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.~O part of [hi:;; book m:J~' be reproduced in ;;In), Form and by ~In~' nw~m:without permission in \\·riling from The Pepin Pres .... u v

i\ caulogue record fq.r th is book j,';; ~Iv:trbblt.! From lh!"-' publishers ,.od from the Ilor,1 Durch Library, The H"£lI"

TI~'t!' ~c'pin Pfl;:.-;.~ in t\'ll1:-;'lcrd:111'l and Kuala Lumpur DI\::iig.ll: Pepin van Rcojen ;In(1 Dori ne van den Beukel Tra ns 1':1'1 inn: Roht!'r[ Lankamp <In(1 Andrew !'..[:IY

Copy eduing: Andrew .\!~I}'

Ph"logr:lphr: WOlLlt:r Thnru-l.ceson

The Pepi" Press P,O, Box 103'.~

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EIl1~il; m:!il,@pil;'pjDlpn:~,(nm

Prin ted :;I nd bou n din Sill ga pore

Front COI'O" King Yudlst ira. detail of tne P" ppet on P"g~ 13'; B[I"k ('01'"" \II,'y"ng performance. J"'"

P,agt: I: Profile of I he gUlIll1{8(J17 nn page (}2 P,g~ 2 3: i\ ~"I:mg rrom Clrebon in action. I Qi~

Foreword Introduction

Wayang

Different types or wayang The origins of wayang

Wayang tradition in everyday life

Puppets

Construction of the puppets Iconography

Animals and props

Different styles: Yogyakarta, Surakarra, Cirebon and Pasisir The Panakawan

Performance Requisites Lakon

Stages of the performance Statu s a nd skills of rhcdala ng

Repertoire

Preamble: _stories of the gods The AIjuooi $asni Bau cycle The Rama cycle

The Pan~~w~ cycle

History of (he Rarnayana and Mahabharara

Bibliography lndex Glossary Credits

Contents

7 9

11 11 16 24

3] 31 39 49 66 68

76 76 84 84 S6

93 94 110 114 122 I'll

144 145 148 152

Foreword

This publication is the climax of a period or almost lorty years of systematic a nd devoted collecting.

The ideas behind this book took shape in 1966, when the exhibition Wayling pII/"ll'ti; sbadotr tbeatre and world oieu: ill lava was shown at the Rotterdam Museum of Ethnology. The young curators responsible for the exhibition, Ms. Alit M.L.R. Djajasoebrata (Curator Indonesia Department) and her colleague Rene S, Wassing considered it a labour of love. They were (and still are) convinced rhatin wayang resides the soul of Java', M<lny rare and beautiful specimens have been added to the museu rn '5 rich collection since then.

Alit Djajasoebrats wishes to express' her special gratitude to the following persons who so generously' shared their insights in this field with her: Armand de Guernenee, K.R.T. Hardjonagoro, Mas Diarto, Prof. Dr. C, Hooykaas, Bernard Surjabrara, Prof. Or. Benedict O'G. Anderson. Tradi tiona I Java nese wa yang theatre is a splendid and fasci nating world. This book aims to make its many aspects available to a wider audience around the world.

Hein Reedijk Director

Museum of Ethnology, Rotterdam

cdt: \\Iayong kullt performance In Ill"",. ISlil

Introduction

Wayang is highly integrated in Javanese society, and many consider it to be a highlight of Javanese culture. Over the centuries, the ancient wayang theatre, with its more religious character, has increasingly developed into a distinct an form; foreign influence introduced new stories, characters were added, and new refined styles were developed at the courts. In the 20th century, wayang theatre has been used to serve political ends.

This hook will focus on the most popular form of wayang, which uses flat leather puppets and is based on the jJlU"lVcl repertoire. These are ancient stories in which ideas about cosmic events and divine will are represented, and the course of events is seen as being predestined, a part of a co mic law. orne people even believe that wayang performances have protective powers, and certain plays are thought to chase away evil spells.

Because of the moral dilemmas dealt with by the protagonists, whose actions serve as examples of good and bad behaviour, wayang purwa can also be seen as a way of teaching people the difference between right and wrong. As well as this didactic role. wayang has always been an outlet for opinions, a means of expressing thoughts that could not be said openly. Wayang character a r thus mouthpieces; voices that express di approval.

This book is an introduction to wayang purwa, describing the ori:gins of wayang, the various types of wayang. and the various characters featuring in the plays .. Most importantly, it will describe the main wayang purwa stories which still survive in Javanese society today.

Most puppets in this book are from the collection of the Rotterdam Museum of Ethnology; a few exceptions come from a private collection. The selection is primarily based on aesthetic qualities and the rarity of the puppets.

l.efr: \'iIayang kullt performance, Java. c. 1910

Wayang

javane e children are introduced to wayang at an early age. They see [he heroes about whom they have heard stories appear on rage, and slowly they become more familiar with the colourful mix of the various protagonists depicting moral dilemmas. Children omerimes attend performances that last an entire night. The audience is not expected lO sit silently at performance; people meet friend and talk 10 them, look around, and omerimes they gel a snack from a stall. People wbo need a rest take a nap. From experience everyone more or less know how a wayang play will proceed, and the exciting parts which they like to watch: the fight scenes and, in particular, the moment when the hero appears with hi ervants at midnight. ttending a performance creates a bond and, in view of [he traditional religious slgnlflcanc of wayang, this is not surprising. According to tradition, everyone at a wayang performance is afe from the evil influences which normally plague people - even though they may be so far from the screen that they can barely hear the voice of [he dalang (puppeteer).

Diff r .01 type of wnyang

A wayang is a flat or round puppet used for puppet shows on Java. Wayang is also the word used for plays featuring characters or stori s from the wayang repertoire: human actors or three-dimensional wooden puppet. can also perform in these plays. The word can also be used to mean (he traditional Javanese value depicted in wayang theatre ..

There are various types of wayang, but rhis book will focu on wayang pUfW{I, the most important type of wayang on Java, which u es leulit (flat leather puppets), whose shadows are projected on a large

left; Way:mg purwa performance on the oc.~

of 3 ",<'tIdlng in ,1 Javanese villag"" 1930.

while screen. \f/aYClIIg puru'a make. use of the purwcl repertoire: the oldest stories are about the beginning of the world. the struggle

between demons and gods, and the early kings. The most important stories and characters from the purwa repertoire will be described in the last section of this book.

Other forms of wayang make use of differeru types of puppets. \,(lcIY(I1'I.g kUlik or krucil (klilik and hru ci! refer to something small or omething which makes a tinkling or clattering sound) uses flat, painred wooden puppets cut in bas-relief, with leather arms. FOr performances,

a frame which is only suggestive of a screen replaces the standard screen. In central Java this type of wayang presents tales from the Damar Wulan repertoire, srories about a grass-cutter and stable-boy who becomes the king of Majapahit after having many adventures. 1n eastern Java there are often performances from the Panji cycle, stories from eastern Javanese Hindu realms between the 11th and 13th century,

about the adventures of a legendary hero, Prince Panji and his bride, Princess Candrakirana.

Three-dimensional wooden puppets that are painted and clothed are employed in tuayang golek (golek: doll). On central Java, wayang golek utilises the tales about the Arab prince, Amir Harnzah, an uncle of the prophet Mohammed; the ri e of w3)'l1ng golek in this area is closely linked [Q tile popularization of [slam. On western Java, where wayang golek is much more popular than wayang kul ii, the performances are derived from the purwa "repertoire.

Apart fro III the above-mentioned wayang performances with puppets, three other forms of wayang exist: lIIClYCIng wong. u/ayang topeng, and tuayang heber. wayang wOllg (WOIlg: human) is acted out and danced by actors dressed as wayang puppets who also speak the dialogues. Chants and recirarions are spoken by 1I chi lang. This is somewhat different to wayang topeng (topeng. mask). in which the story is acted by actors wearing masks but the plot is narrated by a dalang. In uiayang beber (bebel~ to show, to roll out), long lengths of textile or bark paper are usee on which the sequence of painted wayang scene is depicted.

Left. TOjNlIR,. mask. reprcsendng Peuuk. 22 em. c. 19QO, Hemonlc bUI magkal1ll' pcrera Petruk, :I son of ~m:11'

Above- topt·ltp, n~l!>k, reprcseruing princess Srikandl. )-.') an. Srikandi, the millumt second wife of A~l-'nil, I~ tl cl1:mlpjan In ;m:;:h~rj'. tn an <he W:J.;;. Wl,lglll by her husband

Page 1-1/1 i W3F1ng golek performance. c. 1930.

Ihlrln,ll: the recual iJf the ~t~lr>' 111.", p~imln,ll:s :U~' ~Jowlr unrlJrJ4:d rn'"~1"fI u pete. "lid ,ullL:d up .'I~:lln on arnnhcr 11>11111:. rhu-, sh~)"""nj>: the vartou~t:.:nL::'- 10 the ;mdicm·n: Thi~ t" .. H"e" Irpc or wavnng is performed ill remere :lre.1' of ~!'IM:l1 J;H';) d.uring ck~minB rilu;.h. The r"'fJl!noll'c is u1!"rh't.'i.l rrllln \\':l~'anp: P~U\"\;t or D.;.II1I:t!' \\\ll;in

\'t";ar:mg purw; w,~ C)fl~il'iall)' round only on );1\';1 anti O;.ali. ;.add mhl:f pb't"'!:'~ "hl;'l; javanc-c people -euled .. v.u:1I ,)" ,oUlhfil'"Tl ~ill'l':UI'fI. -outh aeeneo "' nd Surinam.

Allhough the origin, of 1"\ ;1)';l0:w: I~u",'j have been .. ublcct [0 intense -...cholJrlr debate in the liII"" l")jtl of the 15Ilh and the De~innin,!l: of the l011l «'nn.!~I~.~. il .. fil'~("i~ ori:Rin~ rcmatn elu .. tve. \\':t)';ln;!!: i .. cloI.!':lrly or J:l\".Jn'l:~c 0'1~1t1 whh ;)njml~ljc Icnnncs, hm uver the centuries i~ \I,:;.!~ mnut!"nco.!d b)' manv Forcjgn culnnes a .... ,I H'~lJ.lL or LtLl.:' nl:lH)" l!"loU'!:!" ~I\d imnngrarus who I"i~it'l!'d the i daml

Ori~in;).lIy il WO!I' ll[)1 inth~lidu:lh "!Aho c e re d~rit"'1ed 01'1 ~I~A-e bur h:"",l:n~I,,'i l'H:,n ... ~. Th-e-~I: m~ [h,c'~1 flS!:ilrco;., represcmcd hr rhc mO~1 impOrt;)nt pllppCh, 'PIL:ft: used 10 L'xpl:lln Ihl' rd:wHon~hip bctw ... -cn hcaven. and human socid)', :md the ori,/Cin and .... tructure of the world. TIH." introduction of narranve-. ~ud, J.~ the India.n epi("~, inne::l:-ed tht' DUll)" l:H:r of pUfipt:[~ 2i'li,l hrnl,l~bt rnore .6\tr\,idu;lJit> In lill,'" ,h.,lr;lc;ll;"r.:!o,

The ol-d~"St images in 01 ~l)h: ch:'arl), remtntscem or \\ a)'iln~ are the rurrmre reltef-, on ~:J;o.1 J::n;Jnc;o.(, temple .. d:l1intt from ihl,' 13th and l trh cenrune- IR:. In Ihe h!.!"~'d:l~' ()( Ibe C-.I~I.I.I\·;lne-~e l.:ir'1~d()l'1i .. ,):1\ Jfll.:;o..c \.~\"\, (11'1 hr,\\' lr, tJ'I:'ri("t \·;.uimJ' ronl-t:', at.·quirt'd ,~ hxed Form The ri~ur1.":'iUt; tkplcled ;:JI~ n;)l .• n hl,Kh t'\:ht!f ... 1r'l-I.1 ... 1)'111.11,"1;1. 'rJIlI!ir dtt: .. , i, of rhe t)·P'C' ~till wcm at (1ffid:ll court ccrcmomes, includlng dOlloj ( .. garment (If ~1;11 d .. r~L:'h;)fiS I he "1,'1,'0.'1 r;~n!:l. purl'l,'"t~ :ll I h~11 u 1'111:' Im,l.:l,'"d Ii It'l:' I hoi; Im.ljl:~·.~ Clll the loJ:ml11 ..... ~ In m;Jnr w;() ~ thl' H,Llinl':'I.-L:' IlLillpl'I:o. c;m ht!" SiI.:"~1'I a~ :l l,'nLlrW:llion nr tht· ,1J\·",nl·~1.:' pUppl'L~ lL"'- .hl'~ h:,JQ hl't'n twfo( ... tht·

,uh'c ru Q~ 1 ~ 1 n m. Th ... nLH'!11 I'blill~ 'I.." P"Ppt' 1 ~ ill pa rl LL U I nr ]O(Jk ruorc ilL! man ;)nd .11"'1:' l'I~tlfL: velum i mmv. rml u .... pm L .. ltkc .. nd thin ~I ~ Ih'l: .I.I~';lI'I!.!"~e r"ppc1S. Th~ ~lrlf:" or sourhcm 6",1; i~ more IikL: rhm of ).1.\'3,

A~L,un-d Ih'l:' l)f:.F::lfming (If 11w 1 '. ~t;"~1U11 .. "'D. Chi,WW vource 1~1t;'1'1- hun !>f1ulll"iindu Idngtluill' ui'l J:1\';). Hindu ci\ ili~;1ti'm I' ;l~ jmpon ... -d by nfillhmin Pfle~I'" in thE: wake of trader-, Irom Indl;) Local b;ing~ 111011,.. theln truo Ihel~ service In ("urJ,uhd:lle lh.dr poe .... -er. most lij{lo"l~ because )Jr.lhm;mic [ca("hing~ coltulibuh.:d to their aU!th"rh~·. 'rbe new conceptfrom lodla prob;'hl}' blended ea~il}" \.\ db local tradnion-, and bdili'h

lnd' a n il!'gocl'lth atso made ,hei~ 'W~1~' 10 J:I\':1 .. and Iile di\ ine heeocs from {hL::'iC ~lytir;':r;;3fC featured in [hI.: \1i:l.)';;1ng pla)"",.i\ -tone lR:oUCrip-tion from central J-a\;1 dtlling Ieom 90"' AD menucns :l "\\J.png performance ht,·lrI in I1Hl1our of tbr.:. ~ods- .. From thi!! in:,oI;l'+p,lon. and luscr on\:'~. u In~I~1 be ccncjuded 111;)1 If W:lr:1n.g p~TrUrm:1I'1.Ce!i. were common :tIj"\l'lund 900 AD, then Lhl.!:)' mUS1 1l'1." con~iclet:LDI)' older ..

Trade wuh ChimL had 1I!":t:is.tL:d sfnee the 1M CL.'nturr ,\1) hut unlike-

1 nd ia n inn U'l!'I\~~. whlch .'I ffcctl'u l:ln:H;u;1 ge ~ nd wcrl d viewe ;U I h4: m~~ I cccn-. r: h i i'n:~1!;! InnUenc.J:s were ji,IlLLt;ld to m::nt"rla~ :;J SPC"(""I s of J1 \· u nc .e ('UhU1l' sucf ::IS Ihe- form ;!in'll ~I~ It;l or common uI':r'1,iI~ end technical -kil!-, Chinl'~~ inOuc:r'101,,''C Oft 'i\ ~)';1In~ has not l:H:~n \ erv weal, but iL h 'orm:-tiliit'" 1:"i<.!eJiI 11'1 11'111.: cclcers and decoranve motir~ on "";J,y~li'ig kulh fl!oture~ 1ft the ~Iyle 1~'piGll of the 1'10Jlhern ('oas! or J;t~'''. ~nu\\n.;3" me P{uisip-(co:l ... n culture. ru- ;He:1 had been an inl.:tl"·lllon!lllfadjn~ cenIf!,'" rur cernurtev, In tht! l}th cemur)' kt \\:I~ ft:;lched by h~a:mic Ir~det ... F'requl:t'II c~posure 10 rOft:i~n~r:; inlfoducl;!d the inhtlDil:l'llI' of the CO~SI ttl new ideas, "-hieh were accepted ::to;; lons.a~ the)' did 1'10-1 conflict ~"\ ith thctr u\\ n. P::I:..isir culture, developed from Ille consraru adaptaucn []f old ide:J.'\- md ndcpncn of new nrtev. hJ~ ccnulbuted ,Rrt';ltl)· LO thl: Wpi .. Coli ccunly r::IlL[ ... ,~ [If ccnnal J.<I\':I..

1 ~ I.J m ori~in:l.cd in 1\ ra bi.a, ~ Iltl hr the 1 i me it reuched [he bl J no ~ of Indonl':'i.i:I. 11 1i,1\I ~umol;:i loni>l. wav. Ino~1 ur'oI;n h~ way or Iradt'''~ Irem Indi;ll. :-'urfuM:"d wil h porul:w r, Im~-I:o..lilml-c' mpl k~ l iUoI.:';1 ~. the ncw rd ilil,ion mU:o..L hih'r,: ill'iI)N:S"'1.'d Ill.,,; J"\';lDt'~1!' \"\ iLh th1!"ir o1nimht bt:lLd Ih::n

I· L~ 'II" ... I <1'1" ,i."

J'f"" 1'11 1'-'1_.~ P'<'

1 ... ~J..,."...."Il.o\IJ'~WlI~'"

everl'lilillg had 3 soul, This led to a new mystical interpretation of wayang performances which was incorporated into existing javanese vlews un wavang. A Javanese legend says that the Wali. the holy men ,,110 brought Islam to Jan, are the real creators and popularizers of warang, which they used to leach the people to accept the new religlonc There is certainly some truth in this. The spread of Islam was accompanied by a popularization of the culture that had previously been limited ro rhe royal courts. This stands in contrast 10 the severe and principled form of Islam which developed later, and was nOI open 10 new idea, even condemning and prohibiling wayang.

The principalities of central Java, with Yogyakarta and Surakarta as the main centres, have been influential in developing new wayang

ideas. Various innovations were made by monarchs OVer the centuries. New characters were added, features or colours of the puppets were altered, and new styles were created. For example, Raden Patah from Demak expanded the number of puppets so rhur the stories from the Rarnayana and Mahabharata could be performed; under Sunun Agung from Mararam, different eye shapes were developed for different characters; Paku Buwana 1 from Kartasura was the Iirst [0 distlnguish sabrangaH, wayang characters from outside Java, and Harnengku Buwana I from Yogyakarta was responsible for the development of the special Yogyakartan style.

In the 19th century, the last great influx of new foreign ideas took root. These were introduced by tile schools set up by the Dutch colonial government. Although there was frequent contact with Europeans in the preceding centuries, it was the Dutch who taught European methods and ways of thinking 10 many javanese people.

In the 201.11 century, and after independence in particular, a veritable cultural revolution occurred in java: for the first time, large numbers of

. Javanese left their country to study abroad for lengthy periods of time.

Western ideas were rapidly incorporated into javanese culture. With respect to '\"ayang, this is evident in tile informative and propagandizing functions that some type of wayang acquired, and in' the schools where

Left: \\·",~·.!rtg \Vun,!!. h1.·.lodl'l.· ..... fnr ,ht' mil- of llimJ 20th OL:CnIUr,', cenrml java

Ri~hl: Prince Imm 'r'QSY'.Lk:.111;J, In W:l.Y:.Jl1g W(.ll!~ dress, n,.:pr~~ntin,g Afj~IJ1;k. C. 1920.

l':lgt' iq.: TW(J kli!ik puppets. 36., ~Ind 48.5 CI1I.

c, 1900 ur earlier, ,,".l .. t J~\-;I Tn IllI: I""fl. the il;~t(H b:Jpd!1paIQI'I, 111i~ Ilgur .. r n.:lnng. .... 1-0 the Damar Wul:lfl, ~PQ;s.. wMch b thnugbr LO follow the pUfw-ti era, .1.iH.! oril4ln";I::~ from ISth-century ensr java Accon:!ing~y he wears II krl.ddag,gert There h a ;ufl of bumnn hair on lus head ;1:;. II token uf his 1m potlance. You can see Llmbuk 10 the right, the dumb and permanerulp lovesick scrvara, 51m ... of speech nnd wit, who is one of rhc publlr's d:'lrling,~ because of her dialogues with 0111,,-,1" P;Ii'l~k;'lW3i\

Page 21: "1"\\'0 kli~ik puppets, 48 and 44 00. c. .900 or earlier. e'JSLj:I\" a. To dlL' [crt. une uf the h;\u)o;hl)l and cheating rcuslns or Damar wulnn, 1 .. 1y:U-'~ St:~ or ~I)':lng Kurnnlr. To [he rlgfn, Mermk Jlng,g:'t with clog's head lind dubfoo

classes of future da lang (puppeteers), the directors of the wllyang performance. are taught With Western-slyle textbooks, The first wayang conference was organized in 1969 in the Indonesian capital, Jabina. Dalang from the most remote mountain villages were invited, and each existing type of ",ayang was demonstrated with a performance. II must have been a revelation to the interested viewers. Previously, mOSI of the knowledge of people interested in w3~'ang had been lirnired (Q their own regions. Now people could see that there were many types and styles of wlIyang with their own eyes. The goals of the conference included [he documentation of existing types of wayang, arrempung to preserve rare types of wayang, promoting waya ng and, if possible, rallying government support, A special wayang museum opened in jakarta in 1975.

Wayang t rad it i on i11 ev e ey d e y life

Wayang characters can greatly influence people's lives. They function as role models. and their ideals can become fashionable, thus influencing an entire generation. For example, Arjuna, the 'perfect man', and Yudistira, the thoughtful and gentle king divorced from earthly desires, represented ideals of an older generation, with later generations, Garotkaca was more popular. He is the valorous hero who dies as a young man by giving his life for ArjuniL Gatorkaca was associated with rhe young men who gave their lives for their country in the war f(!ll' independence.

In the light of anirnisr beliefs, the Javanese ascribe power to names, and parents like [Q give their children names from wayang. The name is chosen carefully because it. will influence the character and life of tile child, Only the passage of time will reveal whether" chosen name suits its bearer. Hlnesses. accidents, and other misfortunes Can indicate an inappropriate choice, Such occurrences are seen as evidence that [he name is nor in harmony with its bearer, so another name must be

WVC' broadcast of a W~)I:lllg performance. Studio Radio R.-,;pubHk lndcnesta, 1969

sought. President oekarnos original name was Kusno. Because of his poor health, his parents decided on a different name, and he was named. after Karna, the sall'ia (nobleman) ln his youth, Soekarno signed his nationalist newspaper articles wuh the name of the warrior Bima.

Many wayang expresslons have become part of daily speech, and situations and events are talked about in analogy with wayang. An example of thinking in terms of wayang is the interpretation of events during the political changes of 1965. An anaiysis of the Javanese interpretations of these events suggests [hat everything is a reflection of classical wayang drama. The 8artl-Bartl is a passage in wayang plays where [here are ominous portents in the form or natural disasters prior

10 the big baule. the eruption of the Merapi in eastern )a\'a and the Agung on Bali had cost many lives and many failed harvests, The Bdi~yuda, the Great War of rile Mahabharara which is seldom performed because of its dangerous negative power, except for the 'total' ritual cleansing of a village. had become reality. As in the wayang stories, tWO la rge factions. rwo branches of a single fa mlly, faced each other in a life and death struggle. The legendary prophecies of Jayabaya, a 12th-centurr king of Kediri would come true. and the age of the kingdom of the Ratu Adil (the JUSt King) was near.

Wayang performances are given on the occasion of important social Of domestic events to ensure good fortune or to ward off calamity. The main criter ion is an important change. sometimes entering a 'higher stage' of life. This needs to be marked by the performance of the appropriate play, through which the new balance in relations is strengthened.

At a wedding, Parla Krclmtl, the story of Arjuna's wedding, OJ' SnYliddna Rabi, the wedding of Suyudana, may be performed Tingkeban, the celebration of the seventh month of a first pregnancy, and less often Pupae puser, the withering of {he umbilical cord, are occasions for a wayang play describing the birth of a hero, such as [abang TliluM abOUI the birth of Catorkaca. Lclbf,"iPIII1 Permadt about the birth of Arjuna, or Bill/all)'11 Lab ir. about the birth of Abimanyu. For the occasion of circumcision, a Muslim event, there is no specific play. Since it is a ceremony where the child experiences some pain but also takes a step on the road to maturity, suitable plays are those which tell about a feat such as the abduction of a princess, or winning a contest in which divine intervention solves a problem and the winner often weds a princess.

Kaul. making a promise which needs to be fulfilled when a wish comes true, Of unexpected luck or success, such as winning a louery, being promoted, passing an examination, or recovering from illness, are also celebrated with a wayarig performance. On such occasions plays are performed in which the Pandawa receive a favour Of a revelation from the gods. One example is the story Arjlll1ti II'-'ill'dbd, in which

A.rjlll'l.J t .... h~f"ll1. IJ~ '!'I asked hoy the )l:od~ tu help rhem. miJ hi.~ r-t'w<1rd j .. the n, mph SUllrJiT.I ()tll~r c).:.!mpl(t~ "Ire ldli.UumM In v. hh.:h Dum" R" es .A,rjuna. J mlghl"/{ w':'';If'''UH, Dr the ~mry SJj'Jrl~lllr1~. in wbl(l. ">ulllh·J..sr .. lIL!:' .. hkU ~~ JJ:~ ... rN'~ [LId

\l11.J.lh':r n,U..I .. ton ff)r a. W.;I\ ,IoOFI pt'lfttn)1..It'lu!' h ht'I'$~"-iJr·\d Inf' j'jl~ 01 t;Je.lfL'OIDH Iht!:"""1 nl.:tR~ whkh I ... h,dd e,1{h ~'e...(r .. uer .Ill: rite hilt\'I:'>.1 ro commemerste rbe fir" (,lt1'111,:" {II the \'lllil<~ ~1111.J.hll:' rl.J~~ ere W.tmi'j/bml In. windt I~u.· nee &l""jcJ('"~ ... I~~. 'J,rll"ltull.~fllrmt:'d Il1w a

C10J"! • ."irl.llllhl~paUI"'HrJt, In whlcf Ihk'. [l!,odd~~ nC~;1 Sfi d\ll~~ J\';I~ lil1,.' \\;lrfflll'j thfCJilenlns: Inc crcn. tn ~1ir'1 MmJ/ftil, II'! whlch Dc=.w) Sri

r"", .. tl'l~ (0 the .1bodt' Df !h~ Rod!, The "pprr)PJ~!l.fl! plmy for v,anHojl! (Iff rrwwrnl (c::HamilrJ, i~ Ptt~rf\'loMlll. will-en menuone Iht' m:'i!lfl.lftn"i rer

'1,\ hil;'R:I Ir,,.mt~j/ fl.!.J~[ ~lm1Jld be hc:ld

\U Ilw~c.- flbr~ .,If(!: _ .. uppreed 10 h.1\CI' ;l f1l.\'Qitrllhlc 'nnuenct' NII}'\

I" whteh "","11~ or other dl.~:1""'t[!r!<- hrin[!: ennrmaus (;'hlingt:IIo for l~1!! hcfUe!., oJ rll;" hel rl.!"W I(] Ilr I r1S bad I LJ ~ k, und ~ ~ ani)' r~"'''(] rm c -u nccaslrmall ~

... rdob If1U1IIlr U/~

":Il ~!lm-.l

Puppets

Cons!.I'uetion of the puppets

The puppets used in Javanese wayang purwa performances are u/ayang kuli', flat pup pels made of painted leather. Buffalo leather is the preferred construction material, not. only becauseIt can be made thinner or thicker, but also because it is fairly impervious 10 climate changes. The leather mainly comes from kebo uianct pengaron, two- to three-year-old buffalos, at [he best age [Q be hitched in front of a plough in the rice fields. This kufil gudel leather is fine, flexible, and easy [0 work with. Dry skin needs more preparation bur is less fatry, SO it is an ideal base for co lou ring.

The fresh skin is first carefully sun-dried, then soaked in a calcium solution for two Of three days and nights so that it becomes supple and the hair can be removed easily. The skin is (he~ stretched across a wooden or bamboo frame in the sun. When it has dried sufficiently it is scraped clean and smooth with a pangot, a shan, sharp knife, until u is the desired thickness. Moistened once again, the skin is polished with a rag and put on the frame to dry for five days. The skin is then rolled and stored in a warm, well-ventilated space, a kitchen for example. The scraped buffalo skin is called hulit salsebar, and wayang designs will not be appl ied to it until eight years later.

Another frequently used, quicker way 10 prepare a skin is [0 rub ;1 with a mixture of water and quicklime and leave it for a few days. The figures can then be cut out and given wayang charactererlstlcs. However, the chance (hat the paint will peel off the leather is greater.

To make the work easier the skin is cut into two or three pieces, each called kuli! sakacu. Traditionally, wayang figures are etched on each piece with an untu tualang, a metal pen, but nowadays (hey are

Left: The 'W:1)':ll"!g maker nrSI outline ... the figul'f's according IQ:J, template. Here he is clriselllng holes, Below: While playing. the chlldree pn .. .ctce chiselling holes in learhe •.

A bulfnlo skm i,'j stretched I~I thy on a frame in :1 wly;m~ maker"' house SOUlh or Yil,g)'<'1}.:3(ra., 19-Z

first drawn out in pencil and "hen traced with ink, The larger figures are drawn all thicker skin, the smaller ones I1n thinner skin, I ext, the figure' are cur out, and are then called laharan.

To mak it easier for the dalang 10 manipulat [he puppets, the leather has 10 be thicker <II the feet. The shoulders should be thin, because tile arms that will be attached need to be flexible, The head should not be too thin, but thick enough to how the profile or the figure clearly, The part- to be perforated should be thinner so rhat rhe motif ta nd OUL

The clothing, the decorations, and the hair of the puppets are chiselled out 011 ,1 wooden anvil with special chise Is a nel a ganden, a sma II

wooden hammer. At this stage, the puppets are called gebinga«, meaning something that has been cut out, a candidate for wayang The next important step is the creation of the face by cutting out the nose, teeth, and finally the eyes, since this will determine the puppet's character. This work is called ambedab (breaking open, or tilling, as with a new field for crops). For some figures the lines of facial and body hair are cut in with a fine small knife. The puppet is now ready for nyungging (colouring).

The basic paints used to colour puppets are oyan (Chinese lamp" black), gincu, (Chinese red), atal tuatu (yellow ochre), bakaran balung (bone-ash white), and nita werdi (indigo blue). In addition, the puppets are gilded Of, if that is too expensive, painted with bronze paint. Mixtures of the five basic colours yield other colours, but the puppet is covered in a white ground before colouring. To make the paints, the colours are mixed with ancur lempeng (carpenter's glue) and kulil buah kepoh (lye extracted from the skin of the janf!kang fruit). After painting and gilding, the puppets are flattened between two thick planks covered in fa brie.

Upper and lower arms and legs that have been cut out in the meantime are attached by means of a teteg (leather or bone pivot); the Slicks for manipulating the puppets can then be attached. To enable the puppet to stand, it is clamped between two halves of a gapU (partially split stick), which is very fine at the figure's head and increasl ngly thicker towards the handle. The gapit is attached with coconut fibre Or with eel cotton thread. The preferred material for the gapit is horn from a banteng (wild buffalo) or from the albino ox from Sulawesi. For figures

with a black body, black horn from the common Indonesian water buffalo is used. This horn is chea per and easier to acquire than that of a banteng, so it is often used, as is bamboo, which is even cheaper.

The horns need to be 60 em to 70 em long, and are first split lengthwise. Sections are then sawn out, and sawn open to give it the form of

a gapi: Both the handle and the tip which will run up to the puppet's headgear come from the top of the horn. The middle part, that is to be

attached at the puppet's hips, is from the base of the horn. The gubaban (middle section) i the weakest part. The gapil is heated here, and bentuntil the original curvature has almost totally disappeared.

The cempurit (sticks for the arms) are made from the same material as the gapit, The length of the cempurit needs to be the same as the shoulder height of the puppet. The cempurit is fastened to the hands with coconut fibre, couon thread or pivot.

Ri~hl. Cross secrlon of an ox horn, with an enclosed !I"pIJ. The fJ."pPI nnd cemj)urll for four puppets can be made from one hom.

111~ outline of a wllyang flgure, in wblch [he course or the 8lr/Jil is mdlcated.

:~. 8ese! (jO'I"H)' the place wh!o:re the upper 3.nd lower ann are connected

D. u!teB: bene or leather hing-e which is used to connect the movable parts.

c. cempuru. nrm rod

d·IJ!I~(Jha,!: the p:UI or !J1C gaJJfI where the section of the hom was- bent.

e. amup (barb, (loin!): the end of the .!jlrpll, with whlch the puppet is stuck true a barsunu uee trunk during a performance.

hl.uk. .uu l brown .uul grl'1 .m: u~l"ll lor ~(lIlll' .uiim.rl» ;111<.1 gi:lI1t~

,,<ohk ligllrl'~ h:I\'l' hl.nk . gold <11' \\"11 ill' I-:I"t'~ .md hluck or g,,]t! hodies The btl'S ()j" intcnm-di.uv lh:lr:lC(t'!"\ :1I"L' hlark. blue. pink or red. .md their h(ldil'~ Hl' clI]"urL·d gulLi. The l.rrucr figurl'\ h.ivc pink III' rl'd Lln·s. .md ihcir illltii<.'s .ir« pa inu-d guld or :1 p:i1l' ~h:ldl' "r pink .

I )ro'~ __ : ..In I hing , 11"114] 01 t"l"SS 11 nd j,.\\.,,]] ,.I'~

TIl<.' pl! pp('t"~ d rl'~S i rul iClIl',S s, H.-Lil st:ltUS .md hltH."t i Oil. ,\llIst .h.u.un-r-, ;lrL' dressed in :1 tsain, till' t\'pical J;I\:IIW~l' loincloth , whirh c.rn Ill' worn in dillvrl'1l1 \\';I)S_ :-;Illlll' l!uLIl'll'rs :lrL' drl'ss<.'tI in dcnlot. the roval dress, This doth is Llrg<.'r 111;111 till' \'OlllllltHl tea i», .md i~ dr;ljwd inlrit':lkly

The dud,,/ is worn wirh I()ng <ilk trllll'l'r'i 1ll:1t!l' ()r cin d« l.rlui«. wuh ils l'ill','k~'rl'd putu-rn Fl'Ill:i1e l'iI;lf;I\'ll'r, .irc dn-'s~L'l' in ;\ /Hlill r,,';lL"ilil1g till' .mklcs. s(lil1vlil111's in c"lllilin:lli(l1l with ;1 riui/u/.

I'll n lur d isl i I1lt iunx :11'<.' I Ill' d i rrl'rc'nl tY]l("s ot lu-.uld rl"SS nn\\' 11 s i I] v.ulou- ,;l1;IPl'S :ll"l' \1111"11 11\ l'il:lr:lt"tl'rS 111- rov.rl d,'s"l'nl, rurbun« ;11','

\\ orn hv lu-rm il.s , pric~[>; ;1I1d 1]()I~ tc.ulu-rs: u ud h(';I(I<I')1 h~ Hl' "' I I'll hv ,,1i'il'LlIs Till' h.iir i,'i .iI\\;ly~ hluck . worn virlu-r 1()(I~l" "I' dn·ssl"d in ;t

k not

The j"\\l'lkn "I' char.ut crs hdonging 10 Ihl' nnhilitv i, US1Ldh- SI:111 d;lrdi'il'd ilr:lCl'Il'h tor i lu: lower .md tlppl'r ;11"111. nvck l.urs , .mklcts.

ri ngs, .\ IllliJst l'\l'ry ,'11;\ 1':1 rrvr we:1 rs ;1 slim/Iii/g. :1 piel'e or j,'\\("lIt'ry whirh is worn hchind Ihl' c.rr. :\ ~;lsh indicating ;I Clsll' howvvvr. i~ onlv worn hv 111,'11111('1"' ,,1-11](" satri« t nohilitv: .rnd lI'l'siti In'uri lillici;lis\

Tlu: hOt/UII,r.:.. :1 jl'lIl'!kd hrl';lslpLlIl' in 11ll' shapl' ,11-;1 11:111' Il1IH)n, wir]:

IhnT <1I '-"Ill f1t'IHLtnt~. is onlv worn in <'ol\lhil)Jlj"T1 wii h ;1 -r.u« r()h,'

P;lge 50: Kt Satlp, Semar's penis, 4<1'; x 17 ern,

c. 1900 or earner. Kraton Kasepuhan, Ctrebon, west [nvu. T11e penis ts used b)' ilZi owner .. .s an infallible weapon in war. In this ease u has the shape of the head or iI young bull. and is made with ~ frngnlen, of:an old w:lyang, a demon's lIt'\lu. Lefu Krts. 17.5 em, 19th century, Clrebon, west

1' a V:1. A prop often used in fights between tWO charnplons, Ior example between Arjun:\ and

his traditional opponent, Cakil, the ogre,

Pnge 51: Old Naga nnd B;t~;'ir.. Guru, "'03 nnd )1 ern 191h (;I!ntllry, Kril~un Kasepuha n. eire-bun, ""eS't.J:t~. The okl J\llg:l (Jeri) ! . s dressed as a hermit 'the N~,g,.1 i5 assortatetl wlrh water. from which the firsl forms of life originate.

L.t'fl~ Celesual uger, -10 ern, lote J9th or tllrly .201h century, t:01.st Java. A~ the w~y;lns repertoire was usual I)' mnsmmed ora!lr, In::ln)' of the stortes have unfortunately been 1051 Of have nor yet been

n sccrded. h ll'i lise> cor cetvahle thnr some puppets have never been used for pertcrrnance. hut were maul!' ~Qld)' as an expression of lilot::r.u}' and pcenr creutlvlty It Is no' y~1 Known In which ~Ior)' [hB celestlal liger tenured.

Page 54: .lJ(lC'tJm, m)'~hic:;1lliger. 60 em, c, 1900, Kraton Kasepuhun, Cirebcn, west Ja~'::I.

P3,8(" 55: Kapal. horse 3~ :J mount for ::I prince.

60.5 em, end ll;tll ccmury. Circbon, west jnva.

On jnva, Hve COIQU,f (;Ht'gQI'IC's are applied to ho(~-;: black, brown, yellow, whne. and ptebald. Each colour 1s further denl'tcd by d1fferent shndes. Dark brown is ccnsldered the rnosi beaudfut colour, All kinds of other characterlsucs are impcnarn :l!> well, for example, II,e dlrectlcns of the gro'lii'l.h of the horse's hatr, because th!;')' are belleved 10 sa)' something about lr..e charactensuca of the horse, and :1Tt': .. 150 supposed tc tell the future rol" the horse's owner.

left: PermuptJgaJt, army, 43 rm, e. 1850, or later, Kr:non Kasepuhan, CirE'bo~, west 13Y3.. An army fjom the 'good' side is well.crganlzed and only hils human soldle!:,;, whereas an army from [he 'bad' side has demon soldiers as well as human ones.

\

This perampogau ~ clearly of a mote disorderly

nature: humans rake to the bantenelc alongside demons, find they' all s\,V'log along togerherln :I belligerent manner, with cld-fashloned arms such. as sp ears , blund.!bu' ses, daggers, lances, ,nd shield s Above, Per • .,pO~aol. "my, 42 em •• het' 196(l, Princlpalltles, central JaYiJ.

Rlgh[; A typical modem gmw},~(ml 86 em,

c. 1960, Surakarra.xernral Java, According [0 130Sdl, the mOSI lmportanr requisite :in wayang theatre, the gU/Jungau (mountain) or kayo» (forest), is a represeneulcn of the ancient Tree motif originating from India. This consists of two parts, a mountaln and a tree.

The Tree motif is rendered as a combination or two difTcrem trees I the fig tree rooted 111 heaven, and the (earthbound) lotu tree rising from the waters. The former, placed above, has implanted its r001 in [he top or [he stem of the tree-shaped lotus. The lotus is the very symbol of life springing from the waters. The celestial fig tree represents 'creative breath' or fire, which is /IS essential in creating life as the water'S es ence, In the J~lvanesc !rmIJn8ol1. the lotus p:u1 can assume an hourglass form, wilh a small building "lirh 3 pair or closed doors) or that of a lake or pol filled with water. Guardians stand on beth sides of the stronghold, Their (ask is to guard treasures. particularly the Meru (heavenly mouncnn), and the liquid elixir of life, i\ pair of huge ",Inss flunk the upper half. These wins shapes may actually be derived from lotus leave or

01 her vegetation.

The t3U gale building with closed doors C' a n be understood as female, whereas the tree represents the male. Together and united they form life. The /;anle/lg (wild buffalo) here symbolizes earth, matter and fenillry. The tiger represents flre, £k}' and spirit.

Page 59: Gllrnmg&1tI1 74..5 em, late 19th or early 20th century, Kmron Kasepuhan, Clrebon, Paststr, west Java. A grouo-like mound rises from what seems to be a blackish pool of water, flanked by two lotus flowers on long Stem. There is a munster's head sitting on It, like those crowning the gates or the 8th-c:eOlury Buddhist temple, Borobudur, a head with no lowe- jaw:

This head is highly stylized, a characrerisdc of Islam-iofluenced Hindu-Buddhist art On Java, of which Cirebon is in !1l;'IOY ways the cpnome.

Page 62- Kayon, shaped as a mountain or flames, 69,5 em, c. lSS0, Kraton Kasepuhan, Citebon. west java, While (he dalang often uses the gmu01g{ill to suggest :l mountain, a palace, a foreer, or the sea, he also uses it to represent natural phenomenona such as ;) storm or a blazing fire, or even a s a metaphor for the deva taltng powers of war. This gWlUllgiHl may have served such purposes

Page 63: CrJuupzgall billmbarrga", 64 em, 19th century, Pasisir, north COD.5l of jIlV;:1. Two horned animals WlLl1 long tails scratch the trunk of the Tree of Heaven. JUSI a bove (heir heads ls a monstet's head, situated precisely where (he Tree of Heaven, the flcus, is auached to the Tree of the W:nels. the lotus. Here, the tree rises from 11 small lake resting on ~R hourglass-shaped elevation. TIle elegant ramiflcaticn or (he tree branches undulates all the way down 10 (he ground, :311110Sl encircling [he base of the mounlain 5)'01001

",IIBI!: 6-1. GIlIiWJg{W bi!ll)lba!l~{rlllhlllmhtf1lRall: pond), 64,'1 CIII, l~hh CemUI)', Pnsisir, north coast 01');]\,3. Two horned antmnls with long t;lil>; scratch the trunk of the Tree of Heaven. JUSI above rhelr heads IS ~I monster's head. II ts snoated precisely where, according to Bosch. the Tree of Heaven. or ficus. i .. auuched to the: Tree of \X{aleI'S. or 100u.s.

Lefu Gummww b/{im'lrJI/8(w, "13 em, 19th century. Pasisir, north C;0.:10;1 of J;l~. M:my gllJlIl1Igcm show lenve, und branches densely populared wilh birds and other animals. the Tree of Heaven ~ also tbe Tree of Lif~ which nourishes and SUSI;J.ins all creatures. Exceprionnfly, two Feline arumuls urc shown. Here they nppcar as hares or rabbits, sometimes Lhey resemble cats or have 3 human form. bUI thl')' are nearly always characrertzed by' Iong, tapering C;Lf~, Bosch argues thai the}' represent the twin-gods, AS''''Lru, who Me closely assoclarcd with the sungod, 111ey He guardians of the elixir of life, and therefore ncr :'IS physlclans of the gods, as donors of yourh. WC':1hh. find offspring, and 3!) helpers of the needy. Instead or the customary monster's head halfway up the tree stem, here we "I.:':t' :1 pair- of birds and <I pair of monkeys

Different styles: Yogyakarta, Surakarta and Pasisir

There are many regional differences in the styles of wayang puppets that have evolved in the course of history, including differences between the traditional cultural rivals, Surakarta and Yogyakarta. Although these ·differences are often negligible because of their mutual influence, each style is easily recognizable.

In general, Surakarta pays more attention to alus (refinement), while Yogyakarta focuses more on the gagab (power). In Surakarta, the wings or haloes of some figures have wavy edges, while in Yogyakarta the wing edges are smooth. Surakarra puppets have shorter arms, and the fingers are less bent, whereas Yogyakarta puppets have straight arms that reach the ground. The kain (loincloth) of a noble lady in Yogyakarta has folds that fall over the feet to the front; for a lady in Surakarta the fold falls behind the legs. The style of the central Javanese principalities is more or less the official standard, as can be seen from books about wayang that have appeared in Indonesia in recent decades.

The Pasisir style is the name of the style from the north coast, of which Cirebon is the most important cultural centre. The population of Cirebon has been influenced by a rich stream of spiritual ideas for centuries. As a port, Cirebon functioned as a melting pot of religious and artistic ideas, including animism with its ancestor worship, Hinduism, Buddhism and Islam. This resulted in a characteristic style in which mystic rapture brings the puppets to lif&, a style completely different from those of the central Javanese principalities, in which meditation and the discipline of immobility is evident. Although the style is wholly Javanese (though surprisingly close to Balinese wayang) there are differences in detail. Puppets of this style often appear old-fashioned, and seem to repre ent an earlier phase of central Javanese wayang. Examples of this include the Chinese-inspired, broad collars that are no longer to be seen in central Java, the different colours, and the more baroque clothing. Furthermore, various wayang figures are still used in Cirebon which no longer exist in central Java but are only mentioned by

Different styles: Yogyakal'ta, Surakarta and Pa i i r

There are many regional differences in the styles of wayang puppets that have evolved in the course of history, including differences between the traditional cultural rivals, Surakarta and Yogyakarta Although these -difference are often negligible because of their mutual influence, each style is easily recognizable.

In general, urakarta pays more attention to alus (refinement), while Yogyakarta focuses more on the gagah (power). In urakarta , the wings or haloes of some figures have wavy edges, while in Yogyakarta the wing edges are smooth. Surakarta puppets have shorter arms, and the fingers are less bent, whereas Yogyakarta puppets have straight arms that reach the ground. The kain (loincloth) of a noble lady in Yogyakarta ha folds that fall over the feet to the front; for a lady in Surakarra the fold fall behind the legs. The style of the central Javanese principalities is more or less the official standard, as can be seen from books about wayang that have appeared in Indonesia in recent decades.

The Pasisir style is the name of the style from the north coast, of which Cirebon is the: most important cultural centre. The population of Cirebon has been influenced by a rich stream of spiritual ideas for centuries. As a port, Cirebon functioned as a melting pot of religious and artistic ideas, including animism with it ancestor worship, Hinduism, Buddhism and Islam. This resulted in a characteristic style in which mystic rapture brings the puppets to lif@o, a style completely different from those of the central Javanese principalities, in which meditation and the discipline of immobility is evident, Althougb the style is wholly Javanese (though surprisingly close to Balinese wayang) there are differences in detail. Puppets of this style often appear old-fashioned, and seem to represent an earlier ohase of central Javanese wavana.

the dalang in the narrative text. The Pasisir gunungan and pandkawan are also very different from the standard types of central Java, The figures a re also more lively, though less detailed, less elaborately decorated, and less stylized. Instead of golden body colours, pastel colours such as beige, mauve, and grey are used.

the ~alang in the narrative text. The Pasisir gunungan and pandkawan are also very different from the standard types of c ntral Java. The figures are also more lively, though less detailed, less elaborately decorated, and less stylized. Instead of golden body colours, pastel colours such as beige, mauve, and grey are used.

The Panakawan

On the Javanese stage, the most pathetic scenes are oft.en interrupted by the jokes of the ptiwikClW({'1, [he servants of the hero. In the epics proper there is no mention of the pcmakawcm. but they are especially important characters in the plays, and the ~alangs use them to refer to contemporary issue'. In wayang purwd performances this occurs especially during the gard-gard, the climax and turning-point of the performance. Ir is the panakawan who break the tension with their antics. There is a fine line between the sublime and the ridiculous; WIsdom easily becomes foolishness and vice versa. But jokes during lofty cenes are also parr of the Javanese feeling for relativity; everything is controlled by balanced, harmonious relationships. Humour and satire have

a protective and strengthening power and are the counterbalance for passion. despair, and other deep feelings which may disturb the harmon)' with their intensity. The Javanese word for clown. badut, is derived from badot, meaning healer. Both groups are thought to be inspired by higher powers, For example, on visits to certain holy places on Java, tradition requires telling jokes, especially erotic and obscene ones, during the journey.

The pallakClwClIl are thought to be purely Javanese by origin because of their roles as mediators. In southern India there are also shadow plays around themes from the Ramayana with comical commentators: two 'ugly and grotesque Brahmin priests'.

emar

Semar, the o.dest and most important of the panakaU!an, was originally a god, :the twin brother of heaven'. He is the guide of the hero on a journey full of tribulations which the hero must overcome before achieving his goal. According to the legends he is a brother of the highest god, Batarli. Guru. As punishment for a misdeed he was given a grotesque form and sent to earth [a serve the descendants of the gods.

Left Samhila, Togog. Semar. Pctruk and l\J!.;i:. gareng. c 1960, Surakarta. central java . Semar s sons S~t.\hil:'l, Togog, Petruk and ~nl;ig;lrImg have been brought 10 life by Semar's pracuce uf meditation. Behind Serrmr are the rheumatic N;lUgareng with the club fUQI. and his tall rO\Jligt'r brother. Petruk, wnh his big nose. To the left ;)1'4: :>adhil:J and Togog. Iairhfulbur often unjustly treated servants of lin: left f:lction_ Although 1"It:"'ing enemy parties, the StTV<lI1I:, treat each other in a Incndly W;\)', and often the serv .. rns or the lcfrpanv complain to tin.' servants of the righl pallY about their masters.

lUp;hl" Jj'iI!tIlR.M. 5t:lll:m ]~. SUr:aklll1~I, eenrrel J :L~'II I .... ,ndli.. .. ji'/m b;~nR, 101 '..aJl of Se.m:u'.~, l!'i ;;j '\,ell· Imcol i(i~ dUfldl:rIh!u..J ofl"~ ,sLU IllDilfttil, over' tus 0 .... roIf'poI, n!!"",, 111OU~n. n .. .,.. , d ....... r mlurr. hi: ~i.ltnl)' uwn ... 51:J:lnl:- or 1 hili [roill:.. nnelbated L{) demons: hi~ ph)'!iriQlllppt-uunct' can not be callot:d ~liJuful :n.nd b tlOL in ~~eto: tA~lth lilt:" ~rnr." flo'." rDf rt::5prn .. ble perseus

Sernar is the most popular figure in the whole wayarig repertoire. As soon as he a ppears, a wave of sym parhy a nd deep respect goes th rough the audience. He cries easily, farts continually, is hugely fat, fwd has an enormous behind. However, he is a fount of wisdom, and even though he is a servant he acts as an equal, or even superior to his master,

Sernar's appearance befits his nature and his place in the ancient mythological world: he Is both man and woman. The creation of later ptmdiUlwall was more inspired by realism and parody. The deformities and infirmities afflicting all these servants may be related to the respect or even fear Ih:lt such deformed people aroused, because [hey were thought to consort with the spirits. At the courts, dwarfs, albinos and deformed people served as jesters. wi th their fixed plates in processions. This practice continued until just before the Second World War,

Central Java has a different, 'western' style of wayung purwa performances to eastern Java, which has iIS 'eastern' style. The difference lie" malnly in the groups of pd,,&kawan in the performances. The famous dalang Anjangmas (or Panja ngrnas), the founder of mnny of the tradltions of professional d alangs in the Javanese principalities, lived in [he second half of the 17th century. He and his wife were employed by the king of Maiararn and, after the plundering of the court by the Madure,!! in 1677, they lived as vagabonds. Nyat (lady) Anja ngmas was also 3 dalang, and is hailed as the founder of the eastern style, in which Scmar performs along with l:Iagong and Cernu rls. I n the western style, I ruroduced by her husband, Sernar ls sccorn panied by Na!;lgarcng ~ nd

r e truk. On the north coast, styles have become mixed: Sernar's entourage consists of Nidligareng and Petruk as well as Bagong. The geographical border between western and eastern styles has moved eastward as the western style gained in popularity.

The following llnes are the words with which the dalang introduce.

Semar and his sons in this 'western' style (see p. 72). The text illustrates the significance which the Javanese attach to names, which are believed to be connected to character and the way of life:

Why is he called Semar? He is called Semar for rnts reason: Semar comes from the word samar (vague). And yes. the person of the kyai lurab (master. of

secret theology) Semar can be called mysterious. Call him a man, and his face will look like a woman's; call him a woman and he will look like a man. What does kya! turab Seruar look like' He has a snub nose which is mrdkateni (so charming that it inspires love), watery eyes, puffy checks, also comely; he IS fat, but graceful; in short, everything about his person 15 pleasing. Anyone in Sernar's company therefore wins the love of the gods. Indeed, kya'; lurab Semar is a mysterious person, for he is not an ordinary human but a divinity from the S"rdldya (heaven), in fact Sang I-lyang (the venerable god) Ismaya. Kya i lurah has two sons the eldest is called kyai turab N:\hI-Gareng, the youngest kyai Petruk. Why is his name Nal:l-Gareng' N4ld is 'heart', gareng means 'dry' NWIGareng has a dry heart, which is why he is always sad. What does he look like' His ey~s are crossed, his lips do not close all the way, his arms are ceko (crooked because o~ " break), he is a cripple and limps, because his feet are covered ill bubu! (wounds caused by the Yaws illness). And kya; Petruk? His body is long, his nose Js long, his eyes are long and narrow, his lips stick out, his neck is long, his legs are long, his steps are long, and his hands are long 1.00. What is he like' He is rowdy but it makes him earn a legacy, If he steals,

he is praised, if he quarrels he is praised, if he gets into a fight he is rewarded.

left: Sernar a-od Sekar Pandan, 43 and 34 em,

c, 18;0, KrJIOI'l Kasepuban, Cltebon, west J31'<I. The amiable Semar with his black body and his white powdered face IS wearing gokle» ear-togs Semar is wearing a red-white pole.1J8 (chequered) loincloth to cover his ample hlps and [0 support his umbilical hernia. His relative, Sekar Pandan, who is only known in the Cirebon R-egion, ewes his long neck 10 a ,f;:.11 from heaven 10 earth, when he bee a roe stuck in a tree. He is dressed like Semar, but 11i5 lcteclcrh is without Il1~ chequered pattern lh::u averts evil

Page 74175: Three examples or N~];\gareng, 39,36 and 46.5 COl, all ZO"'h century, Yogyakana, Surakarta and Surakarta, c:en~r31 java. N:!tl:Lg:m:ng is shown in nts usual attire, as a woman, and as King Pandubregala. PdudkcuBlW Nltli'tgareng playsdifferent roles in different plays

Performance

R e q u i s i tes

In a wayang kulit performance the shadows of the puppets are cast on to a white fabrlc screen (helir) in a wooden frame. Over [he head of [he dalang, there is a special brass oil lamp (btencong) which is often shaped like [he mythical sun bird garuda or like a gunungan. These days an electric lamp is used which gives a constant bright light, in contrast to the more lively but weaker light of the traditional oil lamp.

In front of the dalang, and parallel to the screen, there are two banana tree trunks, one a little higher than the other, into which the puppets are jabbed with their pointed handles when they are not in use. Members of the [ust parry are placed on the right side, and members of the unjust party on the left, The highest ranking figures are placed on the higher trunk.

To the left of the dalang there is a kotak (rectangular chest) in which the puppets and other props are kept. The chest has some small wooden or metal plates attached to it, called eeprak: or kecrek, which the dalang, sitting cross-legged in front of the screen during the performance, tinkles with his right foot to indicate the fury of the elemerus, the din of battle or the roaring of a giant. sing bis left hand, he taps tbe inside of the chest with a cempald (small horn) or tabub keprak (wooden hammer) to guide the game/an players Sitting behind him. The lid of the chest sits to the right of the dalang and contains the puppets he wants (0 keep handy. Near the dalang there is also a padupan. (bowl

_ of incense) which is lit at the beginning of the performance, and a sajen (bowl with sacrifices for the spirits), which might include food or flowers.

Musical accompaniment elates from as late as the eighteenth century; gan!.elan music is essential to a wayang performance, and the music is

Left: 8lencouc, wayang lamp, 81 x 51 em,

20th century, east Java. This blencong i" bird-like, bu. has a human head and body. It represents a COII«.""pt. derived from Hlndu mythology, where it is caned kftrm"a.

specially selected for each performance. There are severs I rona I scales or modes, but in wayang purwa, the music is mostly in salendro, the five-tone scale of Javanese game/an music, with approximately equal intervals between the tones (barang, gulu, dada, lima, nem). The music expresses the atmosphere of the various sections of the performance

and accentuates the movements and words of the puppets. Some

. wayang characters have their own particular melodies, associated with I their personalities and mooels.

Plge 78c /W!tll!, Ch.SI [Of sloring warong,

1295 x 90 x 87 em, c. 18lIO, Yogyakana, central J.~,.,;),. Five scenes are carved in b ..... s-rell .... f on the outside of the chest, and a sixth scene inside tht: lid. According to the Yogy"karta style. which 11., reia lned mOSI eharaoe ri" lcs, old demons and monkeys arc rendered with two eyes, instead Dr with only one as in the later Surakarta ~1~ le,

Left above: /JI0llW!lI!, '""yang lamp, ;1 em, 19th century, I ava, This wayang lamp has the form of. ~tr1"lf(/&! with a tall royal crown on its head, II ha~ long pendants on either side of the head, The crnwn is shaped like a moum,in Willi many peiJks, like the ideal Mahameru, with one di.5linc(ivc peck on iOp, th" .ym!>o) of the highes[ god or the "llnO,t contemplative concentration. The rump of [he bird serves 35 the receptacle fOI" rhe oil. The 01,,1 ISll"etchc:d wings and the spread (ail feathers 3:1"1: rnl,,:ant [0 reflect the light when the lamp is bci~g used.

Left betow: Bteucoug, w.yang I, mp, ,0 the shape or 2 crowned 8"nu!II. 44.5 ern, 191h century. east J;'';).. Its iconographic characre .. js!icS are similn t [0 those of the hie !lcolIg 000"0.

I'age SQ/SI: Sajen, offerings for a wayang performance ,11 [he COUrt of Sumk'na. ]\166.

Lahcon

A lakon,·the javanese word for 'play', is an adaptation of the classical way'lng literature for wuyang performances: There are three main types of laleon, Lako» pokok (pokok meaning nucleus) does not deviate from official tradition, while iahon carcmgan (carang meaning side-branch) is derived from traditional topics. If the traditional story can be clearly recognized it is called takor: ca"ang eadapur (dapur meaning combination). If the taeon has lillie more in common with the original star)' than the names of a few protagonists it is called laeon sempalan (sempalan mean i ng broken off or loose).

These plays are written down in palsen» (handbooks), which contain brief outlines of the stories, with sufficient directions for their performance. Although more detailed paeern exist, to a large extent the performance and the recital reflect the style of the dalang, who improvises on a theme. The dalang can also base his stories on poetry or prose, but these need to be adapted to the fixed requirements of a performance.

A lahon is divided into fixed sections. This sequence is one of the oldest characteristics of a laeon, and is related t.o religious overtones of consecration and entering a new state. The word lakon is derived from lahu, which means 'go' or 'act', but can also imply 'adventure' or 'journey'. Each section Can be een as a stop along the journey. The transition from one section to the next is marked by sulule, the dalang's recitative announcement of what is aboutTo happen.

Stages of the performance

Page SU8} \\;31'3ng performance at (he COUfl in Yogyakarta, c. 1930

Traditionally a performance Starts soon after sunset, at about 7.30 p.m., and continues Without a break until dawn, at about 6.00 a.m. In the pa there was a tendency to separate the audience according to gender: women sat facing the screen onto which the shadows were projected, and men sa! on t.he other side with the dalang, where they could see

the actual pu ppets. The origins of this practice are religious as well as traditional, but now it is rarely encountered, especially in modern wayang, where the shadow aspect of the puppets has become less important as a result of the secularization of wayang.

At a private wayang purwa performance, the host and his guests often view the puppets from inside the house, i.e. facing the screen. But each performance attracts many people, and anyone who is interested can watch. These occasional guests, usually including many women and children, either sit with the dalang or watch from the yard.

The evening begins with an overture of gamelan music (talu) which sets the mood of the lakon. At a court performa nce this musical introduction is omitted The dalang begins his story with the traditional eulogy to the prosperity of the kingdom and the king, let us call him King

A, who then appears on stage.

When King A appears, his admirable qualities are summed up. He discusses a worrisome problem with one or more confidants (such as councillors, or sons) This indicates the theme, e.g. a daughter who is to be married, an enemy's attack, a daughter who has disappeared, or a lost son. The scene then moves to the court of King B, an enemy who is usually a non-javanese giant 'from the other side (sabrangan) This new scene is more or less the same as the previous one. King B has plans to attack King A, or wants to marry King A's daughter, or desires

a princess that King A has chosen for his own son King A is always the righteous party on the right of the stage, and King B is on the left, representing evil In the ensuing forest scene, the armies of King A and King B confront each other, and a first battle is fought. There is no

clear victor in this perang gagal (undecided battle), there are no casualties, and afterwards everyone goes on their way.

It is now midnight, the magically treacherous hour when one day moves into another. The time has come for the real hero to make his appearance, and this signals the transition in the play. The hero, often in a state of inner turrnotl, makes his appearance with his loyal pan,Jkawa~ (servants). His unrest is mirrored by gara-gara (unusual

occurrences in nature), which are discussed by the servants in the form of banyolan, Joking and tomfoolery which is meant to relieve the tension This company then meets a group of King B's party, and a fierce fight ensues, known as the perang kembang. This is one of the climaxes of the performance.

The fight lasts quite a long time, and is interlarded with comical remarks and dialogues from the panahawan. Here the clalang displays all his techn leal expertise and eloquence, contrasting the cal m a nel conficlent hero with the brute power and savage attacks of his opponent, By the end of the battle (almost 3 a.m.) the hero has prevailed. 1n the earlier parts of the performance, all the main characters were introduced and the theme clearly defined. By this point, all the ingred ients for an exciting story with a happy ending have been brought together The rest of the lahon develops this further, and there is a general battle between the two parties, called perang tanggung (tanggung meaning 'not yet finished'). In the final battle (perang sampan, sampah meaning 'resolution, return of equilibrium'), victory is attained by the righteous party. The performs nee ends with a slametan (collective ritual feast) for the victorious party, or a wedding.

Status and skills of the d a l a n g

A 9a lang is high ly respected, and is often "believed to possess su pernatural qu alities (especially healing) because of his position as mediator between people, gods a nd spirits, Li nguistically, the word data ng is

." thought to be associated with langtang, which means 'to go round' something, A dalang is a 'wanderer', but also a 'diviner', a protector in a religious or magical sense.

Dalang are also social commentators. Traditionally, when a travelling dalang arrives at a place where he is to perform, he will make a study of what is all people's minds That may, for example, be government measures which people find hard [0 accept. During the perfor-

mance, the dalang will II e the pdndkawan, rhe servants who make humorous and barbed comments, to voice criticism which the audience will relate to. According to tradition, a dalang cannot be held responsible for what is said in his performance. In feudal society on of the dalang's main roles was to be a mouthpiece for the people, His ritual immunity protected him from the wrath of those criticized. Howev r, most of the time, ~Ialang were diplomatic in the way they said things.

The work of the dalang is difficult because they need to have many talents and obey many regulations. Before they can perform independently, aspiring dalangs are trained for years. That only used to be possible as an apprentice, bur since the Sixtie there have been schools on Java wher young dalang are trained.

Apart from the professions I d ala ngs, there are also amateurs Most dalangs in the villages are farmers, while at court, by tradition they are mostly professionals and serva nts of the cou rt.

Dalangs must conform to a number of court-derived prescriptions and traditions: a) dntdwacana (intonation), to make the distincti n between the voice of each character, all of which have their own characteristic voice. The combination of the shape of the eyes and (he position of the head determines the register and the sound of each character's voice, A dala ng has nine voic<:s for the main figures, as well as the typi al language of each on ; b) renggep (to involve completely), [Q keep the performance lively; c) enges (emotion), [Q create interest in

the characters and involve and move the audience, for instance during a dialogue between lovers; d) tutug (eloquence), to recite prescribed dialogues or pagedongan (traditional, fixed explanations); e) itanyol (comedy) [Q make the audience laugh- f) sabet (flow, ' ave), [Q handle rh puppets correctly, and properly distingui h between the movements of the various wayang puppets, especially during fight seen s, g) kawiraja (kawi refers [Q the old Javanese mode of speech, raja mean prince), to be able to recite the traditional eulogy prior to the performance, praising the government, the eminence of the ruling king, and the prosperity of his kingdom; h) parrlma-kawi (parama is the Sanskrit word meaning

high), to correctly explain (he nicknames of the kings and nobles in (he performance; i) amardi-bdsa (10 focus on language), to know the different ways that gods, giants or humans speak in their various social positions (hierarchy is strongly embedded in the Javanese language, which has two completely separate vocabularies: if the listener has a higher SlaWS krc1-ma is used, but if he has a low status ngoko is used); j) jJcl1-ama-saslrci, (0 know the writings (layang) on which ~I performance may be based, and which are necessary to determine the contents of the suiuls (narrative announcements) and gl-eget saul (pieces of music); k) auncaritd (knowledge of many tal 5). [Q know all the tales referred to

in a performance, the character depicted by each puppet, and rhe significance of each stage requisite; I) amarddu/a-lagu (melodious

singing), to know the verse measures and singi~g techniques which are used in a performance.

A dalang also needs to observe the following courtly prohibitions: he may not change (he form of a performance once it is recorded in the paeem (handbooks of the court); he may nor show any preference for a character; he may not show himself during a performance, or speak out of turn; he may not focus criticism on anyone, or anger his audience; he may not make uncouth jokes; he must makr sure that the performance lasts for the correct-duration (from about 7,30 p.m. to 6 a.m.), and that each aspect of 'the performance lasts [he appropriate time.

The ideal dalang therefore has to possess many technical skills and personal qualities. He not only needs to be an excellent performer and religious mediator, but he also has the task of pointing out social ills and making his audience aware of their shortcoming

Page 8/89: W:J~r;:mg performance. java. Left: W3}I:;tng performance, Ja\·~I,

Repertoire

Wllyang can be seen as a representation of Javanese thought, e pecially wayang purwa, which has a repertoire that can ists of a sizable cycle of tales derived from ancient Indonesian myths and two Indian epics, the Rarnayana and the Mahabharata The Javanese word pUl'wa means 'beginning' or 'first', and is probably derived fr m paruian, a Sanskrit word used to denote the chapters of the Mahabharata. These ancient stories about gods, giants and kings form the basis for the different laleon and reflect ideas about the cosmic system, in which man is but a small insignificanr part, subject to divine and demonic powers.

To understand wayang it is necessary to comprehend this world of gods, demons and humans in which everything is ba ed on good and evil forces: gods on one side, demons and giants on the other. These two parties each have their own topography in the wayang performance: the 'good come from the right side, the bad from the lefr. Humans stand b tween gods and giants and can choose either side. If they wish to join the gods and gain their support, they must prove their suitubility by means ,of long, hard penance. Only a privileged few ca n attain to a long-standing relationship with the heavenly powers. If they choose the side of the giants, less preparation is needed: no penance and simply obeying the giants is sufficient. By themselves, the gods are powerless 10 overcorn the giants.

The wayang purwa repertoire consists of four different performance cycles. The first, the preamble, deals with the origins of the world and the vicissitude of the gods, and is inspired by both the Adiparwa, the prologue of the Mahabharata, and ancient Jndone ian tales.

The second, the Arjun:l Sasn\ Bau cycle, deals with the lineage of several prominent characters of the Rarnayana, including the birth of the twelve-headed giant known as Rawana or Dasarnuka, and his opponent

Lerl: Ancient giam receiving Instruolon

from :1 god, 65 and 48 em, e~r1~' 19th century, Kratcn K.;1se~;lIh~lIl, Cucbon. west JJV~.

Right. Rama Parasu. or the .li;lgl· jamadagcm. 64 ctu. ~;lfl)' 19lh ceruurv. Kr.11011 Kasepuhan. Ctrebon.

west J::LVJ. This cbumcrer plays :-L role in the !\ri'ln~ S!isril U:lU cycle, which chronologie:;:!lIy precedes the ep!c Rnrrmyann and i, .. tahabhanua. This story t<:115 how RJW3na"s Father. Bugawan \~'i.sr a wa. wedded the fi;:LI1Ct-~ of his own Son .• lI1d W;.IS punished by the gods by his firS{ three children boeing burn in

(he form of demons. The upes in the Rnmayanu. Subali. Sugriw:1 and Anjnm. used (0 be human. Jamldllgclli is of len called K:\m:j.Pa ra su, or R3.ma· B~rgAwa, be(;"1,,ISC: this sage used to carry his bow and arrow with hun during his many wanderings. the gondeud(bow) measuring, the size of u fullgrown areuga palm tree. He also liked to bring his f)(ImSli (hammer-axe) As wef ns fighliJ}S all lniustire he mer On his W;1}'. R~tn~·P:uasli also used to challenge every king or prince he mel to a duel. He knew that he would ultimately be defeated at the hands of an incarnation of Wisml. and Ii lied for lh;u moment alone. He tried to be slain by king A~un;\ (during the ern or Arjun:'i Sasrll Bau). but killed the king msread. because it W:lS ordained h~; (he gods that another incarnation of Wisnu was to defeat him. He had-to wail for it long tlme: il was in 1I followtng era, during the Rarnayana, Ih:11 he at long l:lsi fOUr'ld his death 31 (he hands or a rehictanr Rami

Page ::-6: Ba!,ki Guru mounted on his hull, 'I.~ em, c. 19(1{J. possibly e~151 java. The god is ~lrlgl'Y, hence his demonic ;~PPt"H".I11ce. Two or hl,~ arms ;W: 111011-

, .

able, showing (h,it he is Oil lilt: \'l::rgoe of ,ll1k'ol.shing

his wrath. The \\':JY [he plLppel is 111:[de ts coarse, though its expression is expressive and powerful. tr was made by a peasant dalang. Throughout the centuries, wayang makers have enjoyed great fame (or their etc: ... nions. whether close 10 courts and their sphere of influence. or far away in rhe countryside.

. Arjuna Sasra Ball, he of ,1 thousand arms, an incarnation of the god Wisnu.

The third cycle, the Rfllm\ cycle, is based on the Ra rnayana, and tells the stor« of the errant hero Ramil, who goes in search of his Wife, who W,IS kidnapped by the giant known as [(awana Or Das3l1lukft. This story is even more popular on Bali than on Java.

The fourth cycle, the Pandawa cycle, is most popular on Java, and IS . based on episodes from the Mahabharata, the story of the struggle between the Pandawa and Kodwa brothers, which end with a disastrous battle.

Preamble: stories of the gods

Three groups are brought on stage whose colourful deeds will fill the lakon: the gods in heaven, their enemies - the giants of 'the other side' - and the humans. From the outset, the gods and giants are enemies vying for power. The giants, reminiscent of the Titans of Greek mythology, repeatedly try to seize a heavenly nymph, and the gods beat a retreat before rh gla nts' 'furious onslaught. Usually 'a man of great strength' is needed to force the giants into retreat and 10 save the threatened abode of the gods, the Sudlaya, from the powerful enemy.

The distance between gods and men is not so great in this primeval setting, and this causes much trouble, Although the gods possess divine power, they show the same weaknesses as the humans living on earth. Moreover, humans can obtain an almost godlike spiritual power by practising tapa (meditation) and semadi (asceticism).

Some stories in the preamble relate the good deeds of the gods for the humans, e.g. the tale of the origin of crop (e pecially rice) and the harmful influences [0 which they are prone, and the ways in which evil can be countered; it rei ares [he forging of the first weapons, and the lise of animals in the fields.

Page 97: Ba,lad Guru in meditation, 62 ern, early 20th century, east Java. Shfva or Ba!arn Guru 01'1 his mount, the bull. The rainbow arches over hLJU, endillg in two deer heads represenung the sky nnd the

In a IIg11t that rakes place in rhe Alj!lltd wiwflhtl, between the maln prougonlst andthe I,bt~r:\ Guru, the following occurs: 'But upon knocking over his enemy with one blow, his reel suddenly dtsappeared, flowers rained down "round him. and trio umphal songs sounded. t\rjunfl saw the radiant presence of Sluva. at first still just vaguely. but when he bowed down 10 pay homage, he ~I\V a clear brilliance. and (he Divine Being came inlO full view on a jewelled. lows throne. Arjun:\ made the sem/xlb (reverent sahne), :ll1d could behold the Grear Lord face 10 rote, During the munerlng of prayers, the ritual holding of the hands. he reveremly brought hls offering of Flowers. HI;: then spoke a devour prayer: "Oh! Saviour of the world! Be nnennve to the prayer of a man so helpless. I bow down '(1.1 Thy feet. Tholl an tllc true essence of all life, which can be extracted from everythtng that is good. as butter comes from milk and fire springs from wood. Thou dosr penetrate everything, Thou an beyond man's understanding. oh! essence of (he highest truth, Thou dosr dwell in the seen and (he unseen, the great and the small, the impure and the pure. Thou art lhe beginning of the Universe. Thou an the beginning of life and its decay, the origin and ibe reason fOr the whole world."

Page 98199, from left to right; UJ!!tJ~ Nad.da, the nl'ing messenger of the gods, Ba~1m~ Ilrnm~,

god of fire; B:l!;tr:l Bayu, god of the wmds;

and Dewl Sri, the rice goddess.

Creation: the gods in the Sud.laya

The Supreme Being Wise II (Hya ng Tunggal) originated from chaos. Heaven, earth, sun, moon and the two gods Manik and Maya came into existence next. The youngest of the two brothers, Manik, or Bat.ara Guru, became Wisesa's successor and lives in the Suralaya, the abode of the gods. The eldest, the black and deformed Maya (or ISmaY!l or Batarii Sernar), was banished to earth and ordered to assist the descendants of the gods who live there, the Pandawa.

The Supreme god, Bat ara Guru (which means Divine Teacher), rules over the Sllr;ilaya, populated by nymphs and gods. He has many ons. The nro t important are Bat ara Endra, guardian of the abode of the gods, Bat ara Bayu, god of the winds, Batad K<lhl, god of evil, and Barara Brarna, god of fire and opponent of Bat ara Wisnu.

Bat ara Wisl1u is reincarnated on earth five times, and features in every cycle of the purwa repertoire: as King Arjuna Sisn! BaLI of Maespati and, simultaneously, as his prime minister, Patih Suwanda , he is-the opponent of the fierce demon King Rawana (also called Dasarnuka). As Rami, main character in the Rarna cycle, he is the opponent of the giant D!lsamLlka (or Rawana) once again. He is also incarnated as the hero Arjuna, the middle of the Pandawa brother, and as King Kresna of Dwlirhvi'ti, who also appears in the Pandawa cycle.

The beautiful wife of Bat ara Guru is Batari Dllrga who, because of a curse, changes into Bat.a ri Um3, the uglr and evil goddess, and becomes the wife of Bat ara K:lhi.

The sons of (Smayrl are Bat<inl Kamaj<iya, the god of love, (his wife Dewi Karnaratih is the goddess of love), Bar ara Y,\m~dipati, god of the realm of the dead, and Bat ara Surya, the sun god.

Dewi Ng.·uni and Dewi gruna and the Binh of the Garu~as and Naglls BaUHa Surya, god of the sun, is husband [Q two nymphs, Dewi gruna and Dewi Ngruni. They were given two eggs as a gift. The eggs are hatched by a large snake, and out of Dewi lgruna's eggs come two garuqas: Sernpati and jatayu, Many snakes come out of Dewi gruni's egg.

As a result of an argument between the two nymphs, Dewi Ngruni.is changed into a giantess. One day, when the Suralaya is threatened by the army of a giant king, Wisnll dispatches giantess gruni [Q kidnap

the king's daughter and Garuqa jatayu is sent to attack the giant army. The giants are defeated. As a reward, G~tu4a jatayu is given the kidnapped giant princess as his Wife, and Dewi Ngruni is changed back into a nymph by Wisnu. She is so grateful for this that she wants [Q stay with him, but on Ba~ara Guru's orders she r turns to her husband

Ba~ ara Surya.

Dewi Sinta and her son Watugunung

Dewi Sinta is the second wife of a king. Feeling humiliated, she leaves the court when she becomes pregnant. As a result, her son is born in the woods. One day, in a rage, she hits the child over the head with a rice spoon, causing a scar. He flees, and Dewi Sinta never hears from him again. Many years later, when he is crowned King Watugunungof Gilingwesi, he falls in love with a princess and marries her without realising that she is his own mother.

One day, Dewi Sinta notices the scar on his head and realises what she has done. She advises her son and husband to marry a nymph from Suraiaya, the residence of the gods. He is denied entrance by Ba~ad Endra, the guard. When Wa.tugunung threatens to kidnap the girl with his army, Ba~ara Endrs calls for the assistance of Putut ]antaka, the mighty hermit. In the struggle that, ensues, Watugunung is killed and, with his death, Sinta's disgrace is dissolved and harmony is restored on earth.

Dewi SI'i, goddess of agrjculture

One of the most important gods is Dewi Sri. She is the goddess of agriculture, the goddess of rice, and therefore al 0 th symbol of fertility. Lakon in which she is the subject are performed on the occasion of the rice harvest and bersib-desd (the annual dean ing of the village) [Q chase away evil forces.

During the reign of King Merigukuhan of Mendangkamulan, Bat ara Wisnu and Dewi Sri descend [Q earth. They are incarnated as the king and his queen, Tisnawati. When Tisnawati dies, all kinds of beneficial crops grow from her interred body: rice grows from her eyes, coconut palm from her head, various kinds of bamboo from her thighs, and sugar palm from her vagina. Even in these vegetal forms she cannot escape K:il:igumarang, Batar,j Kala's son He hunted her when she was still a celestial being, and, since he v as changed into a swine, he now damages the fields. Batara Wisnu finally kills him with an arrow, but insects and injurious plant diseases spring up from Kahigul11arang's body. Moreover, Kalagumarang's evil soul alters many humans into . harmful forest animals such as pig, rats, apes, cows, and buffalo. The e plagues are eventually overcome using magic, except for the cows and buffalo: from now on these animals will be useful to the farmers.

King Mahapunggung of Mendangkamulan has a son and a daughter:

,Jak:i. Sedana, a terrestrial manifestation of Wisnu, and Dewi Sri. Jilk<1 Sedana suddenly disappears from court, causing a great tlr. Then Kala ~ Daru makes his appearance, sent as a messenger by the demon King Pulagra to ask for the hand of the princess. Dewi Sri flatly refuses and declares that she will only marry someone W!lO is equal to her brother

in every respect. Thereupon her father banishes her to the fore t

During her ramble Dewi Sri meets friendly peasants who lend her hospitality, but Kala Daru appears and Dewi Sri flees hurriedly away. ature is in chaos and commotion, a fact which is noted in the abode of the gods. Batani Narada is sent to tell her the hiding place of her brother Jakii Sedana, who remains stubborn in his refusal to return to his

left: A3~3r:\ Endri, guard or the abode of the gods.

father's kingdom before his sister is married. Unexpectedly, Dewi Sri stands before him, and a moment later the feared Kiilii Darn also appears. Jiibi Sedana scares the loathsome demon away, and brother and sister decide to begin a new life in the forest of Medangagung. They collect the seeds of all kinds of agricultural crops, including coconut, rice, cassava, fed pepper, eggplant and maize. While busy preparing the fields, the demon King Pulagra suddenly arrives with his army. The resulting bustle stirs even the abode of the gods. It is Bat ara Bayu who eventually succeeds in dislodging all the demons by blowing an enormous gale. Bat ara Narada wants the Siblings to marry in the presence of all the gods, but they decline. Jiikii Sedana is then banished from Java.

Batlhl1 Kalil

The evil that threatens man is personified in Ba~iirii Kiila, a son of

Bat ara Guru. Bat ara Kiilii was conceived from the sperm of Bat ara

Guru, which accidentally fell into the ocean as he chased a princess who was practising asceticism in the middle of the waters. She fled from his amorous approaches, and the sperm developed into a demonic

be ing who is banned to the world of mortals. Bat cirii Kiilii's father ga ve him permission to eat certain mortals, known as wong suherta, people who are under the influence of evil, and who thus fun the ri k of falling prey for Kala's appetite. Bat ara Guru's consort is Batari Durgii. She was once a beautiful goddess, but was transformed into a dangerous female demon by a curse, and became notorious for her black magic. She appropriates those who made certain mistakes in their households - such as knocking over a steam kettle for rice as it is cooking - as prey for Ba~ani Kala. After Bat ara Kiila has left the abode of the gods, Ba~ara Guru regrets giving his consent to Bat ara Kala. Ba~iira Narada, the divine messenger, comes up with a stratagem: magic spells are written on Kiilii's head, body, arms and hands, and whenever these spells are read aloud, Kala's power over the wong sukeru: disappears. Bat ara Kala

is told that the spells will make it clear to whoever reads them that he

is Ba~ar:i Guru's son. The gods Bat ara Guru (Wisnu in some versions of the story), Narada, and Brarna descend to earth and pose as wayang performers. However, the performance is disturbed by Batik! K:Ui, who is chasing wong sukerta, in this case a boy and a girl who have lost their brothers or sisters. When the frightened children hide between the game/an instruments, Ba~:ira Kala challenges the dalang, but when the divine dalang starts reading the spells from Kali's body, K!li:l has to concede that the dalang is older and more powerful. He loses his powers and is forced to promise to leave the wong sukerta alone and make do with some of the sacrificial food. Bat ara Kala disappears into thin air.

The only way to cleanse people who are wong sukerta is by organizing a ruioat ceremony. Only the senior dalang, descended from families with a long dalang tradition, are qualified to give a ruuiat performance, because only they can control the strong evil powers that are brought to life in the person of Bat ara Kala. At the end of the performance, the dalang 'dips the sticks of the wayang puppets in holy water

.-

so that the powers of the gods can flow into the water. The person for . whom the performance was given is then washed with this water to . wash away the evil spell that made him wong sukerta.

Page 106: Monster resembling a rhinoceros, 64 ern, c. 1960, Arjawinangun, CireboIl, west Java.

Together with other traditional Centres for ceremonies and the arts such as [he kmtolls (Sultan's ccuns). and the comraunlues of Plurnbcn, Trusml, Gegesik and Indramayu, Arjawinangun is remarkable because il has preserved its specific character in the theatrical arts. This is based on a strong and condnuous blend of the overlapping cultures thoU

hOI ve Influenced these coastal and inland regions.

AI tll'St there was animism, ancestor worship, Hinduism, Buddhism, and Islam. Later on, 'modem' 20th~century ideas such as nationaltsm, llteracy, school-based educanon, independency, and so forth came along. Among Ihe extensive collection of theacre puppets once owned by this Arjawinangun dalang there is a relatively high number which bear the characteristics of II swamp or water monster. These wayang all are scaly and have short-limbed claws on which one can imagine them moving through shallows. They look like evil relatives of the mythical snake N:'ig~. Sometimes they even bear distinguishing marks or the awesome devil himself. AI the end of (he 19th century, there were still rhinoceroses ill west Java.

Page 107: T9,<Q demons, 43 and 49 ern, c. 1850 Or later. Kraron Kasepuhan, Clrebcn, west Java. the devil on the left has an umbilical hernia. They represent incarnations of bringers of plagues that befall m:aokind in limes of war or other dlfficuil • 4!:imes, such as famine or· crop failure. These spiteful figures are harbingers of dysentery Or cholera epidemics, miscarriage, or other kinds of sickness thai threaten families. The dreaded demons are considered to lurk in wail for men [0 fail to behave 3S expected by the Ilckle spirits from the netherworld, or when they fail (0 bring enough proper offerings. SOmetimes the figures are made from horrifying materials such as ihe skin of a murdered person, Or the skin of:a wcma» who died in childbirth. II ts said (hOI! this skin mUSE be stolen from the corpse before or shortly after burial.

Page 108: 1'I'lonster, old crocodile demon, 62 COl. 20th century, north coast of Java.

Page 109: Monster. 68 em, c. 1960. Ariawinangun, Cirebcn, west Java. The scaly demon is holding a short spear between Llie antennae on his upper lip. RighI: King in lrfwfkrdmd state, 70 (Ill. early 191h century. Kraron Kascpuhan. Ctrebon, west Java. Trlwlkrdm& is a temporary change of appearance caused by supernatural powers. This. king is wearing :tn enormous crown consi$ling of piled demons.' heads 3:; a sign or his magical power, and his hair has grown to his thighs. 'the following is a descriplion of King Kresn~ in trlwtltrdmo SI.lIe: 'Then King xresos gOk up in 11 mge and left [he meeting room. On rhe square he transformed himself Into the giamesque god of death, showing his true nature 3S an lnrarnanon of the god Wisnu. He adopted his terrible form with playful ease, with the three worlds as his body. He had four arms and three heads, each with three eyes. Hjs body formed the host of chief gods. ::IS well 35 brahmarsi, multitudes or gods, giants. heroes and Taans, demons, satyrs, spirits, and people with magical powers. Then he strode fOI'\\';lrd with great steps. and roared like a lion. There was an earthquake, and everything was shaken h a ck snd forth. Everyone saw the mouruain

,.

tops quiver The waters of the sea were troubled.

and tortoises were thrown around like discusses'

The Ar j u n a SlIsra Bau cycle

The Arjllna Sltsd Bau cycle is mainly about giants, The main character

in these laeon is Rawana or Dflsamuk!t, the evil ten-headed giant who, after becoming' king of Alengka (Sri La nka), is defeated by Arju na Sasni Ball, an- incarnation of Arjuna, The fearsome Dasamuka has two brothers and one sister: the giants Kurnbakarna and Wibisana, and the giantess Sarpakenaka. After a long period practising asceticism on Mount Gohkarna , the inner strength of the merciless giant Dasarnuka has become so great that even the gods are so afraid of him that they grant his every wish. Dasarnuka thus succeeds in gaining power over heaven and earth and, once he has become invincible, he goes about committing many misdeeds Without let or hindrance, When he is crowned king of Ngalengka, he wants Dewi Widawati, an incarnation of Dewi Sri, to be his wife. However, he encounters a strong opponent: the incarnation of Wisnu who, in the guise of Arjuna Sasni Bau, defeats Dasarnuka but allows him to live, on the condition That he subjugate himself to Arjuna. In all the adventures in this cycle, Disamuka remains the opponent of Arjuna Sasra Ball. Both assume the supernatural, terrifying appearance of Brahahi by practising triwib·ama. Arjum\ succeeds in defeating the giant each time, but then he meets the wise giant Rama Parasu, who possesses the Bargawasrra, a holy bow and arrow of gigantic proportions. Rama challenges Arjumi Sasd Ba~ to draw it, and he is succeeding until suddenly it snaps and kills him. The ten-headed, twenty-armed Dasarnuka is free to revert to his evil ways,

The tales from the Arjund Sasra Ball cycle are linked to the tales of the Rama cycle, as [he figures in The Arjuna S<lw\ Ball cycle are the ancestors of characters in later stories, and the origins of conflicts in the later stories are explained, For example, when lUma meets the monkey king Sugriwa, who is in conflict with his brother Subali, much of the dispute has already been explained in the Arjuna Sa ra Bau cycle. Dasamuka and his brothers and Wibisana, and their sister, the giantess Sarpakenaka, also figure in the Rama cycle.

Page 112~ Young demon, 6S5 CIlI, C 1850 or elder, Pasisir. north ('O .. lSl of Java, The young giant, probably an army commander, wer.rs his. halr in 11 knot whh a diadem. Demons like [his. one are sure La cause the audience to roar with laughter because of their stupidity, and they are thus very J)QPuIOlr on stage.

Len above: Prince Kangsli, 62.5 em, 19111 century, Yogyakarra. central java. This puppet may abo be lIsed as an 'enemy king'. The ~iodrJt (ceremonial robe) Lh.lU he ts wearing bears the prin{"ely motif fHlmng mfak in red, as beflts the SLams of this powerful hair-demon, the SOli o( demon King GarRw:~mg,>i3. GorJ.wal,!!.d was lnfarueted with Dewi Maerah, King Basudewr's queen. l-I~ took Ihe form of her husband and trnpregnated the Unkilowing Dewi Maerah, who WI1S then r,;;o;iled to ihe jungle by he-r husband, When Ka;ngs;~ reached m::Hurity, he went ID M3dura nnd asked for the kingdom. By hts extmcrdlnary magical powers he succeeded in h;wing his wish granted. AI the same time he- sought 10 kill Kakra::ian:i and NoIrny:ln:l, the "OM of King Basudewa. The twtn pl'iI'Jej?g were ~[ill children, and not strong enough 10 ''Csjsl rhe demon king effectively, Because of ,his d:lnger thelr father hid them by disguising ahem. 1'0 lure them lruc the open, K:'mgsR then held :1 COI'H~S~< The lWQ brothers contrived to defeat their enemy III the ,.,;ns1)il1g fl8hr Left below: Demon-prince, '!1.S em. c. 1900 or later, Pasislr, north 00:3!i1 of java. The winged

ornament Dr. the hack of ~hi.~ Yol.llhF!il :'lrmy ct)~mander is a prdbrt (aureole). 111e w",-y ~v<lyang are dressed nurrcrs tbe s~yle of dress at [he javanese courts of the Mataram period (C". 16,o·c. 1750)_ ln W3yrrn.g storles ponrayed by dancers, costumes of [he same Iype: are used, and during marriage festivities, according (0 lon:grS';J"ding custom, bride and groom are dressed as 'kLl1B and queen (lor J d.1.y)' or as 'ancestors' in f1'1:1r1.}' cases this means that they arc dressed like wayang figures, In that case, the groom mill" wear 3 crown and olhel jewellery around his neck, arms, and ankles, but he will nOI wear [he wing-Hke ornament 011 his bad ::IS shown here, which actually represents : .. 11 aureole as a slgn of the prince's suuus and qualities.

Righl~ R~Il1:i and ~lnl~ in royal dress, 480.5 and

3,,5 em, late 19t1l CMUit}(, Clrebon, west Jav""" R;'um\ andiOla ure incarnations of the god wlsnu and his spouse Dewi Sri. These 1\\"0 Sods also appear in other incummtcns. Wi.s~u as Kresna ami A~tlniii Dewi Sri :J.S Dewl SUlnb;I.r.Jr.1. L .. iter on, javanese kings und their queens were alia regarded ;)5 m!1ni{es{.ltions f \\'1isnu and Sri. To this very day, euch beirothed C9UP!c an Java is seen as representmlons of these gcds on the cia}' of rhctr marriage.

The Rama cycle

In this cycle, the leader of the giants is again King D3s3muka (Rawana) of Ngalerigka. He now goes so far as to kidnap Ihima's wife, and this leads to the demise of Dasarnuka. In this way, Wisnu, who has come to earth as Rarna, puts an end to the giant by killing him, which he did not manage in the Ajuna Sam\ Ball cycle.

While meditating on a mountain, Das!mita meet Princess Dewi Ragu, who has fled from the giant Rawana or Dasamukii .. They marry, and when her father is killed by the giant, Dasarata becomes king of Ngavoja. Dewi Ragu gives birth [0 their eldest son Rama (called Regawa in his youth), in whom Wisnu is incarnated. It is in this form that Wisnu will fight and vanquish the giant king of Ngale ngka. (Dhara!:! has his sons, Lesrnd na, BadIa and Sarrugna by hi other wives)

Rama vanquished the giants at the request of the holy hermit Yogiswara They had been corning to devour the daily sacrifices for

. some time, and threatened [0 destroy the hermitage. The grateful hermit advises the young prince to go to Mantili, where a sayembdrd. is to be held for Princess Sinta. Rama wins the archery contest and weds Sinta She is an incarnation of Dewi ri and predestined to marry Rama.

Old King D;\ anita had appointed Ramil ;IS his successor. However, when preparations are being made for the coronation, his jealous sec- . ond wife Kekayi rebels because she wa~ts her own son Barar.a, Rarna's younger brother, to be king. he pres es her husband to cr wn Barata instead of Rama, and reminds him of a promise he made long ago [0 fulfil her every desire. Dasiinita cannot break his word, and fulfils Kekayi's wish with a heavy heart. Soon afterwards he dies of grief. Ram!. goes into exile without protest to honour his father's word. He only permits his wife Sima and his devoted brother Lesrnana tc accompany him.

After an exhau: ling journey they reach the village of Cltrd kuta, where they seule. There they are found by Bar:iui, who was ignorant of

his mother's maehlnations, and begs Rama to take his place on the throne. Rama refuses and sends his brother home. But Bad.ta takes Rama's sandals to put them on the throne. This gesture legirtmizes Badta as Rarna's deputy in the eyes of tbe people. Rama treks deeper into the forest with Sinta and Lesrnana, our of reach of his family and people. They finally end their flight in the forest of Pancawati, where the brothers build a hut.

One day, while she is roaming the forest, the giantess arpakenaka, Dasarnuka's sister, runs into Rarna. She falls in love with him at first sight. Rama rejects her adva nees, and the lovesick giantess then directs her affections to Lesmana, who is as unenthusiastic as his brother. When Sarpakenaka persists, he mutilates her nose and ears in disgust.

Deeply hurt and vengeful, Sarpakenak goes to her brother for help.

In her twi ted way, she tells him of her humiliation, and she cleverly tells Dasamuka about inta' beauty. Dasarnuka orders his servant Maries to transform himself into a golden deer to entice inta.

Sinta catches sight of the animal but fails to catch it. She begs her. husband to get it for her. At first Rarna is suspicious, but eventually he gives in to his wife's entreaties and goes out with his bow, making Lesmana promise not to leave his wife by herself. Suddenly Sinta and Lesrnana are startled by a voice like Rarna's calling for help. Sinta is out of her mind with worry and, in her delusion she forces Lesrnana to

leav her and find the supposed Rarna. TOW Rawana himself appears,

.

disguised as a wandering monk. He violently takes inta up into the

sky, where Garuiia ]atayu, an old friend of Rama's father, hears Sinta's cries for help and attacks Rawana. Jatayu is fatally wounded and falls to the ground, but before he dies he tells Rarna and Lesrnana about Sinta's abduction.

Stricken by grief the two brothers search the forest and the field , hoping to find some trace of Slnra, Rarna is able to help the monkey king ugriwa whose wife and kingdom were taken by his brother Subali. Finding themselves in similar Situations, Rama and Sugriwa are consolidated ancl they promise to help each other as best they can.

During a fight between Sugrlwa and Subali, Rama kills Subal! with an arrow, and the grateful monkey king, all hi powers restored, puts his army and his people at Rama's disposal to help free Sima. Sugriw:i orders his best general, Hanurnan, to find Sinl;). Hanuman takes a flying leap (his father is Bayu, the god of the winds) and lands on the other side of the ocean, and proceeds to the capital of Ngalengkd. In the garden of Ngargasoka he finds the despondent Sinta. Hidden in a tree, he sees how Sinta reject Rawana's advances and threatens to commit suicide if he comes LOO close.

When the glant king leaves, Hanurnan (who was barely able LO contain himself) makes himself known (0 Sinta as her husband's envoy and gives her Rania's ring. To test the enemy's strength he starts destroying the garden, and fights the guards who come running in. The monkey finally allows himself to be taken prisoner and is brought before the king in chains, At first the king wants to kill him rtght away, but at the entreaty of his brothers, Kumbakarna and Wibis,jna. who have more noble characters, Rawana spares Hanurnan becau e of his ambassadorial status. Nonetheless, Rawana wishes to punish the monkey for his effrontery. He orders the monkey to be wrapped in combustible rags and then sets fire to him, However, Hanurnan manages to escape and, with his

tail on fire, he joyously jumps over the houses of the cit)' and sets fire

to everything in his path .. The fire cannot harm him and, with ,L terrific flying leap, he returns home. After he has made his report, it is clear to Rama and Sugriwa what they must do; on to Ngalengkat To gel across the ocean, the monkey army, helped by fi hand orher creatures of the sea, builds a dam of boulder across LO the island. The army era es over and heads for the capital. where a bloody barrie with the giants ensues, On the enemy side. one of the chief champions is the king's brother, the terrible Kurnbakarna. who has a noble character in spite of his being a giant. He is prepared [0 die for king and country, even though he does not agree with fighting a war over a wife.

Wibis:!na, Rawaria's other brother, looks like a human, and defects lO Rama's army. He elevates justice, which is not bound [Q countries,

Page 1181] 19. from lor. to ,,~hl' GlLlnll'!'l~ S;Hp;ikt:n~k3. the gl:lnt.!) Disamux;1 urul WibisiLn". and Hanurnun, general or the monkey army-

above faith to his country. Kumbakarna likes to wear white on the battlefield, like someone doomed to die. He dies at the hand of Lesrnana after inflicting a lot of damage. Now, having lost his best warriors, Rawana himself joins the battle. He finds Rama opposite him. The battle between the two heroes is terrific. Although Rarna beheads Rawana with his mighty arrow, kyai Gruwa Wijana, the giant is not killed. Rawana's head immediately re-attaches itself by magic. Hanuman the monkey is ordered to throw a mountain onto Rawana's body the second time it is beheaded, until the head is seperared from the trunk forever.

Sinta is liberated, but the reunification with Rama is not so easy. In the presence of all, Rama declares that his victory has avenged the injury done to him, but a woman who has belonged to another can no longer be his wife, so he divorces Sinta.

Sinta, for whom life has lost all meaning, asks to be burned to death, but the high flames do not hurt her. The fire god Agni appears, and returns Sinta to her husband with the assurance that she has always remained faithful. All are greatly touched when the reconciliation finally takes place. Rarna, Sinta and Lesmana then return to Ngayojii., where the faithful Barata receives them with joy and Rama is crowned king.

After the happy end to this story, there is another chapter which

was probably not part of the original epic. There is no lakon extant concerning these later episodes. One day, Rama learns that in spite of the trial by fire, his subjects do not approve of his taking back Sinta People think that his taking back a wife tram another man sets the wrong example. Rama then banishes loyal Sinta, who is received into the hermitage of Walmiki the wise, where she gives birth to the twins, U,wa and Kusa The boys grow up under the guidance of the hermit and their mother. Years later they hear the tumour that King Rama will make the great horse sacrifice. The hermit goes to the city with the two boys to witness the event, and the boys, as accomplished singers, sing a chapter of the Rarnayana which the hermit had taught them every day. Their fame spreads, and the boys are summoned to the throne. when Rama learns that the boys are Sima's sons, he has their mother brought

in and commands her to swear an oath in front of everyone to cleanse

her of the suspicion that still clung to her. The much-maligned lady invokes the earth to swallow her if she has loved anyone other than herR! husband Rama. Then the earth swallows Sinta .. Rama vainly begs the

earth to return his wife. A long time later, Rarna is admitted to heaven, where he reigns as Wisnu again.

'I'h e Paudawa Cycle

In the Pand awa cycle, humans, rather than gods or giants, come to the fore. Prospering realms have been founded on Java, only to be ruined

by the shortcomings of their rulers. The story of the Mahabharata is very complicated and involves many kingdoms and characters from different - generations of several farnil ie However, the main them is the struggle between the Pand awa and the Korawa, between good and evil These families are descendants of the founders of the realm of Astina, whose divine ancestors were children of the gods Brarna and Wi nu. Their struggle can be seen as a struggle between good and evil: one group,

the five Pandawa brothers, helps the gods and is supported by [hem, while the other, the ninety-nine Korawa brothers, has close links With

the 'giants of the other side'.

Abias,i, the old king of Astina, ha two sons. The eldest, Dastarastra, was born blind and is the father of one hundred children, the Kodwa: ninety-nine sons and one daughter. Abiasa's younger son, Pa nd u, is the father of five sons, the Pand awa.

Yud ist ira is the oldest of the five Pand awa, and represents the purest example of a good king. His own wishes always take second place to those of others, however negligible those might be. His only weapon is a sympathetic heart, Darma, the god of justice, is his spiritual father.

Bima, the econd of (he Pand awa, posesses gargantuan strength, and displays incomparable bravery and assuredness. He is rnercile

takes on every challenge, is tempestuous and temperamental, honest and open (0 an embarrassing degree, but also infallibly true' to those he loves. Bayu, the god of the Winds, is his spiritual father.

Arjuna, the third of the Pandawa, is quite different. for the older Javanese he represents the perfect man: finely buill yet an unequalled warrior, and as beautiful and elegant as a woman. He is capable of the .strictest self-discipline, in spite of his many wives and mistresses He is

tere King Abi:'.s:i as a hermit, 48 em, c. ],850 Or older, north coast of Java. King Abi~ {J~ is the grandfather of the Pan~awa and Koraw:\, to whom Ihe authorship of the whole Mahabharata epic is; aruibured, After the ,great battle. the Pan{,I~w~ and their asscclates were strung together in their deep dejeclion when he 'appeared ID rhe discouraged group mysteriously, as If OLlI of nowhere" and said: "The reason for m~' ViSit is 10 admonish you in ~'our grief and distress. EX{inguish this mood wuh the correct insight...~'our remembrance of the deepest wisdom shatl serve to cleanse you of your troubled hearts.v.The banle and death therein Is t.ruly by Syiwa's dec-ree .. .Therefore you must simply acqulesce to the flet thai I believe that those who follow the dharma ill the fight shall find their resting place in the heavens ... hhel death (of thy sonsl shall bear Irult, lake comfort In Ihis. Whocver needs 10 be reassured of the vuth of my words will receive my supernatural vision, With which yon will be able [0- see momentarily." Th!.lS spakc Wya,sa 10 the deeply distressed group. TIley all made a sembab (reverent salute). and eventually thev were comforted in their sorrow, because they were given insight in the ctrcumstance or all tlie vanquished. They even saw lntc the past and the future III the three worlds.'