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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. The narratives of wayang kulit often have to do with the major theme of good vs. evil.
The wayang kulit performance by the Indonesian notable dalang (puppet master) Manteb Soedharsono, with the story "Gathutkaca Winisuda", in Bentara Budaya Jakarta, to commemorate the anniversary of the Kompas daily. The dhalang or dalang (Javanese: ꦝꦭꦁ, romanized: dhalang; [1] Indonesian: dalang) is the puppeteer in an Indonesian wayang ...
Traditional and contemporary pieces, wayang kulit performances Yale University ensemble [40] Delaware: Newark: Kyai Tlogo Beruang Perak (Venerable Lake of the Silver Bear) This American made gamelan was built by and directed by Professor Michael Zinn of University of Delaware. When Dr. Zinn retired, the gamelan went with him.
They are constructed similarly to wayang kulit figures, but from thin pieces of wood instead of leather, and, like wayang kulit figures, are used as shadow puppets. A further similarity is that they are the same smaller size as wayang kulit figures. However, wood is more subject to breakage than leather.
Wayang kulit, a style of wayang shadow play, is particularly popular in Java and Bali. The term derived from the word wayang literally means "shadow" or "imagination" in Javanese; it also connotes "spirit". The word kulit means "skin", as the material from which the puppet is made is thin perforated leather sheets made from buffalo skin.
Wayang style is a style of puppetry influenced by the Indonesian wayang kulit, in which human figures and those that are supernatural are depicted as flat and very two-dimensional - hence the name wayang, meaning "shadow" [1]). This style was commonly used in East Java during the Majapahit Empire, which lasted from about 1293 AD to around 1500 AD.
This dance-drama demonstrates wayang performance due to the movement is adopted from one of the scenes in wayang kulit performance, that is the Perang Kembang scene. [3] The Perang Kembang told about war between kesatria and raksasa. The kesatria has soft and gentle characters, while the raksasa is described as a character who is rough and violent.
Dora and Sembodo distrusted each other, and suspected that the other tried to steal the pusoko. They fought to death. Aji Saka became curious why it was taking so long, came home himself only to discover the bodies of his two faithful servants and the terrible misunderstanding between them.