Ampyak Fight
This scene of great activity usually takes place after the departure of the army from its camp and when it encounters obstacles which to be cleared. To symbolize the obstacle the Gunungan figure is placed on the lefthand side of the Kelir screen. After the dhalang has explained the situation, the army symbolically beats againts the Gunungan to show the obstacle being cleared or surmounted. Thus the scene represents cooperation and communal effort in the overcoming of difficulties. The army moves from right to left, struggles with the Gunungan, and indicates the building of the road, the bridging of a river or the scalling of a mountain pass. When the scene is concluded, the dhalang again takes up the story and described the destination of the army.
Gagal Fight
Eventually the knights and their followers encounter the look out and guards of the kingdom they are entering, and the fight, which ensues is called the Perang Gagal. It’s so called because in this fight no blood is shed; the fighting is with first, and finally the knightly heroes uses their magical powers to summon up a great wind or mist to confuse and disperse the enemy.
Kembhang Fight
This fight is technically one of the more exacting tests of the dhalang’s art of wayang manipulation, and is eagerly awaited by the audience. It commonly takes place at about 1 or 2 a.m. The fight involves a knight or princess and a group of titans, who menace and attack the hero or heroine in a journey. Before the fight, we find the knight or princess in the wood exchanging banter with clowns, in a scene of delightful commedy, which is interrupted by the arrival of the titans. The dhalang is at the fulest extent of his powers in this scene, handling delicate movements while singing the songs and delivering the quickfire dialog of the clowns. It’s by this scene and that which ensues that the skill of the dhalang can best be judged. The technique need of course meticulous practice, and the knight or princess prevails not by brute force but by skill in ducking, weaving, and parrying the furious blows of the titans. All this must be indicated by wrist and finger movements on the part of the dhalang. The main movements involved may be summarized as follows: giving rapid blows with the right and left hands; grabbing the Keris, disarming the titan, and killing him with his own Keris.
Ksatriya Fight
In this battle use is made of the Keris and of arrows and the power of the knights lies not in their physical strength, but in their magical power. Most of them cannot be wounded by weapons made of steel. Magical arrows are used which, being shot from the bow, multiply into thousands of darts. The arrows my turn into balls of fire, a rainstorm or a tempest. Sometimes visible weapons are not used at all, the conflict being waged by means of spells and magical incantations. These are sometimes in the form of whole armies of immortal spirits. The knight can himself assume the form of a titan, a garudha, a lion, a tiger, a dragon, wind or fire. Female characters also fight, with daggers and arrows. On the death of her lover, a princess commits suicide with the Keris rather than fall into the hands of his opponent.
Amok Fight
The technique of this fight is nearly the same as that of the Gagal battle, involving fist and kick. Werkodhara fights and defeats the titan king and all his army, when they attack the Pandhava. In the middle of the fight there is a symbolical dance presaging victory known as Tayungan.
Creatures Fight
The movements in this fight depend of course on the different natural weapons of the various creatures. Thus a great snake or dragon will try to swallow its victim, a garudha bird will fight with talons and beak, an elephant uses his trunk and tramples his opponent, while apes bite and throw stones and other missiles.[email_link]
Narasumber: Moerdowo,R.M.
