Wayang
Template:Short description Template:More citations needed Template:Italic title Template:Infobox performing art Template:Indonesian mythology and folklore
Template:Tlit (Template:Langx Template:Smaller, Template:Langx Template:Smaller)<ref name= "Periplus Dictionary">Template:Cite book</ref>Template:Rp is a traditional Javanese form of puppet theatre.<ref name="UNESCO2">Template:Cite web</ref><ref name="britwayang2">Template:Cite encyclopedia</ref><ref name="History and Etymology for Wayang3">Template:Cite web</ref> The term Template:Tlit refers both to the show as a whole and the puppet in particular.<ref>Template:Cite book</ref> 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.<ref name="britwayang2"/><ref name="Rubin2001p1842">Template:Cite book</ref><ref name="bonnefoy1623">Template:Cite book</ref> Traditionally, a Template:Tlit is played out in a ritualized midnight-to-dawn show by a Template:Lang, an artist and spiritual leader; people watch the show from both sides of the screen.<ref name="britwayang2"/><ref name="Rubin2001p1842"/>
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,<ref name="Kompasiana2">Template:Cite web</ref> Template:Tlit ritual (cleansing Template:Tlit children from bad luck),<ref name="CNNIndonesia2">Template:Cite web</ref> and Template:Tlit ritual (thanksgiving to God for the abundant crops).<ref name="JawaPos2">Template:Cite web</ref> 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, Template:Lang puppet shows are used as cultural tourism attractions.<ref name="balihbalihan2">Template:Cite web</ref>
Etymology
The term Template:Tlit is the Javanese word for 'shadow'<ref name="History and Etymology for Wayang3"/><ref>Mair, Victor H. Painting and Performance: Picture Recitation and Its Indian Genesis. Honolulu: University of Hawaii Press, 1988. p. 58.</ref> or 'imagination'. The term Template:Tlit is used in the Javanese ngoko register and its Template:Tlit equivalent is Template:Tlit.<ref name="Periplus Dictionary"/>Template:Rp In Indonesian, it is called Template:Lang.
In modern daily Javanese and Indonesian vocabulary, Template:Tlit can refer to the puppet itself or the whole puppet theatre performance.<ref name="Periplus Dictionary"/>Template:Rp
History
Template:Tlit is the traditional puppet theatre of Indonesia.<ref name="brandon2009">Template:Cite book</ref>Template:Rp<ref name="britwayang2" /><ref name="Rubin2001p1842" /> It is an ancient form of storytelling known for its elaborate puppets and complex musical styles.<ref name="UNESCO2"/>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.<ref name=chen25>Fan Pen Chen (2003), Shadow Theaters of the World, Asian Folklore Studies, Vol. 62, No. 1 (2003), pp. 25-64</ref><ref name=orr69>Template:Cite journal</ref> 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.<ref name=Rawling1999>Template:Cite web</ref>
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.<ref name="brandon2009"/>Template:RpTemplate:Verify source 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.<ref name="brandon2009"/>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.Template:Citation needed
J. Kats argues that the technical terms come from Java and that Template:Tlit was born without the help of India.<ref>Template:Cite book</ref> 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.Template:Citation needed
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.Template:Citation needed
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.<ref name="brandon2009"/>Template:Rp<ref name="miyao1422">Template:Cite journal</ref><ref name="bonnefoy1623" /> 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.<ref>Template:Cite book</ref> 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.<ref name="britwayang2" /><ref>Template:Cite book</ref>
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.<ref name="brandon2009"/>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.<ref>Template:Cite book</ref>
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'.<ref name="Dalinan">Template:Cite web</ref> 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,<ref name="Griffiths">Template:Cite journal</ref> 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.Template:Citation needed
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'."<ref name="Robson">Template:Cite book</ref> 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.<ref>Template:Cite book</ref>
- Template:Tlit puppet theatre performances in Indonesia
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Template:Tlit 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
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A Template:Lang (puppeteer) in a Template:Lang (wooden puppet) performance, between 1880 and 1910
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Template:Lang 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
Art form
Wayang kulit
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.<ref name="poplawska194">Template:Cite journal</ref> Some of the plays are also based on local stories like Panji tales.<ref name="MediaIndonesia2">Template:Cite web</ref>
Template:Tlit are without a doubt the best known of the Indonesian Template:Tlit.Template:Citation needed 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.<ref>Template:Cite book</ref>
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.<ref>Eckersley. M. (ed.) 2009. Drama from the Rim: Asian Pacific Drama Book. Drama Victoria. Melbourne. 2009. (p. 15)</ref> They provide something akin to a political cabaret, dealing with gossip and contemporary affairs.Template:Cn
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.Template:Cn
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.Template:Cn
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.Template:Cn
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.<ref>Simon Sudarman, 'Sagio: Striving to preserve wayang', The Jakarta Post, 11 September 2012.</ref>
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.Template:Cn
- Some examples of Template:Tlit figures (leather shadow puppet)
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Princess Tari, Tropenmuseum collection, Indonesia, before 1934
Wayang golek
Template: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. Template:Lang is mainly associated with the Sundanese culture of West Java. In Central Java, the wooden Template:Lang is also known as Template:Lang (Template:Langx),<ref name="Periplus Dictionary"/>Template:Rp which originated from Kudus, Central Java.Template:Cn
Little is known for certain about the history of Template: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 Template: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 Template:Lang grew in popularity through telling the Template:Lang stories of Amir Hamza, the uncle of Muhammad. These stories are still widely performed in Kabumen, Tegal, and Jepara as Template:Lang, and in Cirebon, Template:Lang. Legends about the origins of the Template:Lang attribute their invention to the Muslim saint Wali Sunan Kudus, who used the medium to proselytize Muslim values.Template:Cn
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 Template: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. Template:Lang has become the most popular form of Template:Lang today.
- Some examples of Template:Lang figures (3D wooden puppet)
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Ramawijaya, Indonesia in 2004
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Gatot kaca, Indonesia in 2015
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Kumbakarna, Indonesia before 1976
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Dewi Drupadi, Indonesia before 1976
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Wayang klitik
Template:Lang (Template:Langx)<ref name="Periplus Dictionary"/>Template:Rp or Template:Tlit (Template:Langx)<ref name="Periplus Dictionary"/>Template:Rp figures occupy a middle ground between the figures of Template: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, Template: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 Template: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)<ref name="Periplus Dictionary"/>Template:Rp that these figures make when worked by the Template:Lang.
Template: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 Template:Lang is liable to incorporate the latest local gossip and quarrels and work them into the play as comedy.
- Some examples of Template:Lang figures (flat wooden puppet)
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Figure of Batara Guru
Wayang beber
Template:Main Template:Lang relies on scroll-painted presentations of the stories being told.<ref>Ganug Nugroho Adil, "Joko Sri Yono: Preserving 'wayang beber'", The Jakarta Post, 27 March 2012.</ref> Template: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 Template:Lang in places such as Surakarta (Solo) in Central Java.<ref>Ganug Nugroho Adil, 'The metamorphosis of "Wayang Beber"', The Jakarta Post, 19 April 2013.</ref> 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 Template:Lang gives a sign, the small gamelan orchestra with drummer and a few knobbed gongs and a musician with a Template:Lang (a violin-like instrument held vertically) begins to play, and the Template: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.<ref>Ganug Nugroho Adil, "Sinhanto: A wayang master craftsman", The Jakarta Post, 22 June 2012.</ref>
- Some examples of Template:Lang scenes
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Princess Sekar Taji, mbok Kili (left), and Ganda Ripa or Panji (right) in the palace in Kediri, 17th century
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Radèn Gunung Sari on horse says goodbye to his advisers Tratag and Gimeng before travelling to princess Kumuda Ningrat, 18th century
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Princess Sekar Taji and Panji meet in Paluhamba market, 17th century
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Princess Sekar Taji in palace garden approached by Klana, 17th century
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Competition between Panji Sepuh (left) and Jaya Puspita (right), 18th century
Wayang wong
Template:Tlit, also known as Template: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.<ref name="brandon2009"/>Template:Rp
Wayang topeng
Template:Lang (Template:Langx)<ref name="Periplus Dictionary"/>Template:Rp or Template:Tlit (Template:Langx)<ref name="Periplus Dictionary"/>Template:Rp theatrical performances take themes from the Panji cycle of stories from the kingdom of Janggala. The players wear masks known as Template:Lang or Template:Tlit. The word Template:Tlit comes from Template:Tlit (Template:Langx) which, like topeng, means 'mask'.<ref name="Periplus Dictionary"/>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.
- Some examples of Template:Lang scenes
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Dancing Template:Lang in Malang
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Studio portrait of Template:Lang actors
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)<ref name="Periplus Dictionary"/>Template:Rp refer to Template:Tlit that are based on the Hindu epics the Ramayana and Mahabharata. They are usually performed as Template:Tlit, Template:Lang, and Template:Tlit dance dramas.<ref>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.</ref>
In Central Java, popular Template:Tlit characters include: <ref>Notopertomo, Margono; Warih Jatirahayu. 2001. 51 Karakter Tokoh Wayang Populer. Klaten, Indonesia: Hafamina. Template:ISBN</ref>
Template:Col-begin Template:Col-4
- Bima
- Arjuna
- Dursasana
- Nakula
- Sadewa
- Antareja
- Ghatotkaca
- Antasena
- Abimanyu
- Wisanggeni
- Irawan
- Sumantri
- Wibisana
- Arjuna Sasrabahu
- Rama Wijaya
- Dasamuka
- Destarata
- Pandu Dewanata
- Subali and Sugriwa
- Barata
- Baladewa
- Duryudana
- Kresna
- Karna
- Yudhistira
- 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
- Template:Tlit figures from Balinese Template:Tlit
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
Template:Lang (Template:Langx)<ref name="Periplus Dictionary"/>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. Template: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 Template:Lang, or wooden rod-puppets, but also can be found on Lombok as the shadow puppet tradition, Template:Lang.<ref>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.</ref> The Template: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.<ref>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.</ref>
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.<ref>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.</ref>
<ref>Template:Cite web</ref> The wooden Template:Lang is similar in shape to Template: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
- Template:Lang figures from Javanese Template:Lang
Wayang kancil
Template:Tlit (Template:Langx) is a type of shadow puppet with the main character of Template:Tlit (Template:Langx)<ref name="Periplus Dictionary"/>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.<ref name=Jakarta>Template:Cite web</ref> 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.
- Template:Tlit figures in Template:Tlit
Contemporary retellings
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.<ref name=poplawska194/> Similarly, Template:Tlit (Template:Langx) has deployed Template:Tlit for the religious teachings of Islam, while Template:Tlit (Template:Langx)<ref name="Periplus Dictionary"/>Template:Rp has used it as a medium for national politics.<ref name=poplawska194/>
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.<ref>Template:Cite news</ref>
Artist
Dalang
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The Template:Lang, sometimes referred to as Template:Tlit or Template:Tlit, is the puppeteer behind the performance.<ref name="britwayang2"/><ref name="Rubin2001p1842"/><ref>Template:Cite journal</ref> It is he who sits behind the screen, sings and narrates the dialogues of different characters of the story.<ref name="liu175">Template:Cite book</ref> 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 Template: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.<ref name="britwayang2"/><ref name="Rubin2001p1842"/><ref name="liu175"/>
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. Template:Lang can be used to perform puppet plays either during the day or at night. This type of Template:Tlit is relatively rare.Template:Citation needed
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, Template:Lang, who command extravagant fees and are international celebrities. Some of the most famous Template:Lang in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunandar Sunarya, Ki Sugino, and Ki Manteb Sudarsono.Template:Citation needed
Sindhen
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
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 (Template:Lang), and the three-dimensional wooden puppet (Template: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.<ref name="UNESCO2"/>
Wayang Museum
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, Template:Lang, Template:Lang, Template:Lang, and Template:Lang. There is also a collection of masks (Template: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.<ref>Template:Cite web</ref>
The Wayang Museum is located in Kota Tua Jakarta near the Jakarta History Museum.
Gallery
- Wayang Puppet Theater
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Template:Tlit glass painting depiction of Bharatayudha battle.
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A Template:Tlit set and a gamelan ensemble collection, Indonesia section at the Musical Instrument Museum, Phoenix, Arizona, United States.
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A Template:Lang (flat wooden puppet) performance with a gamelan orchestra in Ngandong, Java, in 1918.
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Template:Tlit (shadow puppets) from central Java, a scene from Irawan's Wedding, mid-20th century, University of Hawaii Dept. of Theater and Dance.
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Template:Lang depiction of a battle.
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Template:Tlit and Template:Lang (puppeteer), Ki Entus Susmono.
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Template:Lang performance in Yogyakarta.
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Template:Tlit (leather shadow puppet) performance.
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Kayon (Gunungan).
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See also
References
Further reading
- 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
- Historical Development of Puppetry: Scenic Shades (includes information about wayang beber, kulit, klitik and golek) Template:Webarchive
- 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 Template:Webarchive (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
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