Wayang Golek Full

[Danel Potvin]

Wayanggolek is one of the traditional Sundanese puppet arts from West Java, Indonesia. In contrast to the wayang art in other areas of Java island that use leather in the production of wayang, wayang golek is a wayang art made of wood. Wayang golek is very popular in West Java, especially in the Pasundan land area.[1][2] Today, wayang golek has become an important part of Sundanese culture.

The history of the wayang golek began in the 17th century. Initially, the wayang golek art emerged and was born on the north coast of the island of Java, especially in Cirebon, the wayang used is the wayang cepak in the form of a papak or flat head. According to legend, Sunan Suci used this wayang cepak to spread Islam in the community. At that time, the wayang cepak performance still used Cirebonese in its dialogue. The wayang golek art began to develop in West Java during the expansion of the Mataram sultanate.

Wayang golek began to develop with Sundanese as a dialogue. In addition to being a medium for spreading religion, wayang golek serves to complement Thanksgiving or ruwatan events. At that time the puppet show was still without using sindhen as an accompanist. Wayang golek began using the accompaniment of sinden in the 1920s. Until now the wayang golek continues to develop as entertainment for the community, especially in Sundanese land.

In this wayang golek show, as with other wayang shows, plays and stories are played by a puppeteer. The difference is the language in the dialogue that is brought is Sundanese. The standard and the wayang golek are also the same as wayang kulit, for example in the Ramayana and Mahabharata stories. But the difference is in the character of the clown, the naming and form of the clown have their version, namely the Sundanese version.

In addition to the Ramayana and Mahabharata stories, there are also stories and carangan stories. In this wayangan story, the mastermind makes his story line which is usually taken from folklore or daily life. in the story carangan usually contains moral messages, criticism, humor and others - others. In the story, carangan is not only used to develop the story but also to measure the quality of the mastermind in making the story. In this puppet show besides being accompanied by sinden also accompanied by Sundanese gamelan such as saron, peking, celery, bonang, kenong, gong, rebab, kempul xylophone, drums, and culant drums.

In its development, wayang golek remains one of the traditional arts of the pride of the people of West Java. Proven wayang golek still colors various events such as ruwatan, thanksgiving, and other large events. In addition, some artists continue to develop it with several additional creations to make it look attractive and stay sustainable without eliminating the grip on it.

The performers in this wayang golek menak lecture-demonstration are Dr. Dewanto Sukistono (puppeteer), lecturer in pedalangan (puppetry) and Director of Studies for MA in Arts Management at Institut Seni Indonesia Yogyakarta (The Indonesian Institute of Arts in Yogyakarta) who was a Short-term Collections-based Fellow at the Yale Institute of Sacred Music researching the Dr. Walter Angst and Sir Henry Angest Collection of Indonesian Puppets in 2018, and Darsono Hadiraharjo (musician), who serves as the main drummer at the Mangkunegaran court of Solo, Central Java, and is currently a Visiting Scholar at Cornell University.

Wayang golek is a traditional puppet from Indonesia. Here, I took a Gatotkaca as a character for the Wayang Golek, since there are a lot of characters available. I designed this model on a special event, which is the First Origami Convention in Indonesia on 2015 in Surabaya.

Students will:1.) analyze the role of the puppet master (dalang) in Indonesian rod puppet theater (wayang golek).2.) Read a summary of the Ramayana or a scene from this Hindu epic. 3.) Identify the different puppet character types. 4.) construct a rod puppet of a character from the Ramayana or the Mahabharata.

Extension:

Reenact a scene from the Ramayana or the Mahabharata using the puppets that the students created. Refined characters types may be used interchangeably; for example, a puppet used for the character of Rama from the Ramayana may be used to play the refined character of Arjuna from the Mahabharata. Jester characters are of Indonesian origin and may be found in the Indonesian versions of stories from the Ramayana and the Mahabharata.

If you were to design a bronze vessel for a friend who has done something important for you, what shape would you make it? How would you decorate it? Would you use designs like the ones on the bronze vessels in the museum? What would you inscribe on it?

He came in a plastic tube with a carved wooden lid, but unfortunately whilst photographing the puppet outside (to get the colours right) a gust of wind blew him over breaking the plastic, so I had to throw it away.

Indonesia has a vast and rich history of different types of puppetry. Wayang Golek (rod puppets) is one of the two most popular types; the other is Wayang Kulit (shadow puppets). The tradition of Wayang theatre in Indonesia dates back to the arrival of Hinduism in SE Asia (1st to 5th century CE). It was used to spread language, culture and religion to all people. Both Wayang Golek and Wayang Kulit were added to the list of intangible cultural heritage of humanity by the UNESCO in 2003.

Once the head is carved, the waist and torso are then carved. After the head and torso have been created, a hole is drilled from the neck to the bottom of the trunk where a large wooden rod is placed. The head is then mounted on the top of the wooden rod. Finally, the arms are then carved in two sections: shoulder to elbow and hand to elbow.

Wayang Golek performances take place at special events such as weddings, religious ceremonies and cultural days. The performances usually begin at 9:30 pm and last until 4:30 am in the morning. A puppeteer troupe can consist of up to 30 people who are all directed by the dalang (the puppet master).

The dalang is referred to as a master musician, an epic storyteller, a comic wonder and even a deep philosopher. Dalangs are also similar to a spiritual guide: they tell epic tales about gods and goddesses and other spiritual beings: they are similar to a priest, a reverend or any other type of religious leader. Some dalangs even have the power to perform exorcisms!

Refined characters: these characters have white faces, bowed heads, and small and downcast eyes. They move in slow, gliding motions and speak in low, melodious voices. Their language is polite, and the thoughts they express are complex. Heroes and heroines are usually of this type.

Semi-refined characters: these characters have white or pink faces, slightly more upright heads, and small eyes that gaze straight forward. They move in quick but measured steps and speak in high-pitched voices. While generally refined, these characters are a bit more direct than the purely refined characters and more inclined toward precipitous actions.

Strong characters: Strong characters usually have faces of deep pink, blue or other dark colours, and large, bulging eyes. Their heads are bowed if they are modest or held high if they are boastful. The bodies of these puppets are larger than those of the previous two groups. Their voices are deep and gravelly. The puppeteer creates the sound by tightening his vocal chords and resonating the voice in his chest cavity. These characters are the worker bees of the wayang world. If there is a battle to be fought, a forest to be cut, or a bridge to be built, the strong characters do it.

Emotionally uncontrolled characters: Emotionally uncontrolled characters have red or dark-coloured faces, protruding eyes, and open mouths with visible fangs. They hold their heads high and have large bodies. They speak in piercing voices with a musical lilt. These characters are the antagonists (the bad characters who oppose the hero of the story).

This modern Sita (Sinta) puppet from Bali, Indonesia is a central figure from the ancient Indian Hindu epic Rāmāyana (Life of Rama). The puppet wears a Surakarta batik dress decorated with parang and sidomukti motifs. This Sita puppet was donated to the Western Australian Museum as part of a group of wayang golek figures acquired by a collector of Southeast Asian curios.

This exhibition is part of the ongoing challenge to the legacies of colonialism. By proposing a new way of understanding the significance of objects in our collections, museum curators in Australia and Indonesia, together, have creatively re-examined the interpretation of museum collections. Many objects and stories contained in this exhibition also illustrate the historic and contemporary connections and flows of people, ideas, and objects between Australia and Indonesia.

"This is an excellent book that discusses contemporary wayang golek performance in Indonesia, a form of puppet theatre from West Java. This is a book which will appeal not only to those who want to know all the details of wayang golek performance, but also to those more broadly interested in the politics of performance in Indonesia" (Aseasuk News).

One of the causes of the deviant behavior that is affecting countries in the world including in Indonesia is due to the low level of individual religiosity. Wayang golek santri performances are expected to be one of the alternatives in strengthening religious character and become an appropriate medium in the community. This research was a content analysis research which used a qualitative approach. The object of research in this study was divided into two, namely primary and secondary objects. Data collection was carried out by using audio-visual techniques, documentation, and observation. Furthermore, the data was checked by the source triangulation validity checking technique. Data were analyzed using a qualitative approach by Miles and Huberman's model. The results showed that the strengthening of religious characters contained in dramatic conventions (language structure and character patterns) and central conventions (time and place, equipment used, how to play, and gamelan or accompaniment songs) in wayang golek santri show.

3a8082e126