Wayang
is a generic term denoting traditional theatre in Indonesia. There is no
evidence that wayang existed before Hinduism was brought to Southeast Asia from
India around the first century CE. This leads to the hypothesis that the art
was imported from India or China, both of which have a long tradition of shadow
puppetry and theatre in general. However, there very well may have been
indigenous storytelling traditions that had a profound impact on the
development of the traditional puppet theatre.
Wayang
kulit 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 invariably based on romantic
tales, especially adaptations of the classic Indian epics, the Mahabharata and
the Ramayana.
UNESCO
designated wayang kulit, a shadow puppet theatre and the best known of the
Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity
on 7 November 2003.
Wayang
Kulit
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. The stories are usually drawn from the Hindu epics the Ramayana, the Mahabharata or from the Serat Menak.
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. The stories are usually drawn from the Hindu epics the Ramayana, the Mahabharata or from the Serat Menak.
There
is a family of characters in Javanese wayang called Punakawan; they are
sometimes referred to as "clown-servants" because they normally are
associated with the story's hero, and provide humorous and philosophical
interludes. Semar is the father of Gareng , Petruk, and Bagong). These
characters did not originate in the Hindu epics, but were added later, possibly
to introduce mystical aspects of Islam into the Hindu-Javanese stories. They
provide something akin to a political cabaret, dealing with gossip and
contemporary affairs.
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