Bali Personal Drivers - Wayang Peteng is the wayang show which was staged for the general public as a "balihan-balih" (entertainment). As the name suggests Wayang Peteng or Night Puppet, is staged at night and its staging usually lasts between three to five hours. A Dalang of Wayang Peteng will sit and play its wayang from behind the screen is illuminated by palm oil lamps, while the audience watch every scene from the the front of the screen.
Wayang Peteng is shadow theater, because the audience can only see the shadow of the wayang (Dalang is not visible through the screen), but this does not detract the interesting aspect from the wayang show. In its staging, Wayang Peteng usually tell stories drawn from classical literature, especially the Mahabharata and Ramayana. In some scenes are also interspersed with some message about moral values, spiritual and social. Therefore, the wayang show is often used as a traditional educational media for the community. As entertainment, Wayang Peteng also mixed with jokes that make the audience laugh or songs that can be moved to tears.
The elements that are involved in a Wayang Peteng show are as follow :
1. Dalang (Puppeteer)Dalang is the highest command in any wayang show. Dalang is a director, writer, musician leader, and the narrator of the wayang. Dalang manipulates all the wayang movements and also the voice of the wayang behind the scenes. The Wayang Peteng show which has a long duration usually have a complex plot line, complicated motion of wayang and full of improvised music.
Script in every wayang show is not scripted, but improvised based on the story of the Mahabharata and Ramayana epics, so Dalang must have a good knowledge about the story his being played. Dalang also must be able to master the Kawi language (ancient Javanese language), Basa Bali Alus (refined Balinese language) and Basa Bali Kasar (rough Balinese language). As well as no less important is the Dalang must be able to give a life to a variety of wayang characters he played. Dalang also demanded should have the ability to change their voice for each wayang character different, so the conversation between the one wayang characters with the other characters seem real.
In staging Wayang Peteng, if necessary, Dalang can use a pair of "katengkong/tututan" on the left and the right who sat as his assistant. To create visual effects, one of his assistants will be swinging the oil lamp.
Music has a very important role, so it needed a musician who has the ability and are fully responsible for the music in accordance with their expertise. With music, the audience will gets interested and effected their imagination. The good and proper music can help Dalang in giving color and emotion on his wayang in a scene and the audience will be carried away into the show. Harmonization between music with the motion of wayang will lift the atmosphere of the show.
The music used in a variety of wayang shows like : Gender Wayang, Bebatelan, Angklung, Semaradahana, Semar Pegulingan and so on. During the show, the musicians pay attention to the Dalang, as he gave the signal for a change in rhythm and melody in the orchestra. Like the dialogue in the script of the show, the music was not written. What kind of melody and how long the musicians had to play it, is determined by the signal which is given by the Dalang to the musicians.
Wayang is the most important material in the wayang show. Wayang is generally made from cow skin was carved and painted with dye according to its own needs. These Wayang consists from the kayonan, pamurtian, god figures, king figures, duke leaders, priest leaders, Rangda, Barong, rarung, the giant, clown servants, animals, large and small trees, Bondres and so forth, with various shapes and characters. The wayang rod mostly using materials from the horns, as it is more comfortable in its current play.
4. KeropakKeropak is a box to save wayang. Keropak has a long rectangular shape and has a variety of basins. Besides the basin add a beautiful impression on keropak, also the Dalang butt can attach appropriate on the edge of keropak. The top of keropak serves as a cover designed in such a way that easily to opened and closed. Keropak made of the jackfruit wood with a length of 110 cm, bottom width 74 cm, and 54 cm wide at the top, with a height measuring 32 cm. Keropak with measures such as the above can accommodate up to 150 wayangs from various figures and characters. Keropak placed on the left side of the Dalang.
Keropak also has another function, keropak can give accent to the show when he was paired with another element named "cepala". The right side of the keropak designed specifically for flexible and can be blasted. When the wayang show begins, keropak will be struck by the Dalang with cepala to give accent on the show. Loud or weak, and fast or slow the keropak beating will give rhythm to the wayang show, of course, be adjusted to the situation in the show.
In "Pewayangan" Encyclopedia mentioned that cepala is a paddle that is used by the Dalang to give the motion accent, voice accent and ambience accent in a wayang show. For example in Wayang Calonarang show with title Kautus Rarung by Dalang Ida Bagus Sudiksa. In a conversation scene, between Prabu Erlangga with Patih Madri, almost every end of the sentence followed by a one-time sound of cepala (tak). While a change of dialogue, also accompanied by the sound cepala which is rather long (tak, tak, tak-tak). Cepala sound able to build ambience accent as required by the Dalang, though there is no movement of the wayang. Cepala sound that falls at the end of the sentence of a character will beautify dialogue and reinforce the intent of the dialogue itself.
Cepala usually has a deep black color and made from the core of wood Asem/ les Celagi (), with a length of approximately 15 cm. The top of its form a bit pointy and getting bigger downward. The bottom of Cepala is round and flat, and this is the part that used to hit keropak both inside and on the outside. The middle part of the cepala made with indentations, to be easily clamped by a finger or toe of the Dalang. In a wayang show uses two cepala, one clipped in the right toe and the other one is used with the left hand.
Gedebong in Wayang Kulit performances serve to place line up the wayangs who take positions on the kelir. At the time of wayang characters who played in the position of standing, looked down, and sitting, the wayang rod will be plugged in gedebong. Gedebong also serves to plug in the buffer wooden on the edge of the kelir (right and left) to the vertical position (jelujuh), so that the kelir becomes tight and not kinked.
In the book of Dharma Pewayangan mentioned that gedebong is a symbol of Earth or land, kelir is a symbol of the heavens or sky and blencong is a symbol of Teja (Triodasa Saksi), which includes Surya (sun), Candra (moon), Wintang Tranggana (star). The third was a part of the Panca Maha Buta (akasa, teja, bayu, apah, pertiwi).
7. Kelir (screen)
Kelir is white cloth stretched to hold a wayang, which later would appear a wayang shadow. In Dharma Pewayangan kelir is a symbol of the sky. Kelir also serves as a barrier between the Dalang and the audience. But in reality, a lot of the audiences who want to watch from behind the kelir, in order to see directly the Dalang.
On innovative wayang show, tend to use "gayor" as a place to tie the kelir strap. Gayor there made very luxurious in accordance with the needs of performances. The material taken from the best wood, carved by experienced carpenters, engraving is then polished with a red primer, then painted with gold paint, commonly called "prada", so it will give the impression of luxury.
Innovative wayang show screen sizes vary greatly, there are standards, those that are made very large. It is tailored to the needs of such performances by Dalang who will perform. This is certainly going to affect the assessment from the audience. The Standard screen of tradition kelir that is normal in size 2.50 x 1.25 meters.
In the Javanese-Indonesian Dictionary, blencong is briefly described have utility as a lamp for illumination on wayang shows. In Balinese society, blencong often called "sanggokan" or "sembe", which is made of clay and then baked. Blencong usefulness is for lighting equipment when staging Wayang Peteng.
Blencong diameter generally less than about 30 cm, with 28 cm high, inside blencong there is wick made from yarn, with a length of about 25 cm, 4 cm on the outside, and the rest goes into the body of blencong. Fuel used is coconut oil with a capacity of less than three (3) liters. Who controls the flame blencong when staging is katengkong which is on the right, to make it more easily than the katengkong on the left. Blencong control purposes is to make its flame stable and does not lead to impaired performance.
Light plays a very important in a visual show. The intensity of light would affect the totality of a show that was held. The blencong light able to provide the magic accent in the wayang show, which can lead the audience's imagination as if their were in the times, where the scenes happen in the story. The lights generated by blencong lead wayang is in kelir as if they have breath, so the wayang seem alive even in times of "jejer wayang" (no motion). The shadow produced by lihgts blencong in reality is a reflection of the attitudes and morals in life. In Dharma Pewayangan mentioned, that blencong is a symbol of Surya.
Sound system is also included in the element which holds a very important role in the wayang show. A good sound system will help Dalang, so that his voice is heard loud and clear by the audience. If the sound system is good and sufficient, then the Dalang could regulate noise suppression which is needed for wayang characters, between hard and soft without spending a lot of energy.
Sound system standard which is used in wayang shows consist of : amplifire size of 500 watts, microphone and 3 units loud speaker with its buffer. These standard sound system is sufficient to support the show, so the sound and the message to be conveyed by the Dalang to the audience can be heard clearly.
In each staging performing arts in Bali can not be separated from "upakara" or "bebantenan", which will be offered to God in its manifestation as the god of art, regardless of whether it is art as a wali, bebali or balih-balihan. Ritual offerings which are presented in a wayang show serves as a sign of gratitude to Ida Sang Hyang Widhi Wasa or the ancestral spirits being saved.
Upakara or offerings which is dedicated to Wayang Peteng show in its function as balih-balihan include :
.:. Banten Pengoleman, in the form of: pejati, sodaan, canang, tipat kelanan and segehan. The Banten Pangoleman was presented by the Dalang to ask permission to "Pregina Agung" (God) and pleaded "taksu" or the spiritual strength in order to succeed in his staging.
.:. Banten Pamungkah, devoted to the presence of Ida Sanghyang Widhi Wasa to invoke success on the show. After completion of presented, the banten were taken from the keropak, then keropak will beaten last three (3) times as if hinting to the spirit of wayang, so up for action.
.:. Banten Penyineb, the function is to close, as the end of the procession of wayang show. The Banten Penyineb is as an expression of gratitude to the presence of Ida Sang Hyang Widhi Wasa for all the grace and the success that has been delegated in the show.
Upakara which is presented by a Dalang would be more complex, if he staged wayang show as a function of wayang wali and wayang bebali.
Reference : babadbali.com, pdwi.org
Photo : flickr.com
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