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Manage No, Sortation, Country, Writer ,Date, Copyright Manage No EE00000084 Country Indonesia ICH Domain Performing Arts Traditional craft skills Address This ancient form of storytelling originated on the Indonesian island of Java. For ten centuries wayang flourished at the royal courts of Java and Bali as well as in rural areas. Wayang has spread to other islands, such as Lombok, Madura, Sumatra and Borneo.

Description | Renowned for its elaborate puppets and complex musical styles, this ancient form of storytelling originated on the Indonesian island of Java. For ten centuries wayang flourished at the royal courts of Java and Bali as well as in rural areas. Wayang has spread to other islands (Lombok, Madura, Sumatra and Borneo) where various local performance styles and musical accompaniments have developed. While these carefully handcrafted puppets vary in size, shape and style, two principal types prevail: the three-dimensional wooden puppet (wayang klitik or golèk) and the flat leather shadow puppet (wayang kulit) projected in front of a screen lit from behind. Both types are characterized by costumes, facial features and articulated body parts. The master puppeteer (dalang) manipulates the swivelling arms by means of slender sticks attached to the puppets. Singers and musicians play complex melodies on bronze instruments and gamelan drums. In the past, puppeteers were regarded as cultivated literary experts who transmitted moral and aesthetic values through their art. The words and actions of comic characters representing the “ordinary person” have provided a vehicle for criticizing sensitive social and political issues, and it is believed that this special role may have contributed to wayang’s survival over the centuries. Wayang stories borrow characters from indigenous myths, Indian epics and heroes from Persian tales. The repertory and performance techniques were transmitted orally within the families of puppeteers, musicians and puppet-makers. Master puppeteers are expected to memorize a vast repertory of stories and to recite ancient narrative passages and poetic songs in a witty and creative manner. |
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Social and cultural significance | In the past, puppeteers were regarded as cultivated literary experts who transmitted moral and aesthetic values through their art. The words and actions of comic characters representing the “ordinary person” have provided a vehicle for criticizing sensitive social and political issues, and it is believed that this special role may have contributed to wayang’s survival over the centuries. |
Transmission method | The repertory and performance techniques were transmitted orally within the families of puppeteers, musicians and puppet-makers. The Wayang Puppet Theatre still enjoys great popularity. However, to compete successfully with modern forms of pastimes such as video, television or karaoke, performers tend to accentuate comic scenes at the expense of the story line and to replace musical accompaniment with pop tunes, leading to the loss of some characteristic features. |
Community | Master puppeteers, the families of puppeteers, musicians and puppet-makers. |
Type of UNESCO List | Representative List of the Intangible Cultural Heritage of Humanity |
Incribed year in UNESCO List | 2008 |
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Wayang, the traditional puppetry and drama performance art of Indonesia, is an original masterpiece demonstrating the Indonesian people's creative genius. Wayang has existed and developed in myriad styles and forms In Indonesia over at least a millennium. This can be seen in the 12th-century Old Javanese text Arjuna Wiwaha, which describes a ringgit or wayang performance. Some styles of wayang became extremely sophisticated and took on epic proportions as aristocratic entertainment, but wayang later became known and loved by all segments of society. Currently, there are more than 60 varieties or styles (gagrak) of Indonesian wayang. Some styles such as Wayang Kulit Purwa of Java use two-dimensional leather puppets. These are intricately hand-cut and finely perforated, painted and gold leafed, held against a screen (kelir) by the dalam (puppeteer) illuminated with a lamp, producing moving shadows.
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