Wayang Kulit – Shadow Puppet Performances
Introduction
The film The Year of Living Dangerously, set in Indonesia in 1965, opens with a Wayang Kulit performance. President Sukarno himself described 1965 as the year of living dangerously. The excellent novel by Christopher J. Koch has a vivid description of a performance and the theme runs through the story. These ancient, magical performances are very atmospheric and seem to symbolise Indonesia. Many say that Indonesian politics can only be understood in terms of the Wayang Kulit.
Wayang Kulit performances are sacred and form part of many ceremonies in village and family temples. Usually they accompany temple anniversaries and rites of passage ceremonies, such as baby ceremonies, tooth-filings, weddings and cremations. The performances have three functions in Balinese society: they are instructive, entertaining and religious. Wayang Kulit has profoundly affected the other Balinese arts.
The performances bring together visual art, vocal and instrumental music, drama, literature and dance. The puppeteer has to be expert in all these arts.
Origin
The shadow theatre exists, or has existed, in the lands between Turkey and China. Many think that Indonesian shadow puppet performances originated in India and that they came to Bali from Java between the 11th and 14th centuries. Read more about it in Secrets of Bali.
Wayang Kulit has been Bali’s cinema for centuries, but it is primarily a sacred matter. Read more about it in Secrets of Bali.
The first person to describe a Balinese Wayang Kulit performance was Chinkah, a Siamese master of a junk, which landed in Bali in 1846. The king of Klungkung gave a performance for him.
Two types of performance
There are two types:
The night wayang: wayang peteng
The most common occurrence of the night wayang is during a temple anniversary or odalan. Sometimes they are put on as thanks for a prayer coming true or during the celebration of a wedding or birth.
The day wayang: wayang lemah
The day wayang is the most revered of form of theatre in Bali. It is performed for the gods and is regarded as an offering.
Three types of stories
Three types of wayang stories have become popular in Bali:
Wayang Parwa
This depicts stories from the Mahabarata.
Wayang Ramayana
This tells stories of Rama.
Wayang Colon Arang
This tells the story of Rangda the witch.
Puppeteer
The puppeteer, dalang, and his puppets are treated with great respect. Indeed the dalang is a kind of priest and before a performance says prayers to bring the puppets to life. He can make holy water. Read more about it in Secrets of Bali.
He plays all the characters, in different voices, and controls the gamelan by tapping his foot on his wooden box. Read more about it in Secrets of Bali.
The most famous dalangs come from the village of Sukawati in south Bali. There are half a dozen families, all related, who pass the gift down from generation to generation. Read more about it in Secrets of Bali.
The stage
The audience is separated from the cross-legged dalang by a large white cloth (kelir), about 6 feet in length, bordered in black at the top and bottom and with red squares at the side. Behind the cloth are the dalang, a flickering, hanging coconut-oil lamp (damar) casting fluttering shadows on the sheet, the puppets of flat leather and the dalang’s two assistants (tututan), who sit on either side of him and hand him the puppets. The puppets are all placed in a yellow-green banana log (gedebong), at the base of the screen, ready for action.
The dalang’s puppet box is on his left. The filigree patterns of the puppets show up on the screen when held up against the oil lamp. Heroic figures are on the right and evil figures on the left
Behind the screen is a four or more piece gamelan, the Gender Wayang. It is the most demanding of all gamelans. It is quite an experience to go behind the screen and see how it is all done, but the better experience is to watch the performance. They take place at night and go on for hours.
The stories
The performances are the most literary and sophisticated of the Balinese performing arts. The stories are taken from the Hindu epics, the Mahabarata, the Ramayana and Prince Panji, with much improvisation, sometimes about politics. Jokes are told. Battle scenes are played out.
The dalang speaks in Kawi, which few understand. For the benefit of the audience, four clowns, also played by the dalang, translate and comment on the stories in Balinese. The clowns are the most important characters. In the Mahabarata stories they are Tualen and his son Mendah, servants of the Pandawas, and Delem and Sangut, servants of the Korawas. They are Sudras and have the most individuality of all the characters.
The story is finished in one sitting – unlike in Java, where it can last for several days. The plots usually start and end in the palace and take the viewer to the village and the forest. The village represents civilization, so that dialogues take place in the civilized world of the village, the court, the temple and the home. Battles are fought in the forest, a place where the hero also goes to meditate and make contact with unseen forces.
Read more about it in Secrets of Bali.
The puppets
A standard collection comprises about 100 puppets, which are made of cowhide with a tapering buffalo horn or wooden handle. The handle ends in a point and is stuck into the banana stem, which lies at the base of the screen. Each puppet is chiselled, coloured and has a conventional headdress, which provides for instant recognition. They are kept in a wooden chest in a prescribed order: those on top are ritually the most important. The scenic one, the Kakayonan, is the uppermost figure, followed by the Supreme god, Tunggal. Ogres are on the bottom.
The figures are not naturalistic. They have disproportionately long necks, very long arms, and toes that are not in the correct position. Read more about it in Secrets of Bali.
A special puppet, called the Kayonan, in the shape of a tree, the tree of life, is waved by the dalang to indicate the start of the story. Read more about it in Secrets of Bali.
It is used to indicate scene changes and the end of the performance. It can also be used to represent a forest, the sea, bathing places, wind, rain, fire or a palace during the performance. More generally it may represent the five elements that make up the universe: air, wind, fire, water and earth.
Puppet-making
The art of puppet-making is passed down from one generation to the next. Apprenticeship takes between two and five years. The puppet-maker will carry out a ceremony to Wisnu and Siwa before he starts and will place an offering daily on a small shrine. Read more about it in Secrets of Bali.
The puppets are painted using five basic colours: white, red, yellow, black and blue. White is made from animal bones, black from soot and yellow from stones found on Serangan Island in the south coast of Bali. Gold leaf, prada, is used for the Kakayonan and the costumes of the Ksatriya characters. The head is painted first.
The head, torso and legs are one piece. The arms are separate and attached to the shoulders, so that they can move by means of rods tied to the puppets’ hands. They are all dressed, except for the Supreme god.
Life
The puppets represent life. They comprise celestial, human and demonic beings. Read more about it in Secrets of Bali.
There are not very many Brahman puppets. There are many more Ksatriyas. The visual similarity between the ruling kings and the gods is marked. They often wear the same headdress. This may well have derived from the fact that there was something divine in kingship, especially in Bali and Java in the 10th and 11th centuries.
Some of the puppets can be used for several characters. Major characters would not double up in this way, unless they were linked by a common heritage.
Body colours
The body colours represent symbolically major ideas and values in Balinese society. The colours are the five basic colours: white, red, yellow, black and blue, and a mixture of them. See the chapter entitled Balinese Symbolism in Secrets of Bali for the meanings associated with different colours.
Noble characters have light body colours, flat teeth and slit eyes; whereas coarse ones, like the ogres, are red or brown, have bulbous eyes and pointed teeth.
The music
There are always four gamelan instruments, which comprise the gender or xylophone, the rebab or two-stringed violin, the drum and the gong.
Read more about it in Secrets of Bali.
Music accompanies the placing of the puppets in the banana log, announces entrances, supports the dialogue, creates a benevolent atmosphere, and adds excitement to dramatic scenes.
Dalang’s preparations
As he sets off for a performance, the dalang will stop at his gate and feels his hair knot. If it pulsates to the right, he puts his right foot forward. Read more about it in Secrets of Bali.
It has already been mentioned that the dalang prays before the performance. He prays for protection from witches and evil spirits, for the gods to descend and enter him and the puppets, and for the audience to enjoy the performance. He sprinkles holy water and makes offerings to ensure that the stage is a pure area.
Read more about it in Secrets of Bali.
The play
During the play the puppets are placed in the banana log. The main characters, the good characters, are placed on and enter the stage from the dalang’s right. Read more about it in Secrets of Bali.
The dalang sets the scene and describes the action. He speaks the parts. He needs to know the personalities of the various wayang characters and speak in an appropriate tone.
The most exacting part of the play is the fight against the giants, which usually takes place about 1 am or 2 am. It is the most difficult job for the dalang and is a test of his skill. Energetic tapping of the puppet box by the hammer held between the toes of his right foot always accompanies battle scenes.
After the performance the dalang recites a mantra to bring the puppets back to life symbolically.
Hand gestures
Puppets have stylized hand gestures. These are similar to the hand gestures of the priests, mudras, although priests use both hands whereas puppets only use one hand. See the article entitled Balinese Symbolism.
Symbolism
The music, stage and equipment symbolize the macrocosm. The clean white cloth screen symbolizes the sky. The cloth separates us from the real world of the gods. The puppets symbolize all that exists. The banana log is the earth. The oil lamp, which gives life and energy, represents the sun and the dalang is God. The music symbolizes the harmony of the cosmos and the puppets’ movements harmonize with the music.
The dalang wears headgear, waistcloth and dress, which represent heaven, earth and the underworld. He joins all three together during a performance.
Read more about it in Secrets of Bali.
The stage details are also symbolic. The stage is orientated to the propitious mountainward, kaja, direction, or to the east. The cloth has nine holes at the top, which represents nawa-sanga, the Balinese mandala. The lamp is lit with three bundles of wicks, reprsenting the Trinity (trisakti), the gods Siwa (or Iswara), Brahma and Wisnu. The cloth is also red, white and black. See the chapter entitled Balinese Symbolism in Secrets of Bali.
Tumpek Wayang
As mentioned in the chapter entitled Balinese Calendars in Secrets of Bali every 210 days is a day called Tumpek Wayang. It is also Kajeng-Keliwon, and special for Wayang Kulit shadow puppets, which are taken out and given offerings by the dalang. It also happens to be very unlucky to be born on that day. Such a child is prone to illness and injury from Kala, the demon god.
To cure the baby an elaborate ceremony called sudamala is carried out by a dalang after a night or day wayang. Read more about it in Secrets of Bali.
The day wayang: wayang lemah
This version of the shadow play is only performed during the day. Lemah means daylight. It is only for the gods and is a religious rite. Read more about it in Secrets of Bali.
It is a quiet performance, hardly audible to human beings. There is little or no conflict. Read more about it in Secrets of Bali.
Two musicians playing large metallophones, gender pemgumbang, provide the music. The music is less rich in tone and colour than the night wayang.
The stories deal with moral and spiritual themes and always relates to the particular ceremony or occasion. Read more about it in Secrets of Bali.
Conclusion
There may be no strict connection, but one cannot help remembering Plato’s famous allegory of the Prisoners in the Cave in the Republic. Read more about it in Secrets of Bali.
There are performances in Ubud.
