The word wayang (Javanese), varies with the word shadow, which means shadow or like words watu and stone, which means stone and said wuri and buri, which means the rear. The sound of b is denoted view point b and w in the first word with the second does not result in changes in the meaning of both words. G.A.J. Hazeu said that the puppet in the language / Javanese word means: shadows, in the Malay language means: the shadows, which means shadow, vague, dreamy. Bikol language, according to Professor Kern, shadows, goods or dreamy. All of that comes from the root word "that" that changed the sound yung, yong, as in the words: laying (nglayang) = which, dhoyong = yong, reyong = yong, reyong-reyong, or reyang-reyong which means always on the move while carrying something, Poyang-payingen, maze of word origin: Poyang, the root word. According to the comparison of the sense of the word comes from the root and so on before, it is clear that the meaning of root words: who, yung, yong was moved many times, not fixed, floating,
Understanding bayang-bayang/bayangan others to explain the words and meaning in Javanese puppet was called as a democratically-democratically. For example someone who is standing or sitting in one place, then he is exposed to sunlight on the body that person, that person produces a shadow. The shadow is then used by the Javanese is often called the democratically-democratically. Of course the length of the democratically-ayang is highly dependent on the angle position of the sun. If the sun in a low position, then that person becomes a long shadow, and when the high sun angle, shadows are getting shorter.
There is also a word associated with the word ayang, namely ngayang. Ngayang (Java language), meaning that someone in the state of his body arching meilhat kebekakang with your head backward, or just come to see and memeperhatikan sky, space or 'top'.Therefore, when associated with a puppet in the context of understanding hyang, which means spirit hovering in the sky or above, then the word ngayang is any relevance. Only ngayang word usually used in the context of games and sports (the game is called Brok or rice Sawahan; a children's games are very popular in Java using fractional tiles as gacuk (a tool that is thrown by the player), while in though raga is usually one exercise movement).
Notions more beroriantasi puppet on the performing arts who pay attention / emphasis on the effect produced on a doll or the like after the object is known / highlighted with light coming from a lamp (blencong), which then produces a shadow. From the resulting image was then captured by a bulkhead, screen (color), which finally produces the shadow again at the back layer (reversed color). If so then there are two parts of the shadow: the first, the shadows in front of the layer occurs when the doll is moved away from the layer and approaching blencong, then the image will be enlarged either in front or behind the layer.
HISTORY PUPPETII.1. Puppet in a literary work
Puppet in the form of numerous written works. When traced in diachronic, the story of the puppet play can not be separated from the travel literature puppet itself. Puppet figures are now known by most people of Indonesia, especially Java, is inseparable from the Hindu epics of land (India), especially the Ramayana and the Mahabharata and the difference with that found in Indonesia, but in terms of the equation name of the character, then it can not be separated ( historical frame of mind), although a slight change (cultural transformation).
-Act plays are staged in the puppet show is not directly taken from the stories sourced from India (Sanskrit) or Old Javanese, but presents the play-puppet theater that has been created and composed by the poets (poets) Java on the 'era The new Java ', such as the Book Library Kings (gagrag Surakarta) and Fiber Kandaning Purwa Ringgit (gagrag Yogyakarta). At least two sources of the plays, puppet plays and then created it can be formed in two big plays, which play the principal / raw / lajer / grip and play carangan. CTL play is the play that has been recorded (standard fiber Tuntungan puppetry), was derived for more than two generations and has been a lot of plays staged by many puppeteers carangan (tendril = twig); like a tree are branches of the tree core (trunk); namely play that has not been recorded, has not lowered more than two generations and has not been staged by many puppeteers. The meaning of the play grip is divided into two parts, namely: the play and the play paken grip belungan jangkep. Balungan play is the play that contains the basic / core story and contains a sequence pengadegan. While the play is the play jangkep grip that contains all / almost all elements in the puppet show, which usually uses the title of the fiber tightly grip the guidance pedhalangan (sedalu muput). Ki Siswoharsojo menuolis some puppet plays are used as a benchmark (standard play) by the candidates and the puppeteers puppeteers, among others: Revelation and Revelation Makutharama Purbasejati; Ki Nojowirongko composed the book of puppetry akem Lempahan Irawan Rabbi / marriage Irawan (containing a performer on the benchmark and play weddings Irawan itself). As for the play as a sample balungan ie: CTL Ringgit Purwo Lampahan Laripun Romo - Brubuh Ngalangka, compiled by Ki S. Soetarsa. Carangan play ever staged by some of the masterminds of Petruk and Bagong Kelangan Pathel Circumcision.
Puppet that was contained in a literary work can also be a source of information about wayang (shadow play), not about the story or puppet play itself. For example: in the works of master Kakawin Arjunawiwaha Kanwa, at the time of Airlangga in East Java (950 Saka = IX AD), the kediri, says about a person watching a puppet to cry sad, silly he was, but knew it was witnessed by skin carved, people said he was hit by unseen forces.
II.2 Puppet in the inscriptions and reliefs
At the time of ancient Indonesia, information about a story can be written in the inscription. Can be a milestone in rock inscriptions and copper plates. For example: Mulawarman of Kutei inscription that read Pallawa about 400M years, shaped yupa (a memorial ritual sacrifice), Sanskrit and composed in poetic form. (Soekmono, 1991:53).The inscription can be seen as historically valuable objects. From the inscription can be traced particulars of a story or stories in the past. From the inscriptions it can also be detected on the background / orientation of society thought at that time. As an example of the Old Javanese religious thought, which one of them and menganggungkan dalah worship the gods, like the god Vishnu, Brahma, and Shiva.
Some inscriptions have proved that the puppet show has been around at the time of the ancient. For example four copper plates found in Bali. This plate dates to the year 980 Saka (1058 AD) and its contents have been disalain by Van Der Tuuk and Dr. Brandes.This slab mention the word ringgit. Said the ringgit is still used as a synonym of the word puppet. Thus the use of the word ringgit for understanding puppets have been very old.Further dates to Hazeu said plates issued Saka 782 and explained by Prof.. Kern found the term Barata interpreter. The term means one who is playing a theater or a joke or a mastermind. (1979: 45). Except it did mlempengan style which contains the word Kawi published by Cohen Stuart, talked about the interpreter and aringgit scamp, abanyol. It dates to about 762 Lempenan Saka, though in the inscription (sheet metal) repeatedly mentioned the word ringgit but by mentioning the stand-alone basis, kirany make conclusions difficult to remedy, in the meantime since the ninth century AD, though in a very ancient, existing in Java shadow theater was allegedly an original puppet performances that we know today.
Description of the puppets are also found in the temple reliefs; an image or visualization puppet figures are carved on the wall-dingdingnya. If we assume that the puppet of the image-gamabr berasala temple reliefs, the allegations put forward the efforts of earlier times to cite a picture in relief so they can be rolled, and can be taken everywhere so it can be staged or staged. The assumption is evidenced by the many temples that includes puppet story, for example: reliefs at Prambanan temple, Jago temple, temple Panatara. At the temples is obtained stylized figures in the reliefs that are not similar to the shadow puppet Purwa (Java) but similar to a puppet from a paper that can be rolled up and held, known as wayang beber are still growing and developing area Wonosari, Yogyakarta andPacitan in East Java. In accordance with the evolution of forms of stylization inspiring, it should be taken as the pattern is the latest development. Besides the temple there are two styles Panataran relief, which is a style that is close to berntuk-natural form, as found in Kresnayana story and puppet-like decorative style found on the reliefs of Ramayana panels. Thus it appears that incorrect assumption that sees a realistic style in temple reliefs Panataran then gradually turned into a decorative as well as on the temples in East Java, an older age. Then in Jago temple, there is a tradition to restrict scenes mrelief dala using mountains as mountains or Kayon contained on puppet show. This is apparently unaffected pekeliran puppet who always start and end scenes with mountains in the way of plugging the middle layer. It would be impossible without influence on the selection of people sampiai mountains or Kayon as limiting the scene in the temple reliefs. For example in the temple Surawana, limiting the scene was the motive which made curls continued to meet throughout the uprise of high relief. Thus, the keteragnan about puppets can be found on the inscriptions and reliefs of the temple, besides a description of the puppet in the literature.
II.3 The types of puppets in Indonesia
Puppet spread across Indonesia consists of various shapes and types. Forms and types of puppets can be grouped into several sections, based on: 1. Source of the story; 2. Materials dolls or the like; 3. Cultural regions (origin and distribution); 4. Sound (music) instrument that sounds; form the show; 6. Its functions; and 7. Impact sound puppets. This classification tend to be oriented on the issue of naming or repeating the puppet. L.Surruer has conducted research questionnaires about the types of puppets are on Java, as edited by Off Guritno; results of the study were published a book entitled De Puppet Poerwa; this book contains the types of puppets are known on the island of Java, among others: puppet beber, gedhog, show, jemblung, klithik, this point, langendria, lilingong, lumping, middle, pegon, prototypes, purwara, Sasak, masks, and wayang wong. But apparently this study does not include all types and forms of wayang in Indonesia, so it needs to be supplemented and developed.
Developments in science and technology are very influential on the development perwayangan and puppetry in Indonesia. With the science and technology was the mastermind artist can create new types of puppets in accordance with her wishes. Along with it the thought community of artists, in this case the puppeteers were also developed.Growth and development are linked to the creation of puppet art oriented puppets, puppet shows and puppet literature.
II.4 Supporting and puppet show equipment
Supporting the performing arts is the art of puppet comprises at least four elements, namely the mastermind, nayaga, singer, wiraswara. Sedangakan performing arts equipment may consist of a wayang puppet, color, blencong, dobog, wayng boxes, mobile, kepyak and gamelan.
1. Mastermind
Puppeteer can be considered as a major artist in the puppet show. He was a leader of the show (leading artist), so that he can be as pusata attention of the audience in memeinkan puppet. In general, the mastermind was a man, because a job as a puppeteer is very heavy. Puppeteer in the puppet had to sit cross-legged all night long, carry the show (he played), and also led other artists-artists who sit behind a subtle cue, a wangsalan or instructions inserted in cariyos literary or narrative, in the form of motion-puppet movements. Singing, dedogan, and kepyakan. Traditionally there are several classes of manipulator, namely: 1. those who can be a performer Beru; 2. a performer who is good at 3. who has mastered all of the contents pendalangan; 4. who has mastered all of the contents perdalangan; 5. besides the true mastermind has mastered all the contents of puppetry can also provide role models to the public in everyday life, a wise, wise and worthy of respect.
2. Nayaga
Is the designation for the gamelan. To mengiring purwa puppet show, nayaga it at least ten people to play at least fifteen gamelan equipment. Nayaga usually male. Occupying the foremost place to accompany the puppet show is drummer drums, karea usually it was he who captures a signal or command from the mastermind, and pass them on to other nayaga, especially to turn down or increase the sound of the gamelan, speed up or slow down the rhythm gending, start and stop. Java is now known among musicians is also another name for the nayaga namely Pradangga, we know the name of the newly introduced broad sevcara after the independence of our country, even though the term has long been recognized. Disamoing gamelan, the nayaga it also occasionally sing in the choir man called Gerong.
3. Swarawati
Female singer or singers have long known among the art on the island of Java. But as an artist who accompanied purwa puppet, they've known for decades about three decades of this century, so it starts every time there pesindennya puppet prototype. And is considered unfair if pesindennya no. If the nayaga called Pradangga, then the singer also got new names that waranggana or sinden, widuwati or swarawati.
4. Wiraswara
Wiraswara is one or a few men who have a certain poetry to sing the role of filling the course of the strains gending. Understanding wiraswar ie, wira = officer (bold / powerful / potent), Voice = voice, so that is intended wairaswara is the person or persons who have "supernatural powers" in terms of singing. In the puppet show wiaraswara position is usually behind or parallel to swarawati.
5. Puppet
One box contains the prototype puppet around 200 pieces of dolls or puppets made of buffalo rawhide or leather, and can also be made from calf skin (but this is less good). For the fans of different puppets, puppet-wayangnya number can double or more that amount.According to the books, a complete collection of leather puppets jumlanhya about four hundred pieces.
6. Gamelan
This traditional instrument is the instrument most at mostly made of bronze or also of good quality iron. Various types of gamelan which is currently used to accompany wayang performance is a drum (large, medium, small or ketipung), rebab (stringed instrument or cordophone), gender (can be two pieces) demung (sort of gender), xylophone (wooden instruments at ), flute (the only one brass instrument), zither (cordophone), kempyang or kemong (depending on the barrel of the gamelan), kethuk, kempul, saron (two pieces), small saron (Pekinese), large saron (slenthem), boning (can two pieces), and gongs.
7. Color
What is meant by the stage upfront is the color or layer in front of the mastermind of a width of about 160 cm. curtain is made of white cotton cloth. Edge of the top named pelangitan that shows the sky or space, with a more wide-screen, as well as left and right edges whose function as a garnish.
8. Blencong
Is the name of husband kelapayang lamps used in the prototype puppet show. This lamp is made of metal or bronze, usually shaped like a bird with a tail function sebgai reflector. As an oil lamp wick was called yarn, cotton yarn that is coming out of the beak of birds that resemble eagle.
9. Debog
For the prototype puppet show usually takes three banana stem is quite long, dense type of banana trunk. Dhebog upper stage part to stick puppet characters of high status.Dhebog above is called pamedan being called paseban dhebog below. As for the status that determines whether a puppet stand or sit (from the shadow) is based on rank, age or position in the family.
10. Kothak
Is crate puppets made of wood, but wood is best from jackfruit wood, usually the size of the length of 150 cm, width 75 cm and 55 cm high including the lid, being thick wooden planks used to make kothak was approximately 2 cm. at the time the show was placed on sebalah kothak left puppeteer, longitudinal direction of color.
11. Mobile
Two mobile prototype used in the puppet show. Large mobile dubuat kind of hard wood, usually wood jait, a large mobile left hand is usually held dalangdan knock-knock on the inside of the box close to it where necessary. Small mobile made of mobile large sized metal half. In the show, this mobile clamped empujari right foot and toe next to the mastermind.
12. Kepyak
Tool called kepyak (Surakarta, Yogyakarta) or kecrek (Banyumas) that shape and materials of manufacture can vary, although the same function, which is similar to the mobile.
1 Responses So Far:
bahasane hancurrr... keliatan klo pake google tranlatee.. :>
peace !
Jangan lupa tinggalkan pesan ya bos ... !!!