History of Wayang Kulit

Wayang is a generic term denoting traditional theatre in Indonesia. There is no evidence that wayang existed before the first century CE, after Hinduism and Buddhism were brought to Southeast Asia. This leads to the hypothesis that the art was imported from either India or China, both of which have a long tradition of shadow puppetry and theatre in general. Jivan Pani has argued that wayang developed from two arts of Odisha in Eastern India, the Ravana Chhaya puppet theatre and the Chhau dance. However, there very well may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theatre.

Wayang shadow-puppet 

The first record of a wayang performance is from an inscription dated 930 CE which says si Galigi mawayang, or "Sir Galigi played wayang". From that time till today it seems certain features of traditional puppet theatre have remained. Galigi was an itinerant performer who was requested to perform for a special royal occasion. At that event he performed a story about the hero Bhima from theMahabharata. The kakawin Arjunawiwaha composed by Mpu Kanwa, the poet of Airlangga's court of Kahuripan kingdom, in 1035 CE describes santoṣâhĕlĕtan kĕlir sira sakêng sang hyang Jagatkāraṇa, which means "He is steadfast and just a wayang screen away from the 'Mover of the World'." Kelir is Javanese word for wayang screen, the verse eloquently comparing actual life to a wayang performance where the almighty Jagatkāraṇa (the mover of the world) as the ultimate dalang (puppet master) is just a thin screen away from us mortals. This reference to wayang as shadow plays suggested that wayang performance is already familiar in Airlangga's court and wayang tradition has been established in Java, perhaps earlier. An inscription from this period also mentioned some occupations asawayang and aringgit.

A dalang performing wayang kulit in Java, circa 1890.

The dalang is the genius behind the entire performance. It is he who sits behind the screen and narrates the story. With a traditional orchestra in the background to provide a resonant melody and its conventional rhythm, the dalang modulates his voice to create suspense thus heightening the drama. Invariably, the play climaxes with the triumph of good over evil.

Wayang today is both the most ancient and most popular form of puppet theatre in the world. Hundreds of people will stay up all night long to watch the superstar performers, dalang, who command extravagant fees and are international celebrities. Some of the most famous dalang in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunandar Sunarya, Ki Sugino, and Ki Manteb Sudarsono

About Wayang Kulit

Wayang kulit or shadow puppet theatre is a traditional art form from Indonesia and Malaysia. Wayang kulit, or shadow puppets, are without a doubt the best known of the Indonesian wayang. Kulit means skin, and refers to the leather construction of the puppets that are carefully chiselled with very fine tools and supported with carefully shaped buffalo horn handles and control rods. A solo puppeteer, known as a dhalang in Javanese, manipulates and provides voices for puppets cut from animal hide and painted on both sides. The shadows of these puppets fall on a white cotton screen. In Java, wayang performances are watched from both sides of the screen, as either a shadow show or a puppet show.

Performances in Java are accompanied by a full gamelan, which might have 15, 25 or more musicians. A typical performance begins at 7.30 or 8pm with a musical overture and runs until 3 am or later.  Most plays are based on the Ramayana and Mahabharata epics, which were imported from India to Java perhaps 1500 years ago. Dialogue is not written down, but largely extemporized based on oral formulae. Plays blend action, comedy, philosophy, romance and displays of statesmanship. Wayang kulit is so comprehensive in scope that it is described by many commentators as an encyclopaedia of Javanese culture.

The handwork involved in making a wayang kulit figure that is suitable for a performance takes several weeks, with the artists working together in groups. They start from master models (typically on paper) which are traced out onto skin or parchment, providing the figures with an outline and with indications of any holes that will need to be cut (such as for the mouth or eyes). The figures are then smoothed, usually with a glass bottle, and primed. The structure is inspected and eventually the details are worked through. A further smoothing follows before individual painting, which is undertaken by yet another craftsman. Finally, the movable parts (upper arms, lower arms with hands and the associated sticks for manipulation) mounted on the body, which has a central staff by which it is held. A crew makes up to ten figures at a time, typically completing that number over the course of a week. However, unfortunately there is not strong continuing demand for the top skills of wayang craftspersons and the relatively few experts still skilled at the art sometimes find it difficult to earn a satisfactory income.

The painting of less expensive puppets is handled expediently with a spray technique, using templates, and with a different person handling each color. Less expensive puppets, often sold to children during performances, are sometimes made on cardboard instead of leather.