Wayang

thumb| performance by the famous Indonesian (puppet master) [[Manteb Soedharsono, with the story "Gathutkaca Winisuda", in Bentara Budaya Jakarta, Indonesia, on 31 July 2010]]

( , ) is a traditional Javanese form of puppet theatre. The term refers both to the show as a whole and the puppet in particular. Performances of wayang puppet theatre are accompanied by a gamelan orchestra in Java, and by gender wayang in Bali. The dramatic stories depict mythologies, such as episodes from the Hindu epics the Ramayana and the Mahabharata, as well as local adaptations of cultural legends. Traditionally, a is played out in a ritualized midnight-to-dawn show by a , an artist and spiritual leader; people watch the show from both sides of the screen. ritual (cleansing children from bad luck), and ritual (thanksgiving to God for the abundant crops). In the context of ceremonies, usually it is used to celebrate (Javanese wedding ceremony) and (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, puppet shows are used as cultural tourism attractions.

Etymology

The term is the Javanese word for 'shadow' or 'imagination'. The term is used in the Javanese ngoko register and its equivalent is . By at least around 200 BCE, the figures on cloth seem to have been replaced with puppetry in Telugu Indian tholu bommalata shows. These are performed behind a thin screen with flat, jointed puppets made of colorfully painted transparent leather. The puppets are held close to the screen and lit from behind, while hands and arms are manipulated with attached canes and lower legs swinging freely from the knee.

Regardless of its origins, developed and matured into a Javanese phenomenon. Theater scholar James Brandon argues that there is no true contemporary puppet shadow artwork in either China or India that has the sophistication, depth, and creativity expressed in in Java, Indonesia. 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, different from the Indian heroes.

A. C. Kruyt argues that originated from shamanism, 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.

thumb|, a Javanese oil lamp in the form of the mythical [[Garuda bird for performances, before 1924]]

Origin in India

Hinduism and Buddhism 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. Further, the eastern coastal region of India (Andhra Pradesh, Odisha, and Tamil Nadu), which most interacted with Indonesian islands, has had traditions of intricate, leather-based puppet arts called tholu bommalata, tholpavakoothu, and rabana chhaya, which share many elements with .

Some characters such as the Vidusaka in Sanskrit drama and Semar in are very similar. Indian mythologies and characters from the Hindu epics feature in many major plays, which suggests possible Indian origins, or at least an influence in the pre-Islamic period of Indonesian history.

Records

The oldest known record concerning is from the 10th century. In 903 CE, the Dalinan charter was issued by King Balitung of the Sanjaya dynasty of the Ancient Mataram Kingdom. It describes a wayang performance: , which means 'Galigi held a puppet show, as service to the gods, telling the story of Bima Kumara'. 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 hero Bhima from the Mahabharata.

Old Javanese inscription called Kuṭi, probably issued in the mid-10th century by Maharaja Sri Lokapala from East Java, mention three sorts of performers: (), (), and / (). is described in an 11th-century Javanese poem as a leather shadow figure.

thumb|600px|Palm leaves manuscript of [[kakawin Arjunawiwaha is written by Mpu Kanwa in 1035 CE|center]]

Mpu Kanwa, the poet of Airlangga's court of the Kahuripan kingdom, writes in 1035 CE in his kakawin (narrative poem) Arjunawiwaha, "", which means, "He is steadfast and just a screen away from the 'Mover of the World'." As is the Javanese word for the screen, the verse eloquently comparing actual life to a performance where the almighty (the mover of the world) as the ultimate (puppet master) is just a thin screen away from mortals. This reference to as shadow plays suggested that performance was already familiar in Airlangga's court and tradition had been established in Java, perhaps even earlier. Inscriptions from this period also mention some occupations as and .

File:COLLECTIE TROPENMUSEUM Yogyakarta Midden-Java. Opvoering van Wajang Kulit spel met Gamelanbegeleiding ter gelegenheid van de vijftienjarige troonsverheffing van HB VIII in zijn oude huis op Sompilan 12 Ngasem TMnr 60043327.jpg| performance with gamelan accompaniment in the context of the appointment of the throne for Hamengkubuwono VIII's fifteen years in Yogyakarta, between 1900 and 1940

File:COLLECTIE TROPENMUSEUM Een poppenspeler tijdens een wajang golek voorstelling TMnr 60031943.jpg|A (puppeteer) in a (wooden puppet) performance, between 1880 and 1910

File:KITLV 3953 - Kassian Céphas - Wayang beber performance of the desa Gelaran at the home of Dr. Wahidin Soedirohoesoedo at Yogyakarta in the middle Dr. GAJ Hazeu - Around 1902.tif| performance of the desa Gelaran at the home of Dr. Wahidin Soedirohoesodo at Yogyakarta; in the middle Dr. GAJ Hazeu, Dutch East Indies, in 1902

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Art form

Wayang kulit

thumb|300x300px|A (puppet master) depicting a fight in a performance

thumb|There are three main components of shows including , [[gamelan (music and sindhen), and itself|300x300px]]

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 historically popular typically is based on the Hindu epics the Mahabharata and the Ramayana. Some of the plays are also based on local stories like Panji tales.

are without a doubt the best known of the Indonesian . 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 the Ramayana and the Mahabharata.

There is a family of characters in Javanese called punokawan; 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. They provide something akin to a political cabaret, dealing with gossip and contemporary affairs.

The puppet figures themselves vary from place to place. In Central Java, the city of Surakarta (Solo) and city of Yogyakarta have the best-known traditions, and the most commonly imitated style of puppets. Regional styles of shadow puppets can also be found in Temanggung, West Java, Banyumas, Cirebon, Semarang, and East Java. Bali's 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.

thumb|300x300px|A (leather shadow puppet) performance using (thin fabric) as a border between the puppeteer () who plays the puppets and the audience

Historically, the performance consisted of shadows cast by an oil lamp onto a cotton screen. Today, the source of light used in performance in Java is most often a halogen electric light, while Bali still uses the traditional firelight. Some modern forms of such as (from Bahasa Indonesia, since it uses the national language of Indonesian instead of Javanese) created in the Art Academy at Surakarta (STSI) employ theatrical spotlights, colored lights, contemporary music, and other innovations.

Making a 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.

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 of craftspersons and the relatively few experts still skilled at the art sometimes find it difficult to earn a satisfactory income.

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.

File:COLLECTIE TROPENMUSEUM Wajang kulit pop voorstellende Kumbakarna. TMnr 8-276.jpg|Kumbakarna, Tropenmuseum collection, Indonesia, before 1914

File:COLLECTIE TROPENMUSEUM Wajangfiguur van perkament voorstellende Gatot Kaca TMnr 8-273.jpg|Gatot Kaca, Tropenmuseum collection, Indonesia, before 1914

File:COLLECTIE TROPENMUSEUM Wajangpop van karbouwenhuid voorstellende Wibisana TMnr 809-29a.jpg|Wibisana, Tropenmuseum collection, Indonesia, before 1933

File:COLLECTIE TROPENMUSEUM Wajangpop TMnr 4833-101.jpg|Princess Shinta, Tropenmuseum collection, Indonesia, before 1983

File:COLLECTIE TROPENMUSEUM Wajang kulit pop voorstellende Yudhistira TMnr 8-264.jpg|Yudhishthira, Tropenmuseum collection, Indonesia, before 1914

File:COLLECTIE TROPENMUSEUM Wajangfiguur voorstellende de hemelnymf Dewi Tari TMnr 883-13.jpg|Princess Tari, Tropenmuseum collection, Indonesia, before 1934

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Wayang golek

thumb|left|300x300px| performance (3D wooden puppet), [[Indonesia]]

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. is mainly associated with the Sundanese culture of West Java. In Central Java, the wooden is also known as (), has strong similarities to narratives in the form of illustrated ballads that were common at annual fairs in medieval and early modern Europe. They have also been subject to the same fate—they have nearly vanished, although there are still some groups of artists who support in places such as Surakarta (Solo) in Central Java.

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:

The gives a sign, the small gamelan orchestra with drummer and a few knobbed gongs and a musician with a (a violin-like instrument held vertically) begins to play, and the 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.

File:Abb32,Gedompol.jpg|Final fight in alun-alun in Kediri, East Java. Tawang Alun kills Klana. Indonesia 17th century

File:Abb36,Gedompol.jpg|Princess Sekar Taji, mbok Kili (left), and Ganda Ripa or Panji (right) in the palace in Kediri, 17th century

File:Abb43,Geleran.jpg|Radèn Gunung Sari on horse says goodbye to his advisers Tratag and Gimeng before travelling to princess Kumuda Ningrat, 18th century

File:Abb17,Gedompol.jpg|Princess Sekar Taji and Panji meet in Paluhamba market, 17th century

File:Abb31,Gedompol.jpg|Princess Sekar Taji in palace garden approached by Klana, 17th century

File:Abb68;Gelaran.jpg|Competition between Panji Sepuh (left) and Jaya Puspita (right), 18th century

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Wayang wong

thumb|[[Rama and Shinta in a Ramayana Ballet performance]]

, also known as (), 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 the Ramayana or the Mahabharata.

In Central Java, popular characters include:

;Satriya

Bima
Arjuna
Dursasana
Nakula
Sadewa
Antareja
Ghatotkaca
Antasena
Abimanyu
Wisanggeni
Irawan
Sumantri
Wibisana

;Raja

Arjuna Sasrabahu
Rama Wijaya
Dasamuka
Destarata
Pandu Dewanata
Subali and Sugriwa
Barata
Baladewa
Duryudana
Kresna
Karna
Yudhistira

;Dewa

Sang Hyang Tunggal
Sang Hyang Wenang
Batara Narada
Batara Guru
Dewa Ruci
Batara Indra
Batara Surya
Batara Wisnu
Sang Hyang Nagaraja
Lembu Andini
Batara Ganesha

;Resi

Anoman
Bhisma
Durna
Rama Bargawa

;Putri

Sinta
Kunti
Drupadi
Sumbadra
Srikandi

;Abdi

Semar
Gareng
Petruk
Bagong

;Raksasa

Kumbakarna
Sarpakanaka
Indrajit Megananda
Sukrasana
Kalabendana
Cakil

File:COLLECTIE TROPENMUSEUM Wajangfiguur voorstellende Anggada TMnr 15-954-31.jpg| Anggada, Tropenmuseum collection, Indonesia, before 1900

File:COLLECTIE TROPENMUSEUM Wajangfiguur voorstellende Jayadrata TMnr 15-954-23.jpg| Jayadrata, Tropenmuseum collection, Indonesia, before 1900

File:COLLECTIE TROPENMUSEUM Wajangfiguur voorstellende Kendran TMnr 15-954-13.jpg| Kendran, Tropenmuseum collection, Indonesia, before 1900

File:COLLECTIE TROPENMUSEUM Wajangfiguur voorstellende Sangruda TMnr 15-954-40.jpg| Sangruda, Tropenmuseum collection, Indonesia, before 1900

File:COLLECTIE TROPENMUSEUM Wajangfiguur voorstellende Duryadana TMnr 15-954-91.jpg| Duryadana, Tropenmuseum collection, Indonesia, before 1900

File:COLLECTIE TROPENMUSEUM Wajangfiguur voorstellende Gatakaca TMnr 15-954-93.jpg| Gatakaca, Tropenmuseum collection, Indonesia, before 1900

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Wayang panji

Derived from the Panji cycles, natively developed in Java during the Kediri Kingdom, the story set in the twin Javanese kingdoms of Janggala and Panjalu (Kediri). Its form of expressions are usually performed as () and dance dramas of Java and Bali.

Raden Panji, alias Panji Asmoro Bangun, alias Panji Kuda Wanengpati, alias Inu Kertapati
Galuh Chandra Kirana, alias Sekartaji
Panji Semirang, alias Kuda Narawangsa, the male disguise of Princess Kirana
Anggraeni

Wayang Menak

thumb|right|260px| Amir Hamzah manuscripts, before 1792.

() The 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.

The word 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 of Hamza ibn Abdul-Muttalib who was the paternal uncle of Muhammad. 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 the Javanese language in the Serat Menak.

The wooden is similar in shape to ; it is most prevalent on the northern coast of Central Java, especially the Kudus area.

Wong Agung Jayengrana/Amir Ambyah/Amir Hamzah
Prabu Nursewan
Umar Maya
Umar Madi
Dewi Retna Muninggar

File:COLLECTIE TROPENMUSEUM Houten wajangpop Amir Hamza alias Menak alias Jayengrana voorstellend TMnr 6148-5-4a.jpg|, Jayengrana, a collection from Tropenmuseum, the Netherlands, before 2003

File:COLLECTIE TROPENMUSEUM Houten wajangpop Umarmaya voorstellende TMnr 6148-5-1a.jpg|, Umarmaya, a collection at Tropenmuseum, the Netherlands, before 2003

File:COLLECTIE TROPENMUSEUM Houten wajangpop TMnr 6148-5-7.jpg|, Umarmadi, a collection at Tropenmuseum, the Netherlands, before 2003

File:COLLECTIE TROPENMUSEUM Houten wajangpop TMnr 6148-5-5.jpg|, Jiweng, a collection at Tropenmuseum, the Netherlands, before 2003

File:COLLECTIE TROPENMUSEUM Houten wajangpop TMnr 6148-5-6a.jpg|, Putri Murtinjung, a collection at Tropenmuseum, the Netherlands, before 2003

File:COLLECTIE TROPENMUSEUM Houten wajangpop TMnr 6148-5-8a.jpg|, King Maktal (Albania), a collection at Tropenmuseum, the Netherlands, before 2003

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Wayang kancil

() is a type of shadow puppet with the main character of () The story of is very popular with the children, has a humorous element, and can be used as a medium of education because the message conveyed through the media is very good for children. is not different from ; is also made from buffalo skin. Even the playing is not much different, accompanied by a gamelan. 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 the () 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 the 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.

File:COLLECTIE TROPENMUSEUM Wajang Kantjil pop dwerghert TMnr 6189-5.jpg|

File:COLLECTIE TROPENMUSEUM Wajang Kantjil pop hond TMnr 6189-4.jpg|

File:COLLECTIE TROPENMUSEUM Wajang Kantjil pop tijger TMnr 6189-6.jpg|

File:COLLECTIE TROPENMUSEUM Wajang Kantjil pop krokodil TMnr 6189-7.jpg|

File:COLLECTIE TROPENMUSEUM Wajang Kantjil pop slak TMnr 6189-9.jpg|

File:COLLECTIE TROPENMUSEUM Wajang Kantjil pop dochter van de boer TMnr 6189-3.jpg|

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Contemporary retellings

thumb|

In the 1960s, the Christian missionary effort adopted the art form to create (). The Javanese Jesuit Brother Timotheus L. Wignyosubroto used the show to communicate to the Javanese and other Indonesians the teachings of the Bible and of the Catholic Church in a manner accessible to the audience.

Artist

Dalang

thumb|300px| (puppet master), (traditional Javanese singer), and (gamelan musicians) in a show in [[Java]]

thumb|300px|The front view of the Wayang Museum seen from [[Fatahillah Square ()]]

The , sometimes referred to as or , is the puppeteer behind the performance. It is he who sits behind the screen, sings and narrates the dialogues of different characters of the story. With a traditional orchestra in the background to provide a resonant melody and its conventional rhythm, the dalang modulates his voice to create suspense, thus heightening the drama. Invariably, the play climaxes with the triumph of good over evil. The 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.

The Wayang Museum is located in Kota Tua Jakarta near the Jakarta History Museum.

Gallery

File:Wayang Painting of Bharatayudha Battle.jpg| glass painting depiction of Bharatayudha battle.

File:Gong Chimes and percussion, Musical Instrument Museum, Phoenix, Arizona.jpg|A set and a gamelan ensemble collection, Indonesia section at the Musical Instrument Museum, Phoenix, Arizona, United States.

File:SANG DALANG.jpg|A show in Java, Indonesia, presenting a puppet.

File:Dalang.jpg| (3D wooden puppet), Gatot Kaca, Indonesia in 2017.

File:Wayang Golek Sunda PRJ 1.jpg|Sundanese (3D wooden puppet), Indonesia.

File:COLLECTIE TROPENMUSEUM Een wajang kelitik voorstelling met gamelanorkest in Ngandong TMnr 60023519.jpg|A (flat wooden puppet) performance with a gamelan orchestra in Ngandong, Java, in 1918.

File:COLLECTIE TROPENMUSEUM Een gamelanorkest begeleidt het schaduwpoppenspel Wajang koelit. TMnr 60003354.jpg| (shadow puppet show) accompanied by a gamelan ensemble in Java, .

File:Wayang (shadow puppets) from central Java, a scene from 'Irawan's Wedding'.jpg| (shadow puppets) from central Java, a scene from Irawan's Wedding, mid-20th century, University of Hawaii Dept. of Theater and Dance.

File:Wayang Beber Opened.jpg| depiction of a battle.

File:Wayangan (259).jpg| and (puppeteer), Ki Entus Susmono.

File:Sisi Lain Seorang Dalang.jpg| performance in Yogyakarta.

File:Wayang show.jpg| (leather shadow puppet) performance.

File:Wayang Kulit; Kayonan (tree of life), Arjuna and Sumbadra from Java.JPG|Kayon (Gunungan).

File:Costume dolls of Makassar couple.jpg|

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References

External links

Historical Development of Puppetry: Scenic Shades (includes information about wayang beber, kulit, klitik and golek)
Seleh Notes article on identifying Central Javanese wayang kulit
Wayang Orang (wayang wong) traditional dance, from Indonesia Tourism
Wayang Klitik: a permanent exhibit of Puppetry Arts Museum
Wayang Golek Photo Gallery, includes description, history and photographs of individual puppets by Walter O. Koenig
Wayang Puppet Theatre on the Indonesian site of UNESCO
The Wayang Golek Wooden Stick Puppets of Java, Indonesia (commercial site)
An overview of the Shadow Puppets tradition (with many pictures) in a site to Discover Indonesia
Wayang Kulit exhibition at the Museum of International Folk Art
Wayang Kulit Collection of Shadow Puppets, Simon Fraser University Museum of Archaeology & Ethnology digitized on Multicultural Canada website
Contemporary Wayang Archive, by the National University of Singapore
Wayang Kontemporer, an interactive PhD dissertation on Contemporary Wayang Archive

Etymology

Origin in India

Records

Art form

Wayang kulit

Wayang golek

Wayang wong

Wayang panji

Wayang Menak

Wayang kancil

Contemporary retellings

Artist

Dalang

Gallery

See also

References

Further reading

External links