Wayang Kulit Purwa Classic
12:20 PM
wahyu
Hikayat Wayang Kulit
Most popular among other types of wayang kulit, wayang kulit performances purwa always awaited his fans, especially those from ethnic Javanese. The spread of shadow puppets purwa followed Javanese ethnic displacement in various parts of Indonesia, even to citizens residing Javanese in Suriname and Malaysia.
Like most other kinds of puppets, shadow puppets purwa took heart of the story from the Book of the Mahabharata and Ramayana. However, the Javanese has its own imagination of the puppet characters, totally different from what is imagined by the Indians. After experiencing changes and adjustments to the original culture of Indonesia (Java), plays in the shadow puppets based on Fiber purwa Panda, Paramayoga, and the Library of King Purwa.
Purwa leather puppet usually done on the initiative of individuals to enliven some celebration or lavatory. In some areas in Java have nanggap puppet tradition in every village clean ceremony. In the mid-1950s, President Sukarno invited several renowned puppeteer for a performer at the State Palace or Palace of Bogor. This tradition continued until the mid-1960s. Since the 1970s, several state departments and agencies also initiated a performance like that.
In the past, the puppeteer using a gamelan accompaniment slendro classy performances. However, since 1955, some fame as the mastermind Nyatacarita Ki, Warsino Ki, Ki Wignyasutama, began wearing pelog gamelan. Now, gamelan accompaniment not only the barrel of the course, but also take advantage of modern musical instruments non-gamelan, such as trumpet, keyboards, chili, drums, and others. Singer's presence in the leather puppet show of new purwa began around 1925. Besides singer, puppeteer Ki Nartasabda as using the bandit (wirasuara) around the year 1958.
Between Classical and Contemporary
Leather puppet show with the times. When used, this performance has a certain standard are now a number of puppeteers have included new elements which serves entertaining viewers. The difference shows in the past and now we can see from various aspects. Starting from design stage, background music, costumes and pengrawit puppeteer, Sanggit (working on the stage) and sequence based iringannya pieces.
Design Stage:
- Kalsik: Baku. Consists of screen equipped with offerings, puppet simpingan right and left as standard.
- Contemporary: Can raw, but there is a stage for the addition of guest stars, background music and even placed additional lighting is also supporting the stage. Simpingan puppet screen left and right still following the standard venom.
Music accompaniment:
- Classic: gender, slenthem, rebab, kendhang, demung, saron, bonang, kethuk, kenong and gongs.
- Contemporary: In addition to the above gamelan, also was added diatonic music (piano / keyboard) sometimes even complete with guitar and trumpet, drum and drum. The performance is also using the tools of the projector to create the desired image effects mastermind behind the performances.
Costumes:
- Classic: follow their customs in accordance with the style (gagrag) adopted. Solo wore Gagrak surakarta and Beskap headcloth. While wearing headcloth gagrak Yogyakarta Yogyakarta and sorjan.
- Contemporary: Bebar (can also wear clothing Surakarta, Yogyakarta or pesisiran, but working on distinguishing wayangnya).
Sangit and Gendhing accompaniment:
- Classic: sangit or working on stage as a whole to follow the existing standard (all night), including pieces in accordance with the rules. For example, in a shadow puppet stage that was held during the night can be divided into three accompaniment, namely pathet nem (row, unjal, gapuran, kedhatonan, Paseban links, calluses, kretan, prampongan, ampyak war, sabrangan, the war failed), pathet sanga ( pandhita, because, the war developed, sintren war), and pathet manyura (brubak war, Tancep Kayon).
- Contemporary: sangit or working on stage as a whole freely, do not follow the rules. Performance can be solid acting time (1,2,3 or 4 hours). Pieces still follow standard or rule (pathet nem, pathet partners, pathet manyura), but its development in a free puppet show.
Major Equipment
1. Screen
Piece of cloth spread in front of puppeteers in the background on purwa wayang leather and some other types of puppets. Size 4.5 x 1.25 meters.
2. Blencong
One of the main equipment in the puppet show. The tool is in the form of oil lamps, which are placed in the center screen and above the head puppeteer. Function, which was illuminated puppet play mastermind and lead to the occurrence of shadow puppets on the screen surface. Thus, viewers who are behind the screen can see the shadow.
3. Side
Purwa shadowgraph arrangement arranged according to rules. On the left side is 41 and on the right side there are 42 puppets.
4. Puppeteer
Leader, director, director, and conductor of an exception to the puppet show puppet stage and puppets of the mask. Puppeteer must play the entire movement played a character display.
5. Puppet
6. Box Puppet
container made of wood that becomes a place to put the puppet and can be moved anywhere.
7. Fiddle
Stringed instrument which has 2 functions as a melody string.
8. Gender
Instrument consisting of metal blades with a rope tensed over the tube-tube resonator.
9. Slenthem
Based on the construction of this instrument accompaniment including gender families. Saron instruments in the group, this tool has the lowest octave.
10. Siter
This instrument has 11 pairs of strings are stretched on both sides of the resonator box.
11. Bandit
Wirasuara, which began spearheaded by puppeteer Ki pata Nartasabda year 1958.
12. Gong
Instruments hanging medium or large and drums played in the middle of bundarannya (pencu) with a round percussion.
13. Saron
Common tool to instrument-shaped keys with six or seven blades are superimposed on a wooden frame, which also functions as a resonator.
14. Kethuk
Gong type instruments superimposed on the horizontal plays a tensed string in a wooden frame.
15. Kendang
One of the instruments that set the rhythm of its main functions and sertta rung by hand without tools.
16. Demung
Instruments belonging to the group saron with large size and middle octaves.
17. Bonang
Sound device in the form of a small gong.
Most popular among other types of wayang kulit, wayang kulit performances purwa always awaited his fans, especially those from ethnic Javanese. The spread of shadow puppets purwa followed Javanese ethnic displacement in various parts of Indonesia, even to citizens residing Javanese in Suriname and Malaysia. Like most other kinds of puppets, shadow puppets purwa took heart of the story from the Book of the Mahabharata and Ramayana. However, the Javanese has its own imagination of the puppet characters, totally different from what is imagined by the Indians. After experiencing changes and adjustments to the original culture of Indonesia (Java), plays in the shadow puppets based on Fiber purwa Panda, Paramayoga, and the Library of King Purwa.
Purwa leather puppet usually done on the initiative of individuals to enliven some celebration or lavatory. In some areas in Java have nanggap puppet tradition in every village clean ceremony. In the mid-1950s, President Sukarno invited several renowned puppeteer for a performer at the State Palace or Palace of Bogor. This tradition continued until the mid-1960s. Since the 1970s, several state departments and agencies also initiated a performance like that.
In the past, the puppeteer using a gamelan accompaniment slendro classy performances. However, since 1955, some fame as the mastermind Nyatacarita Ki, Warsino Ki, Ki Wignyasutama, began wearing pelog gamelan. Now, gamelan accompaniment not only the barrel of the course, but also take advantage of modern musical instruments non-gamelan, such as trumpet, keyboards, chili, drums, and others. Singer's presence in the leather puppet show of new purwa began around 1925. Besides singer, puppeteer Ki Nartasabda as using the bandit (wirasuara) around the year 1958. Between Classical and Contemporary
Leather puppet show with the times. When used, this performance has a certain standard are now a number of puppeteers have included new elements which serves entertaining viewers. The difference shows in the past and now we can see from various aspects. Starting from design stage, background music, costumes and pengrawit puppeteer, Sanggit (working on the stage) and sequence based iringannya pieces.
Design Stage:
- Kalsik: Baku. Consists of screen equipped with offerings, puppet simpingan right and left as standard.
- Contemporary: Can raw, but there is a stage for the addition of guest stars, background music and even placed additional lighting is also supporting the stage. Simpingan puppet screen left and right still following the standard venom.
Music accompaniment:
- Classic: gender, slenthem, rebab, kendhang, demung, saron, bonang, kethuk, kenong and gongs.
- Contemporary: In addition to the above gamelan, also was added diatonic music (piano / keyboard) sometimes even complete with guitar and trumpet, drum and drum. The performance is also using the tools of the projector to create the desired image effects mastermind behind the performances.
Costumes:
- Classic: follow their customs in accordance with the style (gagrag) adopted. Solo wore Gagrak surakarta and Beskap headcloth. While wearing headcloth gagrak Yogyakarta Yogyakarta and sorjan.
- Contemporary: Bebar (can also wear clothing Surakarta, Yogyakarta or pesisiran, but working on distinguishing wayangnya).
Sangit and Gendhing accompaniment:
- Classic: sangit or working on stage as a whole to follow the existing standard (all night), including pieces in accordance with the rules. For example, in a shadow puppet stage that was held during the night can be divided into three accompaniment, namely pathet nem (row, unjal, gapuran, kedhatonan, Paseban links, calluses, kretan, prampongan, ampyak war, sabrangan, the war failed), pathet sanga ( pandhita, because, the war developed, sintren war), and pathet manyura (brubak war, Tancep Kayon).
- Contemporary: sangit or working on stage as a whole freely, do not follow the rules. Performance can be solid acting time (1,2,3 or 4 hours). Pieces still follow standard or rule (pathet nem, pathet partners, pathet manyura), but its development in a free puppet show.
Major Equipment
1. Screen
Piece of cloth spread in front of puppeteers in the background on purwa wayang leather and some other types of puppets. Size 4.5 x 1.25 meters.
2. Blencong
One of the main equipment in the puppet show. The tool is in the form of oil lamps, which are placed in the center screen and above the head puppeteer. Function, which was illuminated puppet play mastermind and lead to the occurrence of shadow puppets on the screen surface. Thus, viewers who are behind the screen can see the shadow.
3. Side
Purwa shadowgraph arrangement arranged according to rules. On the left side is 41 and on the right side there are 42 puppets.
4. Puppeteer
Leader, director, director, and conductor of an exception to the puppet show puppet stage and puppets of the mask. Puppeteer must play the entire movement played a character display.
5. Puppet
6. Box Puppet
container made of wood that becomes a place to put the puppet and can be moved anywhere.
7. Fiddle
Stringed instrument which has 2 functions as a melody string.
8. Gender
Instrument consisting of metal blades with a rope tensed over the tube-tube resonator.
9. Slenthem
Based on the construction of this instrument accompaniment including gender families. Saron instruments in the group, this tool has the lowest octave.
10. Siter
This instrument has 11 pairs of strings are stretched on both sides of the resonator box.
11. Bandit
Wirasuara, which began spearheaded by puppeteer Ki pata Nartasabda year 1958.
12. Gong
Instruments hanging medium or large and drums played in the middle of bundarannya (pencu) with a round percussion.
13. Saron
Common tool to instrument-shaped keys with six or seven blades are superimposed on a wooden frame, which also functions as a resonator.
14. Kethuk
Gong type instruments superimposed on the horizontal plays a tensed string in a wooden frame.
15. Kendang
One of the instruments that set the rhythm of its main functions and sertta rung by hand without tools.
16. Demung
Instruments belonging to the group saron with large size and middle octaves.
17. Bonang
Sound device in the form of a small gong.
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