To acknowledge the wayang is to acknowledge the thinking, the feeling and the way of liveliness of the Javanese. This assumption can also be applied to the Balinese. Because the wayang play not only reflects artistry in Indonesia but also contains philosophical system, moral, thought, and education. The function of wayang isn’t merely for entertainment, but is also used for exorcism, invocation of ancestral spirits, and is also part of the religious rituals in Bali. Until the present time the wayang still has a lot of fame among all levels of Indonesian society. The wayang is performed in the front hall of the Presidential palace, as well as in the houses of people dwelling in remote villages high up in the mountains. Young and old, male and female, educated as well as the illiterate are spell bound by the stories narrated by the Dhalang.
The wayang has 2 main functions, the 1st being spiritual, and the 2nd being secular, or for entertainment only. In its spiritual function the wayang plays an important part in the liturgy of the 5 Yadnyas, i.e., the 5 categories of offerings and religious ceremonies in the temples. The wayang used for entertainment is of course different and is known as the nighttime wayang, as most performances are held at night. These performances are commonly found in the temples, but are purely for the entertainment of the people praying there and are not used as part of a liturgy.
The wayang has existed since the 11th century and end-to-end the ensuing 900 yrs has been a popular art form. At the time of the Hindhu kingdoms of Java the wayang was already made from punched leather and made use of the kelir or white screen, and full gamelan musical accompaniment, this also still exists in Bali. All the Islamic kings and princes who succeeded the Hindhu-Javanese rulers, enjoyed the wayang, and the Hindhu-Javanese custom was completely assimilated by Islam, especially in Java, and survive vigorously until present time. According to the classical text Serat Pakem Sastramiruda, and socio-cultural artefacts, Islamic leaders were very active in contributing to the evolution of the wayang as in the completion of the figures, the elaboration of the musical accompaniment of the gamelan and the editing of the repertory.
Many types and sets of wayang puppets survive, among them the following: Wayang Beber, Wayang Purwa, Wayang Madya, Wayang Gedog, Wayang Klithik, Wayang Golek, Wayang Dupara, Wayang Jawa, Wayang Kancil, Wayang Perjuangan, Wayang Suluh, and Wayang Pancasila. In West Java the Wayang Golek enjoys the greatest fame, while in Bali only 4 kinds of leather wayang puppetry exist: Wayang Parwa, Wayang Ramayana, Wayang Calonarang, and Wayang Gambuh.
The wayang stories are derived from the following main sources: Ramayana, Arjuna Wiwaha, Mahabharata, Pustaka Raja Parwa, Babad Tanah Jawa, Damarwulan, Menak, Malat, Kancil Kridha Martana, and in modern times, the history of the indonesian revolution. In Bali the stories are derived from Ramayana, Mahabharata, Calonarang, and Malat.
The wayang has retained its position as a popular art from the least bit levels of indonesian society and embracings esthetical, educational, mystical, and philosophical elements.[email_link]

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Narasumber: Moerdowo,R.M.