Wayang, an ancient form of shadow puppetry, is a popular theater in Indonesia. The master puppeteers, called dalangs, are spiritual leaders who train for years and have considerable social status. They perform tales from Hindu epics and are highly regarded for their artistic abilities and ability to discuss social and political issues. Wayang plays are believed to protect audiences from evil and exorcise evil influences.
In Indonesia, a popular form of theater is the ancient wayang or shadow puppetry. The master puppeteers, called dalangs, have been training in their arts for years and are spiritual leaders of the community. The duties of a dalang are intricate and are considered vital to ensure the protection and welfare of society.
Dalangs are typically men, and the profession is usually passed down from father to son. Some modern dalang families go back generations, although the social status associated with the position attracts many young men not from family dynasties. An apprenticeship lasts several years and includes training in drastic healing and meditation techniques aimed at building stamina, as a typical wayang performance can last up to nine hours.
In a wayang performance, the dalang sits behind a cotton screen, with a light source above him. Softwood logs, traditionally made from banana wood, sit between him and the screen. During the show, the puppeteer may thread the puppets’ rods into the softwood, holding them in place. To his right sits the puppet case, which the puppeteer uses as a drum during the performance, striking it with a special wooden hammer. He also usually has a cymbal-like percussion instrument at his feet, which he uses for emphasis or to cue the players.
The order in which puppet characters enter is strictly controlled. The first puppet to enter is always a representation of a mountain or tree of life, called a kayon or gunagun. Demonic or evil characters must always enter from the left side of the screen, presumably from the demon world. Wayang night plays are often specially timed, with the entrance of Rama, Arjuna or a similar hero arriving at exactly midnight.
Wayang plays are usually tales from the two major Hindu epics, the Ramayana and the Mahabharata. Each of these tales carries morals or meanings, and a dalang must judge which tale is appropriate for a particular performance. It is often his job to contextualize the plays, making them not only retellings of history but pertinent to current community, national or global situations.
Puppeteers have considerable social status in Indonesian society and are often attributed to healing and spiritual powers. Because they represent the voices of gods and iconic religious figures, puppeteers are sometimes considered conduits between the world of gods and the world of men. They are also highly regarded by the community for their multiple artistic abilities. In a typical performance, the dalang must not only memorize the stories and provide all the voices, but must also come up with comical and often politically relevant dialogue, sing traditional songs, and direct any additional musicians.
Shadow puppet plays are often required during times of community unrest or disaster. Audiences who watch a wayang performance are said to be temporarily protected from evil, and some also believe that shadow puppet theater has the ability to exorcise evil influences. The puppeteer’s ability to discuss social and political issues through play interpretation is also highly respected, and dalangs are seen as important mediators in difficult times.
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