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[[File:Wayang Performance.jpg|thumb|right|300px|Rối bóng Java ''Wayang Kulit'' trình diễn bởi nghệ nhân rối bóng Indonesian (''dalang'') Ki Manteb Sudharsono thường kéo dài cả đêm]]
 
'''Wayang''' là một từ trong ngôn ngữ Java có nghĩa là "sân khấu" (nghĩa đen là "bóng tối").<ref>Mair, Victor H. ''Painting and Performance:Chinese picture recitation and its Indian Genesis''. Honolulu: University of Hawaii Press, 1988. p. 58.</ref> Khi từ này được dùng để chỉ một loại sân khấu cho múa rối, thì các con rối cũng có khi được gọi là wayang. Các buổi trình diễn rối bóng đều có kèm theo nhạc từ giàn chiêng [[gamelan]] ở đảo Java, và bởi các "[[gender wayang]]" ở [[Bali]].
 
[[UNESCO]] designated '''Wayang Kulit''', a shadow puppet theatre and the best known of the [[Indonesia|Indonesian]] wayang, as a [[Masterpieces of the Oral and Intangible Heritage of Humanity|Masterpiece of Oral and Intangible Heritage of Humanity]] on 7 November 2003. In return for the acknowledgment, UNESCO required Indonesians to preserve their heritage.<ref>[http://www.unesco.org/culture/ich/index.php?RL=00039 Indonesian Wayang Inscribed in 2003 on the Representative List of the Intangible Cultural Heritage of Humanity]</ref>
 
== History of Wayang Kulit ==
[[File:Wayang Bali.jpg|thumb|upright|Wayang shadow-puppet ([[Bali]], early 20th century)]]
 
Wayang is a generic term denoting traditional theatre in [[Indonesia]]. There is no evidence that wayang existed before [[Hinduism]] came to [[Southeast Asia]] sometime in the first century CE, brought in by Indian traders. However, there very well may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theatre. The first record of a wayang performance is from an inscription dated 930 CE which says ''"si Galigi mawayang,"'' or "Sir Galigi played wayang". From that time till today it seems certain features of traditional puppet theatre have remained. Galigi was 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]].
 
Wayang Kulit 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.
 
Wayang Kulit plays are invariably based on romantic tales, especially adaptations of the classic Indian epics, "The Mahabarata" and "The Ramayana". Some of the plays are also based on local happenings (current issues) or other local secular stories. It is up to the conductor or "Tok Dalang" to decide his direction.
 
[[File:Wayang Kulit 1890.png|thumb|left|A Dalang performing Wayang Kulit in Java, circa 1890.]]
 
The Dalang is the genius behind the entire performance. It is he who sits behind the screen and narrates the story. With a traditional orchestra in the background to provide a resonant melody and its conventional rhythm, the Dalang modulates his voice to create suspense thus heightening the drama. Invariably, the play climaxes with the triumph of good over evil.
 
Hinduism arrived in Indonesia from [[India]] even before the [[Anno Domini|Christian era]], and was slowly adopted as the local belief system. [[Sanskrit]] became the literary and court language of [[Java (island)|Java]] and later of [[Bali]]. The Hindus changed the ''Wayang'' (as did the [[Muslim]]s, later) to spread their religion, mostly by stories from the Mahabharata or the [[Ramayana]]. Later, this mixture of religion and ''wayang'' play was praised as harmony between Hinduism and traditional Indonesian culture. On Java, the western part of [[Sumatra]] and some smaller islands traditionalists continued to play the old stories for some time, but the influence of Hinduism prevailed and the traditional stories either fell into oblivion or were integrated into the Hinduistic plays.
 
The figures of the ''wayang'' 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.
 
When [[Islam]] began spreading in Indonesia, the display of [[God]] or [[deities#Hinduism|gods]] in human form was prohibited, and thus this style of painting and shadow play was suppressed. King [[Raden Patah of Demak]], Java, wanted to see the ''wayang'' in its traditional form, but failed to obtain permission from the Muslim religious leaders. As an alternative, the religious leaders converted the ''wayang golek'' into ''wayang purwa'' made from [[leather]], and displayed only the shadow instead of the figures itself.{{Citation needed|date=February 2009}} Instead of the forbidden figures only their shadow picture was displayed, the birth of the ''wayang kulit''.{{Citation needed|date=February 2009}}
 
The figures are painted, flat woodcarvings (a maximum of 5 to 15&nbsp;mm thick—barely half an inch) with movable arms. The head is solidly attached to the body. ''Wayang klitik'' can be used to perform puppet plays either during the day or at night. This type of ''wayang'' is relatively rare.
 
Wayang today is both the most ancient and most popular form of puppet theatre in the world. Hundreds of people will stay up all night long to watch the superstar performers, dalang, who command extravagant fees and are international celebrities. Some of the most famous dalang in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki [[Asep Sunandar Sunarya]], Ki Sugino, and Ki Manteb Sudarsono.
 
== ''Wayang kulit'' ==
[[File:Wayang Pandawa.jpg|thumb|right|360px|Wayang Kulit (shadow puppet) in Wayang Purwa type, depicting five [[Pandava]], from left to right: [[Bhima]], [[Arjuna]], [[Yudhishtira]], [[Nakula]], and [[Sahadeva]], [[Indonesia Museum]], Jakarta.]'
 
'''''Wayang kulit''''', [[shadow puppet]]s prevalent in [[Java]] and [[Bali]] in Indonesia, are without a doubt the best known of the Indonesian ''wayang''. Kulit means skin, and refers to the leather construction of the puppets that are carefully chiselled with very fine tools and supported with carefully shaped buffalo horn handles and control rods.
 
The stories are usually drawn from the Ramayana, the Mahabharata or the ''[[Serat Menak]]''.
 
There is a family of characters in Javanese wayang called ''[[Punakawan]]''; 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 the father of [[Gareng]] (oldest son), [[Petruk]], and [[Bagong]] (youngest son). These characters did not originate in the Hindu epics, but were added later, possibly to introduce mystical aspects of Islam into the Hindu-Javanese stories.<ref>Eckersley. M.(ed.) 2009. Drama from the Rim: Asian Pacific Drama Book. Drama Victoria. Melbourne. 2009. (p15)</ref> They provide something akin to a political [[cabaret]], dealing with gossip and contemporary affairs.
 
[[File:WayangKulit Scene Zoom.JPG|thumb|upright|left|Wayang kulit as seen from the shadow side]]
 
The puppet figures themselves vary from place to place. In [[Central Java]] the city of [[Surakarta]] (Solo) and city of [[Yogyakarta]] are most famous and the most commonly imitated style of puppets. Regional styles of shadow puppets can also be found in [[West Java]], [[Banyumas]], [[Cirebon]], [[Semarang]], and [[East Java]]. Bali produces 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.
 
Historically, the performance consisted of shadows cast on a cotton screen and an [[oil lamp]]. Today, the source of light used in wayang performance in Java is most often a halogen electric light. Some modern forms of wayang such as Wayang Sandosa created in the [[Institut Seni Indonesia Surakarta|Art Academy at Surakarta (STSI)]] has employed [[stage lighting instrument|spotlights]], colored lights and other innovations.
 
The handwork involved in making a ''wayang kulit'' figure that is suitable for a performance takes several weeks, with the artists working together in groups. They start from master models (typically on paper) which are traced out onto ''kulit'' (skin or [[parchment]]), providing the figures with an outline and with indications of any holes that will need to be cut (such as for the mouth or eyes). The figures are then smoothed, usually with a glass bottle, and primed. The structure is inspected and eventually the details are worked through. A further smoothing follows before individual painting, which is undertaken by yet another craftsman. Finally, the movable parts (upper arms, lower arms with hands and the associated sticks for manipulation) mounted on the body, which has a central staff by which it is held. A crew makes up to ten figures at a time, typically completing that number over the course of a week.
 
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.'''
 
== ''Wayang wong'' and ''wayang topeng'' or ''wayang gedog'' ==
{{Main|Wayang wong}}
[[File:Wayang Wong Bharata Pandawa.jpg|right|thumb|360px|[[Pandava]] and [[Krishna]] in an act of the ''wayang wong'' performance.]]
 
''Wayang wong'' also known as ''Wayang orang'' (literally human wayang) is a type of [[Javanese dance]] theatrical performance with themes taken from episode of [[Ramayana]] or [[Mahabharata]].
 
While ''wayang gedog'' usually the theatrical performance that took the themes from the [[Panji (prince)|Panji cycles]] stories from the kingdom of [[Janggala]], in which the players wear masks known as ''wayang topeng'' or ''wayang gedog''. The word ''"gedog"'' comes from ''"kedok"'', which, like ''"[[topeng]]"'' means "mask". The main theme is the story of [[Panji (prince)|Raden Panji]] and [[Candra of Kediri|Candra]]. This is a love story about princess Candra Kirana of [[Kediri (historical kingdom)|Kediri]] and Raden Panji Asmarabangun, the crown prince of Jenggala. Candra Kirana was the incarnation of [[Rati|Dewi Ratih]] (goddess of love) and Panji was an incarnation of [[Kamadeva|Kamajaya]] (god of love). Kirana's story was given the title ''"[[Smaradahana]]"'' ("The fire of love"). At the end of the complicated story they finally can marry and bring forth a son, named [[Raja Putra]]. Panji Asmarabangun ruled Jenggala under the official names "[[Sri Kameswara]]", "[[Prabu Suryowiseso]]", and "[[Hino Kertapati]]". Originally, ''wayang wong'' was performed only as an aristocratic entertainment in four palaces of [[Yogyakarta (city)|Yogyakarta]] and [[Surakarta]]. In the course of time, it spread to become a popular and folk form as well.
 
== ''Wayang golek'' (rod puppets) ==
[[File:Wayang golek SF Asian Art Museum.JPG|thumb|left|A pair of wayang golek from West Java]]
[[File:Panakawan.jpg|thumb|Right|Panakawan, the friendly gestures of cepot, the red face; petruk the long noses and gareng the round nose]]
Wayang golek are wooden doll puppets that are operated from below by rods connected to the hands and a central control rod that runs through the body to the head. The simple construction of the puppets belies their versatility, expressiveness and aptitude for imitating human dance. Today, wayang golek is mainly associated with [[Sundanese people|Sundanese]] culture of [[West Java]]. However the wooden wayang also known in Central Java as Wayang Menak, originated from [[Kudus]] Central Java.
 
Little is known for certain about the history of wayang golek, 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 wayang golek 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 the wayang golek grew in popularity through telling the wayang menak stories of [[Amir Hamza]], the uncle of [[Muhammad]]. These stories are still widely performed in Kabumen, Tegal, and Jepara as [[wayang golek menak]], and in [[Cirebon]], [[wayang golek cepak]]. Legendary origins of wayang golek attribute their invention to the Muslim saint [[Wali Sunan Kudus]], who used the medium to proselytize Muslim values.
 
In the 18th century the tradition moved into the mountainous region of of [[Priangan]] [[West Java]] where it eventually was used to tell stories of the Ramayana and the Mahabarata in a tradition now called Wayang Golek Purwa, which can be found in [[Bandung]], [[Bogor]] and Jakarta. The adoption of Javanese [[Mataram Sultanate|Mataram]] [[kejawen]] culture by Sundanese aristocrats was probably the remnant of Mataram influence over the Priangan region during the reign of expansive [[Sultan Agung]]. While main characters from Ramayana and Mahabharata are similar with wayang kulit purwa version of Central Java, some of punakawan (servant also jester) were rendered in Sundanese names and characteristics, such as Cepot or Astrajingga as Bagong, Dawala or Udel as Petruk. [[Wayang golek purwa]] has become the most popular form of wayang golek today and the most famous puppeteer family is the [[Sunarya family]] which has produced several generations of stellar performers.
{{clear}}
 
== ''Wayang karucil'' or ''wayang klitik'' ==
 
[[File:ZP 05 Batara Guru 02.jpg|200px|right|thumb|''Wayang klitik'' image of Batara Guru]]
''Wayang klitik'' figures occupy a middle ground between the figures of ''wayang golek'' and ''wayang kulit''. They are constructed similarly to ''wayang kulit'' figures, but from thin pieces of wood instead of leather, and, like ''wayang kulit'' figures, are used as shadow puppets. A further similarity is that they are the same smaller size as ''wayang kulit'' figures. However, wood is more subject to breakage than leather. During battle scenes, ''wayang klitik'' 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 ''wayang klitik'' 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 ''klitik-klitik'', that these figures make when worked by the ''dalang''.
 
''Wayang klitik'' figures come originally from [[East Java|eastern Java]], where one still finds workshops turning them out. They are less costly to produce than ''wayang kulit'' figures.
 
The origin of the stories involved in these puppet plays comes from the kingdoms of eastern Java: [[Jenggala]], [[Kediri (historical kingdom)|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 [[Cockfight|fighting cocks]]. The ''[[Damarwulan]]'' presents the stories of a hero (''Damarwulan'') 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 ''[[Kencanawungu|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 ''dalang'' is liable to incorporate the latest local gossip and quarrels and work them into the play as comedy.
 
== ''Wayang beber'' ==
[[File:Wayang Beber Opened.jpg|thumb|360px|Wayang beber depiction of a battle]]
[[File:Wayang Painting of Bharatayudha Battle.jpg|thumb|Wayang glass painting depiction of Bharatayudha battle]]
 
The ''wayang beber'' has strong similarities to narratives in the form of [[Cantastoria|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. Chinese visitors to Java during the 15th century described a storyteller or 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 dhalang (puppeteer, narrator) gives a sign, the small gamelan orchestra with drummer and a few knobbed gongs and a musician with a rebab (violin-like instrument held vertically) begins to play and the dhalang 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.
 
== ''Wayang Sadat'' ==
 
This newly developed form is used by teachers of [[Islam]] to show the principles of Muslim ethics and religion to the natives of Java and Bali. {{ref|Poplawska}} The term "sadat" derived from [[shahada]] ([[Arabic]]: {{lang|ar|الشهادة}} ''{{transl|ar|DIN|aš-šahādah}}'').
 
== ''Wayang Wahyu'' ==
 
This form was created in the 1960s by the Javanese [[Jesuit]] Brother Timotheus L. Wignyosubroto who sought to show the [[Javanese people|Javanese]] and other Indonesians the teachings of the [[Catholic Church]] in a manner accessible to the audience. In the beginning, the puppets were often made of paper because it was less expensive than the traditional [[water buffalo]] [[Hide (skin)|hide]]. It became a popular as an alternative method of telling [[Bible]] stories.{{ref|Poplawska}}
 
== Notes ==
[[File:Museum Wayang.jpg|thumb|[[Wayang Museum]] in [[Kota, Jakarta]] area]]
# {{note|Poplawska}} Poplawska 2004
# {{note|Poplawska}} Poplawska 2004
 
== See also ==
{{portal|Indonesia}}
 
* [[Ketoprak]]
 
== References ==
{{Reflist}}
* This article was initially translated from the German-language Wikipedia article.
* Poplawska, Marzanna. ''Asian Theatre Journal''. Fall 2004, Vol. 21 p.&nbsp;194-202
 
== Further reading ==
 
* Brandon, James (1970) ''On Thrones of Gold&nbsp;— Three Javanese Shadow Plays''. Harvard 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)
* Soedarsono (1984) ''Wayang Wong''. Yogyakarta, Gadjah Mada University Press
 
== External links ==
 
{{Commons category|Wayang}}
* [http://pages.citenet.net/users/ctmw2400/ Historical Development of Puppetry: Scenic Shades (includes informations about wayang beber, kulit, klitik and golek)]
* [http://www.gamelannetwork.co.uk/seleh-notes-library/wayang-puppets.html Seleh Notes article on identifying Central Javanese wayang kulit]
* [http://www.indonesiatourism.go.id/gallery/traddance.htm Wayang Orang (wayang wong) traditional dance, from Indonesia Tourism]
* [http://www.puppet.org/museum/permanent.shtml#Wayang Wayang Klitik: a permanent exhibit of Puppetry Arts Museum]
* [http://www.pbase.com/amoxtli/wayang_golek Wayang Golek Photo Gallery, includes description, history and photographs of individual puppets by Walter O. Koenig]
* [http://www.shadowlight.org/slp/index.cfm?fuseaction=Resources.DisplayText&resource_id=6 Wayang Kulit: The Art form of the Balinese Shadow Play] by Lisa Gold
* [http://www.unesco.or.id/activities/culture/programme/259.php Wayang Puppet Theatre] on the Indonesian site of [[UNESCO]]
* [http://www.marlamallett.com/puppets.htm The Wayang Golek Wooden Stick Puppets of Java, Indonesia] (commercial site)
* [http://www.discover-indo.tierranet.com/wayang.htm An overview of the Shadow Puppets tradition (with many pictures) in a site to Discover Indonesia]
* [http://www.internationalfolkart.org/exhibitions/dancingshadows.html Wayang Kulit exhibition at the Museum of International Folk Art]
* [http://www.multiculturalcanada.ca/wkcsp Wayang Kulit Collection of Shadow Puppets, Simon Fraser University Museum of Archaeology & Ethnology digitized on Multicultural Canada website]
 
[[Category:Malay culture]]
[[Category:Indonesian culture]]
[[Category:Puppetry]]
[[Category:Masterpieces of the Oral and Intangible Heritage of Humanity]]
[[Category:Indonesian words and phrases]]
[[Category:Malay words and phrases]]
[[Category:Wayang|*]]
 
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