Indonesia: Javanese Gamelan and Indonesia: Javanese Gamelan and Shadow Puppet Theatre Shadow Puppet Theatre

((Wayang KulitWayang Kulit))

Gamelan Outreach ProjectGamelan Outreach Project

Center for South East Asian StudiesCenter for South East Asian Studies

University of MichiganUniversity of Michigan

Prepared by: Dr. Vera H. FlaigPrepared by: Dr. Vera H. Flaig

IndonesiaIndonesia Consists of a archepeligo of several thousand islands Consists of a archepeligo of several thousand islands

of which Java is the largest.of which Java is the largest. During colonial times Indonesia was known as the During colonial times Indonesia was known as the

Dutch East IndiesDutch East Indies Consists of many diverse languages and cultures.Consists of many diverse languages and cultures. The development of a common national language The development of a common national language

“Indonesian” made it possible to build the unity “Indonesian” made it possible to build the unity needed to win the revolution against the Dutchneeded to win the revolution against the Dutch(1945-1949).(1945-1949).

Major religions include: Hindu/Buddhism; Islam; and Major religions include: Hindu/Buddhism; Islam; and Christianity.Christianity.

Javanese Gamelan Performance: Javanese Gamelan Performance: Wayang Kulit (shadow puppet theatre)Wayang Kulit (shadow puppet theatre)

Wayang KulitWayang Kulit All night shadow puppet show: goes from approx. All night shadow puppet show: goes from approx.

9:00 PM until 6:00 AM9:00 PM until 6:00 AM

Led by a master story-teller, musician, puppeteer Led by a master story-teller, musician, puppeteer called a Dhalangcalled a Dhalang

Plot consists of material from taken from two epic Plot consists of material from taken from two epic stories: the Mahabharata, and the Ramayana. stories: the Mahabharata, and the Ramayana.

Although these stories have Indian origins, they have Although these stories have Indian origins, they have been reinterpreted based upon the rivalries between been reinterpreted based upon the rivalries between kingdoms that existed at one time within Indonesia. kingdoms that existed at one time within Indonesia.

Wayang KulitWayang Kulit Pathet Nem: Plot begins with and introduction of the Pathet Nem: Plot begins with and introduction of the

key characters and a conflict arises between two key characters and a conflict arises between two feuding families, one portrayed as good and the other feuding families, one portrayed as good and the other as evil.as evil.

Pathet Sanga: Hero goes into the forest to meditate Pathet Sanga: Hero goes into the forest to meditate and struggle to solve the conflict. During this lull in and struggle to solve the conflict. During this lull in the plot, a set of “clown scenes” take place to the plot, a set of “clown scenes” take place to entertain the children before they have to leave to go entertain the children before they have to leave to go home and sleep home and sleep

Pathet Manyura: Great battles are waged and the hero Pathet Manyura: Great battles are waged and the hero arises triumphant: Good conquers Evil.arises triumphant: Good conquers Evil.

The Dhalang - puppeteerThe Dhalang - puppeteer

The Gamelan behind the DhalangThe Gamelan behind the Dhalang

Wayang characters are (roughly) divided into seven types:

halus (refined); gagah (vigorous);

gusen (coarse); putri (women); danawa (ogres);

wanara (monkeys) and dhagelan (clowns)

In addition to these, there are puppets representing: the tree of life (kayon),

various animals (horses, elephants, tigers etc), and props (swords, arrows, daggers, letters etc).

There are differences of size as well as form.

These character types apply not only to puppet design, but to accompanying gamelan pieces,

terms of address used in dialogue, puppet movement and voice characterization as well.

Kayon: Kayon: tree of lifetree of life

Halus: Halus: Refined CharactersRefined Characters

Gusen, Gagah, Gusen, Gagah, and and Danawa Danawa :: Course CharactersCourse Characters

DhagelanDhagelan: Comic Characters used in : Comic Characters used in Clown ScenesClown Scenes

Conflict between a Conflict between a wanarawanara and a and a halushalus charactercharacter

Javanese Social OrderJavanese Social Order For the Javanese, however, the cosmos is not only For the Javanese, however, the cosmos is not only

teaming with life and living energy, but is also teaming with life and living energy, but is also elaborately ranked and ordered. Java has never had a elaborately ranked and ordered. Java has never had a caste system. Yet something of the pure idea of caste, caste system. Yet something of the pure idea of caste, shorn of its rigid Indian barbarities and with greater shorn of its rigid Indian barbarities and with greater emphasis upon function than on birth, struck and emphasis upon function than on birth, struck and maintained strong roots as the appropriate symbolic maintained strong roots as the appropriate symbolic expression of a hierarchical community. expression of a hierarchical community.

(Benedict R. O’G. Anderson. (Benedict R. O’G. Anderson. Mythology and the Tolerance of Mythology and the Tolerance of the Javanese. the Javanese. Jakarta & Kuala Lumpur: Equinox Publishing, Jakarta & Kuala Lumpur: Equinox Publishing, 2009:17-18)2009:17-18)

Javanese Social OrderJavanese Social OrderImplicit in an unequal hierarchical social order is the idea that Implicit in an unequal hierarchical social order is the idea that

each rank or level has its own particular functions within the each rank or level has its own particular functions within the social structure . . . social structure . . .

The king: The king: communicates with the supernatural powers and communicates with the supernatural powers and secures their benevolence [goodwill or kindness]; secures their benevolence [goodwill or kindness];

The The brahmånåbrahmånå: : perform the rituals of the state and transmit perform the rituals of the state and transmit the culture of the community to the next generation;the culture of the community to the next generation;

The The satryåsatryå: : have the duty of administering the government and have the duty of administering the government and protecting the state from external attack; protecting the state from external attack;

The traders: The traders: maintain economic prosperity; maintain economic prosperity; The artisans: The artisans: construct the material apparatus of the construct the material apparatus of the

civilization. civilization.

(Anderson 2009: 18)(Anderson 2009: 18)

Social Order & MoralitySocial Order & Morality Out of the concept of function there now emerges the idea of Out of the concept of function there now emerges the idea of

morality. Precisely, because all functions are interrelated, and morality. Precisely, because all functions are interrelated, and because each order is essential to the others, social approval for because each order is essential to the others, social approval for individuals within each order depends on how adequately they individuals within each order depends on how adequately they fulfill their order’s functions. fulfill their order’s functions. (Anderson 2009:18)(Anderson 2009:18)

The The satryå: who behaves perfectly in the artisan “manner” is a who behaves perfectly in the artisan “manner” is a bad bad satryåsatryå, regardless of the good work that he may in fact do., regardless of the good work that he may in fact do.

The trader: The trader: who lives as a trader is a better member of society who lives as a trader is a better member of society than the trader who leads the life of an ascetic than the trader who leads the life of an ascetic brahmånåbrahmånå. .

So there develops a stratification of moralities according to So there develops a stratification of moralities according to caste and class, each of which may be in contrast or conflict caste and class, each of which may be in contrast or conflict with the others. with the others. (Anderson 2009:18)(Anderson 2009:18)

Character Development in Character Development in WayangWayang Although the ethical requirements of each life-style in the Although the ethical requirements of each life-style in the

wayangwayang may be rigid and austere, the existence of a plurality may be rigid and austere, the existence of a plurality of such life-styles, each with its own code of behavior, gives of such life-styles, each with its own code of behavior, gives the the wayangwayang world a wide variety of psychological contrasts, a world a wide variety of psychological contrasts, a sumptuous array of characters, and, on occasion, an sumptuous array of characters, and, on occasion, an unmatched moral poignancy. (Anderson 2009:18)unmatched moral poignancy. (Anderson 2009:18)

Moral pluralism suffuses the whole world of Moral pluralism suffuses the whole world of wayangwayang. For . For example, the criticism leveled at the kuråwå [family] is not example, the criticism leveled at the kuråwå [family] is not that they are bad men but bad that they are bad men but bad satryåsatryå. The hero Adipatu Karnå . The hero Adipatu Karnå fights on the kuråwå side but is approved of because he lives fights on the kuråwå side but is approved of because he lives and dies as a real and dies as a real satryåsatryå should. (ibid.) should. (ibid.)

Character Development in Character Development in WayangWayang

Characters of Characters of wayangwayang are are notnot simply divided into simply divided into Left and Right, Kuråwå and Pendåwå, gods, kings, Left and Right, Kuråwå and Pendåwå, gods, kings, brahmånåbrahmånå, , satryåsatryå, princesses, giants, apes, and , princesses, giants, apes, and clowns, each with their own style and way of life. clowns, each with their own style and way of life. Each of these general categories contains within itself Each of these general categories contains within itself a wide range of personalities, which must be a wide range of personalities, which must be analyzed, however summarily, in their aspect as analyzed, however summarily, in their aspect as human types and as bearers of contrasting values. human types and as bearers of contrasting values. (Anderson 2009:23)(Anderson 2009:23)

Examples of Examples of Wayang Wayang CharactersCharactersJudistira: Judistira: The eldest of the The eldest of the Pandawa brothers. He is a pure Pandawa brothers. He is a pure type of the Good King and his type of the Good King and his humility is sown by the “gentle humility is sown by the “gentle introspective inclination of his introspective inclination of his head” as well as his simple attire. head” as well as his simple attire. “He never raises his voice in anger, “He never raises his voice in anger, never fights, and never rejects a never fights, and never rejects a request from anyone, however request from anyone, however humble. His time is spent in humble. His time is spent in meditation and the accumulation of meditation and the accumulation of wisdom. Unlike other heroes, wisdom. Unlike other heroes, whose chief magical attributes are whose chief magical attributes are weapons, Judistira’s sacred weapons, Judistira’s sacred heirloom in the mysterious heirloom in the mysterious KalimasadaKalimasada, a holy text containing , a holy text containing the secrets of religion and the the secrets of religion and the universe.” (Anderson 2009: 23).universe.” (Anderson 2009: 23).

Examples of Examples of Wayang Wayang CharactersCharactersBimå Bimå (second Pandawa brother): (second Pandawa brother): ““is is the most feared of warriors, creating the most feared of warriors, creating havoc with his terrible club and havoc with his terrible club and atrocious fingernails. He distains to atrocious fingernails. He distains to ride in a chariot and strides through ride in a chariot and strides through forests and deserts and over forests and deserts and over mountains and seas without any mountains and seas without any difficulty. He bows to no one. difficulty. He bows to no one. Merciless to his enemies, gigantic, Merciless to his enemies, gigantic, ungainly, heavily muscled, hairy, ungainly, heavily muscled, hairy, with protruding eyes and with protruding eyes and thunderous voice, he is a complete thunderous voice, he is a complete contrast to his elder brother. contrast to his elder brother. Nevertheless, his unswerving Nevertheless, his unswerving honesty, loyalty, fortitude, and honesty, loyalty, fortitude, and military skill make him among the military skill make him among the most admired figures in most admired figures in wayangwayang” ” (Anderson 2009: 24).(Anderson 2009: 24).

Examples of Examples of Wayang Wayang CharactersCharactersArjunå Arjunå (third Pandawa brother)(third Pandawa brother): : “Unequaled warrior in the “Unequaled warrior in the battlefield, yet physically delicate battlefield, yet physically delicate and beautiful as a girl, tender-and beautiful as a girl, tender-hearted yet iron-willed, a hero hearted yet iron-willed, a hero whose wives and mistresses are whose wives and mistresses are legion yet who is capable of the legion yet who is capable of the most extreme discipline with a most extreme discipline with a deep feeling for family loyalty who deep feeling for family loyalty who yet forces himself to kill his own yet forces himself to kill his own half –brother, he is to the older half –brother, he is to the older generation of Javanese, the epitome generation of Javanese, the epitome of the whole man . . . he represents of the whole man . . . he represents the physical grace and gentleness the physical grace and gentleness of heart prized by [the Javanese]” of heart prized by [the Javanese]”

(Anderson 2009: 25)(Anderson 2009: 25)..

Examples of Examples of Wayang Wayang CharactersCharactersDewi Kunti: Dewi Kunti: is the mother of is the mother of the three eldest Pandawa sons. the three eldest Pandawa sons. Her refinement is evident in Her refinement is evident in the position of her head the position of her head (averted downward gaze), her (averted downward gaze), her overall body posture, and her overall body posture, and her style of dress. She is known as style of dress. She is known as a wise and perceptive who has a wise and perceptive who has attempted to guide her sons attempted to guide her sons through the difficult struggle through the difficult struggle of succession for the throne of of succession for the throne of Hastina. In return, her sons are Hastina. In return, her sons are loving and unfailingly loving and unfailingly obedient.obedient.

Examples of Examples of Wayang Wayang CharactersCharactersDewi Srikandi: Dewi Srikandi: is the exact is the exact opposite of the refined, humble opposite of the refined, humble female who lives in the shadow of female who lives in the shadow of her husband. Srikandi is “talkative, her husband. Srikandi is “talkative, strong willed, warm-hearted, fond strong willed, warm-hearted, fond of hunting an excellent archer, she of hunting an excellent archer, she is quite ready to debate with [her is quite ready to debate with [her husband] Ardjunå or take on a husband] Ardjunå or take on a passing passing satryåsatryå in battle. She enjoys in battle. She enjoys travelling about Java, either in travelling about Java, either in search of her periodically missing search of her periodically missing husband or seeking adventures of husband or seeking adventures of her own . . . For the Javanese, her own . . . For the Javanese, Srikandi is the honored type of the Srikandi is the honored type of the active, energetic, disputatious, active, energetic, disputatious, generous, go-getting woman” generous, go-getting woman” (Anderson 2009: 36). (Anderson 2009: 36).

Examples of Examples of Wayang Wayang CharactersCharactersBetari Durgå: Betari Durgå: “is the goddess of “is the goddess of violence, darkness, and death. Her violence, darkness, and death. Her abode is in Sétrågåndåmaju where abode is in Sétrågåndåmaju where she holds sway over ghosts, she holds sway over ghosts, vampires, and other malevolent vampires, and other malevolent spirits. In the spirits. In the lakonslakons she is always she is always associated with the Left (Kuråwå) associated with the Left (Kuråwå) faction and unceasingly schemes to faction and unceasingly schemes to destroy the Pendåwå. Most dreaded destroy the Pendåwå. Most dreaded of Gods, even her husband, Batårå of Gods, even her husband, Batårå Guru, cannot prevail against her Guru, cannot prevail against her will. It is only Semar before whom will. It is only Semar before whom she flees in helpless terror” she flees in helpless terror” (Anderson 2009: 47). (Anderson 2009: 47).

Examples of Examples of Wayang Wayang CharactersCharactersKresnå: “Kresnå: “is part God, an incarnation is part God, an incarnation of the mighty Wisnu. He is the of the mighty Wisnu. He is the consummate politician, diplomat, consummate politician, diplomat, and strategist of war. By far the most and strategist of war. By far the most intellectually brilliant of the intellectually brilliant of the Pendåwå faction, it is Kresnå who Pendåwå faction, it is Kresnå who makes their final victory possible. makes their final victory possible. On the other hand, he is a On the other hand, he is a conscienceless liar and an conscienceless liar and an unscrupulous schemer who never unscrupulous schemer who never hesitates to break the rules when he hesitates to break the rules when he feels it necessary. Though a feels it necessary. Though a satryå,satryå, he repeatedly ignores the lesser he repeatedly ignores the lesser values of the values of the satryåsatryå class. Only duty class. Only duty to carry out the will of the gods and to carry out the will of the gods and his own destiny claim his allegiance” his own destiny claim his allegiance” (Anderson 2009: 25).(Anderson 2009: 25).

Examples of Examples of Wayang Wayang CharactersCharactersRadèn Kumbåkarnå: Radèn Kumbåkarnå: “Similar to Karnå “Similar to Karnå in his outlook and morality, Radèn in his outlook and morality, Radèn Kumbåkarnå, hero of the Ramayana, also Kumbåkarnå, hero of the Ramayana, also dies to defend a king whom he realizes dies to defend a king whom he realizes has dishonored his position . . . The main has dishonored his position . . . The main difference between Karnå and difference between Karnå and Kumbåkarnå is one of physical type. Kumbåkarnå is one of physical type. Kumbåkarnåis the most colossal of Kumbåkarnåis the most colossal of giants and is the largest giants and is the largest wayangwayang puppet puppet of all, sometimes one and a half meters of all, sometimes one and a half meters in height. He is the monstrous giant type in height. He is the monstrous giant type in extreme form, with brutal red features, in extreme form, with brutal red features, bulbous nose, hyperthyroid eyes, clumsy, bulbous nose, hyperthyroid eyes, clumsy, hairy torso, and wolf-like fangs. These hairy torso, and wolf-like fangs. These are all physical characteristics which the are all physical characteristics which the Javanese find repugnant. Yet Javanese find repugnant. Yet Kumbåkarnå is among the best-loved Kumbåkarnå is among the best-loved wayangwayang figures, and the prize example of figures, and the prize example of inner nobility and purity belying external inner nobility and purity belying external appearance” (Anderson 2009: 31).appearance” (Anderson 2009: 31).

Examples of Examples of Wayang Wayang CharactersCharactersDahjang Durnå: Dahjang Durnå: “is a “is a brahmånåbrahmånå, , magician, and teacher. When they were magician, and teacher. When they were still boys, both Kuråwå and Pandåwå still boys, both Kuråwå and Pandåwå learnt the arts of war from him, and to learnt the arts of war from him, and to the end he retains a deep affection of his the end he retains a deep affection of his favorate pupil Ardjunå, though they are favorate pupil Ardjunå, though they are arrayed on opposite sides in the Last arrayed on opposite sides in the Last War. The tendency in War. The tendency in wayangwayang today is to today is to portray him as a half-sinister, half-comic portray him as a half-sinister, half-comic figure, but this is not the older, figure, but this is not the older, traditional perspective. He was then traditional perspective. He was then Kresnå’s great adversary, but with the Kresnå’s great adversary, but with the Gods against him and without Kresnå’s Gods against him and without Kresnå’s divinity . . . In the long struggle between divinity . . . In the long struggle between Kuråwå and Pandåwå, he matches Kuråwå and Pandåwå, he matches Kresnå trick for trick, stratagem for Kresnå trick for trick, stratagem for stratagem.” Similar to Kresnå, “he stands stratagem.” Similar to Kresnå, “he stands outside the outside the satryåsatryå code,” obeying a code,” obeying a higher morality (Anderson 2009: 31).higher morality (Anderson 2009: 31).

Kjai Lurah Semar: Kjai Lurah Semar: is the most venerable of the is the most venerable of the punåkawan punåkawan (clown) class of characters.(clown) class of characters.

““Partly this is because Semar, though a Partly this is because Semar, though a humble and comical character, is yet the most humble and comical character, is yet the most powerful of Gods, so that the Lord Shiwa powerful of Gods, so that the Lord Shiwa himself, Batårå Guru, must on occasion himself, Batårå Guru, must on occasion submit to him. Partly it is just because he is a submit to him. Partly it is just because he is a clown, a man of the people, to whom the rules clown, a man of the people, to whom the rules of of satryåsatryå behavior do not apply, and who by behavior do not apply, and who by his presence alone offers an implied criticism his presence alone offers an implied criticism of the whole range of of the whole range of satryåsatryå values. Partly it values. Partly it is because Semar is the physical denial of the is because Semar is the physical denial of the satryåsatryå type. He is immensely fat, with heavy type. He is immensely fat, with heavy breasts and a vast behind. He is ornamented breasts and a vast behind. He is ornamented like a woman, his clothes are those of a man, like a woman, his clothes are those of a man, yet his face is that of neither man nor woman. yet his face is that of neither man nor woman. He is the repository of the highest wisdom, yet He is the repository of the highest wisdom, yet this flashes from in between his gentle jokes, this flashes from in between his gentle jokes, his clowning, and even his persistent, his clowning, and even his persistent, uncontrollable farting. Anyone who has uncontrollable farting. Anyone who has witnessed a Javanese shadow-play will recall witnessed a Javanese shadow-play will recall the wave of deep affection and respect which the wave of deep affection and respect which flows out of the audience towards Semar when flows out of the audience towards Semar when he appears” (Anderson 2009: 37). he appears” (Anderson 2009: 37).

Playon Playon “Lasem” a scene from a Wayang “Lasem” a scene from a Wayang Kulit performanceKulit performance

Dhalang knocks on the puppet chest to signal the gamelan Dhalang knocks on the puppet chest to signal the gamelan musicians to begin playing.musicians to begin playing.

Begins in “soft style” (complete with a female singer: Begins in “soft style” (complete with a female singer: pesindhpesindhéénn)) but then speeds up and gets loud at the end of the but then speeds up and gets loud at the end of the first phrase. first phrase.

Completes the entire Completes the entire gendhinggendhing, begins to repeat but then is , begins to repeat but then is interrupted by the puppeteer banging on metal plaques as he interrupted by the puppeteer banging on metal plaques as he engages the characters in a fight.engages the characters in a fight.

Drumming and banging on the metal plaques continues until Drumming and banging on the metal plaques continues until the dhalang performs a pattern of knocks on his wooden box the dhalang performs a pattern of knocks on his wooden box to signal the gamelan to move toward the ending phrase.to signal the gamelan to move toward the ending phrase.

Knocks continue as gamelan musicians continue to slow down Knocks continue as gamelan musicians continue to slow down and begin their transition to the next piece.and begin their transition to the next piece.