Indonesian touristic circuit » The WAYANG Puppet Theatre of Java and Bali

The Myth of The GAMELAN

admin — Thu, 12 Nov 2009 03:21:49 +0000

In the ancient text of the Serat Sastramiruda there is a myth telling of the development of the Slendro and Pelog Ghamelan, and although it's of course quite unscientific, it does convey the generally accepted view of Javanese society that the ghamelan is the gift of the gods to human being. The myth runs as follows: When the Bathara Guru (Shiva) came to earth in human form, he became a king with the name of Shri Padhuka Maharaja Dhewa Buddha and had his court in Medangkemulan. He built a beautiful new palace on Mahendra mountain, now called Mount Lawu. Every day in the palace his courtiers played on the so-called Ghamelan Lokananta which consists of a small cymbal, large cymbals, a drum, and a gong. This music was very primitive and it was used to accompany the Lenggotbawa dance of the gods. When Shiva returned to the seat of the gods he was succeeded as king of Medangkemulan by Bhatara Indera, another god who took the name of Sanghyang Suraphati. His palace was called Suralaya. During this time a great star came to earth and turned into 7 nymphs: Suprabha, Wilutama, Warsiki, Surendra, Gagarmayang, Irimirim, and Tunjungbiru. These beautiful nymphs were ordered by the prince to dance round the palace's ornamental pool. They did so, dancing in a line to the accompaniment of songs. The king was then inspired to add the flute to the instruments of the ghamelan and to give them the five-note mode. The flute was made of bamboo, and had four holes. The drum still provided the basic rhytm, and the tune which was used for the accompaniment of the nymphs' dance is called the Swaraketawang. Afterwards the number of the dancers was increased to nine and the Bedaya dance of the palace to his day uses nine dancers, some of them with special names, such as Pembatak, Hapit Endhelajeg and Endhelwaton. At that stage; the ghamelan was then called Lokananta Surendrabuwana. Perhaps there is some connection here with the historical fact of the coming of the House of Syailendra form South Andalas. This dynasty ruled over territory extending to Middle Java, and built the Kalasan temple dedicated to Dewi Tara. Later Bhatara Citrasena was ordered to go to Purwacarita, to give the Ghamelan to Shri Raja Kanoo. This prince was very gratified by the gift of the Ghamelan instruments and added to the Ghamelan Surendra certain other instruments such as the rebab (a one-stringed instrument) and the Salugi, Dada, Gulu, and Barang. The prince gave to his invention the name Ghamelan Salendro, and many tunes were composed in the 3 groups of Pathet Nem, Pathet Sanga, and Pathet Manyura. Besides the Ghamelan used for accompanying the dances, King Kanoo also composed martial music which became known as Ghamelan Mardangga and which employed the following instruments in the Slendro mode: Kala, Sangka, Bahiri, Gurnang, Tongtong Grit, Maketeg, and Magurugangsa. When Phrabu Basurata reigned in the kingdom of Wirata, he added the Ghendher and Salukat to the Ghamelan, and composed tunes specially for the Ghendher, When the four kingdoms of Jenggala, Kediri, Singosari, and Ngurawan flourished in Java, all four kings held in their courts performances of the Srimpi dance, performed by 4 women dancers accompanied by the Ghamelan Slendro. This was about the beginning of 13th century. When Raden Panji Kasatrian became king he took the name Suryamesisa, and added the following instruments to the Ghamelan: Bhonang Panerus, Dhemung, Saron Bharung, Kecer, Ketipung, Slentem, and Kempul; and the Ghamelan as then constitued was also used to accompany wayang performance. The same prince also added a kind of zither, and composed the classic tunes Gendhings; Monggang, Kodhok Ngorek, Corobalen, and Galaganjur, all in the Slendro mode. To train the soldiers in the art of war, the king composed war dances like the Lawung and Dhadhap while his daughter Dewi Candrakirana developed the Badaya Serimpi dance. After Islam came to Java, and during the Sultanate of Demak, the Walis decided to use the Ghamelan and the Wayang as a means of propagating the new faith. For example, Sunan Giri composed the Ghamelan Sekaten to be played in the court-yard of the great mosque on the birthday of the Prophet Mohammed. When Sunan giri acted as regent for the young prince of Demak, he composed a new Ghamelan in a new Pelog mode, together with appropriate songs, divided into 3 groupings: Sendhon Nem, Lima, and Bharang. These were used to accompany the Wayang Gedhog. Nowadays the Wayang Purwa is accompanied by the Ghamelan in the Slendro mode and the Wayang Gedhog by the Ghamelan Pelog, though to make the performance of the Wayang Purwa the more enjoyable and to provide yet more music during the performance, additional ghamelan music is played sometimes in the Pelog mode.[email_link]

Narasumber: Moerdowo,R.M.

The Fighting Techniques

admin — Mon, 09 Nov 2009 02:30:17 +0000

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.

The Calibres of The Good Dhalang

admin — Thu, 08 Oct 2009 04:30:09 +0000

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.

The Handling of The Wayang Puppets

admin — Mon, 05 Oct 2009 03:22:46 +0000

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:

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.
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.
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.
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.

The Gamelan Music of The Wayang Play

admin — Thu, 03 Sep 2009 02:12:00 +0000

The gamelan music in the wayang play consists of instrumental music in the Slendro and Pelog modes, and songs such as the Pathetan, Adada, and Sendhon; in Balinese Wayang the Pengalang and Tandhak. Many different gamelan melodies are used in the course of the play to create atmosphere and to provide dramatic accompaniment. Expressions of joyfulness, sorrowfulness, angriness, peacefulness, and conflict are all indicated by different gamelan melodies and by the songs sung by the Dhalang and the traditional singers known as Sindhen. The gamelan music is therefore not a mere musical accompaniment, but an important evocative element linked with the development of the story. Its function is akin to that of the music in opera house. Sulukan, Pathet, Sendhon, Gregetsaut, Tandhak, are terms relating to the most important songs in the wayang play. The Pathet (in Bali, called Pengalang Sendhon, Lepita) is used to create a mood; sometimes with the accompaniment of the Gamelan, sometimes not. The text of the song is called the Sulukan, and with it, the Dhalang can evoke different moods for different scenes. The Wayang Purwa performance is done in a classical manner, accompanied b the Gamelan in the Slendro mode and the Wayang Gedhog by the Pelog mode. The development of these 2 modes or systems of music in the history of Indonesian art is difficult to trace accurately. And it's still in question, whether there are musical influences from outside Indonesia, or wether the Gamelan is an indigenous Indonesian art form. Those ethnic groups within Indonesia which have completely developed an independent Gamelan form, are the Javanese, Sundanese, Maduranese, Balinese, and the people of the Banjarmasin area of South Borneo and those of South Andalas. The Slendro mode is pentatonic, a system of music characteristic of the people of Southeast Asia and China. There are a few Gamelan instruments, which can be found throughout Nusantara, and these are drum, flute, cymbals, and the gong. These instruments are probably the original and primitive instruments of Nusantara, but somewhat similiar instruments do occur also in Vietnam. The comparison of musical instruments and musical composition of various Asian countries is still beingstudied by musicologists of the various conservatories and schools of music in Nusantara. The themes and forms used in the wayang play are very important. They are sources of dramatic mood that accompany scenes of conflict with exciting music for state occasions, or occasions of joy, or sorrow and anger. The tunes used most frequently during the play, which continues from early evening till the next morning are Ayakayakan, Playon, Srepeghan, Kerepan, and Sampak. At every stage appropriate music is played to match the mood or character presented. Every act of the wayang play is accompanied by appropriate atmospheric music, such as Ketawang, themes for peaceful moments, and Ladrangan for joyful anticipation. In a Balinese wayang performance, the atmosphere is also shaped by the gamelan tunes, the Gendhing Pedhalangan. A session in the Kraton is accompanied by the Angkatangkatan Sekarginotan or Selangsah. In scenes, where a princess appears on the screen, the Angkatangkatan Sekethi is played. In amorous scene the Gendhing Rebong is played. When a titan king falls in love with a princess, Gendhing Benduasmara is played. When a titan king has a session in his palace the Gendher plays the Gendhing Candhi Rebah. The Bhatari Durga is accompanied by the Gendhing Sunyang which have a mystical character. When a princess is in sorrowful mood, the Gendhing Mesem is played. Battle is always accompanied by the Bathel.[email_link]

Narasumber: Moerdowo,R.M.

Visual Art of WAYANG

admin — Mon, 31 Aug 2009 01:23:42 +0000

The artwork of the wayang puppetry represents a culmination of esthetical expression and bonds many arts in harmonious unity, such as, visual art, vocal and instrumental music, drama, lit and dance. The narrator (the Dhalang) has to be proficient altogether these arts, and to integrate them skilfully. Only therein way can he breathe life into the wayang stories and capture the imaginativeness and involve the emotions of his audience. In the Ajuna Wiwaha, we're told, that when the Dhalang is a good one he will be able to bring the audience into a never-never land, make them weep when puppet is in distress, and laugh when it's happy and boisterous, and representations of cruelness and unjustness should evoke passionate concern. The wayang isn't a mere photographic portrayal of human models, but expresses the subjective emotions of the artists, containing elements designed to convey personality by visual means. If analyze the elements portrayed in a wayang figure, we find indicants of psychological make-up and personality in each individual wayang character, as well as the expression of the artists own feelings toward that particular character, as seen in the artist's use of line and color. Thence, the artist, may draw the body parts, such as the nose, in different ways, according to the character he wishes to represent. The drawing of the line of the mouth and lips also express different personalities. The lines of the eyes and eyelids also express character and personality. There are also other indicators, such as the angle of neck and shoulder. The colour of the face is also used to show differences between the characters of the different wayang. The colour of the body, too, can express different characteristics and moods. The ornaments express differences in age and personality. The distance between the feet of the puppets is also a measure of character, and shows liveliness and speed of movement. With these remarks we have sought to show how the wayang artist by means of decorative technique attributed character, moods, and attitudes to the characters of the wayang play. Besides these individual technical details, the grouping of the wayang falls under categories. The so-called wayang Katongan is characteristic of kings and titan rulers. The Putran and Putren wayang are the sons and daughters of kings or knights. The Dugangan Wayang indicates of forceful pesonality. These characters, when in battle, rely mainly on their bare and bodily strength rather then on their weapons. When they use weapons, they're clubs and swords, and not the Keris. There are also groups of god figures, such as Brama, Indra, Panyarikan, and Narada. Besides these, there are the nymphs; Apsari, Bidadari, Suprabawati, Tunjung Biru, Irimirim, and other dwellers in Suralaya, the seat of the gods. The Wanara group of apes consists of their king Sughriva, Hanoman, and other ring leaders of apes in the Ramayana stories. The titan king, his counselors and other officers are the Denawa group, and their followers are Bhuto Chakil, Bhuto of Fire Hair, Bhuto Terong, and Bhuto Changklok. The Punakawan wayangs are the clowns and squires; Semar, Gareng, Petruk, Bhagong, Toghog, and Soroito. These provide comic relief. The Ricikan wayang consists of lare group such as the army and also animals like the Garudha bird, the dragon, the horse, the elephant, etc. It also includes artilleries.[email_link]

Narasumber: Moerdowo,R.M.

The Balinese Wayang Puppet Theater

admin — Thu, 30 Jul 2009 02:44:00 +0000

In Bali the wayang play retains its spiritual significance, being used in all the religious festivals, the 5 Yadnyas. The Dewa Yadnya ceremonials for the gods and deified ascendents, the Pitara Yadnya ceremonials for the souls, the Manusia Yadnya ceremonials for the rites-de-passage, Rshi Yadnya consecration ceremonials for the priest, and Bhuta Yadnya offerings to the magical powers of the spirits. 3 sets of wayang are known to have gained fame among the folks; the Wayang Parwa depicting the Mahabharatum stories; the Wayang Ramayana depicting the stories of Rama; and the Wayang Leyak or Wayang Calonarang depicting the legend of the magical widow of Girah who spread disease and disaster during the Airlangga period of Kediri kingdom. Still existing in Bali, but never performed nowadays, is the Wayang Gambuh depicting the Malat Pandji stories.
The wayang figures retain their original features resembling the figures of the reliefs of the Panataran temple in East Java. The Wayang Parwa is companioned by only 4 gendhers, while the Wayang Ramayana or the Wayang Calonarang is companioned by a more luxuriant orchestra called the Bhathel ensemble consisting of: 4 gendhers, 2 ghupak, 1 cengceng, 1 klenang, and 1 kempur. While the dialog of the Wayang Parwa in Java is already using the modern Javan language, the Wayang Bali still uses the Kawi (old Javan) language and translate it to ordinary daily Balinese language through the Penasars.
The technique of narration is also different in Bali. The narration is called the Penjacah Parwa (in Java the Janturan), and songs are called the Pengalang (in Java the Sulukan). The Penjacah Parwa is to be continued by the telling of the stories called the Senduk Semita. The Penasars, who translate Kawi dialogue into ordinary daily Balinese, are called Malen or twalen, Merdah, Sangut, and Melem or Dwelem. Malen and Merdah accompany the right side or heroic figure, such as the knights and Sangut-Melem accompany the left side or evil figures, such as the monsters.
According to the rules of the ceremonials every wayang performance has to be given a complete set of offerings called Bebanten Wayang to ward off evil spirits and necromancy powers. During purification ceremonials or the Penglukatan a special story is performed, the Sudamala or Sapuleger story, which is as is as in Java. Also the Murwakala story for the Ngruwat (known as Nglukat, in the Balinese ceremonial).

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Narasumber: Moerdowo,R.M.

Wayang Madya

admin — Mon, 27 Jul 2009 02:02:00 +0000

Prince Mangkunegoro IV who reigned in the Mangkunegaran area of Surakarta at the end of the eighteenth and beginning of the nineteenth centuries ordered his court artists to compose afresh wayang, which he called the Wayang Madya. It was intended to provide a link between the Wayang Purwa and the Wayang Gedhog, and utilised stories derived from a book of mythology named Hajipamasa. It deals with the coming of the Hindoos to Java before the Wayang Gedhog era (the period of Jenggala, Kediri). The stories are thence much older than those of the Wayang Gedhog, although their use in wayang performance is of course later. Performances of this kinda wayang are very rare, and there are only a few Dhalangs, who can narrate the stories, left in Solo.

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Narasumber: Moerdowo,R.M.

The Wayang Klithik

admin — Mon, 22 Jun 2009 01:47:00 +0000

The Wayang Klithik is a kinda wayang, which is never performed nowadays. But the stories associated with it are still very popular and provide the themes for the dance dramas known as Kethoprak. They're taken from the book called Dhamarwulan, which consists of stories from the Majapahit and Blambangan kingdoms, in the most eastern region of Java. The Dhamarwulan stories have some historical element, but are mostly legends, which can't be used as historical records. The puppets are made of wood, with flat leather arms. The features are similiar to those of the Wayang Gedhog, and the figures have as is clothing and ornaments. According to the evidence of the Serat Pakem Sastramiruda, this wayang was developed during the reign of Pakubawana II. As has already been said, it's rarely, if ever, performed now, but excellent examples of the puppets my be seen and studied in the Radyapustaka Museum of Solo, the cultural museum in Yogyakarta and in the Djakarta Museum.

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Narasumber: Moerdowo,R.M.

The Wayang Golek

admin — Mon, 18 May 2009 01:22:00 +0000

According to the Serat Pakem Sastramiruda, the Wayang Golek was devised by Sunan Koudous. In the Kudus-Jepara region of Central Java from earliest time as yet there's been a custom of wood-carving. It's perhaps for this reason, that the Wayang Golek, which is carven from wood, was developed therein area. The Wayang Golek is a solid third-dimensional puppet similiar to the classical puppets from China. At the performance no screen is used, so the term wayang is perhaps a misnomer, since there's of course no element of shadow show involved. Nowadays the Wayang Golek is especially popular and highly developed in the Sunda region of West Java. It's also long-familiar in Cirebon, a town lying on the border between West and Central Java, where both Javanese and Sundanese are spoken.

There are, then, 3 different kinds of Wayang Golek:

The Wayang Golek Purwa, using the epic stories from the Ramayana and Mahabharata, and resembling the Wayang Purwa in features and ornamentations.
The Wayang Golek Gedhog, which uses the Pandji stories.
The Wayang Golek Menak, which depicts legends of the Emeer Ambyah, which are of Persian and Arab origin and are thought to be about the uncle of the Prophet Mohammed. In Java the Emeer Ambyah is known as Wong Agung Menak Jayengrana, but as a matter of fact isn't a historical figure.

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Narasumber: Moerdowo,R.M.

The Wayang Gedhog

admin — Mon, 13 Apr 2009 04:10:00 +0000

Many stories have been advanced by scholars to explain the etymology of the word 'gedhog' and an agreed definition has still not been reached. The exact meaning must therefore remain in question.
The features of the Wayang Gedhog puppets are as is as those of the Wayang Purwa, but they've different headgears, clothes, and ornaments, resembling the Balinese Wayang Gambuh.
The stories are derived from the Malat stories, or the Serat Pandji, telling the legendary history of the kingdoms of Kediri, Singosari, and Gegelang. All of the stories about these East Java kingdoms mingle myth with historical fact, and were written during the thirteenth century.
Resembling this Wayang Gedhog is the Wayang Gambuh, still existing in Bali, but not as pop as the Wayang Parwa and the Wayang Ramayana.

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The Wayang Purwa

admin — Mon, 09 Mar 2009 03:49:00 +0000

The Wayang Purwa, the oldest form of wayang in Indonesia. The name Wayang Purwa may be interpreted as "the ancient wayang", telling stories from the mythology of the gods as described in the Serat Pustaka Raja Parwa, an old book which still exists in museums. The etymology of its name indicates that the Wayang Purwa is indeed the oldest wayang form.
According to some scholarly persons, the Wayang Purwa is the wayang which depicts on the screen stories from the Parwa(s) or the chapter(s) from the Hindhu epic of the Mahabharata. In Bali may still be seen with the name Wayang Prawa. In Bali all the stories are derived from the Mahabharata, Ramayana, Arjuna Wiwaha, Bhaumakawya, and other old books in Kawi (the old Javanese language).
Even so the Wayang Purwa in Java, especially in Central Java has reached a very upper-level of development, so that now the technique of the wayang and of the gamelan musical accompaniment, both instrumental and voice, can be regarded as a complex and highly developed art form, involving both music and drama.
There now exist a whole repertory which can be enjoyed in many parts of Indonesia on different occasions. The wide fame of the wayang play extends through all levels of the society from remote villages on mountainslopes to the verendahs of houses in great metropolises, and even to the Presidential Palace in Djakarta. Young and old, educated and illiterate, leaders and folk are all devoted to the Wayang Purwa play, often sitting up all night to see a performance through to the end. While in Bali the wayang is still existensively used in all the Panca-Yadnya, the offering ceremonies in house and temple.
So what is the secret of this universal appealingness? Why does the Wayang Purwa exercise this remarkable spell on its audience? Probably it's due to a combination of technique and of the material of the wayang.

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Narasumber: Moerdowo,R.M.

The Leather Wayang Puppetry

admin — Mon, 02 Feb 2009 02:55:00 +0000

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.