Wayang kulit, the shadow puppet theatre of Indonesia, is especially popular in Java and Bali. Its repertoire draws heavily on oral legends and tales as well as written literature of the Indian and Javanese traditions. The dalang, or puppeteer, performs in front of a wide screen, and animates the puppets, imitating various voices and noises.
Origins
Wayang kulit is popular in Bali, South Sumatraand West Java, but it is Central Java that is considered to be the home of this theatrical form. Whether Central Java is the birthplace of wayang kulit is still unknown. Some scholars say it is, indeed, Java’s very own contribution to world theatre. Others postulate that because a large part of the wayang kulit repertory originated in India, it is logical to assume that the theatrical form originated there too. Still others think that China is the ancient home of wayang kulit, but while China does have its own shadow theatre, neither Chinese plays nor shadow puppets bear much resemblance to the shadow theatre of Java. Regardless of where it originated, one fact is indisputable – the art of the shadow theatre represents a singularly Javanese achievement and today this art form is without counterpart in either China or India.
The Puppets
A complete set of shadow puppet – there are approximately 400 – represents a world unto itself, yet one whose inhabitants are as recognizable to the audience as old friends or family members. Shadow puppets are made from thin, almost parchment-like leather and range in size from six inches to over three feet in height. The body shape, size, colouration, type of head-dress and style of clothing for each character have been set by tradition, thus making individual character clearly distinguishable from one another. Even if one does not remember the actual name of character, he will be able to know from the aforesaid elements what kind of ‘person’ the character is, whether refined or coarse, a god, a clown, an ogre and so on. The most important of all the shadow puppets is not a character but the gunungan, the ‘tree of life’, which is used by the dalang to mark both the opening and the closing of the performance as well as a change of scene. It is also used to symbolize a forest, a fire or a storm. It can be the call of alarm before battle. Waved and twirled by the dalang, it becomes a symbol of approaching fate.
Wayang Schematic
Jamang (diadem)
Suweng (ear stud)
Kalung (necklace)
Pending (sash buckle)
Wastra ( skirt-cloth)
Badong (apron)
Uncal kencana (gold apron pendants)
Kroncong (anklet)
Gelang (bracelet)
Bokongan (hip cloth)
Sabuk (waistband)
Kelatbahu (upper arm ring)
Manggaran (slopknot of sash)
Praba (back ornament)
Sumping (ear jewel)
Dawala (diadem band)
Garuda (bird’s head ornament)
Karawista together constitute the makuta (crown)
Modangan and
Njamat (gem)
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