Wayang
is a generic term denoting traditional theatre in Indonesia. There is no
evidence that wayang existed before the first century CE, afterHinduism and
Budddism were brought toSoutheast Asia. This leads to the hypothesis that the
art was imported from either India or China, both of which have a long
tradition of shadow puppetry and theatre in general. Jivan Pani has argued that
wayang developed from two arts of Odisha in Eastern India, theRavana Chhava
puppet theatre and theChhau dance. 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. TheKakawin Arjunawiwaha composed by Mpu Kanwa, the
poet of Airlangga’s court of Kahuripan kingdom, in 1035 CE describes santoṣâhĕlĕtan
kĕlir sira sakêng sang hyang Jagatkāraṇa, which means
"He is steadfast and just a wayang screen away from the 'Mover of
the World'." Kelir is Javanese word for wayang screen, the verse
eloquently comparing actual life to a wayang performance where the almighty Jagatkāraṇa (the mover of the
world) as the ultimate dalang (puppet master) is just a thin screen away
from us mortals. This reference to wayang as shadow plays suggested that wayang
performance is already familiar in Airlangga's court and wayang tradition has
been established in Java, perhaps earlier. An inscription from this period also
mentioned some occupations as awayang and aringgit.
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. The plays are typically based on romantic
tales, especially adaptations of the classic Indian epics, the Mahabharata and
the Ramayana. Some of the plays are also based on local happening or other
local secular stories. It is up to the conductor or Dalang or master puppeteer
to decide his direction.
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.
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. The figures are painted, flat
woodcarvings (a maximum of 5 to 15 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, KiAsep Sunandar Sunarya, Ki Sugino, and Ki Manteb
Sudarsono.
