Wayang

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File:Wayang Performance.jpg
Template:Tlit performance by the famous Indonesian Script error: No such module "Lang". (puppet master) Manteb Soedharsono, with the story "Gathutkaca Winisuda", in Bentara Budaya Jakarta, Indonesia, on 31 July 2010

Template:Tlit (Template:Langx (in the ngoko register)Script error: No such module "Check for unknown parameters"., Template:Langx (in the krama register)Script error: No such module "Check for unknown parameters".)[1]Template:Rp is a traditional Javanese form of puppet theatre.[2][3][4] The term Template:Tlit refers both to the show as a whole and the puppet in particular.[5] 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.[3][6][7] Traditionally, a Template:Tlit is played out in a ritualized midnight-to-dawn show by a Script error: No such module "Lang"., an artist and spiritual leader; people watch the show from both sides of the screen.[3][6]

Template:Tlit performances are popular among Indonesians, especially in the islands of Java and Bali. They are usually held at certain rituals, ceremonies, events as well as tourist attractions. In ritual contexts, puppet shows are used for prayer rituals in Balinese temples,[8] Template:Tlit ritual (cleansing Template:Tlit children from bad luck),[9] and Template:Tlit ritual (thanksgiving to God for the abundant crops).[10] In the context of ceremonies, usually it is used to celebrate Template:Tlit (Javanese wedding ceremony) and Template:Tlit (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, Script error: No such module "Lang". puppet shows are used as cultural tourism attractions.[11]

Etymology

The term Template:Tlit is the Javanese word for 'shadow'[4][12] or 'imagination'. The term Template:Tlit is used in the Javanese ngoko register and its Template:Tlit equivalent is Template:Tlit.[1]Template:Rp In Indonesian, it is called Script error: No such module "Lang"..

In modern daily Javanese and Indonesian vocabulary, Template:Tlit can refer to the puppet itself or the whole puppet theatre performance.[1]Template:Rp

History

Template:Tlit is the traditional puppet theatre of Indonesia.[13]Template:Rp[3][6] It is an ancient form of storytelling known for its elaborate puppets and complex musical styles.[2]The earliest evidence of Template:Tlit comes from medieval-era texts and archeological sites dating from late 1st millennium CE.

Shadow play, the earliest form of shadow puppet theatre, likely originated in Central Asia-China or in India in the 1st millennium BCE.[14][15] 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.[16]

Regardless of its origins, Template:Tlit 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 Template:Tlit in Java, Indonesia.[13]Template:RpScript error: No such module "Unsubst". According to Brandon, the puppets of Template:Tlit are native to Java. He states Template:Tlit is closely related to Javanese social culture and religious life, and presents parallel developments from ancient Indonesian culture, such as gamelan, the monetary system, metric forms, batik, astronomy, wet rice field agriculture, and government administration. He asserts that Template:Tlit was not derived from any other type of shadow puppetry of mainland Asia, but was an indigenous creation of the Javanese. Indian puppets differ from Template:Tlit, and all Template:Tlit technical terms are Javanese, not Sanskrit. Similarly, some of the other technical terms used in the Template:Tlit found in Java and Bali are based on local languages, even when the play overlaps with Buddhist or Hindu mythologies.[13]Template:Rp

G. A. J. Hazeu also says that Template:Tlit 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 the worship of ancestors.Script error: No such module "Unsubst".

J. Kats argues that the technical terms come from Java and that Template:Tlit was born without the help of India.[17] 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,Template:Clarification needed different from the Indian heroes.Script error: No such module "Unsubst".

A. C. Kruyt argues that Template:Tlit 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.Script error: No such module "Unsubst".

File:COLLECTIE TROPENMUSEUM Messingen wandlamp in de vorm van een gekroonde Garuda het heilige rijdier van de hindoe-god Vishnu TMnr 235-2.jpg
Template:Tlit, a Javanese oil lamp in the form of the mythical Garuda bird for Template:Tlit 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.[13]Template:Rp[18][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.[19] 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 Template:Tlit.[3][20]

Some characters such as the Vidusaka in Sanskrit drama and Semar in Template:Tlit are very similar. Indian mythologies and characters from the Hindu epics feature in many major Template:Tlit plays, which suggests possible Indian origins, or at least an influence in the pre-Islamic period of Indonesian history.[13]Template:Rp Jivan Pani states that Template:Tlit developed from two art forms from Odisha in eastern India: the Ravana Chhaya puppet theatre and the Chhau dance.[21]

Records

The oldest known record concerning Template:Tlit 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: Template:Tlit, which means 'Galigi held a puppet show, as service to the gods, telling the story of Bima Kumara'.[22] 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,[23] mention three sorts of performers: Template:Tlit (Template:Lit), Template:Tlit (Template:Lit), and Template:Tlit / Template:Tlit (Template:Lit). Template:Tlit is described in an 11th-century Javanese poem as a leather shadow figure.Script error: No such module "Unsubst".

File:Arjunawiwaha canto 5.jpg
Palm leaves manuscript of kakawin Arjunawiwaha is written by Mpu Kanwa in 1035 CE

Mpu Kanwa, the poet of Airlangga's court of the Kahuripan kingdom, writes in 1035 CE in his kakawin (narrative poem) Arjunawiwaha, "Template:Tlit", which means, "He is steadfast and just a Template:Tlit screen away from the 'Mover of the World'."[24] As Template:Tlit is the Javanese word for the Template:Tlit screen, the verse eloquently comparing actual life to a Template:Tlit performance where the almighty Template:Tlit (the mover of the world) as the ultimate Template:Tlit (puppet master) is just a thin screen away from mortals. This reference to Template:Tlit as shadow plays suggested that Template:Tlit performance was already familiar in Airlangga's court and Template:Tlit tradition had been established in Java, perhaps even earlier. Inscriptions from this period also mention some occupations as Template:Tlit and Template:Tlit.[25]

Art form

Wayang kulit

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File:Ki Sigit Ariyanto Dalang Wayang Kulit.jpg
A Script error: No such module "Lang". (puppet master) depicting a fight in a Template:Tlit performance
File:87600 wayang kulit ardi bakrie nia ramadhani.jpg
There are three main components of Template:Tlit shows including Script error: No such module "Lang"., gamelan (music and sindhen), and Template:Tlit itself

Template:Tlit 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 Template:Tlit typically is based on the Hindu epics the Mahabharata and the Ramayana.[26] Some of the plays are also based on local stories like Panji tales.[27]

Template:Tlit are without a doubt the best known of the Indonesian Template:Tlit.Script error: No such module "Unsubst". Template:Tlit 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.[28]

There is a family of characters in Javanese Template:Tlit 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.[29] They provide something akin to a political cabaret, dealing with gossip and contemporary affairs.Script error: No such module "Unsubst".

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 Template:Tlit 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 Template:Tlit 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.Script error: No such module "Unsubst".

File:Sisi Refleksi.jpg
A Template:Tlit (leather shadow puppet) performance using Template:Tlit (thin fabric) as a border between the puppeteer (Script error: No such module "Lang".) 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 Template:Tlit performance in Java is most often a halogen electric light, while Bali still uses the traditional firelight. Some modern forms of Template:Tlit such as Template:Tlit (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.Script error: No such module "Unsubst".

Making a Template:Tlit 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.Script error: No such module "Unsubst".

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 Template:Tlit 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.Script error: No such module "Unsubst".

Wayang golek

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File:Wayang santri.jpg
Script error: No such module "Lang". performance (3D wooden puppet), Indonesia

Script error: No such module "Lang". 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. Script error: No such module "Lang". is mainly associated with the Sundanese culture of West Java. In Central Java, the wooden Script error: No such module "Lang". is also known as Script error: No such module "Lang". (Template:Langx),[1]Template:Rp which originated from Kudus, Central Java.Script error: No such module "Unsubst".

Little is known for certain about the history of Script error: No such module "Lang"., 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 of Script error: No such module "Lang". are from the north coast of Java in what is called the Pasisir region. This is home to some of the oldest Muslim kingdoms in Java and it is likely that the Script error: No such module "Lang". grew in popularity through telling the Script error: No such module "Lang". stories of Amir Hamza, the uncle of Muhammad. These stories are still widely performed in Kabumen, Tegal, and Jepara as Script error: No such module "Lang"., and in Cirebon, Script error: No such module "Lang".. Legends about the origins of the Script error: No such module "Lang". attribute their invention to the Muslim saint Wali Sunan Kudus, who used the medium to proselytize Muslim values.Script error: No such module "Unsubst".

In the 18th century, the tradition moved into the mountainous region of Priangan, West Java, where it eventually was used to tell stories of the Ramayana and the Mahabharata in a tradition now called Script error: No such module "Lang"., which can be found in Bandung, Bogor and Jakarta. The adoption of Javanese Mataram kejawen culture by Sundanese aristocrats was probably the remnant of Mataram influence over the Priangan region during the expansive reign of Sultan Agung. While the main characters from the Ramayana and Mahabharata are similar to Template:Tlit versions from Central Java, some Template:Tlit (servants or jesters) were rendered in Sundanese names and characteristics, such as Cepot or Astrajingga as Bagong, and Dawala or Udel as Petruk. Script error: No such module "Lang". has become the most popular form of Script error: No such module "Lang". today.

Wayang klitik

Script error: No such module "Lang". (Template:Langx)[1]Template:Rp or Template:Tlit (Template:Langx)[1]Template:Rp figures occupy a middle ground between the figures of Script error: No such module "Lang". and Template:Tlit. They are constructed similarly to Template:Tlit figures, but from thin pieces of wood instead of leather, and, like Template:Tlit figures, are used as shadow puppets. A further similarity is that they are the same smaller size as Template:Tlit figures. However, wood is more subject to breakage than leather. During battle scenes, Script error: No such module "Lang". 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 the Script error: No such module "Lang". 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 sound Template:Tlit (Template:Langx)[1]Template:Rp that these figures make when worked by the Script error: No such module "Lang"..

Script error: No such module "Lang". figures come originally from eastern Java, where one still finds workshops turning them out. They are less costly to produce than Template:Tlit figures.

The origin of the stories involved in these puppet plays comes from the kingdoms of eastern Java: Jenggala, Kediri and Majapahit. From Jenggala and Kediri come the stories of Raden Panji and Cindelaras, which tells of the adventures of a pair of village youngsters with their fighting cocks. The Damarwulan 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 down Minakjinggo, an Adipati (viceroy) of Blambangan and mighty enemy of Majapahit's beautiful queen Sri 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. The Script error: No such module "Lang". is liable to incorporate the latest local gossip and quarrels and work them into the play as comedy.

Wayang beber

Script error: No such module "Labelled list hatnote". Script error: No such module "Lang". relies on scroll-painted presentations of the stories being told.[31] Script error: No such module "Lang". 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 Script error: No such module "Lang". in places such as Surakarta (Solo) in Central Java.[32] 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 Script error: No such module "Lang". gives a sign, the small gamelan orchestra with drummer and a few knobbed gongs and a musician with a Script error: No such module "Lang". (a violin-like instrument held vertically) begins to play, and the Script error: No such module "Lang". 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.[33]

Wayang wong

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File:Rama dan Sinta.jpg
Rama and Shinta in a Template:Tlit Ramayana Ballet performance

Template:Tlit, also known as Script error: No such module "Lang". (Template:Lit), 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.[13]Template:Rp

Wayang topeng

Script error: No such module "Lang". (Template:Langx)[1]Template:Rp or Template:Tlit (Template:Langx)[1]Template:Rp theatrical performances take themes from the Panji cycle of stories from the kingdom of Janggala. The players wear masks known as Script error: No such module "Lang". or Template:Tlit. The word Template:Tlit comes from Template:Tlit (Template:Langx) which, like topeng, means 'mask'.[1]Template:Rp

Template:Tlit centers on a love story about Princess Candra Kirana of Kediri and Raden Panji Asmarabangun, the legendary crown prince of Janggala. Candra Kirana was the incarnation of Dewi Ratih (the Hindu goddess of love) and Panji was an incarnation of Kamajaya (the Hindu god of love). Kirana's story has been given the title Smaradahana ("The fire of love"). At the end of the complicated story they finally marry and bring forth a son named Raja Putra. Originally, Template:Tlit was performed only as an aristocratic entertainment in the palaces of Yogyakarta and Surakarta. In the course of time, it spread to become a popular and folk form as well.

Stories

Template:Tlit characters are derived from several groups of stories and settings. The most popular and the most ancient is Template:Tlit, whose story and characters were derived from the Indian Hindu epics the Ramayana and Mahabharata, set in the ancient kingdoms of Hastinapura, Ayodhya, and Alengkapura (Lanka). Another group of characters is derived from the Panji cycle, natively developed in Java during the Kediri Kingdom; these stories are set in the twin Javanese kingdoms of Janggala and Panjalu (Kediri).

Wayang purwa

Template:Tlit (Template:Langx)[1]Template:Rp refer to Template:Tlit that are based on the Hindu epics the Ramayana and Mahabharata. They are usually performed as Template:Tlit, Script error: No such module "Lang"., and Template:Tlit dance dramas.[34]

In Central Java, popular Template:Tlit characters include: [35]

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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 Template:Tlit (Template:Lit) and Template:Tlit 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

File:Menak Amir Hamza.jpg
Script error: No such module "Lang". Amir Hamzah manuscripts, before 1792.

Script error: No such module "Lang". (Template:Langx)[1]Template:Rp is a cycle of Template:Tlit puppet plays that feature the heroic exploits of Wong Agung Jayengrana, who is based on the 12th-century Muslim literary hero Amir Hamzah. Script error: No such module "Lang". 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 as Script error: No such module "Lang"., or wooden rod-puppets, but also can be found on Lombok as the shadow puppet tradition, Script error: No such module "Lang"..[36] The Script error: No such module "Lang". 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.[37]

The word Template:Tlit 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.[38]

[39] The wooden Script error: No such module "Lang". is similar in shape to Script error: No such module "Lang".; 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

Wayang kancil

Template:Tlit (Template:Langx) is a type of shadow puppet with the main character of Template:Tlit (Template:Langx)[1]Template:Rp and other animal stories taken from Hitopadeça and Tantri Kamandaka. Template:Tlit was created by Sunan Giri at the end of the 15th century and is used as a medium for preaching Islam in Gresik.[40] The story of Template:Tlit 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 Template:Tlit media is very good for children.Template:Editorializing Template:Tlit is not different from Template:Tlit; Template:Tlit 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 Template:Tlit (Template:Langx) 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 Template:Tlit 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.

Contemporary retellings

File:Wayang Wahyu.jpg
Template:Tlit

In the 1960s, the Christian missionary effort adopted the art form to create Template:Tlit (Template:Langx). 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.[26] Similarly, Template:Tlit (Template:Langx) has deployed Template:Tlit for the religious teachings of Islam, while Template:Tlit (Template:Langx)[1]Template:Rp has used it as a medium for national politics.[26]

There have also been attempts to retell modern fiction with the art of Template:Tlit, most famously Star Wars as done by Malaysians Tintuoy Chuo and Dalang Pak Dain.[41]

Artist

Dalang

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File:Pentas Wayang Kulit.jpg
Script error: No such module "Lang". (puppet master), Template:Tlit (traditional Javanese singer), and Template:Tlit (gamelan musicians) in a Template:Tlit show in Java
File:Museum Wayang, Jakarta (2025) - img 02.jpg
The front view of the Wayang Museum seen from Fatahillah Square (Template:Langx)

The Script error: No such module "Lang"., sometimes referred to as Template:Tlit or Template:Tlit, is the puppeteer behind the performance.[3][6][42] It is he who sits behind the screen, sings and narrates the dialogues of different characters of the story.[43] 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 Script error: No such module "Lang". 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][43]

The figures of the Template:Tlit are also present in the paintings of that time, for example, the roof murals of the courtroom in Klungkung, 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. Script error: No such module "Lang". can be used to perform puppet plays either during the day or at night. This type of Template:Tlit is relatively rare.Script error: No such module "Unsubst".

Template:Tlit 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, Script error: No such module "Lang"., who command extravagant fees and are international celebrities. Some of the most famous Script error: No such module "Lang". in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunandar Sunarya, Ki Sugino, and Ki Manteb Sudarsono.Script error: No such module "Unsubst".

Sindhen

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Template:Tlit or Template:Tlit (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 title Sinden comes from the word Template:Tlit which means 'rich in songs' or 'who sing the song'. Template:Tlit can be interpreted as someone singing a song. In addition, Template:Tlit is also commonly referred to as Template:Tlit which is taken from a combination of the words Template:Tlit and Template:Tlit. The word Template:Tlit itself means 'someone who is female' and Template:Tlit which means 'itself'; in ancient times, the Template:Tlit was the only woman in the Template:Tlit or Template:Tlit performance.

Wiyaga

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Template:Tlit 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. Template:Tlit is also called Template:Tlit or Template:Tlit which means 'gamelan musician'.

Legacy

UNESCO designation

Template:Infobox intangible heritage

UNESCO designated Template:Tlit – the flat leather shadow puppet (Template:Tlit), the flat wooden puppet (Script error: No such module "Lang".), and the three-dimensional wooden puppet (Script error: No such module "Lang".) theatre, as a Masterpiece of the Oral and Intangible Heritage of Humanity on 7 November 2003. In return for the acknowledgment, UNESCO required Indonesians to preserve the tradition.[2]

Wayang Museum

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The Wayang Museum is an Indonesian museum on the history of Template:Tlit puppetry. The museum has various types of Indonesian Template:Tlit collections such as Template:Tlit, Script error: No such module "Lang"., Script error: No such module "Lang"., Script error: No such module "Lang"., and Script error: No such module "Lang".. There is also a collection of masks (Script error: No such module "Lang".), gamelan, and Template:Tlit paintings. The collections are not only from Indonesia, but there are many collections of puppets from various countries such as Malaysia, Thailand, Cambodia, Suriname, China, Vietnam, France, India, Turkey.[44]

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

Gallery

See also

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References

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  1. ↑ a b c d e f g h i j k l m n Script error: No such module "citation/CS1".
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  3. ↑ a b c d e f g Script error: No such module "citation/CS1".
  4. ↑ a b Script error: No such module "citation/CS1".
  5. ↑ Script error: No such module "citation/CS1".
  6. ↑ a b c d e Script error: No such module "citation/CS1".
  7. ↑ a b Script error: No such module "citation/CS1".
  8. ↑ Script error: No such module "citation/CS1".
  9. ↑ Script error: No such module "citation/CS1".
  10. ↑ Script error: No such module "citation/CS1".
  11. ↑ Script error: No such module "citation/CS1".
  12. ↑ Mair, Victor H. Painting and Performance: Picture Recitation and Its Indian Genesis. Honolulu: University of Hawaii Press, 1988. p. 58.
  13. ↑ a b c d e f Script error: No such module "citation/CS1".
  14. ↑ Fan Pen Chen (2003), Shadow Theaters of the World, Asian Folklore Studies, Vol. 62, No. 1 (2003), pp. 25-64
  15. ↑ Script error: No such module "Citation/CS1".
  16. ↑ Script error: No such module "citation/CS1".
  17. ↑ Script error: No such module "citation/CS1".
  18. ↑ Script error: No such module "Citation/CS1".
  19. ↑ Script error: No such module "citation/CS1".
  20. ↑ Script error: No such module "citation/CS1".
  21. ↑ Script error: No such module "citation/CS1".
  22. ↑ Script error: No such module "citation/CS1".
  23. ↑ Script error: No such module "Citation/CS1".
  24. ↑ Script error: No such module "citation/CS1".
  25. ↑ Script error: No such module "citation/CS1".
  26. ↑ a b c Script error: No such module "Citation/CS1".
  27. ↑ Script error: No such module "citation/CS1".
  28. ↑ Script error: No such module "citation/CS1".
  29. ↑ Eckersley. M. (ed.) 2009. Drama from the Rim: Asian Pacific Drama Book. Drama Victoria. Melbourne. 2009. (p. 15)
  30. ↑ Simon Sudarman, 'Sagio: Striving to preserve wayang', The Jakarta Post, 11 September 2012.
  31. ↑ Ganug Nugroho Adil, "Joko Sri Yono: Preserving 'wayang beber'", The Jakarta Post, 27 March 2012.
  32. ↑ Ganug Nugroho Adil, 'The metamorphosis of "Wayang Beber"', The Jakarta Post, 19 April 2013.
  33. ↑ Ganug Nugroho Adil, "Sinhanto: A wayang master craftsman", The Jakarta Post, 22 June 2012.
  34. ↑ Inna Solomonik. "Wayang Purwa Puppets: The Language of the Silhouette", Bijdragen tot de Taal-, Land- en Volkenkunde, 136 (1980), no: 4, Leiden, pp. 482–497.
  35. ↑ Notopertomo, Margono; Warih Jatirahayu. 2001. 51 Karakter Tokoh Wayang Populer. Klaten, Indonesia: Hafamina. Template:ISBN
  36. ↑ Petersen, Robert S. "The Island in the Middle: The Domains of Wayang Golek Menak, The Rod Puppetry of Central Java. In Theatre Survey 34.2.
  37. ↑ Sindhu Jotaryono. The Traitor Jobin: A Wayang Golek Performance from Central Java. Translated by Daniel Mc Guire and Lukman Aris with an introduction by Robert S. Petersen. Ed. Joan Suyenaga. Jakarta, Lontar Foundation, 1999.
  38. ↑ Pigeaud, Th. G. "The Romance of Amir Hamzah in Java." In Binkisan Budi: Een Bundel Opstellen Voor P. S. Van Ronkel: A. W. Sijthoff's Uitgeversmaatschappij N.V., Leiden, 1950.
  39. ↑ Script error: No such module "citation/CS1".
  40. ↑ Script error: No such module "citation/CS1".
  41. ↑ Script error: No such module "citation/CS1".
  42. ↑ Script error: No such module "Citation/CS1".
  43. ↑ a b Script error: No such module "citation/CS1".
  44. ↑ Script error: No such module "citation/CS1".

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Further reading

  • Script error: No such module "citation/CS1".
  • Brandon, James (1970). On Thrones of Gold — Three Javanese Shadow Plays. Harvard.
  • Ghulam-Sarwar Yousof (1994). Dictionary of Traditional South-East Asian Theatre. Oxford University Press.
  • Clara van Groenendael, Victoria (1985). The Dalang Behind the Wayang. Dordrecht, Foris.
  • Keeler, Ward (1987). Javanese Shadow Plays, Javanese Selves. Princeton University Press.
  • Keeler, Ward (1992). Javanese Shadow Puppets. OUP.
  • Long, Roger (1982). Javanese shadow theatre: Movement and characterization in Ngayogyakarta wayang kulit. Umi Research Press.
  • Mellema, R.L. (1988). Wayang Puppets: Carving, Colouring, Symbolism. Amsterdam, Royal Tropical Institute, Bulletin 315.
  • Mudjanattistomo (1976). Pedhalangan Ngayogyakarta. Yogyakarta (in Javanese).
  • Poplawska, Marzanna (2004). Asian Theatre Journal. Vol. 21, p. 194–202.
  • Signell, Karl (1996). Shadow Music of Java. CD booklet. Rounder Records CD 5060.
  • Soedarsono (1984). Wayang Wong. Yogyakarta, Gadjah Mada University Press.

External links

Template:Sister project

Template:Country topics Template:Indonesia UNESCO's Intangible Cultural Heritage Template:UNESCO Representative List of the Intangible Cultural Heritage of Humanity Template:UNESCO Oral and Intangible music Template:Indonesian drama and theatre

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