'Wayang krucil', the endangered puppet play<\/p>\n
By Rosa Widyawan<\/p>\n
JAKARTA (JP): Wayang krucil is a form of wayang that depicts
\nstories from the Majapahit period through the use of small, flat,
\nwooden puppets. The stories generally concern Javanese cultural
\nvalues, especially their educational and philosophical aspects.<\/p>\n
During the revolution era, the wayang was used to promote a
\nspirit of heroism by conducting performances about the history of
\nIndonesian heroes such as Prince Diponegoro and Untung Surapati.
\nIt was also a way to spread Islamic propaganda, through the story
\nof Amir Hamzah, for example.<\/p>\n
In Javanese society, this shadow play is less popular than
\nother forms of wayang and other performing arts. Wayang krucil is
\nonly known in the East Java regencies of Tuban, Ngawi, Trenggalek
\nand the Central Java regency of Blora. These areas are relatively
\ndry and less fertile, compared to other parts of Java.<\/p>\n
Wayang krucil is a distinct form of wayang in that the dolls
\nare made of wood and smaller than ordinary wayang kulit or wayang
\npurwa. The word krucil in Javanese indicates small things such as
\nprecil (baby frogs), pentil (mango fruit buds, nipple). It is
\nalso called wayang klitik because the dolls make a rattling sound
\nwhen they are played.<\/p>\n
Wayang krucil does not follow the ordinary wayang performance
\nstructure that begins with a talu (musical overture), pagunungan
\n(a mountain-shaped puppet symbolizing great natural forces),
\njanturan (a long poem to introduce a major scene), palace scene,
\nperang gagal (failed battle) and ends with tancep kayon (the
\nconclusion, signaled by visibly placing a tree of life puppet in
\nfront of the screen).<\/p>\n
The wayang krucil dalang (coordinator) has the liberty to not
\nfollow a standard plot, but the flow of the story depends on
\naudience interest. Such pressure will force the dalang to draw on
\nhis creativity, which often times produces different versions of
\nthe same story.<\/p>\n
Wayang krucil performances usually tell local stories such as
\nthe Panji Stories or Damarwulan chronicles, whose premise is that
\nsacrifice and suffering will bring happiness in the future.<\/p>\n
Damarwulan ngarit (Damarwulan gathers grass), for example,
\ntells the tale of Damarwulan, a young country fellow who devoted
\nhimself to working as a horse keeper for Patih Logender. He
\nendures hard times while working for the man so that he can
\neventually marry a beautiful young aristocratic girl.<\/p>\n
The Bujangganong story concerns a poor, ugly, young man
\nobsessed with Taliwati, Talirasa and Talisari, the daughters of
\nthe King of Ngerum. At the end of the story, he happily manages
\nto marry all three.<\/p>\n
Indirectly, the wayang suggests that villagers not feel
\ninferior and that they work hard to achieve their ideals.<\/p>\n
The most specific and important characteristic of the
\nperformance is the appearance of the golekan doll. The dalang's
\nskill is reflected in the way he manipulates the doll, which
\nappears either in the beginning, middle or end of the
\nperformance.<\/p>\n
The golekan scene has philosophical meaning. It encourages the
\naudience to have enough self-confidence to seek the meaning of
\nlife. Dancing golekan are meant to inspire the audience to
\nanggoleki (seek, interpret) hidden massages in the night-long
\nperformance. Moral values are delivered symbolically and ways of
\nlife are transformed through various stories in the performance.<\/p>\n
The dalang is not only a central performer in the play, in
\nwhich he leads the musicians, narrates, sings and speaks while
\nmanipulating the puppets. His profession is inherited and he has
\na strong influence over his community, especially in terms of
\nspiritual values. He is believed to be a guru with supernatural
\npowers and one whose words are thought to have magical powers and
\nalways be true.<\/p>\n
In the Janjang village of Blora, the dalang is called mbah (a
\nJavanese term of kinship used for grandfathers and old men) even
\nif he is relatively young. The people of Janjang never make fun
\nof a wayang krucil performance because they believe that the
\ndalang has the power to curse anyone who gossips about him.<\/p>\n
There are other ways to become a dalang, such as in the case
\nof Ki Sarni of Tuban, East Java. Ki Sarni, a gamelan player from
\nthe Wolu Tengah village of Tuban, was elected after the death of
\nthe village dalang. Ki Sarni admitted that the former dalang's
\nposition legitimately should have gone to Pak Gus, who was passed
\nover because he was deaf and dumb.<\/p>\n
Supangkat, a former gardener at a primary school in Janjang,
\nalso did not inherit his new profession. A local leader appointed
\nhim dalang in 1989 after the death of the village's former
\ndalang.<\/p>\n
The income of a dalang is not sufficient to live on. In one
\nyear he will perform no more than five times. Most have other
\njobs, working as peddlers or shopkeepers, for example. They
\ngenerally perform on special occasions, such as during ceremonial
\nmeals, and when people want to break their vows. Dalang only
\ncharge Rp 150,000 to Rp 500,000 for a performance, depending on
\nthe local economic conditions and the quality of the dalang.<\/p>\n
Wayang krucil is an endangered tradition in Javanese society.
\nIt has many competitors, especially videotapes, which are often
\nrented for special ceremonies. Furthermore, most wayang krucil
\ndalang are elderly and few are preparing others to take over this
\ncenturies-old tradition.<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/wayang-krucil-the-endangered-puppet-play-1447893297",
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