The handling of the wayang puppets, a very important element in wayang and considering by some Dhalangs to be the most important aspect of their art. The Dhalang can spellbind the audience by their dexterity in handling the puppets during fight scenes, produces helpless laughter with the antics of the antic figures, and this is all part of the Dhalang’s ability to carry the audience’s attention. A good test of the dexterity of the Dhalang is the super exacting scene, called the fighting of Perang Kembang, in the midst section. Therein scene a knight is fighting with titans. In the Dhalang’s training school of Solo city the course in the handling laid out as follows:

1. Tancepban. The tancepban is the art of placing the wayang puppets on the banana stem during an actual scene. They must be composed in an artistic grouping. E.g., the king must be placed in a grave and ennobled relationship to his courtiers, and the courtiers in their due rank. A scene in the palace must give an impression of éclat, while a scene in a hermitage must reflect simple piousness. In court or hermitage scenes, the principal figures are placed on the Dhalang’s right side, subordinates on his left side. Likewise important and lesser characters are taken off stage to the right and left respectively. Before a battle, the puppets must have an aggressive posture. The art of the tancepban is therefore to convey mood and personality, even when the pupets are not being moved, and to provoke the interest of the whole audience, young and old, sophisticated and simple.
2. Bedholan. The bedholan is the art of plucking the puppet from its base in a smooth and fluent manner. It’s very hard to move a large heavy titan figure with sufficient strength without an appearance of fitfulness. On the other hand, when a small female figure is being handled, a very delicate touch called methit is require. Knights and other larger figures of course need to be took hold of more firmly. When an army or other group figures is lifted, part of its base as well as its central support is gripped, for additional steadiness. This handle is called nyangak. It would be a tragedy, if the Dhalang were to drop a puppet, when lifting it from rest; this accident is guarded against by special holds.
3. Lampah. The lampah is the conveying of the illusion of movement to the figures of the puppets. It’s influenced by several factors such as the age of the wayang character, personality, gender etcetera, as well as temper and function at the moment of movement. E.g., Werkodhara leaps with great footsteps, Gathotkaca flies, while gay young female characters skip lightly. Older female characters move more quietly, titans bluster, apes are acrobatic, and all the other creatures have their characterstic movements.
4. Perang. The perang is fighting techniques. The technique of handling puppets during a fight or violent activity also has several aspects, with their own names; Perang Ampyak, Perang Gagal, Perang Kembang, Perang Ksatriya, Perang Creatures, and Perang Amok.

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Narasumber: Moerdowo,R.M.