High-tech 'wayang' conveys age-old wisdom

Sandy Darmosumarto, The Jakarta Post, Jakarta

"Fear the poor populace, the stupid populace, because their existence indicates that your leadership is incompetent. Remember this, don't forget," says Bima, telling his grandchild, Parikesit, to uphold social justice and use force to abolish injustice.

This was the powerful message conveyed to the audience during the Jakarta premier on Oct. 10 of the wayang listrik, or electric shadow puppet, show at the Jakarta Playhouse (Gedung Kesenian Jakarta), Central Jakarta.

The Mahabharata epic from India tells of the Pandawa, a knightly group of five brothers. Although the performance had all the makings of cutting-edge performance art, the story is an ancient one. Titled A-Shu ("dog" in Sanskrit), this story from the Mahabharata focuses on ethical behavior.

Bima is the second eldest brother. The others are Yudistira, Arjuna, Nakula and Sadewa. "The Pandawa brothers, according to the Mahabharata, and as are taught in Balinese culture, are strong leaders who are praised and respected," said I Dewa Putu Berata, director of the Cudamani Art Studio from Bali, which staged the show.

The Pandawas embody the noble cause of protecting the people and preventing mischief among them. Their characters promote fairness, honesty, perseverance and determination, "yet they fall short of perfection," added Berata.

A-Shu tells of Yudistira's journey to Heaven, and shows how difficult it is for anyone, even noble men, to attain perfection. Its sagely message is that a person's weakness complements their strength, but purity of heart is independent of a person's strength or weakness.

"The ultimate message is each of us must try and purify our hearts, because only then will there be no injustice, such as corruption," said Berata.

As in the more traditional presentations of wayang puppet theater, the themes in the wayang listrik reflect various social problems.

In Maya Denawa, staged in Bali and San Francisco in 1996, Berata, along with Larry Reed of the Shadowlight Production of the United States, explored the theme of trust in a prevailing belief.

"The story taught the audience to filter any new beliefs by, first of all, studying it and then, by evaluating its compatibility with the existing belief. Failure to do so would only create a conflict of beliefs," said Berata.

Tirtha Amerta, which toured the United States in 1998, focuses on the importance of human effort. The drama encouraged the audience to be "persistent in their attempts to make achievements by focusing their energy and efforts," Berata explained.

Perhaps one of the main differences between traditional and contemporary wayang theater is that the messages conveyed through the modern form of the art has the potential to reach a wider audience, as was seen in the scope of the wayang listrik performance.

Wayang listrik combines traditional wayang and cinematography techniques, "allowing traditional messages on human values to be conveyed through a modernized traditional medium," Berata told The Jakarta Post. "This staging technique caters to the demands of a younger audience, who mostly prefer modern forms of entertainment such as television and cinema."

Another aspect that distinguishes the wayang listrik from its traditional form is the dominance of visual effects in conveying the morals of the stories. In traditional wayang, the dalang, or head puppeteer-cum-narrator, relies much on speech to express the characters' interactions, while in wayang listrik, the dalang relies heavily on visual effects.

Wayang listrik is cast on the back of a large screen, almost as large as a movie screen, through three slide projectors arranged side-by-side behind the screen and a dimmer that controls four to seven halogen lamps.

Between the screen and projectors is a four-meter space where dancers and wayang dramatists perform, along with these characters' leather puppet alter egos. Man and puppet thus share the stage, taking turns to recount the story of the age-old drama in shadow play.

The drama is accompanied by traditional Balinese gamelan music, complemented by additional instruments, to produce lively sound effects for the audience, who are usually entranced by the projected scenery, ranging from mountains and jungles to a palace court.

When Yudistira has a flashback of his journey through the forests of Mt. Mahameru, dalang I Ketut Sudiana and I Ketut Wirtawan skillfully twirl their wrists and give life to animal- puppets.

The chirping of birds and the howl of dogs are given voice from a few bamboo flutes, called suling, with the off-stage sound of wings taking flight and butterflies fluttering across the screen serve to enrich the scene.

The silhouettes of dramatists acting out the part of an animal blends in seemlessly with the wildlife puppets, which even feature creatures from different regions of the world -- itself a message on the universal applicability of ancient social mores.

As more animals interact, the drama intensifies. The sounds of kempur gongs, small kendang drums and cengceng, or cymbals, heighten the tension in the forest, and the mood carries on throughout the tale of the knightly brothers.

The new, innovative and dynamic presentation of an old story is sure to keep the wayang tradition alive in the midst of ever- evolving, ever-changing society and culture.

The occasional English word or two in the predominantly Indonesian dialog lends an air of colloquiality, making it easier for the audience, especially the younger generation, to understand the story and its morals.

Arousing the interest of the younger generation in wayang is a way for Berata to open the door to the next dalang generation.

"Bali attributes the survival of its traditional wayang puppetry to the strong ties that bind religion and culture, in which traditional wayang practices routinely support religious ceremonies. However, young people are not attracted to these traditional forms."

Berata hopes that wayang listrik, which caters to the younger generation's attraction to gadgets and technology in its contemporary approach, will motivate more young people to become involved in wayang puppetry, and so prevent this unique art from fading into a mere shadow of a past tradition.