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Wayang

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Template:Short description Template:More citations needed Template:Infobox performing art Template:Infobox intangible heritage Template:Indonesian mythology and folklore

File:Wayang Performance.jpg
lang}} (puppet master) Manteb Soedharsono, with the story "Gathutkaca Winisuda", in Bentara Budaya Jakarta, Indonesia, on 31 July 2010

Template:Tlit (Template:Langx Template:Smaller, Template:Langx Template:Smaller)Template:Sfn is a traditional form of puppet theatre play originating from the Indonesian island of Java.<ref name="UNESCO2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="britwayang2">Template:Cite encyclopedia</ref><ref name="History and Etymology for Wayang3">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Template:Tlit refers to the entire dramatic show. Sometimes the leather puppet itself is referred to as Template:Tlit.<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 {{#invoke:Lang|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 still very popular among Indonesians, especially in the islands of Java and Bali. Template:Tlit performances are usually held at certain rituals, certain ceremonies, certain events, and even tourist attractions. In ritual contexts, puppet shows are used for prayer rituals (held in temples in Bali),<ref name="Kompasiana2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Template:Tlit ritual (cleansing Template:Tlit children from bad luck),<ref name="CNNIndonesia2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Template:Tlit ritual (thanksgiving to God for the abundant crops).<ref name="JawaPos2">{{#invoke:citation/CS1|citation |CitationClass=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, {{#invoke:Lang|lang}} puppet shows are used as cultural tourism attractions.<ref name="balihbalihan2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Template:Tlit traditions include acting, singing, music, drama, literature, painting, sculpture, carving, and symbolic arts. The traditions, which have continued to develop over more than a thousand years, are also a medium for information, preaching, education, philosophical understanding, and entertainment.<ref name="Kemdikbud2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

UNESCO designated Template:Tlit – the flat leather shadow puppet (Template:Tlit), the flat wooden puppet ({{#invoke:Lang|lang}}), and the three-dimensional wooden puppet ({{#invoke:Lang|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="UNESCO3">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

EtymologyEdit

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 word's equivalent in Indonesian is {{#invoke:Lang|lang}}. In modern daily Javanese and Indonesian vocabulary, Template:Tlit can refer to the puppet itself or the whole puppet theatre performance.Template:Sfn The term Template:Tlit is used in the Javanese ngoko register and its Template:Tlit equivalent is Template:Tlit.Template:Sfn

HistoryEdit

Template:Tlit is the traditional puppet theatre of Indonesia.<ref name="brandon1432">Template:Cite book</ref><ref name="britwayang2" /><ref name="Rubin2001p1842" /> It is an ancient form of storytelling known for its elaborate puppets and complex musical styles.<ref name="UNESCO4">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The earliest evidence of Template:Tlit comes from medieval-era texts and archeological sites dating from late 1st millennium CE. There are four theories concerning where Template:Tlit originated (indigenous to Java; Java–India; India; and China), but of these, two are more favored: Java and India.

Regardless of its origins, states Brandon, Template:Tlit developed and matured into a Javanese phenomenon. There is no true contemporary puppet shadow artwork in either China or India that has the sophistication, depth, and creativity expressed in Template:Tlit in Java, Indonesia.<ref name="brandon424" /> However, 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>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Indigenous origin in JavaEdit

According to academic James R. 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="brandon424">Template:Cite book</ref>

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

KruytTemplate:Who 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

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 IndiaEdit

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="brandon424" /><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="brandon424" /> 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>

RecordsEdit

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">{{#invoke:citation/CS1|citation |CitationClass=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.

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'."<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 is a unique form of theatre employing light and shadow. The puppets are crafted from buffalo hide and mounted on bamboo sticks. When held up behind a piece of white cloth, with an electric bulb or an oil lamp as the light source, shadows are cast on the screen. The plays are typically based on romantic tales and religious legends, especially adaptations of the classic Indian epics, the Mahabharata and the Ramayana. Some of the plays are also based on local stories like Panji tales.<ref name="MediaIndonesia2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

  • Template:Tlit puppet theatre performances in Indonesia
  • 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

    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

  • COLLECTIE TROPENMUSEUM Een poppenspeler tijdens een wajang golek voorstelling TMnr 60031943.jpg

    lang}} (wooden puppet) performance, between 1880 and 1910

  • 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

    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 formEdit

Wayang kulitEdit

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}}

File:Ki Sigit Ariyanto Dalang Wayang Kulit.jpg
lang}} (puppet master) depicting a fight in a Template:Tlit performance
File:87600 wayang kulit ardi bakrie nia ramadhani.jpg
lang}}, gamelan (music and sindhen), and Template:Tlit itself

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

File:Sisi Refleksi.jpg
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.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

Wayang golekEdit

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}}

File:Wayang santri.jpg
lang}} performance (3D wooden puppet), Indonesia

{{#invoke:Lang|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. {{#invoke:Lang|lang}} is mainly associated with the Sundanese culture of West Java. In Central Java, the wooden {{#invoke:Lang|lang}} is also known as {{#invoke:Lang|lang}} (Template:Langx),Template:Sfn which originated from Kudus, Central Java.Template:Cn

Little is known for certain about the history of {{#invoke:Lang|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 {{#invoke:Lang|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 {{#invoke:Lang|lang}} grew in popularity through telling the {{#invoke:Lang|lang}} stories of Amir Hamza, the uncle of Muhammad. These stories are still widely performed in Kabumen, Tegal, and Jepara as {{#invoke:Lang|lang}}, and in Cirebon, {{#invoke:Lang|lang}}. Legends about the origins of the {{#invoke:Lang|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 {{#invoke:Lang|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. {{#invoke:Lang|lang}} has become the most popular form of {{#invoke:Lang|lang}} today.

  • Some examples of {{#invoke:Lang|lang}} figures (3D wooden puppet)
  • Cepot in wayang golek form, 2015-05-14 03.jpg

    Cepot, a Sundanese Punokawan, Indonesia

  • Puppet (AM 2004.89.151-1).jpg

    Rahwana, Indonesia in 2004

  • Puppet (AM 2004.89.149-1).jpg

    Ramawijaya, Indonesia in 2004

  • COLLECTIE TROPENMUSEUM Houten wajangpop voorstellende Gatot Kaca TMnr 4283-3.jpg

    Gatot kaca, Indonesia in 2015

  • COLLECTIE TROPENMUSEUM Houten wajangpop voorstellende de reus Kumbakarna TMnr 4283-8.jpg

    Kumbakarna, Indonesia before 1976

  • COLLECTIE TROPENMUSEUM Houten wajangpop voorstellende Draupadi TMnr 4283-70.jpg

    Dewi Drupadi, Indonesia before 1976

Wayang klitikEdit

{{#invoke:Lang|lang}} (Template:Langx)Template:Sfn or Template:Tlit (Template:Langx)Template:Sfn figures occupy a middle ground between the figures of {{#invoke:Lang|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, {{#invoke:Lang|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 {{#invoke:Lang|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)Template:Sfn that these figures make when worked by the {{#invoke:Lang|lang}}.

{{#invoke:Lang|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 {{#invoke:Lang|lang}} is liable to incorporate the latest local gossip and quarrels and work them into the play as comedy.

Wayang beberEdit

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} {{#invoke:Lang|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> {{#invoke:Lang|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 {{#invoke:Lang|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 {{#invoke:Lang|lang}} gives a sign, the small gamelan orchestra with drummer and a few knobbed gongs and a musician with a {{#invoke:Lang|lang}} (a violin-like instrument held vertically) begins to play, and the {{#invoke:Lang|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 {{#invoke:Lang|lang}} scenes
  • Abb32,Gedompol.jpg

    Final fight in alun-alun in Kediri, East Java. Tawang Alun kills Klana. Indonesia 17th century

  • Abb36,Gedompol.jpg

    Princess Sekar Taji, mbok Kili (left), and Ganda Ripa or Panji (right) in the palace in Kediri, 17th century

  • Abb43,Geleran.jpg

    Radèn Gunung Sari on horse says goodbye to his advisers Tratag and Gimeng before travelling to princess Kumuda Ningrat, 18th century

  • Abb17,Gedompol.jpg

    Princess Sekar Taji and Panji meet in Paluhamba market, 17th century

  • Abb31,Gedompol.jpg

    Princess Sekar Taji in palace garden approached by Klana, 17th century

  • Abb68;Gelaran.jpg

    Competition between Panji Sepuh (left) and Jaya Puspita (right), 18th century

Wayang wongEdit

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}}

Template:Tlit, also known as {{#invoke:Lang|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>Template:Cite book</ref>

Wayang topengEdit

{{#invoke:Lang|lang}} (Template:Langx)Template:Sfn or Template:Tlit (Template:Langx)Template:Sfn theatrical performances take themes from the Panji cycle of stories from the kingdom of Janggala. The players wear masks known as {{#invoke:Lang|lang}} or Template:Tlit. The word Template:Tlit comes from Template:Tlit (Template:Langx) which, like topeng, means 'mask'.Template:Sfn

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 {{#invoke:Lang|lang}} scenes
  • Menari Topeng Malang.jpg

    lang}} in Malang

  • COLLECTIE TROPENMUSEUM Studioportret van een groep wajang topeng spelers TMnr 60027221.jpg

    lang}} actors

  • COLLECTIE TROPENMUSEUM Een wajang wong voorstelling bij de regent van Malang TMnr 10017908.jpg

    lang}} Malang

  • COLLECTIE TROPENMUSEUM Een wajang wong voorstelling TMnr 60018012.jpg

    lang}} in Java

  • COLLECTIE TROPENMUSEUM Portret van een groep wajang wong spelers in de buitenlucht TMnr 60043366.jpg

    lang}} in Java

  • COLLECTIE TROPENMUSEUM Een wajang wong voorstelling aan het hof van de Sultan van Jogjakarta TMnr 60046822.jpg

    lang}} in Java

StoriesEdit

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 purwaEdit

Template:Tlit (Template:Langx)Template:Sfn refer to Template:Tlit that are based on the Hindu epics the Ramayana and Mahabharata. They are usually performed as Template:Tlit, {{#invoke:Lang|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 the following (Notopertomo & Jatirahayu 2001):<ref>Notopertomo, Margono; Warih Jatirahayu. 2001. 51 Karakter Tokoh Wayang Populer. Klaten, Indonesia: Hafamina. Template:ISBN</ref>

Template:Col-begin Template:Col-4

Satriya

Template:Col-4

Raja

Template:Col-4

Dewa

Template:Col-4

Resi
Putri

Template:Col-4

Abdi
Raksasa

Template:Col-end

Wayang panjiEdit

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 MenakEdit

File:Menak Amir Hamza.jpg
lang}} Amir Hamzah manuscripts, before 1792.

{{#invoke:Lang|lang}} (Template:Langx)Template:Sfn 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. {{#invoke:Lang|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 {{#invoke:Lang|lang}}, or wooden rod-puppets, but also can be found on Lombok as the shadow puppet tradition, {{#invoke:Lang|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 {{#invoke:Lang|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>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The wooden {{#invoke:Lang|lang}} is similar in shape to {{#invoke:Lang|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
  • {{#invoke:Lang|lang}} figures from Javanese {{#invoke:Lang|lang}}
  • COLLECTIE TROPENMUSEUM Houten wajangpop Amir Hamza alias Menak alias Jayengrana voorstellend TMnr 6148-5-4a.jpg

    lang}}, Jayengrana, a collection from Tropenmuseum, the Netherlands, before 2003

  • COLLECTIE TROPENMUSEUM Houten wajangpop Umarmaya voorstellende TMnr 6148-5-1a.jpg

    lang}}, Umarmaya, a collection at Tropenmuseum, the Netherlands, before 2003

  • COLLECTIE TROPENMUSEUM Houten wajangpop TMnr 6148-5-7.jpg

    lang}}, Umarmadi, a collection at Tropenmuseum, the Netherlands, before 2003

  • COLLECTIE TROPENMUSEUM Houten wajangpop TMnr 6148-5-5.jpg

    lang}}, Jiweng, a collection at Tropenmuseum, the Netherlands, before 2003

  • COLLECTIE TROPENMUSEUM Houten wajangpop TMnr 6148-5-6a.jpg

    lang}}, Putri Murtinjung, a collection at Tropenmuseum, the Netherlands, before 2003

  • COLLECTIE TROPENMUSEUM Houten wajangpop TMnr 6148-5-8a.jpg

    lang}}, King Maktal (Albania), a collection at Tropenmuseum, the Netherlands, before 2003

Wayang kancilEdit

Template:Tlit (Template:Langx) is a type of shadow puppet with the main character of Template:Tlit (Template:Langx)Template:Sfn 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>{{#invoke:citation/CS1|citation |CitationClass=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
  • COLLECTIE TROPENMUSEUM Wajang Kantjil pop dwerghert TMnr 6189-5.jpg

    Template:Tlit

  • COLLECTIE TROPENMUSEUM Wajang Kantjil pop hond TMnr 6189-4.jpg

    Template:Tlit

  • COLLECTIE TROPENMUSEUM Wajang Kantjil pop tijger TMnr 6189-6.jpg

    Template:Tlit

  • COLLECTIE TROPENMUSEUM Wajang Kantjil pop krokodil TMnr 6189-7.jpg

    Template:Tlit

  • COLLECTIE TROPENMUSEUM Wajang Kantjil pop slak TMnr 6189-9.jpg

    Template:Tlit

  • COLLECTIE TROPENMUSEUM Wajang Kantjil pop dochter van de boer TMnr 6189-3.jpg

    Template:Tlit

Other storiesEdit

File:Wayang Wahyu.jpg
Template:Tlit

The historically popular Template:Tlit typically is based on the Hindu epics the Mahabharata and the Ramayana.<ref name=poplawska194>Template:Cite journal</ref> 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)Template:Sfn 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>

Cultural contextEdit

Its initial function, Template:Tlit is a ritual intended for ancestral spirits of the Template:Tlit belief. Furthermore, Template:Tlit undergoes a shift in role, namely as a medium for social communication. The plays that are performed in the Template:Tlit, usually hold several values, such as education, culture, and teachings of philosophy. Template:Tlit functions as an effective medium in conveying messages, information, and lessons. Template:Tlit was used as an effective medium in spreading religions ranging from Hinduism to Islam. Because of the flexibility of Template:Tlit puppets, they still exist today and are used for various purposes. Template:Tlit functions can be grouped into three, namely:

Tatanan (norms and values)Edit

Template:Tlit is a performance medium that can contain all aspects of human life. Human thoughts, whether related to ideology, politics, economy, social, culture, law, defense, and security, can be contained in Template:Tlit. In the Template:Tlit puppets contain order, namely a norm or convention that contains ethics (moral philosophy). These norms or conventions are agreed upon and used as guidelines for the mastermind artists. In the puppet show, there are rules of the game along with the procedures for puppetry and how to play the puppet, from generation to generation and tradition, over time it becomes something that is agreed upon as a guideline (convention).

Template:Tlit is an educational medium that focuses on moral and character education. Character education is something that is urgent and fundamental; character education can form a person who has good behavior.<ref name=Pelajaran>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Tuntunan (guidelines)Edit

Template:Tlit is a communicative medium in society. Template:Tlit is used as a means of understanding a tradition, an approach to society, lighting,Template:Clarify and disseminating values. Template:Tlit as a medium for character education lies not only in the elements of the story, the stage, the instruments, and the art of puppetry, but also the embodiment of values in each Template:Tlit character. The embodiment of Template:Tlit characters can describe a person's character. From the puppet one can learn about leadership, courage, determination, honesty, and sincerity. Apart from that, the puppets can reflect the nature of anger, namely greed, jealousy, envy, cruelty, and ambition.<ref name=Pelajaran/>

Tontonan (entertainment)Edit

Template:Tlit puppet performances are a form of entertainment (Template:Tlit) for the community. Template:Tlit performances in the form of theatre performances are still very popular especially in the islands of Java and Bali. Puppet shows are still the favorite of the community and are often included in TV, radio, YouTube, and other social media. Template:Tlit performances present a variety of arts such as drama, music, dance, literary arts, and fine arts. Dialogue between characters, narrative expressions (Template:Tlit, Template:Tlit, Template:Tlit), Template:Tlit, Template:Tlit, Template:Tlit, and Template:Tlit are important elements in Template:Tlit performances.<ref name=Pelajaran/>

ArtistEdit

DalangEdit

File:Pentas Wayang Kulit.jpg
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 {{#invoke:Lang|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 {{#invoke:Lang|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. {{#invoke:Lang|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, {{#invoke:Lang|lang}}, who command extravagant fees and are international celebrities. Some of the most famous {{#invoke:Lang|lang}} in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunandar Sunarya, Ki Sugino, and Ki Manteb Sudarsono.Template:Citation needed

SindhenEdit

PasindhènTemplate: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.

WiyagaEdit

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'.

Wayang MuseumEdit

The Wayang Museum is located in the tourist area of the Kota Tua Jakarta (old city) in Jalan Pintu Besar Utara No.27, Jakarta 11110, Indonesia. The Wayang Museum is adjacent to the Jakarta Historical Museum.<ref name="Museum Wayang">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

This museum has various types of Indonesian Template:Tlit collections such as Template:Tlit, {{#invoke:Lang|lang}}, {{#invoke:Lang|lang}}, {{#invoke:Lang|lang}}, {{#invoke:Lang|lang}}, and another Indonesian Template:Tlit.Template:Clarify There is also a collection of masks ({{#invoke:Lang|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, and many other countries.

GalleryEdit

  • Wayang Puppet Theater
  • Wayang Painting of Bharatayudha Battle.jpg

    Template:Tlit glass painting depiction of Bharatayudha battle.

  • Gong Chimes and percussion, Musical Instrument Museum, Phoenix, Arizona.jpg

    A Template:Tlit set and a gamelan ensemble collection, Indonesia section at the Musical Instrument Museum, Phoenix, Arizona, United States.

  • SANG DALANG.jpg

    A Template:Tlit show in Java, Indonesia, presenting a Template:Tlit puppet.

  • Dalang.jpg

    lang}} (3D wooden puppet), Gatot Kaca, Indonesia in 2017.

  • Wayang Golek Sunda PRJ 1.jpg

    lang}} (3D wooden puppet), Indonesia.

  • COLLECTIE TROPENMUSEUM Een wajang kelitik voorstelling met gamelanorkest in Ngandong TMnr 60023519.jpg

    lang}} (flat wooden puppet) performance with a gamelan orchestra in Ngandong, Java, in 1918.

  • COLLECTIE TROPENMUSEUM Een gamelanorkest begeleidt het schaduwpoppenspel Wajang koelit. TMnr 60003354.jpg

    Template:Tlit (shadow puppet show) accompanied by a gamelan ensemble in Java, Template:Circa.

  • Wayang (shadow puppets) from central Java, a scene from 'Irawan's Wedding'.jpg

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

  • Wayang Beber Opened.jpg

    lang}} depiction of a battle.

  • Wayangan (259).jpg

    lang}} (puppeteer), Ki Entus Susmono.

  • Sisi Lain Seorang Dalang.jpg

    lang}} performance in Yogyakarta.

  • Wayang show.jpg

    Template:Tlit (leather shadow puppet) performance.

  • Wayang Kulit; Kayonan (tree of life), Arjuna and Sumbadra from Java.JPG

    Kayon (Gunungan).

  • Costume dolls of Makassar couple.jpg

    lang}}

See alsoEdit

Template:Portal

ReferencesEdit

Template:Reflist

SourcesEdit

Template:Refbegin

Template:Refend

Further readingEdit

  • 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 linksEdit

Template:Sister project

Template:Indonesia 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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