Wayang#Wayang golek

The term {{tlit|jv|wayang}} is the Javanese word for 'shadow'Mair, Victor H. Painting and Performance: Picture Recitation and Its Indian Genesis. Honolulu: University of Hawaii Press, 1988. p. 58. or 'imagination'. The word's equivalent in Indonesian is {{Lang|id|bayang}}. In modern daily Javanese and Indonesian vocabulary, {{tlit|jv|wayang}} can refer to the puppet itself or the whole puppet theatre performance.{{sfn|Robson|Wibisono|2002|pp=803-804}} The term {{tlit|jv|wayang}} is used in the Javanese ngoko register and its {{tlit|jv|krama}} equivalent is {{tlit|jv|ringgit}}.{{sfn|Robson|Wibisono|2002|pp=803-804}}

{{tlit|jv|Wayang}} is the traditional puppet theatre of Indonesia.{{cite book |author=James R. Brandon |url=https://books.google.com/books?id=g-tAlBV5_LkC |title=Theatre in Southeast Asia |publisher=Harvard University Press |year=2009 |isbn=978-0-674-02874-6 |pages=143–145, 352–353}} It is an ancient form of storytelling known for its elaborate puppets and complex musical styles.{{cite web |title="Wayang puppet theatre", Inscribed in 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2003) |url=http://www.unesco.org/culture/ich/index.php?lg=en&pg=00011&RL=00063 |access-date=10 October 2014 |publisher=UNESCO}} The earliest evidence of {{tlit|jv|wayang}} comes from medieval-era texts and archeological sites dating from late 1st millennium CE. There are four theories concerning where {{tlit|jv|wayang}} 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, {{tlit|jv|wayang}} developed and matured into a Javanese phenomenon. There is no true contemporary puppet shadow artwork in either China or India that has the sophistication, depth, and creativity expressed in {{tlit|jv|wayang}} in Java, Indonesia. However, shadow play, the earliest form of shadow puppet theatre likely originated in Central Asia-China or in India in the 1st millennium BCE.Fan Pen Chen (2003), [https://www.jstor.org/stable/1179080 Shadow Theaters of the World], Asian Folklore Studies, Vol. 62, No. 1 (2003), pp. 25-64{{cite journal | last=Orr | first=Inge C. | title=Puppet Theatre in Asia | journal=Asian Folklore Studies | publisher=Nanzan University | volume=10 | issue=1 | year=1974 | doi=10.2307/1177504 | pages=69–84| jstor=1177504 }} By at least around 200 BCE, the figures on cloth seem to have been replaced with puppetry in Telugu Indian tholu bommalata shows. These are performed behind a thin screen with flat, jointed puppets made of colorfully painted transparent leather. The puppets are held close to the screen and lit from behind, while hands and arms are manipulated with attached canes and lower legs swinging freely from the knee.{{cite web|url=http://pages.citenet.net/users/ctmw2400/chapter2.html|title=Observations on the historical development of puppetry|last=Rawlings|first=Keith|year=1999}}

According to academic James R. Brandon, the puppets of {{tlit|jv|wayang}} are native to Java. He states {{tlit|jv|wayang}} is closely related to Javanese social culture and religious life, and presents parallel developments from ancient Indonesian culture, such as gamelan, the monetary system, metric forms, batik, astronomy, wet rice field agriculture, and government administration. He asserts that {{tlit|jv|wayang}} was not derived from any other type of shadow puppetry of mainland Asia, but was an indigenous creation of the Javanese. Indian puppets differ from {{tlit|jv|wayang}}, and all {{tlit|jv|wayang}} technical terms are Javanese, not Sanskrit. Similarly, some of the other technical terms used in the {{tlit|jv|wayang kulit}} found in Java and Bali are based on local languages, even when the play overlaps with Buddhist or Hindu mythologies.{{cite book |author=James R. Brandon |url=https://books.google.com/books?id=g-tAlBV5_LkC |title=Theatre in Southeast Asia |publisher=Harvard University Press |year=2009 |isbn=978-0-674-02874-6 |pages=42–44, 65, 92–94, 278}}

G. A. J. Hazeu also says that {{tlit|jv|wayang}} came from Java. The puppet structure, puppeteering techniques, and storytelling voices, language, and expressions are all composed according to old traditions. The technical design, the style, and the composition of the Javanese plays grew from the worship of ancestors.{{Citation needed|date=March 2023}}

J. Kats argues that the technical terms come from Java and that {{tlit|jv|wayang}} was born without the help of India.{{Cite book |last=Kats |first=J. |title=De wajang poerwa Een vorm van javaans toneel |publisher=Foris Publications |year=1984}} Before the 9th century, it belonged to the Javanese. It was closely related to religious practices, such as incense and night / wandering spirits. Panakawan uses a Javanese name,{{Clarification needed|date=March 2023|reason=What is 'Panakawan'? Is this a typo for 'Punokawan'?}} different from the Indian heroes.{{Citation needed|date=March 2023}}

Kruyt{{who|date=March 2023}} argues that {{tlit|jv|wayang}} 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.{{Citation needed|date=March 2023}}

File:COLLECTIE TROPENMUSEUM Messingen wandlamp in de vorm van een gekroonde Garuda het heilige rijdier van de hindoe-god Vishnu TMnr 235-2.jpg bird for {{tlit|jv|wayang kulit}} performances, before 1924]]

Hinduism and Buddhism arrived on the Indonesian islands in the early centuries of the 1st millennium, and along with theology, the peoples of Indonesia and Indian subcontinent exchanged culture, architecture, and traded goods.{{cite journal |last=Miyao |first=J. |year=1977 |title=P. L. Amin Sweeney and Akira Goto (ed.) An International Seminar on the Shadow Plays of Asia |journal=Southeast Asia: History and Culture |publisher=Japan Society for Southeast Asian Studies |volume=1977 |issue=7 |pages=142–146 |doi=10.5512/sea.1977.142 |doi-access=free}} Puppet arts and dramatic plays have been documented in ancient Indian texts, dated to the last centuries of the 1st millennium BCE and the early centuries of the Common Era.{{cite book |author=Kathy Foley |url=https://books.google.com/books?id=H1iFCwAAQBAJ |title=Routledge Handbook of Asian Theatre |publisher=Routledge |year=2016 |isbn=978-1-317-27886-3 |editor=Siyuan Liu |pages=181–182}} Further, the eastern coastal region of India (Andhra Pradesh, Odisha, and Tamil Nadu), which most interacted with Indonesian islands, has had traditions of intricate, leather-based puppet arts called tholu bommalata, tholpavakoothu, and rabana chhaya, which share many elements with {{tlit|jv|wayang}}.{{cite book |author=Kathy Foley |url=https://books.google.com/books?id=H1iFCwAAQBAJ |title=Routledge Handbook of Asian Theatre |publisher=Routledge |year=2016 |isbn=978-1-317-27886-3 |editor=Siyuan Liu |pages=182–184}}

Some characters such as the Vidusaka in Sanskrit drama and Semar in {{tlit|jv|wayang}} are very similar. Indian mythologies and characters from the Hindu epics feature in many major {{tlit|jv|wayang}} plays, which suggests possible Indian origins, or at least an influence in the pre-Islamic period of Indonesian history. Jivan Pani states that {{tlit|jv|wayang}} developed from two art forms from Odisha in eastern India: the Ravana Chhaya puppet theatre and the Chhau dance.{{cite book |last=Varadpande |first=Manohar Laxman |url=https://books.google.com/books?id=SyxOHOCVcVkC&pg=PA75 |title=History of Indian Theatre, Volume 1 |publisher=Abhinav Publications |year=1987 |isbn=9788170172215 |location=New Delhi |page=75}}

The oldest known record concerning {{tlit|jv|wayang}} is from the 10th century. In 903 CE, the Dalinan charter was issued by King Balitung of the Sanjaya dynasty of the Ancient Mataram Kingdom. It describes a wayang performance: {{tlit|kaw|si galigī mavayaṁ buAt thyaṁ macarita bimva ya kumāra}}, which means 'Galigi held a puppet show, as service to the gods, telling the story of Bima Kumara'.{{cite web |title=Foundation Charter of the Dalinan Monastery |last1=Griffiths | first1=Arlo |last2=Sastrawan |first2=Wayan Jarrah |url=https://dharmalekha.info/texts/INSIDENKMantyasihI |access-date=20 July 2024}} It seems certain features of traditional puppet theatre have survived from that time. Galigi may have been 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.

Old Javanese inscription called Kuṭi, probably issued in the mid-10th century by Maharaja Sri Lokapala from East Java,{{cite journal |last1=Griffiths |first1=Arlo |journal=Archipel |volume=99 |pages=107-141 |title=Rediscovering an Old Javanese Inscription: Mpu Mano’s Donation in Favor of a Buddhist Dignitary in 888 Śaka |doi=10.4000/archipel.1976}} mention three sorts of performers: {{tlit|kaw|atapukan}} ({{lit|mask dance show}}), {{tlit|kaw|aringgit}} ({{lit|wayang puppet show}}), and {{tlit|kaw|abanwal}} / {{tlit|kaw|abanol}} ({{lit|joke art}}). {{tlit|kaw|Ringgit}} is described in an 11th-century Javanese poem as a leather shadow figure.

File:Arjunawiwaha canto 5.jpg Arjunawiwaha is written by Mpu Kanwa in 1035 CE|center]]

Mpu Kanwa, the poet of Airlangga's court of the Kahuripan kingdom, writes in 1035 CE in his kakawin (narrative poem) Arjunawiwaha, "{{tlit|kaw|santoṣâhĕlĕtan kĕlir sira sakêng sang hyang Jagatkāraṇa}}", which means, "He is steadfast and just a {{tlit|jv|wayang}} screen away from the 'Mover of the World'."{{cite book |last1=Robson |first1=Stuart |title=Arjunawiwāha: The marriage of Arjuna of Mpu Kaṇwa |date=2008 |publisher=KITLV Press |location=Leiden |page=39-40}} As {{tlit|jv|kĕlir}} is the Javanese word for the {{tlit|jv|wayang}} screen, the verse eloquently comparing actual life to a {{tlit|jv|wayang}} performance where the almighty {{tlit|jv|Jagatkāraṇa}} (the mover of the world) as the ultimate {{tlit|jv|dalang}} (puppet master) is just a thin screen away from mortals. This reference to {{tlit|jv|wayang}} as shadow plays suggested that {{tlit|jv|wayang}} performance was already familiar in Airlangga's court and {{tlit|jv|wayang}} tradition had been established in Java, perhaps even earlier. Inscriptions from this period also mention some occupations as {{tlit|jv|awayang}} and {{tlit|jv|aringgit}}.{{cite book |author=Drs. R. Soekmono |title=Pengantar Sejarah Kebudayaan Indonesia 2, 2nd ed. 5th reprint edition in 1988 |publisher=Penerbit Kanisius |year=1973 |location=Yogyakarta |page=56}}

{{tlit|jv|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 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.{{cite web |title=Cerita Panji, Pusaka Budaya Nusantara yang tidak Habis Digali |url=https://mediaindonesia.com/weekend/293393/cerita-panji-pusaka-budaya-nusantara-yang-tidak-habis-digali |access-date=13 February 2021 |publisher=www.mediaindonesia.com}}

File:COLLECTIE TROPENMUSEUM Yogyakarta Midden-Java. Opvoering van Wajang Kulit spel met Gamelanbegeleiding ter gelegenheid van de vijftienjarige troonsverheffing van HB VIII in zijn oude huis op Sompilan 12 Ngasem TMnr 60043327.jpg|{{tlit|jv|Wayang kulit}} performance with gamelan accompaniment in the context of the appointment of the throne for Hamengkubuwono VIII's fifteen years in Yogyakarta, between 1900 and 1940

File:COLLECTIE TROPENMUSEUM Een poppenspeler tijdens een wajang golek voorstelling TMnr 60031943.jpg|A {{lang|id|dalang}} (puppeteer) in a {{lang|id|wayang golek}} (wooden puppet) performance, between 1880 and 1910

File:KITLV 3953 - Kassian Céphas - Wayang beber performance of the desa Gelaran at the home of Dr. Wahidin Soedirohoesoedo at Yogyakarta in the middle Dr. GAJ Hazeu - Around 1902.tif|{{lang|id|Wayang beber}} performance of the desa Gelaran at the home of Dr. Wahidin Soedirohoesodo at Yogyakarta; in the middle Dr. GAJ Hazeu, Dutch East Indies, in 1902

{{Main|Wayang kulit}}

File:Ki Sigit Ariyanto Dalang Wayang Kulit.jpg}} performance]]

File:87600 wayang kulit ardi bakrie nia ramadhani.jpg (music and sindhen), and {{tlit|jv|wayang kulit}} itself|300x300px]]

{{tlit|jv|Wayang kulit}} are without a doubt the best known of the Indonesian {{tlit|jv|wayang}}.{{Citation needed|date=March 2022}} {{tlit|jv|Kulit}} means 'skin', and refers to the leather construction of the puppets that are carefully chiselled with fine tools, supported with carefully shaped buffalo horn handles and control rods, and painted in beautiful hues, including gold. The stories are usually drawn from the Hindu epics the Ramayana and the Mahabharata.{{cite book |author=Sumarsam |url=https://archive.org/details/gamelan00suma_0 |title=Gamelan: Cultural Interaction and Musical Development in Central Java |date=15 December 1995 |publisher=University of Chicago Press |isbn=978-0-226-78011-5 |page=[https://archive.org/details/gamelan00suma_0/page/30 30] |access-date=19 June 2012 |url-access=registration}}

There is a family of characters in Javanese {{tlit|jv|wayang}} called punokawan; 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 actually the god of love, who has consented to live on earth to help humans. He has three sons: Gareng (the eldest), Petruk (the middle), and Bagong (the youngest). These characters did not originate in the Hindu epics, but were added later.Eckersley. M. (ed.) 2009. Drama from the Rim: Asian Pacific Drama Book. Drama Victoria. Melbourne. 2009. (p. 15) They provide something akin to a political cabaret, dealing with gossip and contemporary affairs.{{cn|date=August 2022}}

The puppet figures themselves vary from place to place. In Central Java, the city of Surakarta (Solo) and city of Yogyakarta have the best-known {{tlit|jv|wayang}} traditions, and the most commonly imitated style of puppets. Regional styles of shadow puppets can also be found in Temanggung, West Java, Banyumas, Cirebon, Semarang, and East Java. Bali's {{tlit|jv|wayang}} are more compact and naturalistic figures, and Lombok has figures representing real people. Often modern-world objects as bicycles, automobiles, airplanes and ships will be added for comic effect, but for the most part the traditional puppet designs have changed little in the last 300 years.{{cn|date=August 2022}}

File:Sisi Refleksi.jpg

Historically, the performance consisted of shadows cast by an oil lamp onto a cotton screen. Today, the source of light used in {{tlit|jv|wayang}} performance in Java is most often a halogen electric light, while Bali still uses the traditional firelight. Some modern forms of {{tlit|jv|wayang}} such as {{tlit|jv|wayang sandosa}} (from Bahasa Indonesia, since it uses the national language of Indonesian instead of Javanese) created in the Art Academy at Surakarta (STSI) employ theatrical spotlights, colored lights, contemporary music, and other innovations.{{cn|date=August 2022}}

Making a {{tlit|jv|wayang kulit}} figure that is suitable for a performance involves hand work that takes several weeks, with the artists working together in groups. They start from master models (typically on paper) which are traced out onto skin or parchment, providing the figures with an outline and with indications of any holes that will need to be cut (such as for the mouth or eyes). The figures are then smoothed, usually with a glass bottle, and primed. The structure is inspected and eventually the details are worked through. A further smoothing follows before individual painting, which is undertaken by yet another craftsman.{{cn|date=August 2022}}

Finally, the movable parts (upper arms, lower arms with hands and the associated sticks for manipulation) mounted on the body, which has a central staff by which it is held. A crew makes up to ten figures at a time, typically completing that number over the course of a week. However, there is not strong continuing demand for the top skills of {{tlit|jv|wayang}} craftspersons and the relatively few experts still skilled at the art sometimes find it difficult to earn a satisfactory income.Simon Sudarman, '[http://www.thejakartapost.com/news/2012/09/11/striving-preserve-wayang.html Sagio: Striving to preserve wayang'], The Jakarta Post, 11 September 2012.

The painting of less expensive puppets is handled expediently with a spray technique, using templates, and with a different person handling each color. Less expensive puppets, often sold to children during performances, are sometimes made on cardboard instead of leather.{{cn|date=August 2022}}

File:COLLECTIE TROPENMUSEUM Wajang kulit pop voorstellende Kumbakarna. TMnr 8-276.jpg|Kumbakarna, Tropenmuseum collection, Indonesia, before 1914

File:COLLECTIE TROPENMUSEUM Wajangfiguur van perkament voorstellende Gatot Kaca TMnr 8-273.jpg|Gatot Kaca, Tropenmuseum collection, Indonesia, before 1914

File:COLLECTIE TROPENMUSEUM Wajangpop van karbouwenhuid voorstellende Wibisana TMnr 809-29a.jpg|Wibisana, Tropenmuseum collection, Indonesia, before 1933

File:COLLECTIE TROPENMUSEUM Wajangpop TMnr 4833-101.jpg|Princess Shinta, Tropenmuseum collection, Indonesia, before 1983

File:COLLECTIE TROPENMUSEUM Wajang kulit pop voorstellende Yudhistira TMnr 8-264.jpg|Yudhishthira, Tropenmuseum collection, Indonesia, before 1914

File:COLLECTIE TROPENMUSEUM Wajangfiguur voorstellende de hemelnymf Dewi Tari TMnr 883-13.jpg|Princess Tari, Tropenmuseum collection, Indonesia, before 1934

{{Main|Wayang golek}}

File:Wayang santri.jpg]]

{{lang|id|Wayang golek}} are three-dimensional wooden rod puppets that are operated from below by a wooden rod that runs through the body to the head, and by sticks connected to the hands. The construction of the puppets contributes to their versatility, expressiveness and aptitude for imitating human dance. {{lang|id|wayang golek}} is mainly associated with the Sundanese culture of West Java. In Central Java, the wooden {{lang|id|wayang}} is also known as {{lang|id|wayang menak}} ({{langx|jv|ꦮꦪꦁꦩꦺꦤꦏ꧀|translit=wayang Ménak}}),{{sfn|Robson|Wibisono|2002|pp=803-804}} which originated from Kudus, Central Java.{{cn|date=August 2022}}

Little is known for certain about the history of {{lang|id|wayang golek}}, but scholars have speculated that it most likely originated in China and arrived in Java sometime in the 17th century. Some of the oldest traditions of {{lang|id|wayang golek}} are from the north coast of Java in what is called the Pasisir region. This is home to some of the oldest Muslim kingdoms in Java and it is likely that the {{lang|id|wayang golek}} grew in popularity through telling the {{lang|id|wayang menak}} stories of Amir Hamza, the uncle of Muhammad. These stories are still widely performed in Kabumen, Tegal, and Jepara as {{lang|id|wayang golek menak}}, and in Cirebon, {{lang|id|wayang golek cepak}}. Legends about the origins of the {{lang|id|wayang golek}} attribute their invention to the Muslim saint Wali Sunan Kudus, who used the medium to proselytize Muslim values.{{cn|date=August 2022}}

In the 18th century, the tradition moved into the mountainous region of Priangan, West Java, where it eventually was used to tell stories of the Ramayana and the Mahabharata in a tradition now called {{lang|id|wayang golek purwa}}, which can be found in Bandung, Bogor and Jakarta. The adoption of Javanese Mataram kejawen culture by Sundanese aristocrats was probably the remnant of Mataram influence over the Priangan region during the expansive reign of Sultan Agung. While the main characters from the Ramayana and Mahabharata are similar to {{tlit|jv|wayang kulit purwa}} versions from Central Java, some {{tlit|jv|punakawan}} (servants or jesters) were rendered in Sundanese names and characteristics, such as Cepot or Astrajingga as Bagong, and Dawala or Udel as Petruk. {{lang|id|Wayang golek purwa}} has become the most popular form of {{lang|id|wayang golek}} today.

File:Cepot in wayang golek form, 2015-05-14 03.jpg|Cepot, a Sundanese Punokawan, Indonesia

File:Puppet (AM 2004.89.151-1).jpg|Rahwana, Indonesia in 2004

File:Puppet (AM 2004.89.149-1).jpg|Ramawijaya, Indonesia in 2004

File:COLLECTIE TROPENMUSEUM Houten wajangpop voorstellende Gatot Kaca TMnr 4283-3.jpg|Gatot kaca, Indonesia in 2015

File:COLLECTIE TROPENMUSEUM Houten wajangpop voorstellende de reus Kumbakarna TMnr 4283-8.jpg|Kumbakarna, Indonesia before 1976

File:COLLECTIE TROPENMUSEUM Houten wajangpop voorstellende Draupadi TMnr 4283-70.jpg|Dewi Drupadi, Indonesia before 1976

{{lang|id|Wayang klitik}} ({{langx|jv|ꦮꦪꦁꦏ꧀ꦭꦶꦛꦶꦏ꧀|translit=wayang klithik}}){{sfn|Robson|Wibisono|2002|pp=803-804}} or {{tlit|jv|wayang krucil}} ({{langx|jv|ꦮꦪꦁꦏꦿꦸꦕꦶꦭ꧀|label=none}}){{sfn|Robson|Wibisono|2002|pp=803-804}} figures occupy a middle ground between the figures of {{lang|id|wayang golek}} and {{tlit|jv|wayang kulit}}. They are constructed similarly to {{tlit|jv|wayang kulit}} figures, but from thin pieces of wood instead of leather, and, like {{tlit|jv|wayang kulit}} figures, are used as shadow puppets. A further similarity is that they are the same smaller size as {{tlit|jv|wayang kulit}} figures. However, wood is more subject to breakage than leather. During battle scenes, {{lang|id|wayang klitik}} figures often sustain considerable damage, much to the amusement of the public, but in a country in which before 1970 there were no adequate glues available, breakage generally meant an expensive, newly made figure. On this basis the {{lang|id|wayang klitik}} figures, which are to appear in plays where they have to endure battle scenes, have leather arms. The name of these figures is onomotopaeic, from the sound {{tlit|jv|klithik}} ({{langx|jv|ꦏ꧀ꦭꦶꦛꦶꦏ|label=none}}){{sfn|Robson|Wibisono|2002|pp=384}} that these figures make when worked by the {{lang|id|dalang}}.

{{lang|id|Wayang klitik}} figures come originally from eastern Java, where one still finds workshops turning them out. They are less costly to produce than {{tlit|jv|wayang kulit}} figures.

The origin of the stories involved in these puppet plays comes from the kingdoms of eastern Java: Jenggala, Kediri and Majapahit. From Jenggala and Kediri come the stories of Raden Panji and Cindelaras, which tells of the adventures of a pair of village youngsters with their fighting cocks. The Damarwulan presents the stories of a hero from Majapahit. Damarwulan is a clever chap, who with courage, aptitude, intelligence and the assistance of his young lover Anjasmara makes a surprise attack on the neighboring kingdom and brings down Minakjinggo, an Adipati (viceroy) of Blambangan and mighty enemy of Majapahit's beautiful queen Sri Ratu Kencanawungu. As a reward, Damarwulan is married to Kencanawungu and becomes king of Majapahit; he also takes Lady Anjasmara as a second wife. This story is full of love affairs and battles and is very popular with the public. The {{lang|id|dalang}} is liable to incorporate the latest local gossip and quarrels and work them into the play as comedy.

File:COLLECTIE TROPENMUSEUM Wayang Kelitik pop Menak Jingga voorstellende TMnr 2255-6.jpg|Menak Jingga, Tropenmuseum collection, Indonesia, before 1953

File:COLLECTIE TROPENMUSEUM Platte houten wajangpop mogelijk Damar Wulan TMnr 809-30.jpg|Damar Wulan, Tropenmuseum collection, Indonesia, before 1933

File:COLLECTIE TROPENMUSEUM Wayang Kelitik pop Menak Jingga voorstellende TMnr 1964-24.jpg|Demon, Tropenmuseum collection, Indonesia, before 1950

File:ZP 05 Batara Guru 02.jpg|Figure of Batara Guru

File:COLLECTIE TROPENMUSEUM Houten wajangpop TMnr 5078-1.jpg|Duryudhana, Tropenmuseum collection, Indonesia, before 1986

File:COLLECTIE TROPENMUSEUM Wajangpop voorstellend Raden Bratasena TMnr 195-43.jpg|Brathasena, Tropenmuseum collection, Indonesia, before 1986

{{Main|Wayang beber}}

{{lang|id|Wayang beber}} relies on scroll-painted presentations of the stories being told.Ganug Nugroho Adil, [http://www.thejakartapost.com/news/2012/03/27/joko-sri-yono-preserving-wayang-beber.html "Joko Sri Yono: Preserving 'wayang beber'"], The Jakarta Post, 27 March 2012. {{lang|id|Wayang beber}} has strong similarities to narratives in the form of illustrated ballads that were common at annual fairs in medieval and early modern Europe. They have also been subject to the same fate—they have nearly vanished, although there are still some groups of artists who support {{lang|id|wayang beber}} in places such as Surakarta (Solo) in Central Java.Ganug Nugroho Adil, '[http://www.thejakartapost.com/news/2013/04/19/the-metamorphosis-wayang-beber.html The metamorphosis of "Wayang Beber"'], The Jakarta Post, 19 April 2013.

Chinese visitors to Java during the 15th century described a storyteller who unrolled scrolls and told stories that made the audience laugh or cry. A few scrolls of images remain from those times, found today in museums. There are two sets, hand-painted on hand-made bark cloth, that are still owned by families who have inherited them from many generations ago, in Pacitan and Wonogiri, both villages in Central Java. Performances, mostly in small open-sided pavilions or auditoriums, take place according to the following pattern:

The {{lang|id|dalang}} gives a sign, the small gamelan orchestra with drummer and a few knobbed gongs and a musician with a {{lang|id|rebab}} (a violin-like instrument held vertically) begins to play, and the {{lang|id|dalang}} unrolls the first scroll of the story. Then, speaking and singing, he narrates the episode in more detail. In this manner, in the course of the evening he unrolls several scrolls one at a time. Each scene in the scrolls represents a story or part of a story. The content of the story typically stems from the Panji romances which are semi-historical legends set in the 12th–13th century East Javanese kingdoms of Jenggala, Daha and Kediri, and also in Bali.Ganug Nugroho Adil, [http://www.thejakartapost.com/news/2012/06/22/sihhanto-a-wayang-master-craftsman.html "Sinhanto: A wayang master craftsman"], The Jakarta Post, 22 June 2012.

File:Abb32,Gedompol.jpg|Final fight in alun-alun in Kediri, East Java. Tawang Alun kills Klana. Indonesia 17th century

File:Abb36,Gedompol.jpg|Princess Sekar Taji, mbok Kili (left), and Ganda Ripa or Panji (right) in the palace in Kediri, 17th century

File:Abb43,Geleran.jpg|Radèn Gunung Sari on horse says goodbye to his advisers Tratag and Gimeng before travelling to princess Kumuda Ningrat, 18th century

File:Abb17,Gedompol.jpg|Princess Sekar Taji and Panji meet in Paluhamba market, 17th century

File:Abb31,Gedompol.jpg|Princess Sekar Taji in palace garden approached by Klana, 17th century

File:Abb68;Gelaran.jpg|Competition between Panji Sepuh (left) and Jaya Puspita (right), 18th century

{{Main|Wayang wong}}

{{tlit|jv|Wayang wong}}, also known as {{lang|id|wayang orang}} ({{lit|human {{tlit|jv|wayang}}}}), is a type of Javanese theatrical performance wherein human characters imitate the movements of a puppet show. The show also integrates dance by the human characters into the dramatic performance. It typically shows episodes of the Ramayana or the Mahabharata.{{cite book|author=James R. Brandon|title=Theatre in Southeast Asia|url=https://books.google.com/books?id=g-tAlBV5_LkC |year=2009|publisher=Harvard University Press|isbn=978-0-674-02874-6|pages=46–54, 143–144, 150–152}}

File:Wayang Wong Bharata Pandawa.jpg|Pandava and Krishna in a {{tlit|jv|wayang wong}} performance

File:Duryodana dalam pertunjukan wayang wong di Semarang, Jawa Tengah.jpg|King Duryodana in a {{tlit|jv|wayang wong}} performance in Taman Budaya Rahmat Saleh, Semarang, Jawa Tengah, Indonesia

File:Pementasan Wayang Orang.jpg|Giants in a {{tlit|jv|wayang wong}} performance

File:Punakawan di Taman Budaya Rahmat Saleh, Semarang, Jawa Tengah.jpg|Punokawan in a {{tlit|jv|wayang wong}} performance

File:Rama dan Sinta.jpg|Rama and Shinta in a {{tlit|jv|wayang wong}} Ramayana Ballet performance

File:Wayang Orang Taman Sriwedari.jpg|Opening of {{tlit|jv|wayang wong}} performance, usually showing traditional Javanese dance

{{lang|id|Wayang topeng}} ({{langx|jv|ꦮꦪꦁꦠꦺꦴꦥꦺꦁ|translit=wayang topèng}}){{sfn|Robson|Wibisono|2002|pp=757}} or {{tlit|jv|wayang gedhog}} ({{langx|jv|ꦮꦪꦁꦒꦼꦝꦺꦴꦒ꧀|label=none}}){{sfn|Robson|Wibisono|2002|pp=803-804}} theatrical performances take themes from the Panji cycle of stories from the kingdom of Janggala. The players wear masks known as {{lang|id|wayang topeng}} or {{tlit|jv|wayang gedhog}}. The word {{tlit|jv|gedhog}} comes from {{tlit|jv|kedhok}} ({{langx|jv|ꦏꦼꦝꦺꦴꦏ꧀|label=none}}) which, like topeng, means 'mask'.{{sfn|Robson|Wibisono|2002|pp=347}}

{{tlit|jv|Wayang gedhog}} centers on a love story about Princess Candra Kirana of Kediri and Raden Panji Asmarabangun, the legendary crown prince of Janggala. Candra Kirana was the incarnation of Dewi Ratih (the Hindu goddess of love) and Panji was an incarnation of Kamajaya (the Hindu god of love). Kirana's story has been given the title Smaradahana ("The fire of love"). At the end of the complicated story they finally marry and bring forth a son named Raja Putra. Originally, {{tlit|jv|wayang wong}} was performed only as an aristocratic entertainment in the palaces of Yogyakarta and Surakarta. In the course of time, it spread to become a popular and folk form as well.

File:Menari Topeng Malang.jpg|Dancing {{lang|id|wayang topeng}} in Malang

File:COLLECTIE TROPENMUSEUM Studioportret van een groep wajang topeng spelers TMnr 60027221.jpg|Studio portrait of {{lang|id|wayang topeng}} actors

File:COLLECTIE TROPENMUSEUM Een wajang wong voorstelling bij de regent van Malang TMnr 10017908.jpg|{{lang|id|Wayang topeng}} Malang

File:COLLECTIE TROPENMUSEUM Een wajang wong voorstelling TMnr 60018012.jpg|{{lang|id|Wayang topeng}} in Java

File:COLLECTIE TROPENMUSEUM Portret van een groep wajang wong spelers in de buitenlucht TMnr 60043366.jpg|{{lang|id|Wayang topeng}} in Java

File:COLLECTIE TROPENMUSEUM Een wajang wong voorstelling aan het hof van de Sultan van Jogjakarta TMnr 60046822.jpg|{{lang|id|Wayang topeng}} in Java

{{tlit|jv|Wayang}} characters are derived from several groups of stories and settings. The most popular and the most ancient is {{tlit|jv|wayang purwa}}, whose story and characters were derived from the Indian Hindu epics the Ramayana and Mahabharata, set in the ancient kingdoms of Hastinapura, Ayodhya, and Alengkapura (Lanka). Another group of characters is derived from the Panji cycle, natively developed in Java during the Kediri Kingdom; these stories are set in the twin Javanese kingdoms of Janggala and Panjalu (Kediri).

{{tlit|jv|Wayang purwa}} ({{langx|jv|ꦮꦪꦁꦥꦸꦂꦮ|translation=ancient {{tlit|jv|wayang}}}}){{sfn|Robson|Wibisono|2002|pp=803-804}} refer to {{tlit|jv|wayang}} that are based on the Hindu epics the Ramayana and Mahabharata. They are usually performed as {{tlit|jv|wayang kulit}}, {{lang|id|wayang golek}}, and {{tlit|jv|wayang wong}} dance dramas.Inna Solomonik. "Wayang Purwa Puppets: The Language of the Silhouette", Bijdragen tot de Taal-, Land- en Volkenkunde, 136 (1980), no: 4, Leiden, pp. 482–497.

In Central Java, popular {{tlit|jv|wayang kulit}} characters include the following (Notopertomo & Jatirahayu 2001):Notopertomo, Margono; Warih Jatirahayu. 2001. [https://books.google.com/books/about/51_karakter_tokoh_wayang_populer.html 51 Karakter Tokoh Wayang Populer]. Klaten, Indonesia: Hafamina. {{ISBN|979-26-7496-9}}

{{Col-begin|width=}}

{{Col-4}}

;Satriya

• Bima
• Arjuna
• Dursasana
• Nakula
• Sadewa
• Antareja
• Ghatotkaca
• Antasena
• Abimanyu
• Wisanggeni
• Irawan
• Sumantri
• Wibisana

{{Col-4}}

;Raja

• Arjuna Sasrabahu
• Rama Wijaya
• Dasamuka
• Destarata
• Pandu Dewanata
• Subali and Sugriwa
• Barata
• Baladewa
• Duryudana
• Kresna
• Karna
• Yudhistira

{{Col-4}}

;Dewa

• Sang Hyang Tunggal
• Sang Hyang Wenang
• Batara Narada
• Batara Guru
• Dewa Ruci
• Batara Indra
• Batara Surya
• Batara Wisnu
• Sang Hyang Nagaraja
• Lembu Andini
• Batara Ganesha

{{Col-4}}

;Resi

• Anoman
• Bhisma
• Durna
• Rama Bargawa

;Putri

• Sinta
• Kunti
• Drupadi
• Sumbadra
• Srikandi

{{Col-4}}

;Abdi

• Semar
• Gareng
• Petruk
• Bagong

;Raksasa

• Kumbakarna
• Sarpakanaka
• Indrajit Megananda
• Sukrasana
• Kalabendana
• Cakil

{{Col-end}}

File:COLLECTIE TROPENMUSEUM Wajangfiguur voorstellende Anggada TMnr 15-954-31.jpg|{{tlit|jv|Wayang kulit}} Anggada, Tropenmuseum collection, Indonesia, before 1900

File:COLLECTIE TROPENMUSEUM Wajangfiguur voorstellende Jayadrata TMnr 15-954-23.jpg|{{tlit|jv|Wayang kulit}} Jayadrata, Tropenmuseum collection, Indonesia, before 1900

File:COLLECTIE TROPENMUSEUM Wajangfiguur voorstellende Kendran TMnr 15-954-13.jpg|{{tlit|jv|Wayang kulit}} Kendran, Tropenmuseum collection, Indonesia, before 1900

File:COLLECTIE TROPENMUSEUM Wajangfiguur voorstellende Sangruda TMnr 15-954-40.jpg|{{tlit|jv|Wayang kulit}} Sangruda, Tropenmuseum collection, Indonesia, before 1900

File:COLLECTIE TROPENMUSEUM Wajangfiguur voorstellende Duryadana TMnr 15-954-91.jpg|{{tlit|jv|Wayang kulit}} Duryadana, Tropenmuseum collection, Indonesia, before 1900

File:COLLECTIE TROPENMUSEUM Wajangfiguur voorstellende Gatakaca TMnr 15-954-93.jpg|{{tlit|jv|Wayang kulit}} Gatakaca, Tropenmuseum collection, Indonesia, before 1900

Derived from the Panji cycles, natively developed in Java during the Kediri Kingdom, the story set in the twin Javanese kingdoms of Janggala and Panjalu (Kediri). Its form of expressions are usually performed as {{tlit|jv|wayang gedhog}} ({{lit|masked {{tlit|jv|wayang}}}}) and {{tlit|jv|wayang wong}} dance dramas of Java and Bali.

• Raden Panji, alias Panji Asmoro Bangun, alias Panji Kuda Wanengpati, alias Inu Kertapati
• Galuh Chandra Kirana, alias Sekartaji
• Panji Semirang, alias Kuda Narawangsa, the male disguise of Princess Kirana
• Anggraeni

File:Menak Amir Hamza.jpg

{{lang|id|Menak}} ({{langx|jv|ꦩꦺꦤꦏ꧀|translit=Ménak}}){{sfn|Robson|Wibisono|2002|pp=475}} is a cycle of {{tlit|jv|wayang}} puppet plays that feature the heroic exploits of Wong Agung Jayengrana, who is based on the 12th-century Muslim literary hero Amir Hamzah. {{lang|id|Menak}} stories have been performed in the islands of Java and Lombok in the Indonesian archipelago for several hundred years. They are predominantly performed in Java as {{lang|id|wayang golek}}, or wooden rod-puppets, but also can be found on Lombok as the shadow puppet tradition, {{lang|id|wayang sasak}}.Petersen, Robert S. "The Island in the Middle: The Domains of Wayang Golek Menak, The Rod Puppetry of Central Java. In Theatre Survey 34.2. The {{lang|id|wayang golek menak}} tradition most likely originated along the north coast of Java under Chinese Muslim influences and spread East and South and is now most commonly found in the South Coastal region of Kabumen and Yogyakarta.Sindhu Jotaryono. The Traitor Jobin: A Wayang Golek Performance from Central Java. Translated by Daniel Mc Guire and Lukman Aris with an introduction by Robert S. Petersen. Ed. Joan Suyenaga. Jakarta, Lontar Foundation, 1999.

The word {{tlit|jv|Ménak}} is a Javanese honorific title that is given to people who are recognized at court for their exemplary character even though they are not nobly born. Jayengrana is just such a character who inspires allegiance and devotion through his selfless modesty and his devotion to a monotheistic faith called the "Religion of Abraham." Jayengrana and his numerous followers do battle with the pagan faiths that threaten their peaceable realm of Koparman. The chief instigator of trouble is Pati Bestak, counselor to King Nuresewan, who goads pagan kings to capture Jayengrana's wife Dewi Munninggar. The pagan Kings eventually fail to capture her and either submit to Jayengrana and renounce their pagan faith or die swiftly in combat.

The literary figure of Amir Hamzah is loosely based on the historic person of Hamza ibn Abdul-Muttalib who was the paternal uncle of Muhammad. Hamzah was a fierce warrior who fought alongside Muhammad and died in the battle of Uhud in 624 CE. the literary tradition traveled from Persia to India and from then on to Southeast Asia where the court poet Yasadipura I (1729-1802) set down the epic in the Javanese language in the Serat Menak.Pigeaud, Th. G. "The Romance of Amir Hamzah in Java." In Binkisan Budi: Een Bundel Opstellen Voor P. S. Van Ronkel: A. W. Sijthoff's Uitgeversmaatschappij N.V., Leiden, 1950.

{{cite web | title = Amir Hamzah, uncle of the Prophet Muhammad, spreader of Islam, and hero of the Serat Menak | work = Asian Art Education | url = http://education.asianart.org/explore-resources/artwork/amir-hamzah-uncle-prophet-muhammad-spreader-islam-and-hero-serat-menak}} The wooden {{lang|id|wayang menak}} is similar in shape to {{lang|id|wayang golek}}; it is most prevalent on the northern coast of Central Java, especially the Kudus area.

• Wong Agung Jayengrana/Amir Ambyah/Amir Hamzah
• Prabu Nursewan
• Umar Maya
• Umar Madi
• Dewi Retna Muninggar

File:COLLECTIE TROPENMUSEUM Houten wajangpop Amir Hamza alias Menak alias Jayengrana voorstellend TMnr 6148-5-4a.jpg|{{lang|id|Wayang golek menak}}, Jayengrana, a collection from Tropenmuseum, the Netherlands, before 2003

File:COLLECTIE TROPENMUSEUM Houten wajangpop Umarmaya voorstellende TMnr 6148-5-1a.jpg|{{lang|id|Wayang golek menak}}, Umarmaya, a collection at Tropenmuseum, the Netherlands, before 2003

File:COLLECTIE TROPENMUSEUM Houten wajangpop TMnr 6148-5-7.jpg|{{lang|id|Wayang golek menak}}, Umarmadi, a collection at Tropenmuseum, the Netherlands, before 2003

File:COLLECTIE TROPENMUSEUM Houten wajangpop TMnr 6148-5-5.jpg|{{lang|id|Wayang golek menak}}, Jiweng, a collection at Tropenmuseum, the Netherlands, before 2003

File:COLLECTIE TROPENMUSEUM Houten wajangpop TMnr 6148-5-6a.jpg|{{lang|id|Wayang golek menak}}, Putri Murtinjung, a collection at Tropenmuseum, the Netherlands, before 2003

File:COLLECTIE TROPENMUSEUM Houten wajangpop TMnr 6148-5-8a.jpg|{{lang|id|Wayang golek menak}}, King Maktal (Albania), a collection at Tropenmuseum, the Netherlands, before 2003

{{tlit|jv|Wayang kancil}} ({{langx|jv|ꦮꦪꦁꦏꦚ꧀ꦕꦶꦭ꧀}}) is a type of shadow puppet with the main character of {{tlit|jv|kancil}} ({{langx|jv|ꦏꦚ꧀ꦕꦶꦭ꧀}}){{sfn|Robson|Wibisono|2002|pp=332}} and other animal stories taken from Hitopadeça and Tantri Kamandaka. {{tlit|jv|Wayang kancil}} was created by Sunan Giri at the end of the 15th century and is used as a medium for preaching Islam in Gresik.{{cite web|title="Wayang Kancil, Seni Pertunjukan"|url=http://encyclopedia.jakarta-tourism.go.id/post/wayang-kancil--seni-pertunjukan?lang=id|publisher=jakarta-tourism|access-date=6 January 2021}} The story of {{tlit|jv|kancil}} is very popular with the children, has a humorous element, and can be used as a medium of education because the message conveyed through the {{tlit|jv|wayang kancil}} media is very good for children.{{Editorializing|date=March 2022}} {{tlit|jv|Wayang kancil}} is not different from {{tlit|jv|wayang kulit}}; {{tlit|jv|wayang kancil}} is also made from buffalo skin. Even the playing is not much different, accompanied by a gamelan. The language used by the puppeteer depends on the location of the performance and the type of audience. If the audience is a child, generally the puppeteer uses Javanese Ngoko in its entirety, but sometimes Krama Madya and Krama Inggil are inserted in human scenes.

The puppets are carved, painted, drawn realistically, and adapted to the puppet performance. The colors in the detail of the {{tlit|jv|wayang kancil sunggingan}} ({{langx|jv|ꦮꦪꦁꦏꦚ꧀ꦕꦶꦭꦱꦸꦁꦔꦶꦁꦔꦤ꧀}}) are very interesting and varied. Figures depicted in the form of prey animals such as tigers, elephants, buffaloes, cows, reptiles, and fowl such as crocodiles, lizards, snakes, various types of birds, and other animals related to the {{tlit|jv|kancil}} tale. There are also human figures, including Pak Tani and Bu Tani, but there are not many human figures narrated. The total number of puppets is only about 100 pieces per set.

File:COLLECTIE TROPENMUSEUM Wajang Kantjil pop dwerghert TMnr 6189-5.jpg|{{tlit|jv|Kancil}}

File:COLLECTIE TROPENMUSEUM Wajang Kantjil pop hond TMnr 6189-4.jpg|{{tlit|jv|Srigala}}

File:COLLECTIE TROPENMUSEUM Wajang Kantjil pop tijger TMnr 6189-6.jpg|{{tlit|jv|Macan}}

File:COLLECTIE TROPENMUSEUM Wajang Kantjil pop krokodil TMnr 6189-7.jpg|{{tlit|jv|Baya}}

File:COLLECTIE TROPENMUSEUM Wajang Kantjil pop slak TMnr 6189-9.jpg|{{tlit|jv|Keong}}

File:COLLECTIE TROPENMUSEUM Wajang Kantjil pop dochter van de boer TMnr 6189-3.jpg|{{tlit|jv|Nenek Petani}}

File:Wayang Wahyu.jpg

The historically popular {{tlit|jv|wayang kulit}} typically is based on the Hindu epics the Mahabharata and the Ramayana.{{cite journal | last=Poplawska | first=Marzanna | title=Wayang Wahyu as an Example of Christian Forms of Shadow Theatre | journal=Asian Theatre Journal | publisher=Johns Hopkins University Press | volume=21 | issue=2 | year=2004 | doi=10.1353/atj.2004.0024 | pages=194–202| s2cid=144932653 }} In the 1960s, the Christian missionary effort adopted the art form to create {{tlit|jv|wayang wahyu}} ({{langx|jv|ꦮꦪꦁꦮꦃꦪꦸ}}). The Javanese Jesuit Brother Timotheus L. Wignyosubroto used the show to communicate to the Javanese and other Indonesians the teachings of the Bible and of the Catholic Church in a manner accessible to the audience. Similarly, {{tlit|jv|wayang sadat}} ({{langx|jv|ꦮꦪꦁꦱꦢꦠ꧀|label=none}}) has deployed {{tlit|jv|wayang}} for the religious teachings of Islam, while {{tlit|jv|wayang Pancasila}} ({{langx|jv|ꦮꦪꦁꦥꦚ꧀ꦕꦱꦶꦭ|label=none}}){{sfn|Robson|Wibisono|2002|pp=803-804}} has used it as a medium for national politics.

There have also been attempts to retell modern fiction with the art of {{tlit|jv|wayang}}, most famously Star Wars as done by Malaysians Tintuoy Chuo and Dalang Pak Dain.{{Cite news|last=Sharmilla Ganesan|first=|date=12 September 2017|title=Everything old is new again|url=https://www.pressreader.com/malaysia/the-star-malaysia-star2/20170912/281608125594564|archive-url=|archive-date=|access-date=7 January 2021|newspaper=The Star}}

Its initial function, {{tlit|jv|wayang}} is a ritual intended for ancestral spirits of the {{tlit|jv|hyang}} belief. Furthermore, {{tlit|jv|wayang}} undergoes a shift in role, namely as a medium for social communication. The plays that are performed in the {{tlit|jv|wayang}}, usually hold several values, such as education, culture, and teachings of philosophy. {{tlit|jv|Wayang}} functions as an effective medium in conveying messages, information, and lessons. {{tlit|jv|Wayang}} was used as an effective medium in spreading religions ranging from Hinduism to Islam. Because of the flexibility of {{tlit|jv|wayang}} puppets, they still exist today and are used for various purposes. {{tlit|jv|Wayang}} functions can be grouped into three, namely:

{{tlit|jv|Wayang}} is a performance medium that can contain all aspects of human life. Human thoughts, whether related to ideology, politics, economy, social, culture, law, defense, and security, can be contained in {{tlit|jv|wayang}}. In the {{tlit|jv|wayang}} puppets contain order, namely a norm or convention that contains ethics (moral philosophy). These norms or conventions are agreed upon and used as guidelines for the mastermind artists. In the puppet show, there are rules of the game along with the procedures for puppetry and how to play the puppet, from generation to generation and tradition, over time it becomes something that is agreed upon as a guideline (convention).

{{tlit|jv|Wayang}} is an educational medium that focuses on moral and character education. Character education is something that is urgent and fundamental; character education can form a person who has good behavior.{{cite web|title=Pengertian Wayang, Fungsi, Kandungan dan Jenis-Jenis Wayang Lengkap|url=https://www.pelajaran.co.id/2018/04/pengertian-wayang-fungsi-kandungan-dan-jenis-jenis-wayang-lengkap.html|publisher=pelajaran.co.id|access-date=20 January 2021}}

{{tlit|jv|Wayang}} is a communicative medium in society. {{tlit|jv|Wayang}} is used as a means of understanding a tradition, an approach to society, lighting,{{Clarify|date=March 2022}} and disseminating values. {{tlit|jv|Wayang}} as a medium for character education lies not only in the elements of the story, the stage, the instruments, and the art of puppetry, but also the embodiment of values in each {{tlit|jv|wayang}} character. The embodiment of {{tlit|jv|wayang}} characters can describe a person's character. From the puppet one can learn about leadership, courage, determination, honesty, and sincerity. Apart from that, the puppets can reflect the nature of anger, namely greed, jealousy, envy, cruelty, and ambition.

{{tlit|jv|Wayang}} puppet performances are a form of entertainment ({{tlit|jv|tontonan}}) for the community. {{tlit|jv|Wayang}} performances in the form of theatre performances are still very popular especially in the islands of Java and Bali. Puppet shows are still the favorite of the community and are often included in TV, radio, YouTube, and other social media. {{tlit|jv|Wayang}} performances present a variety of arts such as drama, music, dance, literary arts, and fine arts. Dialogue between characters, narrative expressions ({{tlit|jv|janturan}}, {{tlit|jv|pocapan}}, {{tlit|jv|carita}}), {{tlit|jv|suluk}}, {{tlit|jv|kombangan}}, {{tlit|jv|dhodhogan}}, and {{tlit|jv|kepyakan}} are important elements in {{tlit|jv|wayang}} performances.

File:Pentas Wayang Kulit.jpg]]

File:Museum_Wayang,_Jakarta_(2025)_-_img_02.jpg ({{langx|id|Taman Fatahillah}})]]

The {{lang|id|dalang}}, sometimes referred to as {{tlit|jv|dhalang}} or {{tlit|jv|kawi dalang}}, is the puppeteer behind the performance.{{cite journal | last1=Sedana | first1=I Nyoman | last2=Foley | first2=Kathy | title=The Education of a Balinese Dalang | journal=Asian Theatre Journal | publisher=University of Hawaii Press | volume=10 | issue=1 | year=1993 | doi=10.2307/1124218 | pages=81–100| jstor=1124218 }} It is he who sits behind the screen, sings and narrates the dialogues of different characters of the story.{{cite book|author=Siyuan Liu|title=Routledge Handbook of Asian Theatre|url=https://books.google.com/books?id=H1iFCwAAQBAJ |year=2016|publisher=Routledge|isbn=978-1-317-27886-3|pages=166, 175 note 2, 76–78}} With a traditional orchestra in the background to provide a resonant melody and its conventional rhythm, the dalang modulates his voice to create suspense, thus heightening the drama. Invariably, the play climaxes with the triumph of good over evil. The {{lang|id|dalang}} is highly respected in Indonesian culture for his knowledge, art and as a spiritual person capable of bringing to life the spiritual stories in the religious epics.

The figures of the {{tlit|jv|wayang}} are also present in the paintings of that time, for example, the roof murals of the courtroom in Klungkung, Bali. They are still present in traditional Balinese painting today. The figures are painted, flat (5 to at most 15 mm — about half an inch — thick) woodcarvings with movable arms. The head is solidly attached to the body. {{lang|id|Wayang klitik}} can be used to perform puppet plays either during the day or at night. This type of {{tlit|jv|wayang}} is relatively rare.{{citation needed|date=July 2017}}

{{tlit|jv|Wayang}} today is both the most ancient and the most popular form of puppet theatre in the world. Hundreds of people will stay up all night long to watch the superstar performers, {{lang|id|dalang}}, who command extravagant fees and are international celebrities. Some of the most famous {{lang|id|dalang}} in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunandar Sunarya, Ki Sugino, and Ki Manteb Sudarsono.{{citation needed|date=July 2017}}

Pasindhèn{{tlit|jv|Pesindhén}} or {{tlit|jv|sindhén}} (from Javanese) is the term for a woman who sings to accompany a gamelan orchestra, generally as the sole singer. A good singer must have extensive communication skills and good vocal skills as well as the ability to sing many songs. The title Sinden comes from the word {{tlit|jv|Pasindhian}} which means 'rich in songs' or 'who sing the song'. {{tlit|jv|Pesindhen}} can be interpreted as someone singing a song. In addition, {{tlit|jv|sinden}} is also commonly referred to as {{tlit|jv|waranggana}} which is taken from a combination of the words {{tlit|jv|wara}} and {{tlit|jv|anggana}}. The word {{tlit|jv|wara}} itself means 'someone who is female' and {{tlit|jv|anggana}} which means 'itself'; in ancient times, the {{tlit|jv|waranggana}} was the only woman in the {{tlit|jv|wayang}} or {{tlit|jv|klenengan}} performance.

{{tlit|jv|Wiyaga}} is a term in the musical arts which means a group of people who have special skills playing the gamelan, especially in accompanying traditional ceremonies and performing arts. {{tlit|jv|Wiyaga}} is also called {{tlit|jv|niyaga}} or {{tlit|jv|nayaga}} which means 'gamelan musician'.

The Wayang Museum is located in the tourist area of the Kota Tua Jakarta (old city) in Jalan Pintu Besar Utara No.27, Jakarta 11110, Indonesia. The Wayang Museum is adjacent to the Jakarta Historical Museum.{{cite web|title="Museum Wayang Jakarta"|url=https://www.museumjakarta.com/museum-wayang-jakarta/|publisher=Museum Jakarta|access-date=20 January 2021}}

This museum has various types of Indonesian {{tlit|jv|wayang}} collections such as {{tlit|jv|wayang kulit}}, {{lang|id|wayang golek}}, {{lang|id|wayang klitik}}, {{lang|id|wayang suket}}, {{lang|id|wayang beber}}, and another Indonesian {{tlit|jv|wayang}}.{{Clarify|reason=which one?|date=March 2022}} There is also a collection of masks ({{lang|id|topeng}}), gamelan, and {{tlit|jv|wayang}} paintings. The collections are not only from Indonesia, but there are many collections of puppets from various countries such as Malaysia, Thailand, Cambodia, Suriname, China, Vietnam, France, India, Turkey, and many other countries.

File:Wayang Painting of Bharatayudha Battle.jpg|{{tlit|jv|Wayang}} glass painting depiction of Bharatayudha battle.

File:Gong Chimes and percussion, Musical Instrument Museum, Phoenix, Arizona.jpg|A {{tlit|jv|wayang kulit}} set and a gamelan ensemble collection, Indonesia section at the Musical Instrument Museum, Phoenix, Arizona, United States.

File:SANG DALANG.jpg|A {{tlit|jv|wayang}} show in Java, Indonesia, presenting a {{tlit|jv|wayang}} puppet.

File:Dalang.jpg|{{lang|id|Wayang golek}} (3D wooden puppet), Gatot Kaca, Indonesia in 2017.

File:Wayang Golek Sunda PRJ 1.jpg|Sundanese {{lang|id|wayang golek}} (3D wooden puppet), Indonesia.

File:COLLECTIE TROPENMUSEUM Een wajang kelitik voorstelling met gamelanorkest in Ngandong TMnr 60023519.jpg|A {{lang|id|wayang klitik}} (flat wooden puppet) performance with a gamelan orchestra in Ngandong, Java, in 1918.

File:COLLECTIE TROPENMUSEUM Een gamelanorkest begeleidt het schaduwpoppenspel Wajang koelit. TMnr 60003354.jpg|{{tlit|jv|Wayang kulit}} (shadow puppet show) accompanied by a gamelan ensemble in Java, {{circa|1870}}.

File:Wayang (shadow puppets) from central Java, a scene from 'Irawan's Wedding'.jpg|{{tlit|jv|Wayang}} (shadow puppets) from central Java, a scene from Irawan's Wedding, mid-20th century, University of Hawaii Dept. of Theater and Dance.

File:Wayang Beber Opened.jpg|{{lang|id|Wayang beber}} depiction of a battle.

File:Wayangan (259).jpg|{{tlit|jv|Wayang kulit}} and {{lang|id|wayang golek dalang}} (puppeteer), Ki Entus Susmono.

File:Sisi Lain Seorang Dalang.jpg|{{lang|id|Wayang golek}} performance in Yogyakarta.

File:Wayang show.jpg|{{tlit|jv|Wayang kulit}} (leather shadow puppet) performance.

File:Wayang Kulit; Kayonan (tree of life), Arjuna and Sumbadra from Java.JPG|Kayon (Gunungan).

File:Costume dolls of Makassar couple.jpg|{{lang|jv|Wayang makassar}}

{{Portal|Theatre|Indonesia}}

• Wayang kulit
• Wayang golek
• Wayang beber
• Culture of Indonesia
• Javanese culture
• Gamelan
• Wayang Museum

{{Reflist|30em}}

{{refbegin}}

• {{cite book

|last1 = Robson |first1 = Stuart

|last2 = Wibisono |first2 = Singgih

|year = 2002

|title = Javanese English Dictionary

|publisher = Periplus Editions

|isbn = 0-7946-0000-X

}}

{{refend}}

• {{Cite book

| author = Alton L. Becker

| author-link = Alton L. Becker

| chapter = Text-Building, Epistemology, and Aesthetics in the Javanese Shadow Theatre

| title = The Imagination of Reality: Essays in Southeast Asian Coherence Systems

| editor = Aram Yengoyan and Alton L. Becker

| place = Norwood, NJ

| date = 1979

| publisher = ABLEX

}}

• Brandon, James (1970). On Thrones of Gold — Three Javanese Shadow Plays. Harvard.
• Ghulam-Sarwar Yousof (1994). Dictionary of Traditional South-East Asian Theatre. Oxford University Press.
• Clara van Groenendael, Victoria (1985). The Dalang Behind the Wayang. Dordrecht, Foris.
• Keeler, Ward (1987). Javanese Shadow Plays, Javanese Selves. Princeton University Press.
• Keeler, Ward (1992). Javanese Shadow Puppets. OUP.
• Long, Roger (1982). Javanese shadow theatre: Movement and characterization in Ngayogyakarta wayang kulit. Umi Research Press.
• Mellema, R.L. (1988). Wayang Puppets: Carving, Colouring, Symbolism. Amsterdam, Royal Tropical Institute, Bulletin 315.
• Mudjanattistomo (1976). Pedhalangan Ngayogyakarta. Yogyakarta (in Javanese).
• Poplawska, Marzanna (2004). Asian Theatre Journal. Vol. 21, p. 194–202.
• Signell, Karl (1996). Shadow Music of Java. CD booklet. Rounder Records CD 5060.
• Soedarsono (1984). Wayang Wong. Yogyakarta, Gadjah Mada University Press.

{{Commons category|Wayang}}

• [http://pages.citenet.net/users/ctmw2400/ Historical Development of Puppetry: Scenic Shades (includes information about wayang beber, kulit, klitik and golek)]
• [https://web.archive.org/web/20070703061208/http://www.gamelannetwork.co.uk/seleh-notes-library/wayang-puppets.html Seleh Notes article on identifying Central Javanese wayang kulit]
• [https://web.archive.org/web/20041104025934/http://www.indonesiatourism.go.id/gallery/traddance.htm Wayang Orang (wayang wong) traditional dance, from Indonesia Tourism]
• [http://www.puppet.org/museum/permanent.shtml#Wayang Wayang Klitik: a permanent exhibit of Puppetry Arts Museum]
• [http://www.pbase.com/amoxtli/wayang_golek Wayang Golek Photo Gallery, includes description, history and photographs of individual puppets by Walter O. Koenig]
• [http://www.shadowlight.org/slp/index.cfm?fuseaction=Resources.DisplayText&resource_id=6 Wayang Kulit: The Art form of the Balinese Shadow Play]{{Dead link|date=July 2018 |bot=InternetArchiveBot |fix-attempted=yes }} by Lisa Gold
• [https://web.archive.org/web/20060108112008/http://www.unesco.or.id/activities/culture/programme/259.php Wayang Puppet Theatre] on the Indonesian site of UNESCO
• [http://www.marlamallett.com/puppets.htm The Wayang Golek Wooden Stick Puppets of Java, Indonesia] (commercial site)
• [https://web.archive.org/web/20051213222640/http://discover-indo.tierranet.com/wayang.htm An overview of the Shadow Puppets tradition (with many pictures) in a site to Discover Indonesia]
• [https://web.archive.org/web/20090429070314/http://www.internationalfolkart.org/exhibitions/dancingshadows.html Wayang Kulit exhibition at the Museum of International Folk Art]
• [https://web.archive.org/web/20100426062829/http://www.multiculturalcanada.ca/wkcsp Wayang Kulit Collection of Shadow Puppets, Simon Fraser University Museum of Archaeology & Ethnology digitized on Multicultural Canada website]
• [http://cwa-web.org/cwa Contemporary Wayang Archive, by the National University of Singapore]
• [http://cwa-web.org/dissertation/wayang-dis/ Wayang Kontemporer, an interactive PhD dissertation on Contemporary Wayang Archive]

{{Indonesia topics}}

{{Indonesia UNESCO's Intangible Cultural Heritage}}

{{UNESCO Representative List of the Intangible Cultural Heritage of Humanity}}

{{UNESCO Oral and Intangible music}}

{{Indonesian drama and theatre}}

Category:Culture of Indonesia

Category:Masterpieces of the Oral and Intangible Heritage of Humanity

Category:Traditional drama and theatre of Indonesia

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Category:Theatre of Indonesia