The Wayang Purwa Stories

The Ramayana is essentially a love story, the story of Lord Rama’s search for his beautiful wife, Sinta.

Dasarata, King of Ayodya, had to fulfil a promise to one of his wives and let her son Barata ascend the throne, even though it meant exile to the forest for a son by another wife, his beloved Rama.

Rama, an incarnation of Batara Wisnu, knew that his love and happiness with Sinta was but the prelude to long suffering to enable him to accomplish the duty of Wisnu. Barata, who did not want to see Rama ousted, was therefore unable to persuade Rama to return to Ayodya. And Rama, followed by the faithful Sinta and Laksmana, his inseparable companion and another half-brother, went away and lived in the forest.

They were overtaken by disaster due to Sinta’s over-powering desire for possession of a golden deer seen in the forest. But the deer in reality was sent by the ten-headed demon Rahwana, symbol of man’s lusts. Having tricked both Rama and Laksmana, Rahwana abducted Sinta and bore her off to the island of Alengka. Jatayu, king of the birds, intercepted Rahwana, but was mortally wounded and lived only long enough to tell Rama about Sinta’s abduction.

At long last, the white ape Hanoman discovered where Sinta was hid in the island kingdom. An army of monkeys, led by Sugriwa, built a causeway to Alengka, crossed over, and helped to kill Rahwana. Rama and Sinta were united once more.

But Rama listened to voice doubting Sinta’s purity after so long a captivity. Sinta had to undergo a trial by fire and was saved by Agni, Goddess of Fire, who convinced Rama of Sinta’s purity.
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Performance


A Wayang Purwa performance is a complicated compound of very diverse elements. It is a shadow-show and a puppet play requiring the greatest possible dexterity on the part of the dalang, particularly in the fighting scenes. It is a recital of both classical and modern Javanese music, both vocal and orchestral. Further, a number of classical prose poems, known and loved by the Javanese public and composed of the most beautiful language, are declaimed to soft music by the dalang. The performance is enlivened by clowning, often ad lib; and usually some slap-stick. It also contains comment on current affairs, local, national, and even international. In addition to all of which, the point of the entire performance is ethical education and character-building.

The “Eleven-Eleven” system is a good way of describing how all these elements fit together in a performance.

The first “Eleven” is composed of the dramatis personae and the equipment already described above. The second “Eleven” enumerates the audio-visual effects obtained in action. All of the first “Eleven” are visible only from the dalang’s side of the screen, but the second “Eleven” can be better enjoyed from the shadow side.

The two sides of the system are listed as follows hereunder:

Dramatis Personae And Equipment

1 Dalang – The leading artist
2 Niyaga – Musicians
3 Pesinden – Women Singers
4 Wayang – Puppet
5 Kelir - Screen
6 Blencong – Oil Lamp
7 Dhebog – Banana Boles
8 Kotak – Wooden Chest
9 Chempala – Wooden Knocker
10 Kepyak – Metal Rattles
11 Gamelan – Orchestra instruments

Audio-Visual effect

1 Sabetan – Puppet Movements
2 Janturan – Declaimed narration
3 Chariyos – Narration
4 Ginem – Dialogue
5 Suluk – Mood-setting songs
6 Tembang – Songs
7 Dodogan – Knocking sounds on wood
8 Kepyakan – Mettalic Rattling
9 Gending – Melodies
10 Gerong Male Chorus
11 Sindenan – Songs by the pesinden




Posted on 02.00 by Lordly Shades and filed under | 3 Comments »