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# History and cultural significance of the Indonesian shadow puppetry tradition

- Indonesian shadow puppetry, also known as **wayang kulit**, is a traditional form of puppet-shadow play originally found in the cultures of Java and Bali in Indonesia.
- The term wayang is the Javanese word for "shadow" or "imagination", and kulit means "skin" or "leather", the material from which the figures are carved.
- Wayang kulit has its origins in the Hindu-Buddhist civilisations that arrived in Indonesia from India before the Islamic and Christian era. Sanskrit became the literary and court language of Java and later of Bali.
- Wayang kulit was later assimilated into local culture with changes to the appearance of the characters to resemble cultural norms. When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited, and thus this style of shadow play was suppressed.
- Wayang kulit is considered to be one of the oldest freestanding puppet forms; the earliest references to it date from the 800s. It is also one of the many different forms of wayang theatre found in Indonesia; the others include wayang beber, wayang klitik, wayang golek, wayang topeng, and wayang wong.
- Wayang kulit is among the best known, offering a unique combination of ritual, lesson and entertainment. On November 7, 2003, UNESCO designated Wayang kulit theatre as a Masterpiece of the Oral and Intangible Heritage of Humanity¹. In return for the acknowledgment, UNESCO required Indonesians to preserve the tradition.

# Techniques and styles used in creating shadow puppets and performances

- In a wayang kulit performance, the puppet figures are rear-projected on a taut linen screen with a coconut-oil (or electric) light. The dalang (shadow artist) manipulates carved leather figures between the lamp and the screen to bring the shadows to life.
- The puppets are made of buffalo hide and intricately designed, down to the most minute detail of costume and color, to help the audience distinguish between the different characters. The puppets are usually about 25 inches high and have movable arms and legs.
- The puppets are divided into three categories: alus (refined), gagah (strong), and kasar (coarse). The alus puppets have slender bodies, smooth features, and graceful movements. They represent noble or virtuous characters. The gagah puppets have muscular bodies, prominent features, and dynamic movements. They represent heroic or powerful characters. The kasar puppets have stocky bodies, exaggerated features, and comic movements. They represent common or evil characters.
- The puppet figures themselves vary from place to place. In Central Java, the city of Surakarta (Solo) and city of Yogyakarta have the best-known wayang traditions, and the most commonly imitated style of puppets. Regional styles of shadow puppets can also be found in Temanggung, West Java, Banyumas, Cirebon, Semarang, and East Java.
- The plays utilizing wayang puppets are set in mythological times and dramatize episodes from the Hindu epics Rāmāyaṇa and Mahābhārata. Some are of Javanese creation, being further elaborations of the Mahābhārata legends of the five heroic Pāṇḍava brothers.
- These highly ritualized midnight-to-dawn performances may be viewed from either side of the screen, some of the audience sitting behind the dalang, but most connoisseurs prefer to watch the figures as shadows cast on the screen. When the characters are introduced, the figures representing the forces of good are on the right, the evil ones on the left.
- The dalang is not only a puppeteer but also a storyteller, singer, musician, comedian, and spiritual leader. He controls hundreds of puppets, each with a distinctive voice and personality, and improvises the dialogue and narration according to the audience and the occasion. He also plays a metallophone (gamelan) with his feet and a wooden box (keprak) with his hands to mark the rhythm and mood of the scenes.
- The dalang is accompanied by a gamelan orchestra in Java, and by gender wayang in Bali. The gamelan consists of various percussion instruments, such as gongs, drums, xylophones, and metallophones. The gender wayang is a type of Balinese gamelan that uses four metallophones and a pair of drums. The music provides the background and atmosphere for the performance, as well as cues for the puppets' actions and emotions.

# Evolution and role of the tradition in contemporary Indonesian culture

- Wayang kulit has undergone many changes and adaptations over time, influenced by historical, political, social, and cultural factors. For example, during the colonial era, wayang kulit was used as a medium of resistance and nationalism against the Dutch rulers. During the Japanese occupation, wayang kulit was banned for its subversive messages. During the New Order regime, wayang kulit was promoted as a symbol of national identity and unity.
- Wayang kulit has also incorporated elements from other cultures and media, such as Islam, Christianity, Buddhism, Chinese opera, Western comics, movies, and television. For instance, some dalangs have created new stories and characters based on Islamic history or contemporary issues. Some have also introduced puppets of superheroes, celebrities, or politicians to attract younger audiences or to comment on current events.
- Wayang kulit remains a living and evolving tradition in Indonesia today, with many dalangs performing regularly in various venues and occasions, such as temples, schools, hotels, festivals, weddings, funerals, and birthdays. It is also a source of inspiration and innovation for other forms of art and entertainment, such as theatre, dance, film, animation, literature, and music.
- Wayang kulit is not only a form of entertainment but also a means of education, communication, and expression for the Indonesian people. It reflects their values, beliefs, customs, and aspirations. It also preserves their cultural heritage and identity. It is a way of celebrating their diversity and creativity.

I hope this helps you learn more about the fascinating art of Indonesian shadow puppetry.
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