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Wayang is used as a means of understanding a tradition, an approach to society, lighting, [clarification needed] and disseminating values. Wayang as a medium for character education lies not only in the elements of the story, the stage, the instruments, and the art of puppetry, but also the embodiment of values in each wayang character.
In wayang, panakawan are not just mere servants or followers, but they also understand what is happening to their masters. They often act as advisors to their masters. The most distinctive thing about the existence of panakawan is they act as a group that spreads humour in the story. Their behavior and speech typically invite laughter from the ...
Depiction of the villain Menak Jingga in a wayang klitik puppet. Damarwulan is a prince by birth, a nephew of the prime minister, Patih Lohgender, but was raised in the hermitage of his grandfather. Following his grandfather's advice, he goes to the Majapahit court seeking worldly experiences and employment.
Wayang golek began using the accompaniment of sinden in the 1920s. Until now the wayang golek continues to develop as entertainment for the community, especially in Sundanese land. In this wayang golek show, as with other wayang shows, plays and stories are played by a puppeteer. The difference is the language in the dialogue that is brought is ...
Manuscripts are also found in other languages i.e., Javanese as the Serat Menak, Sundanese as Amir Hamjah, Bugis, Balinese, Acehnese, Turkish and Hindi. The story is performed in the Sasak shadow puppet theatre (wayang sasak), the Sundanese stick-puppet theatre (wayang golek) and in other traditional Indonesian performances.
The Hamza story soon grew, ramified, traveled and gradually spread over immense areas of the Muslim world. It was translated into Arabic (Sīrat Amīr Ḥamza); [8] there is a twelfth-century Georgian version, [6] and a fifteenth-century Turkish version twenty-four volumes long.
These tales also provide source material for the wayang wong (human theatre) of Java and Bali, which uses actors. Some wayang golek performances, however, also present Muslim stories, called menak. Theories about the origin of theater in Indonesia are divided as follows: Derived from local religious ceremonies.
The wayang kulit performance by the Indonesian notable dalang (puppet master) Manteb Soedharsono, with the story "Gathutkaca Winisuda", in Bentara Budaya Jakarta, Indonesia, on 31 July 2010. Wayang kulit ( Javanese : ꦮꦪꦁꦏꦸꦭꦶꦠ꧀ (in the ngoko register ) ) [ 1 ] is a traditional form of shadow puppetry originally found in the ...