Wayang Kulit Contest and Around the World

There are many competitions on Shadow Puppet. However, most of the competition is held outside Malaysia. One of which is in Thailand, where it is held during the King Rama 5 celebration. Below is the video of the competition.

 Shadow Puppet is also in China. The Tangshan Shadow Puppet Theatre has brought imagination to the traditional art of shadow puppetry, entertaining the likes of high profile attendees from Chinese leaders to envoys from foreign countries. Tangshan Shadow Puppet Theatre possesses a unique expression and unrivaled technique. In their 68th year, they are still considered one of the premier shadow puppet acts in the world. The Tangshan Shadow Puppet Theatre has performed in nearly 20 countries and regions across Europe, Asia, and the United States. In September 1987, the theater took part in the First China National Art Festival.

Even in the Western world, Shadow puppet is also popluar. Larry Reed is one of the few Americans to be trained in wayang kulit, Balinese shadow puppetry and performed in this tradition around the world over the last 35 years. In the early 1990's, Reed began expanding the scope of ShadowLights artistic activities and invented an ingenious shadow casting method, which integrates the traditional shadow theatre techniques, cinematic effects and modern theatre and dance styles. Truly multidisciplinary and performed behind and in front of a large screen (15ftx 30ft), our original works employ specially-designed projectors to cast silhouettes of puppets, actors, and cutout sets, all of which are manipulated to create astonishingly cinematic effects live on stage. Each show features live music and is created by a collaborating ensemble of writers, choreographers, composers, designers, actors, dancers, musicians and puppeteers from the various performing arts traditions such as Chinese, Tibetan, Indonesian, Japanese, Filipino and Latin American.

Festival appearances and commissions include the Henson International Festival of Puppet Theater (Wayang Listrik: Electric Shadows of Bali and In Xanadu), the Britt Festival (Wayang Listrik), the Spoleto Festival USA (In Xanadu), the World Puppetry Festival (Wayang Bali), the Huddersfield Festival in England (Lou Harrison's Coyote Stories), the Walter Spies Festival in Bali (Mayadanawa), Indonesian National Shadow Theater Festival, the Eugene O'Neill Theater Center's National Puppetry Conference (Wild Party and El Californio workshop). 

As you can see, Wayang Kulit has spread throughout the world and became popular even today.

Today’s Wayang Kulit

Today’s wayang kulit performances are still based on the ways of the ancients, but with many modifications to suit modernity.

In our frenetic, multi-tasking world, few have seven spare hours to spend watching puppets in the late evening. To adapt to this situation, a three-and-a-half hour show is the longest you’ll see, with only the best practitioners captivating the audience’s attention for this long.

There have been many ingenious new puppets created over only the last few decades: Tantri, with an Aesop fables animal-style theme is a notable innovation which now a number of puppeteers perform .The 3-D stick puppets , have strangely enough not taken on .

For the most part ,  wayang of the 21st century seems to eagerly imitate the modifications of the Javanese shows: bigger orchestras, more singers, louder sound systems, modern lighting, fancy decorations and costumes.

Today, some puppeteers no longer use the oil lamp in preference for an electric one, as well as additional coloured lights, spots and strobes. There are no night performances that don’t use sound systems: a mike and a (normally feeding-back with treble on full) speaker system is all part of the kit.

Large gamelan orchestras with more grunt and power, playing in many different scales are the modern preference. Traditional ones, such as gender wayang and suling gambuh, are used occasionally, but contemporary favourites are semarandhana, semar pegulingan, and angklung. Conservatives go white in horror when the choice is selonding or the bamboo joged, but what really is more the case is whether it suits the story-telling atmosphere or not. Now an orchestra is considered ‘complete’ if it features female singers (sindhen), but this is an adaptation from our neighbouring Java.

More radical brainwaves include multiple puppeteers zooming back and forth on skateboards; sampled sound effects; smoke machines; and techno strobes—all this promises more explosive, adventure-sport style shows in the future!

The Dhalang (Puppeteer)

As the central artist of wayang kulit, the dhalang really makes the wayang and the performance come alive. He (commonly, but not exclusively male) manipulates every character, conducts the gamelan orchestra, and sometimes makes puppets or designs them. These skills are usually passed from generation to generation, and today many dhalang enhance their training by attending a formal art institute with degree programs in dhalang studies.
Each dhalang brings his own style, humor, and innovation to the performance, providing for a unique experience at every show. Traditional wayang kulit performances last all night, averaging nine hours, without an intermission or break. The dhalang remains seated, in a cross-legged position, facing the screen in front of him and his voice remains strong and clear. These abilities demonstrate the stamina and strength of the individual dhalang.
Audiences of wayang kulit are not “tuned in” for the duration of the show. People walk around, socialize, nap, eat, come and go. Spectators depend on cues from the dhalang to pull their attention back to the performance for important scenes.
Truly, the dhalang is a master. He is a puppet master, a shadow master, a literary and linguistics master, and a leader. He is an entertainer who must have a strong voice for songs and poetic narration, and a strong sense of humor for telling effective jokes. The dhalang is also a political analyst and commentator on current affairs. However, his ultimate role is that of teacher. His foremost responsibility is to inform people about wayang kulit — the meaning of the puppets, the philosophy behind the stories, cultural values, and the mysteries of the universe and human nature.
It is for their extraordinary artistic talents and philosophical insights that dhalang are highly respected in their culture and regarded as spiritual people.

Gamelan in Wayang Kulit Performance

The gamelan orchestra is a vital accompaniment for wayang kulit performance. Music supports the all-night performance almost non-stop, though the number of instruments that play may vary. Gamelan serves both musical and dramatic functions -- music sets the mood, interprets, and reinforces various aspects of the dhalang’s narrative. The entrances and exits of particular characters to the stage, journeys, battles, and narrations are accompanied by musical compositions of various lengths. At certain junctures of the play, the dhalang chants or sings songs (called sulukan) to set the mood of the scene, which is accompanied by soft-sounding instruments.
Among the many instruments in the ensemble, the most important for wayang kulit is the gendér. This metallophone accompanies all narratives, sulukan, and musical compositions. Because of the importance of this instrument, it is always positioned directly behind the dhalang.
Also essential to wayang performance is the kendhang, a drum. The kendhang sets the tempo of the music and the puppets’ dances. Tempo signifies dramatic action: loud, accelerated music bolsters the intensity of the drama, whereas soft music, with a slow tempo, serves as background music for the dhalang’s narration or an important character’s recitation. Changes in the tempo are led by the kendhang when the drummer receives a cue from the dhalang.
The three acts in wayang kulit performance parallel the mood progression of the three modes of music: Pathet Nem, Pathet Sanga, and Pathet Manyura. These three acts also symbolize stages and spiritual developments in the life of the story’s hero.

The bonang section of a gamelan orchestra.

Conducting the Orchestra

In addition to his main role as wayang kulit performer, the dhalang conducts the orchestra. He signals to the musicians and singers what composition to play, and when to play it. This is done through verbal and musical cues. The dhalang gives verbal cues to the musicians in the form of a riddle or code whose word association is synonymous to the title of the required composition. The musical cues can be in a form of a short melody. Another type of musical cue is a rhythmic pattern tapped on the puppet chest by the dhalang with his mallet (called cempala). The knocking sound of the cempala on the box also serves other functions such as signaling the switch from one speaker to another in characters’ dialogue, emphasizing important dialogue and recitations, and supporting an exhilarating song.

How to Make A Shadow Puppetry Show

Shadow puppetry is a form of puppetry, in which you move puppets, cut out of paper (or another thin material), between a light source and a screen. The audience at the other side of the screen only sees the shadows. It is a lot of fun to do just by yourself, with friends, or as a family activity. You can make it as ambitious as you like with moving body parts and different props and scenes. Below you will find instructions for performances that you can do from a desk or table, a door opening, or even (in case you are sick) from your bed.

The shadow puppeteer's tool and supply kit

1. Cardboard box, box lid (about 13"x16" or bigger), or 2'x3' cardboard/foam display board for presentations (bought at craft and office supply store)

2. Parchment (wax) paper, tracing paper, architectural vellum (from office supply store), or thin white plastic disposable table cloth found in party stores

3. Masking tape (ducktape too when using parchment paper)

4. Black poster board (or, if not available: card stock or cardboard from cereal box)

5. Scissors

6. Hole punchers: standard size for eyes, 1/16" for the connecting holes (optional)

7. Brass paper fasteners (smallest size: 0.5" to 1")

8. Bendable straws

9. Wooden barbeque skewers

10. Velcro sticky back fasteners (optional)

11. White or light colored pencil for sketching on poster board

12. Bright desk lamp (preferably 75Watt, more for bigger screens)

13. Photo copy transparencies and permanent markers for sceneries (optional)

Pick your story

If you think of shadow puppetry like a cartoon, you can act out anything: a story that you come up yourself, or a familiar story such as fairy tale, an ancient myth, or a story from a favorite picture book. You can even make caricatures of yourself, your family members, and friends! )

Making the screen

A desk top theatre is made of an upright cardbroard frame, supported by two sides, with a screen taped on the inside. Ready made display boards from a craft or office supply store are easiest to use, as you only need to cut out a rectangle at the top half. If you use a large cardboard box, you need to make the supporting sides yourself, which can be square or triangular as the frame shown below at light behind the screen. If you use a box lid you can keep it upright by taping it to the table with masking tape or by using small heavy objects to keep it in place.

To cut out the screen you need a box cutter or knife and the help of an adult. Make sure that the rectangle that you cut is out is not bigger than the screen material that you have available. You can choose parchment or tracing paper, vellum for architectural drawings (available in large office supply stores), or a piece of thin white disposable plastic table cloth (available in a party store). Cut it to a size at least 1/2 inch larger than the rectangle in your frame and tape it on the inside with masking tape.

Making the puppets

Design your puppets and props first on white paper before you trace them on the poster board (or card stock, or cereal box). If you find it difficult to get it right, don't be afraid to look at books or websites for inspiration (Jack, for instance, the puppet on this page, was inspired by Quentin Blake's illustrations of the story of Jack and the beanstalk, retold by Roald Dalh).

Size and proportions:

Make sure the puppets are not too small, between 8 and 11 inch tall. To get an idea about size and proportions I have examples and cutouts online that you can print out. To the right: Jack in letter size format (less than half the size of the puppet photographed on this site).

                                         Faces sideways:

Shadow puppets work best if you watch their face from the side, so that you can make the nose stick out and have the mouth a little open. Eyes should be cut out with very small pointed scissors (you may need some help). You can also use a hole puncher for that. To make an eye ball like Jack's, tape a small oval piece over the eye hole.

Moveable body parts:

To let a body part move (such as an arm or a leg), you have to cut it out separately, because it overlaps with the body. Make a little hole where the body and the arm or leg connect (Use the 1/16" hole puncher or the pointed end of your scissors). You attach the parts with a paper fastener. It is usually enough to                                            have only one part that can move.

Rods to hold and move the puppets:

For rods to hold and move the puppet you can use sticks or bendable straws, or a combination of both. To make a sharp shadow you need to keep your puppet as close to the screen as as possible. For desk top size puppets this means that the rods should be attached at the backs of the puppets at right angles, using bendable straws. Tape the smaller end to the back of each puppet and bend the straw in an angle. You do the same for the moveable body parts (cut the flexible part shorter if necessary). You can straighten the rods again if you want to store the puppets.

For larger puppets and screens you will have a light behind you, so you need to stay below the screen and hold the puppets up. Use a straight straw or (if you can handle the pointed edge) barbeque skewer for parts that do not move. This is the 'holding' rod (in the example attached to the puppet's back). For parts that move you use a bended straw, attaching the short end to the body part (in the example the arm). If you prefer a thinner rod, use the 'Wisniewski invention' (left): Cut off the bendable part of the straw, leaving 1" on each side of the bending part. Put this part over the pointed edge of a barbequeskewer and wrap with a piece of masking tape where they connect.

Props  

If you want to use other objects than puppets (the so called 'props') be careful in deciding what you need. If you don't have a big screen, you should not have too many props: there is little space and you only have two hands to hold or move the puppets. Use a piece of rolled up scotch or masking stick a prop to the screen, so that it won't be visible on the other side of the screen. If you use plastic disposable table cloth in your doorway, you can draw on it with permanent marker instead of using props.

Light behind the screen

Choose a light source that is convenient and bright enough for the screen that you use. For desk top size screens a desk lamp is best but if you use parchment paper or vellum a flash light or even day light from your window will do.

For bigger screens, for instance in your door opening, ask a parent for the brightest light source in the house. The darker you can make the room, the better. If you do shadow puppetry in the classroom it would be best for your teacher to use an overhead projector. This provides the best light and can also be used for very cool background scenery on transparencies (see Teaching with shadow puppetry).

History of Wayang Kulit in Malaysia and musical instrument used

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With the introduction of modern forms of entertainment such as the Internet, television and radio, traditional performances have taken a backseat in today’s modern lifestyle. Although less common these days, traditional shows are still nevertheless strong expression of a particular culture. Some have withstood the test of time and are still going strong today.

Wayang Kulit is one such activity which holds great prominence in many South East Asian cultures (including Malaysia), having entertained a great number of people since its introduction to the region around two thousand years ago. It is currently still practiced in Malaysia, particularly in the states of Kelantan, Kedah, Perlis and Terengganu. Wayang Kulit usually becomes one of the cultural highlight when travelling to Kelantan, Malaysia.

 

Wayang is a generic term in Javanese for theater, and throughout the years there have been many variations of the activity with a number of differences between them. Of all the different types, Wayang Kulit is perhaps the best known, with the Indonesian Wayang Kulit having been designated as a Masterpiece of Oral and Intangible Heritage of Humanity by UNESCO.

Wayang Kulit or Shadow Puppet is a traditional theatre presentation shown during major festivals in Malaysia. Wayang Kulit is an old cultural entertainment using a shadow puppet theater—puppeteers control elaborate puppets behind a screen, while a source of light casts the puppets’ shadows on the screen. By moving the shadows around the screen while accompanied by a musical ensemble, the dalang (the master puppeteer and conductor) narrates the story and presents an intriguing performance.

The puppets of Wayang Kulit are usually made from leather, and the detailed props typically require weeks of careful work to produce. After drawing the rough outline on leather, the puppets are then carefully inspected, cut and prepared by a skilful craftsman. The puppets are then painted and lastly fitted with moving parts and sticks so that they can be manipulated during a performance.

Puppet shows in South East Asia is believed to have started in Indonesia around first century AD, introduced by traders from India as a form of cultural entertainment performed in festivals. For a time, the puppet shows featured Hindu classics such as the Ramayana and the Mahabharata and was instrumental in spreading Hinduism across the Malay Archipelago. The puppet shows are believed to have eventually spread into Malaysia.

Wayang Kulit in Malaysia typically shows either local tales or ancient stories such as the Ramayana and Mahabharata. 4 kinds of wayang kulit can be found in Malaysia, amongst them are Wayang Kulit Kelantan (oldest and most well-known kind of Wayang Kulit in Malaysia), Wayang Kulit Melayu (developed in the 19th and 20th centuries under the patronage of Malay aristocracy and royalty), Wayang Kulit Gedek (a Thai-inspired version and usually performed with a mix of Malay and Thai language) and the Wayang Kulit Purwa (meaning Ancient Puppet Play, it retains many of the features of the Indonesian Wayang Kulit).

Today, Wayang Kulit is commonly included in various large events and cultural festivals, such as handicraft exhibitions, city hall parades, Penang George Town Festival and others. The practice is also often featured at cultural centres and temples, where interest in this cultural heritage is still going strong.

SHADOW PLAY ENSEMBLES OR ORCHESTRAS AND THEIR INSTRUMENTS

The musical ensembles of the shadow play are percussion-dominated with either a solitary aerophone (wind) or a chordophone (string) instrument. The wayang Kelantan ensemble has the following instruments:

Idiophonic (Brass)

Orotund material is to made to Idiophones instruments .tetawak , kesi and canang occurs as a pairs in idiophone

The pairs tetawak are knobbed gongs which hung between wooden rack, padded beater is to hit the knob. The larger tetawak played lower pitch which called“tawak ibu” (mother tawak), the tawak anak (child tawak) played slightly higher pitch. Major third or perfect fifth is the tuning in between one set to another. The standardization of the tuning of tetawak so as canang are not the main important issue in music.

The canang is made of iron or metal, and it consists of two knobbed gongs, which hung horizontally on the wooden rack. The two gongs are hit by a pair of peddar beater, both gongs (anak canang and ibu canang ) played in different pitches( high and low pitch). Both gongs tuning interval may range from majorsecond to sixth.

The kesi cymbals have a cup-like protruding with a small hole to enable to two cymbals to be connected. It is made of booze or iron. Resonant, ringing sound occurs when striking by player on the pair of cymbals. Unison are played in two pieces of timbres with canang, canang anak (high pitch) played ringing timbre whilst canang ibu (low pitch) played damped timbre. Kesi is similar to the western cymbal.

Tetawak

Canang

Kesi

Aerophonic (Wind)

The serunai, which falls into the shawm category, is a double reed instrument, varying in length from 12 to 18 inches and constructed from a variety of woods such as batang lada, lebam and nangka. It is divided into 3 sections, namely kepala (head), batang (stem) and pipit (mouth-piece) (Figure 1). Daun lunta, a type of fern leaf, is used for the reed. Altogether there are 8 sound holes on the serunai, seven on top and 1 below. It is adorned with intricate carvings and painted with various shades of colour. Its scale is shown in Example 1.

The serunai is played using circular breathing, a method by which the player completely mouths the double reed and blows continuously, without any pause to take breath. This is based on the bagpipe principle of retaining the air for continuous blowing. The belly and lungs are inflated by air, which is then pushed up to the mouth, resulting in the cheeks remaining constantly puffed out. Thus as the player blows, he also inhales using his belly. This technique is employed by all traditional wind-instrument players, as exemplified by the pi player in the traditional Thai musical ensemble.

Introduction to Wayang Kulit

Wayang Kulit is the name given to a variety of Indonesian traditional drama utilizing shadow puppets .  Wayang kulit shows are popular across Java and Bali and have been performed for at least the past 800 years.  The puppets for wayang kulit are traditionally made out of buffalo hide, hence the name "wayang kulit" (kulit means "skin"; wayang is a derivation of the word for "shadow").  Shadows from the puppets are cast onto a backlit linen screen; the light is traditionally provided by a special oil lamp which creates a sepia-type of effect but electric lights are now commonly used as well.  Different figures are represented by different puppets; a normal "village set" has about 100 different puppets, and some "palace sets" have upwards of 500 puppets.  Wayang kulit performances are staged for some religious events, but they also are parts of some celebrations and fairs.  Some wayang kulit shows can last all night long, but you can usually find a performance that lasts around two hours.  It's a good opportunity to catch up on some sleep or play with the lesser-used functions and modes of the digital SLR camera you paid too much money for .


An array of puppets at a performance
Most shadow puppet shows are based on either the Maharabata or the Ramayana, two ancient Hindu epics originating in India, but sometimes Javanese shows are performed as well.  Puppets come in many different sizes, ranging from small animals to giant deities and monsters (raksasa: literally "giant").  The stylized puppets are carefully designed to provide symbolic information about the characters, and most people in Indonesia can recognize the most popular characters by sight.   Different shaped eyes and noses convey character traits; for instance, narrow eyes indicate nobility or refinement, whereas a downturned head indicates humbleness.  More aggressive characters are generally bigger and are painted with shades of red, with larger noses and eyes.  In the picture to the right of this paragraph you can see an array of puppets at a performance; all puppets are carefully painted even though you just see the shadow.  The display of the puppets is part of the show.   


Dalang as the center of attention
The guy that moves the puppets around is called the Dalang .  The position of dalang is highly respected amongst wayang kulit officienados.  Dalangs are masters of a variety of skills; they don't just move the puppets but they also tell the story using different voices and tones for the different characters.  The dalang has to be able to do several things at once; all the sites and sounds, including the rapping percussive cadences that symbolize movement or serve as dramatic punctuation come from him.   In addition to this they sing and conduct the gamelan orchestra that accompanies the performance.  Apart from the performance itself the dalang often creates new shows, makes his/her own puppets, serves as an informal teacher in the community.  In many cases the dalang will invent new stories or characters to satirize current events or create a modern-day fable that viewers can relate to. 

Rama and Siti puppets in the famous "smell my finger, Rama" scene
As I mentioned above, the puppets are made from leather and are quite intricate and creative.  In Jogja there is a whole cottage industry involved in producing and selling these puppets, and they've long been a favorite souvenir for tourists.  If you'd like to visit a shop to see how they are made and browse the wares there are lots of them in the Taman Sari area near the Kraton. The puppets are chiseled with very fine tools.  In some cases individual craftsmen make the puppets, but in some workshops teams of skilled workers work on several puppets at the same time.  Depending on the quality of the puppet, the process can take from a few hours to several weeks.

As I mentioned previously, many performances are based on the Ramayana and Maharabata, but there are local adaptations as well.  Javanese shows often feature moral lessons or comic relief provided by a family of "clown" puppets:  Semar (the father), Gareng (the oldest son), Petruk (middle son), and Bagong (the youngest son).  In the two movies below you can see a couple of short scenes from a shadow puppet performance.  In the first one the puppets are arguing about something; in the second they proceed to mix it up.  While I was filming my camera kept going in and out of focus, but I think that adds a bit to the artistic effect.  Aside from this the dalang often takes the puppets in and out of focus to give the impression of movement.