Old Indonesian Hand-Carved Leather Puppet known as Bima with ‘pancanaka, with a long thumbnail on each hand used in a traditional form of shadow puppetry from Indonesia, especially from the island of Java. This puppet shows a long life of use, art work is faded and worn in places, damage to outer section of chasing on the head and tip of the nose and a vertical crack in the leather on the lower section of the body next to the rod. (barely visible)
The term wayang means “shadow” or “puppet” in Javanese, and Kulit means “leather” or “skin”, referring to the material used to make the puppets. Wayang Kulit is one of the oldest and most revered forms of wayang, which also includes:
Wayang Kulit’s history dates to the ninth century, when Central Java was ruled by the Sailendra dynasty. It is thought that Indian shadow puppetry, which Hindu traders and priests introduced to Indonesia, influenced the art form.
The stories and characters of Wayang Kulit are mainly derived from two Hindu epics, the Ramayana and the Mahabharata, as well as from local folklore and mythology. The puppets are usually divided into two groups: alus (refined) and kasar (coarse). The alus puppets represent noble and virtuous characters, such as princes, princesses, gods, and sages. The kasar puppets represent commoners, servants, warriors, demons, and clowns. The clowns, or punakawan, are often the most popular characters among the audience, as they provide comic relief and commentary on the events of the story.
The Wayang Kulit puppets are made from buffalo or goat leather, which is carefully cut, carved, and perforated to create intricate patterns and details. The leather is then painted with various colors and attached to bamboo or horn rods that are used to manipulate the puppets. The puppets range in size from 25 to 75 centimetres in height and can have up to 24 movable joints. The puppets are usually flat, except for some parts that are rounded or bulging, such as noses, breasts, or stomachs. The puppets are designed to cast expressive shadows on a white cotton screen that is illuminated by a coconut oil lamp or an electric light.
The puppeteer, or Dalang, is the mastermind behind the Wayang Kulit performance. He or she not only manipulates the puppets behind the screen, but also narrates the story, sings songs, plays musical instruments, and voices all the characters. The Dalang must have a vast knowledge of the stories, characters, languages, cultures, and traditions of Wayang Kulit. He or she must also have a good sense of humour, creativity, improvisation, and communication skills. The Dalang is assisted by a group of musicians who play a gamelan orchestra consisting of various percussion instruments such as gongs, drums, metallophones, xylophones, and flutes. The music provides the mood, atmosphere, and rhythm for the performance. The Dalang also interacts with the audience through jokes, questions, or moral lessons.
A Wayang Kulit performance can last for several hours or even overnight, depending on the story and the occasion. The performance usually begins with an opening ritual called kayonan (tree of life), in which a leaf-shaped puppet is moved around the screen to symbolize the creation of the universe. Then, the main story begins with an introduction of the characters and their backgrounds. The story progresses through several episodes that involve conflicts, battles, romance, betrayal, or reconciliation among the characters. The performance ends with a closing ritual called gara-gara (chaos), in which a puppet representing fire or destruction is moved around the screen to symbolize the end of the world.
Wayang Kulit is more than just a form of entertainment; it is also a medium of education, social criticism, cultural preservation, and spiritual expression in Indonesian culture.
