Hamardawa Lagu
The Hamardawa Lagu is the musical skill. The Dhalang must be familiar with all the many tunes used in a performance of wayang play. The Dhalang must understand the texts in old Javanese (the Kawi), and must sing the songs in the proper manner. Many Dhalangs are in fact also skilled instrumentalists, though this particular skill is not used by them in a performance. The Dhalang must only make a dramatic use of the rhythmic rapping on the wayang chest, and the metal clappers, which he holds. He must avoid tedium by filling every scene with appropriate sounds. Thus is Garagara scenes he must improvise humorous songs and jokes, maintaining the balance of different moods. This is one of the important arts demanded of a good Dhalang.
Hamardi Basa
The Hamardi Basa is the knowledge of literature. The Dhalang must learn all the every long speeches he will use in the performance. The Dhalang must for this purpose read widely, especially in the book of wayang scholarship. When thoroughly versed in this ancient literature, his performances will have the life and vigour that spring form authentic understanding. The Dhalang must at the very least read and understand the book of Arjuna Wiwaha by Mpu Kanwa, the Bharata Yudha by Mpu Sedah, Boma Kawya, Smaradhahana, Mahabharata, Ramayana, Pustaka Raja Purwa, and other ancient texts about the wayang. The basic hand book for techniques in the two volumes of the famous ancient text of Serat Sastramiruda. The Dhalang must also be a fine mimic, and must know all the shades of formality in modes of address.
Hawicarita
The Hawicarita is the story-telling ability. The Dhalang must avoid monotony in telling stories, and must be able to hold the interest of his audience. The Dhalang must be expert in selecting from the enormous available literature. The Dhalang must, of course, know his audience, and modify his technique from hour to hour if necessary. He must also know, which of the many wayang stories is appropriate to the celebration of which the particular performance is a part.
Parmakawi
The Parmakawi is the linguistic skill. The Dhalang must be completely familiar with the Kawi language. This severe course of study for the Dhalangs must include straight-forward language teaching, including translation work. But many existing Dhalangs have learned the dialogs from their fathers by rote, without a real understanding of the meaning. For this reason, the language of many of the songs has been corrupted and needs revision.
Paramasastra
The Paramasastra is the grammar. The Dhalang must have a real working knowledge of the language, and this involves grammatical facility also. This skill can best be fostered by sutable study and the publication of texts by the existing institute of professional Dhalang. Whatever improvisation is demanded of the Dhalang, he must of course ramain true to the basic outlines of his stories. He must also give appropriate weight to the various elements, neither shortening nor expanding them. There is a danger, that a Dhalang may take away the embellishments of a play and fail to make it las throughout the night. Conversely, the performance must not drag on after daybreak.
Renggep
The Renggep is the relevance. The Dhalang must stick to his play, and is not permitted to make a allusions or references to his audience which may give offense. The Dhalang must stay within his screen. His jokes must avoid obscenity, which may also give offense, particularly to women. This would be a gross failure of his duty to educate as well as to entertain.
Stamina
Wayang play is always very exhausting, and demands physical and mental stamina of the Dhalang. He must remain in control of all his faculties for the whole night, and must give equal care to the interpretation of the personality of every single wayang character.
Puppetry
The Dhalang of course must be a skilled puppet master.[email_link]Narasumber: Moerdowo,R.M.
]]>