In Indonesian art, wayang kulit are one of the well-known ones in all regions and even abroad. Wayang kulit is a drama performance with leather puppets. The skin is formed into a puppet character. So the shape is not a doll like in regular puppet shows, but the shape is flat and thin because of animal skin, the shape is unique to Indonesia.
Shadow puppet show can be said as a complete traditional art because it contains acting, sound art, music, speech art, literary arts, painting, sculpture, and also symbolizing art. Wayang kulit is also an effective media for information, propaganda, education, entertainment and philosophical understanding.
Puppets are usually played by one or more puppeteers. The puppeteer is the person who moves the puppet and tells the storyline as well as makes the puppet speak.
History of wayang kulit
There are several opinions about the term wayang, one of which says that wayang comes from Javanese which means shadow, or which in standard Indonesian is shadow. Well, for shadow puppets, the audience really witnessed the show behind a cloth screen, so that what was seen was his shadow.
Wayang Kulit art is actually formed by a long history with various opinions related to its emergence. There are some who argue that the Wayang Culture originated from the Indian mainland.
Some theories about the history of wayang are as follows:
1. Javanese group
The Javanese group believes that Wayang culture originated from Java. The people who put forward this theory are Hazeu, Brandes, Rentse, Kats, and Kruyt. In studying the origins of wayang kulit, the Javanese group through an investigation conducted by Dr. G. A.J. Hazeu. This Dutch researcher said that Wayang Kulit performances along with the terms in the art such as Wayang, Kelir, Blencong, Kepyak, Kotak and Cempala were only found in Java.
According to him, the structure of the puppet has been changed according to a very old model. He also judged from the way the Dalang spoke that both his voice, language and expressions followed a very old tradition, as well as the technical design, style and arrangement of these plays were also Javanese in character.
In line with Hazeu, Brandes also believes that Wayang is native to Java. He reasoned that Wayang is very closely related to the social, cultural and religious life of the Javanese nation. Also found stories of Malay ancient Indonesia and can also be seen by some puppet figures such as Semar, Gareng, Petruk and Bagong who only come from Java.
2. Indian group
Indian groups who think that Wayang Art originated from India, this opinion was represented by British scholars including Pischel, Hidding, Krom, Poensen, Goslings, and Rassers. Indian groups, including the Pischel opinion stating the Origins of Wayang departs from the terms “Rupparupakam” in the Mahabarata and “Ruppapanjipane” in the Therigata. Both of these terms mean shadow theater.
Then, Krom said that Wayang was a Javanese Hindu creation with the argument that this art was only found in Java and Bali, which are the two regions that experienced the most influence of Hindu culture. Pischel even argued that India had long known shadow theater like this shadow play.
A play in Wayang Kulit
Even though in general the wayang kukit performance raises classic stories such as the Ramayana and Mahabarata, it does not mean that wayang kulit cannot carry other stories.
Because there are also Panji stories or stories that depart from the Classical Javanese period about heroism and love. For example Raden Inu Kertapati or Panji Asmarabangun and Dewi Sekartaji or Galuh Candrakirana.
Likewise, shadow puppets can tell stories according to the scenario made by the mastermind. That is also called the carangan play (composition).
The development of wayang kulit in Indonesia
Based on its history the Indonesian wayang kulit has experienced a very long journey after the first time it was discovered in the prehistoric period, the Hindu-Buddhist period, the Islamic period, colonial until after Indonesia’s independence.
1. Wayang Purwa
The first wayang trip in the kingdom was Purwa Wayang, the first time was Sri Jayabaya (Raja Kediri in 939 AD).
Then Wayang Purwa was developed by Raden Panji in Jenggala in 1223 AD
2. Wayang Baber
Wayang Baber is a puppet developed by Raden Jaka Susuruh in 1283 AD in Majapahit. Then the puppet baber is drawn with various patterns and shapes according to the scene.
3. Islamic version of Wayang Baber
After the kingdom of Majapahit collapsed in 1478 AD, wayang also underwent a change. The form of the puppet was also changed because it was deemed incompatible with Islamic law. The changes include Wayang made flat (two dimensions), made of buffalo skin, given a white base color while the color of the clothes are black. Then given a gap so that it can be embedded in wood / banana peels, the picture is still imitating the Wayang Beber Majapahit.
3. Wayang Kidang Kencana
Then in 1556, Sultan Pajang or Joko Tingkir in 1556 in the Kingdom of Pajang tried to make a new creation of Wayang Kulit with the assistance of art experts. The size of the shadow play is then reduced.
Puppets are made with a number of distinguishing things, among them the puppet group of the king is put on the crown, the knight uses a gelung, uses dodotan or pants, and various weapons are created such as arrows, krisses and so on.
4. Wayang Wanda
In the kingdom of Mataram the puppet was then made to have several expressions or signs. Among these are Wanda Arjuna or Wanda Amulet, Wanda Bima (Mimis), Sayudana (Wanda Langkung).
5. The emergence of Petruk et al
Petruk, Gareng, Semar and others are well-known puppet figures in Indonesia. They were made pepper during the reign of Sunan Agung in 1613-1645. At that time, there was the famous puppet performance at Mangkurat Tegal Arum, namely Kasepuhan Play by Kyai Panjang Mas. The play was specifically staged in the Palace (Kasepuhan) with punarawan Semar, Gareng, Petruk and Bagong.
Second is the Kanoman play by Nyai Panjang Mas, which was staged specifically in the Duchy with the Semar, Gareng, Petruk and Bagong pundits. Furthermore, Duke Anom, as the son of Paku Buwana III, was ordered to make Wayang Scout puppets patterned by Ki Gandataruna and Cerma Pangrawit.
Another puppet that was made at that time was Kyai Pageran Singosari I which was made with the pattern of Kyai Pramuka. Until the time of Paku Buwana V, the existence of Wayang has spread throughout Java. Because it was common in the eyes of the public, making puppets were no longer given a name, even so in the period of the State of the Republic of 1850-1860 made again puppets named Kyai Sabet. Since then the form of puppets has remained in the form of development until now.
The Period After Independence
At the end of independence, Purwa Puppet was recognized as a National Culture. Shadow puppets have also been broadcast on the Republic of Indonesia Television (TVRI) on certain days so that residents can be watched from home. On November 7, 2003 this art was recognized by UNESCO as an amazing cultural work in the field of narrative stories and beautiful and precious legacies (Masterpiece of Oral and Intangible Heritage of Humanity).
Similarly, a review of shadow puppets, ranging from understanding, history to its development. So, do you like the art of wayang kulit?
