manner accessible to the audience.[47] Similarly,wayang sadat (ꦮꦪꦁꦱꦢꦠ꧀) has deployedwayang for the religious teachings of Islam, whilewayang Pancasila (ꦮꦪꦁꦥꦚ꧀ꦕꦱꦶꦭ)[1] has used it as a medium for national politics.[47]
There have also been attempts to retell modern fiction with the art ofwayang, most famouslyStar Wars as done by Malaysians Tintuoy Chuo and Dalang Pak Dain.[48]
Its initial function,wayang is a ritual intended for ancestral spirits of thehyang belief. Furthermore,wayang undergoes a shift in role, namely as a medium for social communication. The plays that are performed in thewayang, usually hold several values, such aseducation,culture, and teachings ofphilosophy.Wayang functions as an effective medium in conveying messages, information, and lessons.Wayang was used as an effective medium in spreadingreligions ranging fromHinduism toIslam. Because of the flexibility ofwayang puppets, they still exist today and are used for various purposes.Wayang functions can be grouped into three, namely:
Wayang is a performance medium that can contain all aspects of human life. Human thoughts, whether related toideology,politics,economy,social,culture,law,defense, andsecurity, can be contained inwayang. In thewayang puppets contain order, namely anorm or convention that containsethics (moralphilosophy). These norms or conventions are agreed upon and used as guidelines for the mastermind artists. In the puppet show, there are rules of the game along with the procedures for puppetry and how to play the puppet, from generation to generation and tradition, over time it becomes something that is agreed upon as a guideline (convention).
Wayang is an educational medium that focuses on moral and character education. Character education is something that is urgent and fundamental; character education can form a person who has good behavior.[49]
Wayang is a communicative medium in society.Wayang is used as a means of understanding a tradition, an approach to society, lighting,[clarification needed] and disseminating values.Wayang as a medium for character education lies not only in the elements of the story, the stage, the instruments, and the art of puppetry, but also the embodiment of values in eachwayang character. The embodiment ofwayang characters can describe a person's character. From the puppet one can learn aboutleadership,courage,determination,honesty, andsincerity. Apart from that, the puppets can reflect the nature ofanger, namelygreed, jealousy, envy,cruelty, andambition.[49]
Wayang puppet performances are a form of entertainment (tontonan) for the community.Wayang performances in the form of theatre performances are still very popular especially in the islands of Java and Bali. Puppet shows are still the favorite of the community and are often included inTV,radio,YouTube, and othersocial media.Wayang performances present a variety of arts such as drama, music, dance, literary arts, and fine arts. Dialogue between characters, narrative expressions (janturan,pocapan,carita),suluk,kombangan,dhodhogan, andkepyakan are important elements inwayang performances.[49]
Thedalang, sometimes referred to asdhalang orkawi dalang, is the puppeteer behind the performance.[3][6][50] It is he who sits behind the screen, sings and narrates the dialogues of different characters of the story.[51] With a traditional orchestra in the background to provide a resonant melody and its conventional rhythm, thedalang modulates his voice to create suspense, thus heightening the drama. Invariably, the play climaxes with the triumph of good over evil. Thedalang is highly respected in Indonesian culture for his knowledge, art and as a spiritual person capable of bringing to life the spiritual stories in the religious epics.[3][6][51]
The figures of thewayang are also present in the paintings of that time, for example, the roof murals of the courtroom inKlungkung, Bali. They are still present in traditional Balinese painting today. The figures are painted, flat (5 to at most 15 mm — about half an inch — thick) woodcarvings with movable arms. The head is solidly attached to the body.Wayang klitik can be used to perform puppet plays either during the day or at night. This type ofwayang is relatively rare.[citation needed]
Wayang today is both the most ancient and the most popular form of puppet theatre in the world. Hundreds of people will stay up all night long to watch the superstar performers,dalang, who command extravagant fees and are international celebrities. Some of the most famousdalang in recent history are Ki Nartosabdho, Ki Anom Suroto, KiAsep Sunandar Sunarya, Ki Sugino, and Ki Manteb Sudarsono.[citation needed]
PasindhènPesindhén orsindhén (from Javanese) is the term for a woman who sings to accompany a gamelan orchestra, generally as the sole singer. A good singer must have extensive communication skills and good vocal skills as well as the ability to sing many songs. The titleSinden comes from the wordPasindhian which means 'rich in songs' or 'who sing the song'.Pesindhen can be interpreted as someone singing a song. In addition,sinden is also commonly referred to aswaranggana which is taken from a combination of the wordswara andanggana. The wordwara itself means 'someone who is female' andanggana which means 'itself'; in ancient times, thewaranggana was the only woman in thewayang orklenengan performance.
Wiyaga is a term in the musical arts which means a group of people who have special skills playing the gamelan, especially in accompanying traditional ceremonies and performing arts.Wiyaga is also calledniyaga ornayaga which means 'gamelan musician'.
TheWayang Museum is located in the tourist area of theKota Tua Jakarta (old city) in Jalan Pintu Besar Utara No.27, Jakarta 11110, Indonesia. The Wayang Museum is adjacent to the Jakarta Historical Museum.[52]
This museum has various types of Indonesianwayang collections such aswayang kulit,wayang golek,wayang klitik,wayang suket,wayang beber, and another Indonesianwayang.[clarification needed] There is also a collection of masks (topeng),gamelan, andwayang paintings. The collections are not only from Indonesia, but there are many collections of puppets from various countries such asMalaysia,Thailand,Cambodia,Suriname,China,Vietnam,France,India,Turkey, and many other countries.
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