Wayang is an Indonesian word for theatre (literally “shadow”).When the term is used to refer to kinds of puppet theater, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theater are accompanied by gamelan in Java, and by “gender wayang” in Bali.
UNESCO designated Wayang Kulit, a shadow puppet theater and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003. In return of the acknowledgment, UNESCO demanded Indonesia to preserve their heritage.
Wayang is a generic term denoting traditional theatre in Indonesia. There is no evidence that wayang existed before Hinduism came to Southeast Asia sometime in the first century CE brought in by Indian traders. However, there very well may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theatre. The first record of a wayang performance is from an inscription dated 930 CE which says “si Galigi mawayang,” or “Sir Galigi played wayang”. From that time till today it seems certain features of traditional puppet theatre have remained. Galigi was 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
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.
Wayang Kulit plays are invariably based on romantic tales, especially adaptations of the classic Indian epics, “The Mahabarata” and “The Ramayana”. Some of the plays are also based on local happenings (current issues) or other local secular stories. It is up to the conductor or “Tok Dalang” to decide his direction.
The Dalang is the genius behind the entire performance. It is he who sits behind the screen and narrates the story. 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.
Hinduism arrived in Indonesia from India even before the Christian era, and was slowly adopted as the local belief system. Sanskrit became the literary and court language of Java and later of Bali. The Hindus changed the Wayang (as did the Muslims, later) to spread their religion, mostly by stories from the Mahabharata or the Ramayana. Later this mixture of religion and wayang play was praised as harmony between Hinduism and traditional Indonesian culture. On Java, the western part of Sumatra and some smaller islands traditionalists continued to play the old stories for some time, but the influence of Hinduism prevailed and the traditional stories either fell into oblivion or were integrated into the Hinduistic plays.
The figures of the 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.
When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited, and thus this style of painting and shadow play was suppressed. King Raden Patah of Demak, Java, wanted to see the wayang in its traditional form, but failed to obtain permission from the Muslim religious leaders. As an alternative, the religious leaders converted the wayang golek into wayang purwa made from leather, and displayed only the shadow instead of the figures itself. Instead of the forbidden figures only their shadow picture was displayed, the birth of the wayang kulit.
The figures are painted, flat woodcarvings (a maximum of 5 to 15 mm thick — barely half an inch) with movable arms. The head is solidly attached to the body. Wayang klitik can be used to perform puppet plays either during the day or at night. This type of wayang is relatively rare.