Wayang, Puppet Theatre of Indonesia
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| © Tim Mowrer / Mekin Photography |
“A rich mixture of local Indonesian myths, Persian
tales, and Indian epic stories constitutes the core of Wayang puppetry in
Indonesia. Accompanied by a gong orchestra (gamelan), exquisitely crafted shadow
puppets are operated by master puppeteers (dalang). The continuation of the
cultural expression depends on artists trained in at least the three fields of
storytelling, playing music, and puppet-making. However, the changing
economic structure of Indonesia has led to a decreased interest in and demand
for wayang performances, which jeopardizes artists’ livelihood and the
transmission of their art. Furthermore, wayang is pressed to serve popular
tastes that sometimes do not appreciate its traditional refined way of weaving humour
into serious social and political commentaries. In this milieu, in November
2003, UNESCO
proclaimed the Wayang Puppet Theatre a Masterpiece of the Oral and Intangible Heritage of Humanity, and the ensuing Action Plan aimed to encourage its revitalization as a living practice[1]“.
proclaimed the Wayang Puppet Theatre a Masterpiece of the Oral and Intangible Heritage of Humanity, and the ensuing Action Plan aimed to encourage its revitalization as a living practice[1]“.
This
problem maybe occured because of the lack of inovation of the pupet theathre,
the people who have “understand” of story/ plot of the wayang theatre, will
know very well about the story of Ramayana, or the else. So, contemporary issues
that “hot” in this time maybe will attract more viewer, although the attention/
interest of the people.
Indonesia has been conserved this
masterpice of culture by the national secretariat Indonesian’s Puppet (Sena
Wangi/ Sekretariat Nasional Pewayangan Indonesia) and by PEPADI which it is an association
of Indonesian’s puppet masters (Persatuan Pedalangan Indonesia). Then, it created a festival of Indonesian’s
puppet theatre.[2]
But, this effort will not
be succeed without the support of the society, especially for the puppet
master. Here, there is an innovation from Ki Slamet Gundono, that have been
created “wayang lindur” that contain the Indonesian’s politic and criticized
it. Without lost of the identity, essence, and the figure/ character of
Indonesian’s puppet. But, it was looked as the combination of masterpiece
heritage and contemporary issues that presented humorously. Maybe just like as
a “smooth” insinuation to the government.
We will and must optimist,
it would be a new entertainment to international society, simply of mind (the
people who enough understand of the story/ character puppet), we can take USA
and Iran as contemporary issues of the story Rahwana, Rama, and Shinta. Maybe
we will analogyze the Rahwana as USA, Rama as the Iraq, and Shinta absolutely
for Oil. but, don’t forget about the entertaining side and “smooth insinuation”
that covered humorously. (not really serious)
Beside the project “wayang Lindur” of Ki Slamet
Gundono, some Indonesian artist of puppet masters have individual characteristic
that make it own exclusive show. Sudjiwo Tedjo also have unique puppet theatre
that don’t follow the story or the characteristic each figure of puppet, it
make him called “dalang edan” (“crazy” puppet master).but it would looked as
another way to attract people for enjoy new style of puppet theatre and one of
contribution to conserved of this traditional culture that has been recognized
as Masterpiece of Intangible Heritage by UNESCO since 7 November 2003.
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