High-tech 'wayang' conveys age-old wisdom

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.