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( ) is a traditional form of shadow puppetry originally found in the cultures of Java and Bali in Indonesia. In a performance, the puppet figures are rear-projected on a taut linen screen with a coconut oil (or electric) light. The dalang (shadow artist) manipulates carved leather figures between the lamp and the screen to bring the shadows to life. The narratives of often have to do with the major theme of good vs. evil.
is one of the many different forms of theatre found in Indonesia; the others include [[wayang beber]], wayang klitik, [[wayang golek]], Topeng dance]], and . is among the best known, offering a unique combination of ritual, lesson and entertainment.
On 7 November 2003, UNESCO designated the flat leather shadow puppet (), the flat wooden puppet (wayang klitik), and the three-dimensional wooden puppet (wayang golek) theatre, as a Masterpiece of the Oral and Intangible Heritage of Humanity. In return for the acknowledgment, UNESCO required Indonesians to preserve the tradition.
is the traditional puppet theatre of [[Indonesia]]. It is an ancient form of storytelling known for its elaborate puppets and complex musical styles. The earliest evidence of comes from medieval-era texts and archeological sites dating from the late 1st millennium CE. There are four theories concerning where originated (indigenous to Java; Java–India; India; and China), but of these, two are more favored: [[Java]] and [[India]].
Regardless of its origins, states Brandon, developed and matured into a Javanese phenomenon. There is no true contemporary puppet shadow artwork in either China or India with the sophistication, depth, and creativity expressed in in Java, Indonesia.
G. A. J. Hazeu also says that came from Java. The puppet structure, puppeteering techniques, storytelling voices, language, and expressions are all composed according to old traditions. The technical design, the style, and the composition of the Javanese play grew from the worship of ancestors.
Kats argues that the technical terms come from Java and that was born without the help of India. Before the 9th century, it belonged to the Javanese. It was closely related to religious practices, such as incense and night / wandering spirits. Punokawan uses a Javanese name, different from the Indian heroes.
Kruyt argues that originated from shamanism, and makes comparisons with ancient archipelago ceremonial forms which aim to contact the spirit world by presenting religious poetry praising the greatness of the soul.
The movement of the Javanese across Maritime Southeast Asia right up to the 20th century has also spread art form beyond its insular origin; this may come directly performed in areas where many Javanese settled such as western Selangor in Peninsular Malaysia, or indirectly integrating local elements, such as the Wayang Kulit Kelantan performed in Kelantan north of the Peninsular where Kelantanese dalang was said to have learned from original masters themselves in Java.
Some characters such as the Vidusaka in Sanskrit drama and Semar in are very similar. Indian mythologies and characters from the Hindu epics feature in many major plays, which suggests possible Indian origins, or at least an influence in the pre-Islamic period of Indonesian history. Jivan Pani states that developed from two art forms from Odisha in eastern India: the Ravana Chhaya puppet theatre and the Chhau dance.
In 903 CE, the Mantyasih inscription (Balitung charter) was created by King Balitung of the Sanjaya dynasty of the Ancient Mataram Kingdom. They state, "", which means 'Galigi held a puppet show for gods by taking the story of Bima Kumara'. It seems certain features of traditional puppet theatre have survived from that time. 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 the Mahabharata.
Mpu Kanwa, the poet of Airlangga's court of the Kahuripan kingdom, writes in 1035 CE in his kakawin (narrative poem) Arjunawiwaha, "", which means, "He is steadfast and just a screen away from the 'Mover of the World'." As is the Javanese word for the screen, the verse eloquently compares actual life to a performance where the almighty (the mover of the world) as the ultimate (puppet master) is just a thin screen away from mortals. This reference to as shadow plays suggested that performance was already familiar in Airlangga's court and tradition had been established in Java, perhaps even earlier. An inscription from this period also mentions some occupations such as and .
is a unique form of theatre employing light and shadow. The puppets are crafted from buffalo hide and mounted on bamboo sticks. When held up behind a piece of white cloth, with an electric bulb or an oil lamp as the light source, shadows are cast on the screen. The plays are typically based on romantic tales and religious legends, especially adaptations of the classic Indian epics, the ''Mahabharata,'' and the ''[[Ramayana]]''. Some of the plays are also based on local stories like [[Panji tales]].
There are important differences between the three islands where is played (due to local religious canon). Claire Holt. Art in Indonesia, Continuities and Changes. Cornell University Press. Guenter Spitzing. Das Indonesische Schattenspiel. Dumont Taschenbuecher.
In Java (where Islam is predominant), the puppets (named ringgit) are elongated, the play lasts all night and the lamp () is, nowadays, almost always electric. A full gamelan with (pe)sinden is typically used.James R. Brandon. On Thrones of Gold, Javanese Shadow Plays. Harvard University Press.
In Bali (where Hinduism is predominant), the puppets look more realistic, the play lasts a few hours, and, at night, the lamp uses coconut oil. Music is mainly by the four-gender wayang, with drums only if the story is from the Ramayana. There are no sinden. The dalang does the singing. Balinese dalangs are often also priests ( amangku dalang). As such, they may also perform during daylight, for religious purposes ( exorcism), without a lamp and screen ( wayang sakral, or " lemah") Religion in Bali, by C. Hooykaas, University of Leiden
In Lombok (where Islam is predominant and Bali's influence is strong), vernacular is known as wayang sasak, with puppets similar to Javanese ringgits, a small orchestra with no sinden, but flutes, metallophones and drums. The repertoire is unique to the island and is based on the Muslim Menak Cycle (the adventures of Amir Hamzah).
In the Cocos (Keeling) Islands, members of Javanese diaspora communities continued the art form from the nineteenth century, until the death of Nek Ichang, the island's dalang (puppeteer) in 1949. Examples of the are in the collection of Pulu Cocos Museum and were featured on a set of Australian $1 and $2 stamps in 2018.
The setting of the banana trunk on the ground and the canvas in the air symbolizes the earth and the sky; the whole composition symbolizes the entire cosmos. When the dalang animates the puppet figures and moves them across the screen, divine forces are understood to be acting in the hands with which he directs the happening. The lamp is a symbol of the sun as well as the eye of the dalang. here p. 75f.
A traditional performance begins after dark. The first of the three phases, in which the characters are introduced and the conflict is launched, lasts until midnight. The battles and intrigues of the second phase last about three hours. The third phase of reconciliation and friendship is finished at dawn. here p. 60.
shadow plays are usually tales from the two major Hindu epics, the ''[[Ramayana]]'' and ''[[Mahabharata]]''. The puppet master contextualizes stories from the plays, making them relevant to current community, national, or global issues. Gamelan players respond to the direction of the dalang.
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