Also known as shadow play, wayang kulit dates back to 860AD and is one of Asia’s oldest story-telling traditions, blending religious mythology with historical facts. Its name is derived from two components – ‘wayang’ meaning shadow; and ‘kulit’ meaning leather, which is what the puppets are made of.
Puppets - Form and Function
For most Westerners, puppets evoke fond memories of childhood, featuring humorous figures like Punch and Judy or Kermit the Frog. Javanese, however, need not confine recollections of puppets to their younger days – as they grow older and encounter the same characters in different plays, their understanding and appreciation of the characters is deepened.
The intricately carved puppets are made using water buffalo hide, and attached to them are handles made of bamboo or wood. A dalang can have a repertoire of up to 300 puppets, and most characters are inter-changeable – in fact, it is common for fellow dalang to be unable to recognise each other’s puppets. The exceptions apply for major characters such as Seri Rama, a hero frequently featured in the epic Ramayana.
Though they are often used to depict different characters, puppets may be distinguished by their features – nobility is denoted by small well-shaped mouths, long noses, and narrow high-set eyes. The concept of alus – meaning refined, in both physical and social senses – is perpetuated here, a reflection of Javanese culture which prizes the mastery of etiquette. Villainous characters are recognised by coarse features such as a bob nose and round eyes, which depicts a propensity for violence.
The Quintessential Storyteller – the Dalang
The skilful manipulation of these puppets is handled by a dalang – a unique individual combining the multiple roles of storyteller, actor and singer. Shadow plays are held from dusk to dawn, so the dalang works for up to eight hours without so much as an intermission except the occasional cigarette and sips of sweet tea. Quite a remarkable feat, considering they never pause for bathroom breaks either. The same restrictions are not placed on audience members, however; they do mingle with others and often have feasts while enjoying the show.
The dalang sits in a panggung or operating box, at arm’s length and facing a cloth screen. An oil lamp hangs on a level with the dalang’s forehead between him and the screen, so that his shadow does not appear on the screen along with the puppets, creating the illusion that the characters are moving of their own accord. On the other side of the screen is the audience, with children trying to get as close to the operating box as possible, singing and laughing along with the dalang.
Wayang kulit is traditionally a one-man show, with the dalang manipulating all the puppets as well as giving them their voices – using three different vocabularies through which the audience can identify the different social status of each character. The dalang also directs the gamelan, an orchestra consisting of nine to twelve musicians playing instruments like oboes and gongs.
Wayang in Society
The ancient art of wayang kulit remains popular till today. Not only is it a form of entertainment, it also carries religious significance in Javanese society. Performed during familial and community rituals, such as weddings, circumcisions, births, harvest festivals and village purifications from malevolent spirits, wayang is looked upon as a display of honour. In a global context, the wayang kulit is also renowned, designated by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity in 2003.
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