(wayang kulit) Transformation of Shadow Puppets in Indonesia
Wednesday, February 5, 2020
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Wayang kulit, is a traditional Javanese art that has shifted its role in the entertainment world amidst modern society from year to year. It is rather ironic indeed when UNESCO has given a special award Wayang Kulit as a Masterpiece of Oral and Intangible Heritage of Humanity, in their own country shadow puppets actually lost their role as a medium of culture education and character.
Perhaps not many Indonesians know that shadow puppet since 2003 have been recognized by UNESCO as an amazing cultural work in the field of narrative stories and beautiful and valuable legacies. This fact only adds to the number of concerns of cultural observers, people who care about the preservation of Indonesian art and local traditions.
One of the anxious figures is nanang Hape. Starting with anxiety about the loss of noble cultural arts, Nanang tried to create a more interesting way to play puppets but did not lose the essence.
Nanang realized that it was not easy to enjoy the whole night puppet show in the current era. Apart from time constraints, also language constraints. How many Javanese people still understand the wayang language? Maybe there are only a handful of old generations that still exist. And even then there certainly was no time to listen to the show all night.
Realizing these obstacles, Nanang tried to package another form of a puppet show. Besides Urban puppets which have been widely known by the entertainment community, Nanang tries to package Wayang in a jazz and blues package. Puppets that at first seemed old and complicated, that night was suddenly cheerful, full of excitement and education.
In the hands of Nanang Hape, puppets become an arena of cultural art expression as well as educational media. Not like in a puppet show which is bound by a play, such as: Abhimanyu Fall, Srikandi Edan, Petruk dadi Ratu, etc. No, do.ngeng.mi.fa.sol is packaged differently in terms of plays, accompaniment music, and trade methods. A form of contemporary collaboration that enables young people to 'enjoy' and be enlightened.
In the delivery that alternates between the language of puppetry and Indonesian, Nanang explained various Javanese philosophies as well as a variety of puppetry arts. For example, different uses of kecrek from Jogja, Solo and East Java. Similarly, the noble values and knights in puppet figures such as Ekalaya, Salyopati, Bima, Krisna, and Arjuna. So that viewers watch the show not just following the storyline (if it can be searched on google) but also absorbing the sublime teachings hidden in the characters as well as the accompanying character.
Forms of refreshment in presenting this kind of traditional culture, it would need to get appreciation from the government. Because surviving in the original form may not be in accordance with the conditions and rhythm of the community at this time, then culture should follow the movements of the community, traditional art is kept alive in an easily accepted, more contemporary form. If not, someday, we will lose the cultural roots and knick-knacks of the Archipelago tradition. We certainly do not want regional songs patented as neighboring products. We should also be ashamed, if we have to learn Javanese we must go to other countries.
One of the anxious figures is nanang Hape. Starting with anxiety about the loss of noble cultural arts, Nanang tried to create a more interesting way to play puppets but did not lose the essence.
Nanang realized that it was not easy to enjoy the whole night puppet show in the current era. Apart from time constraints, also language constraints. How many Javanese people still understand the wayang language? Maybe there are only a handful of old generations that still exist. And even then there certainly was no time to listen to the show all night.
Realizing these obstacles, Nanang tried to package another form of a puppet show. Besides Urban puppets which have been widely known by the entertainment community, Nanang tries to package Wayang in a jazz and blues package. Puppets that at first seemed old and complicated, that night was suddenly cheerful, full of excitement and education.
In the hands of Nanang Hape, puppets become an arena of cultural art expression as well as educational media. Not like in a puppet show which is bound by a play, such as: Abhimanyu Fall, Srikandi Edan, Petruk dadi Ratu, etc. No, do.ngeng.mi.fa.sol is packaged differently in terms of plays, accompaniment music, and trade methods. A form of contemporary collaboration that enables young people to 'enjoy' and be enlightened.
In the delivery that alternates between the language of puppetry and Indonesian, Nanang explained various Javanese philosophies as well as a variety of puppetry arts. For example, different uses of kecrek from Jogja, Solo and East Java. Similarly, the noble values and knights in puppet figures such as Ekalaya, Salyopati, Bima, Krisna, and Arjuna. So that viewers watch the show not just following the storyline (if it can be searched on google) but also absorbing the sublime teachings hidden in the characters as well as the accompanying character.
Forms of refreshment in presenting this kind of traditional culture, it would need to get appreciation from the government. Because surviving in the original form may not be in accordance with the conditions and rhythm of the community at this time, then culture should follow the movements of the community, traditional art is kept alive in an easily accepted, more contemporary form. If not, someday, we will lose the cultural roots and knick-knacks of the Archipelago tradition. We certainly do not want regional songs patented as neighboring products. We should also be ashamed, if we have to learn Javanese we must go to other countries.
Sumber : http://www.winabojonegoro.com/ketika-wayang-disajikan-dalam-kekinian/
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