History of wayang
Gold, the dominating colour, indicates dignity and serenity; black is a sign of anger or maturity; red is for tempestuousness; and white is the colour of youth. Watching Wayang Kulit In earlier times it was customary for men to watch the play from in front of the screen, while women sat behind it, thus being able to see the orchestra, the dalang, and the brightly coloured puppets.
However, wood is more subject to breakage than leather. Often, modern-world objects as bicycles, automobiles, airplanes, and ships will be added for comic effect, but for the most part the traditional puppet designs have changed little in the last three hundred years.
On a philosophical, one could almost say an esoteric level, the play, as a whole, symbolises the human life cycle. It was performed without a screen with flat, wooden puppets carved in relief.
Some modern forms of wayang such as wayang sandosa from Bahasa Indonesia, since it uses the national language of Indonesian instead of Javanese created in the Art Academy at Surakarta STSI employ theatrical spotlightscolored lights, contemporary music, and other innovations.
The characters include demons, holy men, evil spirits, Hindu gods, kings, warriors, saints, buffoons and clowns, monsters, monster ghosts, giants and fantastic animals. For this reason, the wayang klitik figures which are to appear in plays where they have to endure battle scenes, have leather arms.
For example, Arjuna of the Mababbarata, the Javanese hero par excellence, has thirteen different puppet shapes. Wayang comes from the word 'Ma Hyang' which has the meaning ; leads to spiritual spirit, god, or God Almighty, but also interpreted as a 'shadow'. Galigi was an itinerant performer who was requested to perform for a special royal occasion. Many of the stories are the same Hindu ones used in Wayang Gulik but some are also inspired by Islamic stories. The content of the story typically stems from the Ramayana, the Mahabharata, the Jenggala stories or profane stories from other villages and kingdoms. Wayang golek purwa has become the most popular form of wayang golek today and the most famous puppeteer family is the Sunarya family, which has produced several generations of stellar performers. Wayang golek is particularly popular in West Java and is associated with the Sundanese ethnic group. However, there may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theater. The steps from one period to the next are emphasised by the change of the mode in the accompanying gamelan music. It is maintained that they are old indigenous deities, which have been adapted to later Indianised mythology. The noble Prince Panji Jukka O. On Java, the western part of Sumatra and some smaller islands traditionalists continued to play the old stories for some time, but the influence of Hinduism prevailed and the traditional stories either fell into oblivion or were integrated into the Hinduistic plays. He must also be skilled in recitation, singing, the vocal characterisations of the roles, and the elevated and vulgar levels of the language, along with manipulating the puppets in front of the screen. His body must be slender and well proportioned his nose long and pointed, and his eyes must be shaped like soya beans. The other view maintains that Javanese shadow theatre has ancient indigenous roots.
Semar is old, fat, short-legged, and flat-nosed. The repertoire is unique to the island and is based on the Muslim Menak Cycle the adventures of Amir Hamzah.
The popularity of wayang is declining somewhat as young people become more interested in films, pop music and television.
The lamp is a symbol of the sun as well as the eye of the dalang. In the ensuing sections, the opponents send messengers to each other until they finally meet in person. This story is full of love affairs and battles and is very popular with the public. Wayang beber depiction of a battle Wayang glass painting depiction of Bharatayudha battle Wayang beber relies on scroll-painted presentations of the stories being told. During the shadow plays this "god in all too human form" is often depicted throwing feces at his enemies and chasing away naughty children with his smelly farts. The wayang is usually made out of water buffalo hide and goat hide and mounted on bamboo sticks. Galigi was an itinerant performer who was requested to perform for a special royal occasion. The noble, so-called alus, characters are usually small, the strong gagah characters are larger, and the demons full of aggressive power are the largest. In wayang beber the dalang illustrated the story by opening a painted scroll supported by two poles.
Javanese theatre thus combines highly noble qualities with earthy comedy and even obscene grotesqueness. Whilst preparing for battle, the hero will experience many doubts and inner conflicts. Miettinen The different characters, as well as their social status and psychological qualities, are marked by the size, colour, and other details of the puppet.
The noble hero puppet, for example, follows the Javanese hero ideal of utmost beauty. Wayang has spread to other islands Lombok, Madura, Sumatra and Borneo where various local performance styles and musical accompaniments have developed. Local variants of wayang golek have evolved in various parts of Java. Jukka O. Its main repertoire is derived from the Menak cycle, dealing with the Muslim hero Amir Hamzah. There are several hundred lakon. One of the most sacred puppets of a wayang kulit set is, surprisingly, not a noble hero but Semar, the head of the servant clowns or punakawan of the ethically good party. This story is full of love affairs and battles and is very popular with the public. This polarity, however, is not rigid, since both parties include characters with qualities that could belong to the opposing one. Performances, mostly in small auditoriums, take place according to the following pattern: The dalang gives a sign, the gamelan orchestra or a musician with a violin -like instrument begins to play and the Dalang unrolls a picture related to the story. These stories are still widely performed in Kabumen, Tegal, and Jepara as wayang golek menak, and in Cirebon, wayang golek cepak. I borrowed a set of puppets and when the owner took them back, I learned how to carve my own
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