Wayang (derived from Javanese: ꦮꦪꦁ, translit. wayang, lit. ‘shadow’) is a tradit
Place your order now for a similar assignment and have exceptional work written by our team of experts, At affordable rates
For This or a Similar Paper Click To Order Now
Wayang (derived from Javanese: ꦮꦪꦁ, translit. wayang, lit. ‘shadow’) is a traditional Indonesian performing art that originated and developed rapidly on the islands of Java and Bali.
On November 7, 2003, UNESCO, the UN agency overseeing culture, established wayang as the most famous shadow puppet show from Indonesia, an invaluable World Heritage Masterpiece in the Art of Speech (English: Masterpiece of Oral and Intangible Heritage of Humanity).[1] [2][3]
Until now, the earliest record that can be obtained about wayang performances comes from the Balitung Inscription in the 10th Century. In 903 AD, an inscription called the Balitung Inscription (Mantyasih) was created by King Balitung of the Sanjaya Dynasty, from the Ancient Medang Kingdom. They declared Si Galigi Mawayang for Hyang Macarita Bimma Ya Kumara, which means ‘Galigi puts on a puppet show for the gods by taking the story of Bima Kumara’.[4] It seems that certain features of the traditional puppet theater have survived since then. Galigi was a traveling artist who was asked to perform for a special royal event. At that event he presented a story about the hero Bima from the Mahabharata.Mpu Kanwa, the court poet of Airlangga from the Kahuripan Kingdom, wrote in 1035 AD in his kakawin Arjunawiwaha: santoṣâhĕlĕtan kĕlir sira sakêng sang hyang Jagatkāraṇa, which means, “He is steadfast and only a puppet screen is far from the ‘Mover of the World’.” Kelir is the Javanese word for wayang screen, a verse that eloquently compares real life to a wayang performance in which the almighty Jagatkāraṇa (world mover) as supreme dalang (wayang teacher) is but a thin screen of humans. This mention of wayang as wayang kulit indicates that wayang performances were already known at Airlangga’s palace and that wayang traditions were well established in Java, perhaps earlier. An inscription from this period also mentions some work as awayang and aringgit.[5]
When Hinduism entered Indonesia and adapted the existing culture, this performing arts became an effective medium for spreading Hinduism. Wayang shows use stories from the Ramayana and Mahabharata.
The Wali Songo in Java have divided the wayang into three. Wayang kulit in the east, wayang wong in Central Java and wayang golek in West Java. It is Raden Patah and Sunan Kali Jaga who have made great contributions. Look for wayang in West Java, golek ono in Jawi language, until you find the wong whose contents are in the middle, don’t just find the skin in the East in wetan wiwitan. Looking for that identity in the West or Kulon or kula that is in the human heart. The intentions of the Wali are too noble and high in philosophy. Wayang is pure from the original Java, pakeliran means the pair between the shadows and the original object. Like two shahada sentences. As for God masyrik wal maghrib, it must first be translated into Javanese, which means wetan kawitan and kulon or kula or I who is inside. Seek the god who is first born and who is in the human heart. (sik)
Likewise, when Islam entered, when performances featuring “God” or “gods” in human form were prohibited, wayang puppets made of cowhide appeared, in which only their shadows were seen during the performance. This wayang is what we now know as wayang kulit. To spread Islam, Sadat puppets were also developed which introduced Islamic values.
When the Catholic missionary, Brother Timotheus L. Wignyosubroto, FIC, in 1960, was on his mission to spread Catholicism, he developed Wayang Wahyu, whose source of stories comes from the Bible.
