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IAJANG PURWA Indonesian Wajang guppet shadow play The performance of the "Wajang Purwa" since ancient times has been a favourite pastime of millions of Southeast Asians. Not only did the Wajang performances gain their popularity within the Kingdom of' Java (i.e. the present regions of Solo and Jogja), from where they originate, and Central Java in general but also far beyond the bor- ders of this ...
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IAJANG PURWA Indonesian Wajang guppet shadow play The performance of the "Wajang Purwa" since ancient times has been a favourite pastime of millions of Southeast Asians. Not only did the Wajang performances gain their popularity within the Kingdom of' Java (i.e. the present regions of Solo and Jogja), from where they originate, and Central Java in general but also far beyond the bor- ders of this former Kingdom in Pasundan (West Java), in Ust Java and the: island of Madura, on the island of Bali, Palembang, and finally throughout the whole island of Sumatra, they even became popular in Siam and on the Malayan peninsula. The following explanations, however, mainly concern the Wajang Purwa as it was performed in the former Kingdom of Java, because this part of the country can best contribute sufficient material for a thorough research in the field. They may, therefore, serve as a preamble to a complementary research into the matter, in particular as far as the "Wajang Pasundan" and "Wajang Bali" but also Malay Wajang performances are concerned. What is the Wajang Purwa? How is it performed, what are its purposes and its origin? The performance of the Wajang Purwa usually takes place indoors, in a room called the "peringgitan", i.e. the room between the veran- dah and the inner parts of the house. In case there is lack of spacE which is often the matter with the houses of Bali and in the capital city of Djakarta, in Bali because of the religious influence on theix way of building their houses, and'in Djakarta due to the modern formve of the city housing prevailing there, which mostly do not allow such extra space, special platforms are built only for the purpose of Wajang performances. Also in Malaya the Wajang performances are given on special stages. The performer is called the "Dalang". A white screen called the "Kelir" is tightly stretched between frames of wood or bamboo in front of the "Dalang" who has his place on a seat, and two stems of banana trees are placed underneath the screen, the so-called "gede- bog" on which the wajang figures are planted. These wajangs are so neatly arranged in rovs that they look like .a decoration and are called "wajang panggungan kiwa" (the left row) and the "panggungan tengen" (the right row). The figures on the "panggungan kiwa" mainly tonsist of a group of giante and the "Korawas" or other figures symbc lizing evil, disgrace and jealousy. The ones on the "panggungan tenE en", on the other hand, are the heros which all represent honesty, the gods and the teacher Betara Guru. By carefully studying the shape of the wajang figures, one will notice the strange form of then their straight way of facing you, their comparatively long arms. Th€ face and parts ot it, such as the nose and eyes do not illustrate natural forms but are styled. This way of styling is called "fron- tality", i.e. they are always shown in position with the face in pro- file but the body facing you. [ocr]
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