( ), also known as wayang orang (), is a type of classical Javanese dance and Balinese dance dance theatrical performance with themes taken from episodes of the Ramayana or Mahabharata. Performances are stylised, reflecting Javanese court culture:
Despite being closely associated with Javanese culture and Balinese culture tradition, variants of dance drama can also be found in neighboring Javanese people ethnic traditions, including Sundanese dance tradition.
History
The
bas relief panels on the ninth-century
Prambanan temple show episodes of the
Ramayana epic. The adaptation of
Mahabharata episodes has been integrated in the Javanese literature tradition since the
Kahuripan and
Kediri Kingdom era, with notable examples such as
Arjunawiwaha, composed by Mpu
Kanwa in the 11th century. The
Penataran temple in East Java depicts themes from the
Ramayana and
Mahabharata in its bas reliefs. The Javanese dance drama associated with
wayangs epic themes from the
Ramayana and
Mahabharata would have existed by then.
Wayang in Kawi (Old Javanese) means "shadow" and wong means "human". Wayang wong was a performance in the style of
wayang kulit (the shadow theatre of Central Java) wherein actors and actresses took the puppets' roles. The first written reference to the form is on the stone inscription Wimalarama from East Java dated 930 CE.[Soedarsono, 1997: 4-6] The genre is currently done in masked and unmasked variations in Central Java, Bali, and Cirebon, as well as in Sunda (West Java).
Wayang wong is closely associated with Javanese culture. Originally, it was performed only as an aristocratic entertainment in the four palaces of Yogyakarta, Pakualaman, Surakarta, and Mangkunegaran. In the course of time, it evolved into a popular and folk form as well. Javanese wayang wong performances are regularly staged on the Trimurti Ramayana open-air stage in Prambanan temple, compound as Ramayana Ballet, Purawisata cultural hall in Yogyakarta, Sriwedari park in Surakarta, and also Ngesti Pandawa in Semarang.
Variations
Other than in the
Javanese dance tradition, the variants of
wayang wong dance drama can also be found in other traditions, including in
and
Sundanese dance traditions.
Wayang wong Bali
Wayang wong Bali refers to a
Balinese dance version of
wayang dance drama. Its contemporary presentation is usually included within the
kecak dance, where fragments or episodes of the
Ramayana are performed amidst the chanting
kecak dancers. However, a Balinese
wayang wong version that does not include
kecak dancers has also existed, especially in Ubud.
Wayang wong Bali is usually associated with
Buleleng Regency.
Wayang wong Cirebon
Wayang wong Cirebon refers to a tradition of
wayang dance drama in the city of
Cirebon, West Java. Cirebon has two styles of
wayang wong. The first is a commoners or village version in which the performers are masked. The second is a Cirebon palace variant where the
performers dance are unmasked. Cirebonese
wayang wong developed at the beginning of the nineteenth century, and influenced the
wayang wong Priangan by the end of that century.
Wayang wong Priangan
Wayang wong Priangan refers to a
Sundanese people version of
wayang dance drama, developed in the
Priangan region in the heartland of West Java.
Wayang wong Priangan developed in the late nineteenth century, peaked in the regencies of Bandung, Sumedang, Garut and Sukabumi in the period before World War II, and receded by the late 1960s as audiences waned.
In the Sundanese tradition, the most prevalent
wayang tradition is
wayang golek, a wooden rod puppet performance. Nevertheless, the
wayang-themed dance drama performance also exists, usually performed in Sundanese
sandiwara traditional drama form.
Wayang gedog
Wayang gedog (lit. "masked
wayang"), another form of
wayang wong performance, is usually considered to be a cross between
wayang wong and the
topeng dance. These performances take themes from the Panji cycle stories about the kingdom of
Janggala. Players wear masks known as
wayang topeng or
wayang gedog. The word
gedog comes from
kedok, which like
topeng means "mask". The main theme is a love story about Princess Candra Kirana of Kediri and Raden Panji Asmarabangun, the crown prince of Janggala. Candra Kirana was the incarnation of
Rati (the Hindu goddess of love) and Panji was an incarnation of
Kamadeva (the Hindu god of love). Candra Kirana's story has been given the title
"Smaradahana" ("The fire of love"). At the end of the complicated story they finally marry and produce a son. Panji Asmarabangun ruled Janggala under the official names of "Sri Kameswara", "Prabu Suryowiseso", and "Hino Kertapati".
Dance style
Wayang wong has fixed patterns of movement and costume:
For male performers:
-
Alus: very slow, elegant and smooth movement. For example, the dance of Arjuna, Puntadewa and all other refined and slimly built . There are two types of movement, lanyap and luruh.
-
Gagah: a more masculine and powerful dance movement, used commonly for the roles of strongly built kshatriyas, soldiers and generals.
-
Kambeng: a more powerful and athletic dance, used for the roles of Bhima, Antareja, and Ghatotkacha.
-
Bapang: gagah and kasar for the warriors of antagonist roles such as Kaurava.
-
Kalang kinantang: falls somewhere between alus and gagah, danced by tall, slim dancers in the roles of Krishna or Suteja.
-
Kasar: a coarse style, used in portraying evil characters such as Rakshasa, and .
-
Gecul: a funny court jester and commoners, portraying Punokawan and cantrik.
-
Kambeng dengklik: for ape warriors, such as Hanuman.
-
Kalang kinantang dengklik: for ape warriors, such as Sugriva and Subali.
For female performers:
The movements known as nggruda or ngenceng encot in the classical high style of dance consist of nine basic movements ( joged pokok) and twelve other movements ( joged gubahan and joged wirogo) and are used in performing the bedoyo and srimpi.
Today, the wayang wong, following the Gagrak style of Surakarta, is danced by women. They follow the alus movements associated with a kshatriya, resembling Arjuna. In the Gagkra style from Yogyakarta, a male dancer uses these same alus movements to depict princes and generals. There are about 45 distinct character types.
Performances
Performances of
wayang wong are regularly staged in the Javanese cultural heartlands, the court cities of Yogyakarta and Surakarta (Solo). The national capital Jakarta also stages
wayang wong performances, although they are not always well-publicised.
Yogyakarta
A series of well-known dramatic monthly evening performances of
wayang wong from the
Ramayana is performed all year round at the
Prambanan temple near
Yogyakarta. The most complete
Ramayana wayang wong involving more than a hundred dancers, artists and gamelan musicians is performed only during the dry season (usually May to October) on a large, open-air stage with the Prambanan Trimurti temples as the background. During the monsoon rainy season, however, the performance is moved into a smaller indoor theatre nearby. In downtown Yogyakarta, on the eastern side of Keraton Yogyakarta, the
Ramayana wayang wong is also performed every night, starting at 8 p.m. at Purawisata theatre, Jalan Brigjen Katamso, Yogyakarta.
Surakarta
Episodes from the
Mahabharata and
Ramayana are often performed daily in the Wayang Orang Sriwedari theatre in Sriwedari Cultural Park at Jalan Slamet Riyadi 275,
Surakarta city, in Central Java. This daily performance starts at 8.15 p.m. every night, except on Sundays.
Jakarta
In Jakarta the
Wayang Orang Bharata group, one of the oldest
wayang orang groups existing in Jakarta, generally stages performances in the Bharata Theatre just north of
Senen near the centre of the city each Saturday night.
[Edna Tarigan, , The Jakarta Post Travel, 24 March 2014. See also Maria Yuniar, "My Jakarta: Widjarno, Wayang Orang Dancer", The Jakarta Globe, 13 October 2010.] The Bharata Theatre, which seats around 300 people, was renovated with funds from the Jakarta city government in the early 2000s.
[Ani Suswantoro, "Wayang Wong Bharata survives on love, devotion", The Jakarta Post, 9 March 2008.] The performances are often based around stories of conflict between clans drawn from the
Mahabharata. Presentations involve traditional Javanese dancing, stylised fighting, and periods of dialogue, accompanied by music from a substantial gamelan orchestra.
[Novia Stephani, "Wyang Orang Star Enjoys Her Second Act", The Jakarta Post, 24 January 2012.] Actors representing the well-known
Punokawan clowns, including the much-loved
Semar, usually involve themselves in the action, often poking considerable fun at the self-important lives that the princes and high-born warriors lead.
[Ani Suswantoro, "The story of 'Gatutkaca Luweng'", The Jakarta Post, 9 March 2008.] Ticket prices are relatively modest, with even the best seats in the Bharata Theatre generally costing (early 2013) less than $US 10 per person.
Other than the weekly wayang wong performances of Bharata in the Senen area, Jakarta has sometimes staged special annual wayang orang performances in Gedung Kesenian Jakarta near Pasar Baru in Central Jakarta, Taman Ismail Marzuki, or in Gedung Pewayangan Kautaman, near Taman Mini Indonesia Indah. These are not routine performances; schedules should be inquired about in advance at those theatres. There are several wayang wong troupes in Jakarta, such as Swargaloka, Senawangi, Puspobudoyo and Sekar Budaya Nusantara.
Television
Wayang wong performances are sometimes aired on television, such as on
TVRI and
World of Wayang on
Kompas TV.
See also
Sources
External links
