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Panakawan (right) accompanied their masters in a traditional wayang wong theater performance in Yogyakarta.September 1923. Panakawan in wayang kulit, from left to right: Bagong, Petruk, Gareng, and Semar.
Petruk is one of the four Punokawan, together with Semar (the leader/father figure), Bagong, and Gareng; Petruk acts as the middle child.They are portrayed living together as a harmonious family. [1]
Cepot, as a wayang golek puppet. Cepot or Astrajingga [1] is one of the wayang golek characters in Sundanese puppetry. Cepot is a punokawan alongside Dawala and Garéng, which do not exist in the original Mahabharata or Ramayana.
Wayang golek (wooden puppet) performance, Indonesia The history of the wayang golek began in the 17th century. Initially, the wayang golek art emerged and was born on the north coast of the island of Java, especially in Cirebon, the wayang used is the wayang cepak in the form of a papak or flat head.
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In Kelantan, Peninsular Malaysia, a similar figure is set up in the local iteration of the performance known as the pohon beringin ("banyan"). [3] [4] The beringin is often displayed in the beginning and the end of the performance symbolizing "a world loaded with lives...in the water, on the land and in the air".
Illustration of Bawang Merah Bawang Putih. Bawang Merah dan Bawang Putih (Malay and Indonesian for Shallot(s) and Garlic) is a popular traditional Indonesian folklore from Riau involving two siblings with opposite characters (one good and one bad), and an unjust step mother.
A warak ngendog figure, in the collection of the Great Mosque of Central Java. Warak ngendog (egg laying bird) is a mythical creature resembling a rhinoceros carrying eggs on its back.