Traditionally, the lamp used for a Wayang Purwa performance burnt coconut oil with a cotton-like wick floating in it, similar in style to oil-lamps known the whole world over in ancient times. But the lamp itself, the container for the oil, or blenchong as it called, is nothing but Indonesian. It takes the form of the mythical Garuda eagle, made of bronze or brass; it has a crowned head, the wings are spread in flight and the tail is raised, so that the light from the wick, which usually issues from the Garuda’s open beak, is all thrown forward onto the screen.

Since the performance lasts for around 9 hours, the oil in the blencong has to be replenished several times, while the wick must be trimmed and lengthened. This is an additional task for the dalang, for the lamp is approximately above his head.

These are good enough reasons for switching to electric lighting, which is also more powerful. But, if the shadows are therefore more distinct, so that they can be seen from a greater distance by a larger audience, the quality of the shadows is changed. The depth of shadows is constant and the shadows no longer flicker, so that some of the mystery and some of the artistic quality is lost from the shadow side of the screen. In contras, however, from the dalang’s side of the screen, where increasing numbers of people prefer to sit today, the coloring of the puppets appears brighter. In the case of the rare performances given with puppets encrusted with jewels, of course this splendor flashes all the brighter under an electric light.