'Wayang' performance shows art in new light
'Wayang' performance shows art in new light
By Putu Wirata
DENPASAR, Bali (JP): A combination of Balinese wayang (puppet
shadow play), dalang (puppetry) and modern film technology
resulted in a unique performance called wayang listrik (electric
wayang).
The performance, presenting the mythological tale of Tirtha
Amertha (Holy Water), enchanted hundreds of spectators at the
Sheraton Nusa Indah Convention Center on March 13.
The idea was conceived by Larry Reed, an American who has
studied the art of Balinese wayang for more than 20 years. For
the performance, Reed cooperated with dalang (puppeteer) Dewa
Putu Beratha, a composer, a stage designer and a musician.
The staging of Tirtha Amertha was organized by the Dyatmika
Foundation, an organization which concentrates on education,
particularly building schools for expatriate children.
Electrical wayang is a startlingly creative idea. It not only
employs a cinema-sized screen, but it also avails itself of
nearly all forms of artistic expression existing in Bali. Apart
from the music which usually accompanies a wayang performance,
the sounds of various instruments not associated with wayang
provided a riotous atmosphere to the performance.
Along with the usual leather puppets representing servants,
gods and giants, the performance also employed live dancers. Of
course, spectators only see the silhouettes of the performers
dancing on stage.
"It is really very interesting. It should inspire Denpasar art
students as well as Balinese artists to be creative and
innovative," said cultural observer Putu Suasta.
The show was packaged in a modern way and the performance
lasted two hours -- a traditional wayang performance may last
three to four hours. Two languages, Indonesian and English, were
used in the performance. This allowed expatriates, who usually
cannot follow wayang shows, to appreciate the performance.
Tirtha Amertha tells the story of gods in heaven confronting
giants. The gods are able to defeat the giants only after being
strengthened by tirtha amertha. The gods obtain the holy water by
rotating Mandara Giri mountain.
The performance uses film technology to create a background of
Hindu temples, pools, rice fields, seas and forests. Against this
background, puppets and dancers perform, making the giant screen
seem to vibrate with the action.
When Mandara Giri is rotated by the gods, elephants, horses,
angels and the goddess Laksmi appear from the bottom of the
mountain. The scene is enthralling, even more so because laser
lighting is used to give the screen the appearance of a precious
stone. With the accompanying gamelan, spectators are taken into a
world of stillness and enchantment.
There are some aspects of the performance which could upset
traditionalists, including the use of English by the servants,
who translate from the Kawi wayang language.
"With Delem and Tuwalen, the two servants, using English, the
performance loses some of its sacredness," said Rai Sulastra, a
poet who employs Balinese.
Sacredness is a concept employed in nearly all traditional
arts in Bali. Even the electrical wayang makes ceremonial
offerings to Bhatara Siwa, ruler of the arts.