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Wayang kulit

(Group 4)

LEADER:
G10 Pulbosa, Mariel Sofia S.
MEMBERS
G7 Ochave, Beatrice B.
G8 Perez, Sophia Alyanna T.
G9 Pineda, Biance Nicole A.
G11 Raborar Ariane Junne
G12 Santillan Trisha Maye D.
What is Wayang Kulit?
Wayang kulit is a traditional performing arts of puppet-shadow play
found in the cultures of Java, Bali, and Lombok, in Indonesia. In a
wayang kulit performance, the puppet figures are rear-projected on
a taut linen screen with a coconut-oil (or electric) light. The Dalang
(shadow artist) manipulates carved leather figures between the
lamp and the screen to bring the shadows to life.

Wayang kulit is one of the many different forms of wayang theatre


found in Indonesia, the other being wayang beber, wayang klitik,
wayang golek, wayang topeng, and wayang wong. Wayang kulit is
among the best known, offering a unique combination of ritual,
lesson and entertainment. On November 7, 2003, UNESCO
designated wayang kulit from Indonesia as one of the Masterpieces
of the Oral and Intangible Heritage of Humanity.

Give the nature and background of Wayang Kulit


Wayang, also spelled Wajang, (Javanese: “shadow”), classical
Javanese puppet drama that uses the shadows thrown by puppets
manipulated by rods against a translucent screen lit from behind.
Developed before the 10th century, the form had origins in the
thalubomalata, the leather puppets of southern India. The art of
shadow puppetry probably spread to Java with the spread of
Hinduism.

The prototype of the wayang figures is the wayang kulit, or shadow


puppet made of perforated, elaborately painted leather. The plays
utilizing wayang puppets are set in mythological times and
dramatize episodes from the Hindu epics Rāmāyaṇa and
Mahābhārata. Some are of Javanese creation, being further
elaborations of the Mahābhārata legends of the five heroic
Pāṇḍava brothers. These highly ritualized midnight-to-dawn
performances may be viewed from either side of the screen, some
of the audience sitting behind the dalang (puppeteer), but most
connoisseurs prefer to watch the figures as shadows cast on the
screen. When the characters are introduced, the figures
representing the forces of good are on the right, the evil ones on the
left.

The stylized shapes and movements of the early wayang kulit


puppets were imitated by other forms of wayang, notably the
wayang golek, or three-dimensional wooden figures manipulated by
rods; the wayang wong, a pantomime by live actors; and the
wayang Krunchil, wooden puppets in low relief.

Wayang plays are usually viewed on such important occasions as


birthdays and anniversaries. Though they are also found in China
and throughout Southeast Asia, they do not have the same mystical
and religious connotations there that they have in Java.

Wayang influenced European puppetry through the work of the


puppeteer Richard Teschner, who, in the early 20th century, fused
the artistic quality and simplicity of wayang with Germanic technical
excellence in his Viennese puppet theatre, Figuren Spiegel.

Explain the Handwork in making Wayang Kulit figure.


The art of creating wayang kulit is incredibly detailed. Several artists
are usually involved in the different stages required to make a single
puppet. These artists often learn the art from family members and
apprentice with a master, and in the past they may have also
studied at the kraton (palace).
Wayang kulit are made from water buffalo hide, cut and punctured
by hand, one hole at a time. The artists who carve and puncture the
water buffalo hide begin by scratching the outline and details of the
wayang figure onto the rawhide. The carving and punching of the
rawhide, which is most responsible for the characters’ portrayal and
the shadows that are cast, are guided by this sketch. A mallet is used
to tap special tools, called tatah, to punch the holes through the
rawhide. The tool only comes in two basic shapes, flat and curved,
but they do come in a variety of sizes. Most punches require several
turns of the tatah to achieve the desired detail. This is the most time-
consuming stage of the puppet-making process.

Once the hole-punching is complete, the puppets are painted in


layers of water-based paints, heavily decorated with extraordinarily
fine details, and often finished with gold or bronze leaf.

The sticks attached to the base and articulated limbs of the wayang
kulit are made from water buffalo horn and / or wood. Making the
puppet sticks from horn involves a complicated process of sawing,
heating, hand-molding, and sanding until the desired effect is
achieved. When the rest of the puppet is ready, the artist attaches
the handle by carefully and precisely molding the ends of the horn
around the individual wayang figure and it is secured with a needle
and thread.

A large character may take five months or more to produce.

Name the different Elements of performance of Wayang Kulit.


The fundamental components of a performance include:
• the puppeteer, dhalang
• a mallet used by the dhalang to knock on the puppet box,
cempala
• metal plates that the dhalang hits with his foot, kepyak
• a traditional Indonesian orchestra, gamelan
• shadow puppets, wayang kulit
• a light source, blencong
• female singers and a male chorus, pesindhen and penggerong
• a screen frame and screen, gawang and kelir; the main focus
of the performance
• banana logs, gedebog; the pointed sticks of the wayang base
handle pierce the peeled trunk of a banana tree and the
spongy substance holds the puppets in place
• a puppet box, kothak

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