Wayang Golek |
The
painted wooden puppets on the preceding page are old examples
from the still thriving and important folk art puppet theater of
Java in Indonesia. Although tourist shops now sell imitations of wayang golek
puppets, the puppets illustrated on these pages were actually
used for many years in theater productions--in presentations of
Hindu epics, Javanese history plays and the Islamic Menak cycles.
These performances were given in towns and villages on holidays
and for a variety of festivals, as were the distinctive
shadow-puppet plays. A dalang, or puppet master,
manipulated the puppets, spoke their parts, and coordinated the puppets'
actions with music from a gamelan orchestra.
Tatang Haryana And Wayang Golek |
Like so many other crafts in Indonesia, making wayang golek
is a skill handed down through families. The master puppet-maker
usually makes the head because it expresses the personality of the
puppet. Ceremonies are performed before commencing a deity or a
demon. A piece of light, local softwood, which is easy to carve
and not too heavy to hold up during a performance, is sawed or
chopped down to the right size, and the main features are roughly
chiseled. After sanding, fine decorations such as the parts of a
crown are carved in with more care and sanded. The smooth surface
receives a coat of glue-based paint, which will enable subsequent
coats to adhere well. Lips, flowers and some bits of jewelry are
painted red, as are the irises of angry characters. Blue is also
used for eyes and sapphire jewelry. Fine black lines are painted for
eyes, eyebrows, moustaches and wisps of hair....Bodies are often made
by younger members of the family, and arms are attached at the
elbow and shoulders with string so that they move easily. The
shapes of hands also express character and role; those of nobles
stretch out gracefully, but servants and commoners have large open
palms. A rod passes from a hole in the base of the puppet's head
and down through the body to form a handle. Costumes are usually
made by wives. ...Since the stories portray historical and human
rather than divine affairs, the puppets, like those used for
history plays, are always fully clothed in Central Javanese
traditional dress with batik sarongs.
Puppet body types can be identified across a spectrum which ranges from alus (extremely refined) to kasar
(extremely rough and crude). Refined, virtuous characters have
small dainty bodies, slitted oval eyes with pupils shaped like
rice grains, pointed noses and a modest downward gaze... Vigorous
or turbulent characters have a more direct and confrontational
stare. As the personality of the puppet becomes less refined,
there is an increase in size; the nose becomes heavier and
blunter; eyes and pupils become larger and rounder and the gaze more
aggressive; teeth and gums may be exposed in a snarl or a foolish
sneer. The more refined middle-sized puppets may represent
courageous but impetuous kings and heroes; the coarser ones suggest an
uncontrolled or evil nature. The largest puppets are used for those
whose greatest attribute is physical strength.
The most frequently performed narratives derive from the Hindu epics. The Arjuna Sasra Bahu and Ramayana cycles
concern the affairs of the noble Rama himself and his ancestors.
Favorite stories concern Rama's marriage to Sinta; their
banishment to the forest together with his brother Laksmana;
Sinta's abduction by the monster king Rahwana; and her subsequent
rescue, with the aid of the monkey king and after numerous
battles, from the kingdom of Sri Lanka. The Ramayana contains
many episodes from the lives of these characters which are
emphasized in varying degrees to form separate plays in their own
right.
Pandawa Brothers |
The Mahahharata
tells of the conflict between the superior Pandawa brothers
(Judistra, Bima, Arjuna, Nakula and Sadewa) and their hundred
jealous and mendacious cousins, the Kurewas, who drive them away
from their home at the court of Astina, to wander in the wild. In
the forest the Pandewas build the lovely and idealized kingdom of
Amarta where the majority of the plays are set. The heroic
quests, battles with vile ogres and scenes of romantic love are
made all the more poignant by the knowledge that the glory and beauty
are fleeting. Events are presented as taking place in Java rather
than India, and the heroic Pandewas, descendants of Vishnu, are
the ancestors of the Javanese kings. Many episodes have simply
been invented by puppeteers over generations.
Tatang Haryana Play Wayang Golek |
The
court scenes also allow scope for the comic misadventures and
intrigue of the Pandewas' clown servants, the Punakawans: Semar
the wise, whose identity is thought to have evolved from that of
the pre-Hindu Javanese god Ismaya and his sons. The inane and
melancholic Gareng, with his round drooping nose, is the butt of
jokes and tricks played by the sharp Petruk. Philosophical and mystical
speculations made by the refined characters provide an
intellectual and spiritual dimension for members of the audience
with a taste for high seriousness.