The History of Wayang Bali

Bali Personal Drivers - The origins of Wayang Kulit (Shadow Puppet) in Indonesia is still debated by experts and there is still no agreement, whether Wayang Kulit is native from Indonesia, from India or from other countries.

Some the inscriptions found revealed that, wayang show in Bali has a fairly long journey. In the inscription issued by The King Ugrasena that has Saka year 818 (896 AD), which is now store in the Village Bebetin (Singaraja), mentioned :

"... Pande tambaga, pamukul, pagending, pabunjing, papadaha, parbhangsi, partapukan, parbwayang, panekan, dihyang api, tikasana, metani kasiddhan dudukyan hu "

The translation was approximately :

... the coppersmith, gamelan, interpreters song / singer, interpreter angklung bamboo percussion, mallet percussion, flute-players, masked dancers, puppet play.
(Goris, 1954:55; simpen AB., 1974: 3; Rota, 1977/78: 10)

The above inscription mentions that several groups of people that describe a particular profession, including the person that demonstrates the wayang or also known "Dalang" (the puppeteer).
Other inscriptions that mention the existence of a wayang show in Bali, among others :
.:. Inscription Dawan (Klungkung regency) year 975 Saka (1053 AD).
.:. Inscription Blantih year 980 Saka (1058 AD).
.:. Inscriptions Gurun Pai from Village Pandak Bandung (Tabanan), issued by The King Anak Wungsu in 1071 AD.

From inscriptions mentioned above, it is almost certain that around the year 896 AD in Bali have discovered a wayang show with a group that has been organized and demonstrate the wayang skill has a distinctive profession, among the various professions that existed at that time. From these inventions, it is possible that before the year 896 AD, the wayang show also existing in this area, but unfortunately the evidence to support this claim, so far not been found.

According to Angela Hobart, Wayang Bali appeared during The Majapahit Empire (XIII to XV century). On the period of The Kingdom of Gelgel with its King Dalem Watu Renggong (1560-1550 AD), he was awarded a one "gedog" (box) wayang from The King of Majapahit around the XV century, where the wayang shapes is makes no difference with the shape of the Wayang Bali right now, which is the same as the shape of wayang relief contained in Taman Sari (Klungkung), that came about in the century XVI / XVII AD. (Hobart, 1987: 22).
If this assumption is correct then wayang kulit has switched from Java to Bali between X to XIV century. This is possible because at the time Javanese Hindu influence in Bali is very strong. Bali was conquered by Majapahit in the year 1343 AD as a manifestation of the oath of Gadjah Mada (Chronicle Smarapura, TT: 38B and 39A). After the collapse of the Majapahit Kingdom in East Java, scientists, priests, and nobles fled to Bali for the displaced and brought with it a classic literary texts. In the time between the two periods, wayang kulit, "wayang wong" (people puppet), and "topeng" (mask) is known in Bali (randon, apcit;: 52-53).

Wayang Bali if viewed from its shape (prototype) apparently older than The Javanese Wayang, Wayang Purwa. Although scientific investigation has not produced answers to the above conclusion, but Mangkunagoro VII of Surakarta expressly states that, the more naturalistic style of Wayang Bali admittedly superior in age, so as a person receives is axiomatic that stylization constantly evolving beyond naturalistic shape (Mangkunagoro VII, 1957:7; Claire Holt, 1967: 135).
The further older of Wayang Bali prototype, is also corroborated by the existence of the relief shape which resembles with the shape of wayang on temples in East Java such : reliefs on Candi Jago in Tumpang (Malang); Candi Surawana and Tegalwangi near Pare (Kediri) or on Candi Panataran in Blitar. All shapes of characters are similar to the shape of Wayang Bali that have not been exposed to the influence of Islam (Soedarso Sp., 1987: 5-6)

The Wayang Bali Myth

The Balinese, mythologically considered a wayang show comes from The Gods in heaven. This myth is mentioned in two papyrus manuscripts are Siwagamma and Tantu Pagelaran. In papyrus Siwagama mentioned as follows :

“... sinasâ ring lemah, ryyarepaning salu-agung, ginawâken pangung Hyang Trisamayâ, kumenaken kelirning awayang Bhatara Iswara hudipan, rinaksâ dê Sang-hyang Brahma Wisnu, ginameling redep kecapi, rinorwan pamanjang mwang gulâ ganti, sinamening langon-langon, winahyaken lampah Bharata kalih, Sanghyang Kala Ludra lawan Bhatari Panca Durga, sira purwakaning hana ringgit ring Yawa Mandala, tinonton ing wwang akwêh".
(Pus Dok Bali, 1988: 60-61; Hobart, ibid: 22)

The translation was approximately :

"... On the earth right in front of home great hall, made a stage or arena Hyang Trisamaya, held a wayang show put on curtain, Bharata Iswara act as puppeteer / speaker, accompanied by Sanghyang Brahma and Sanghyang Wisnu, accompanied by gamelan gender and the harp, sing a song gula-ganti, followed by a charming dance, tells about the journey of two gods, namely Sanghyang Kala Ludra/God Shiva with Bhatari Panca Durga/Goddess Uma, thus the beginning of wayang (ringgit) in the island of Java, people watching are quite a lot".

Meanwhile in papyrus Tantu Pagelaran manuscripts, also mentions about the origin wayang show from the gods in heaven. The contents are as follows :

“... Rep saksana Bhatara Iswara Brahma Wisnu umawara panadah Bhatara Kalarudra; tumurun maring madyapada hawayang sira, umucapaken tatwa bhatara mwang bhatari ring bhuwana. Mapanggung maklir sira, walulang inukir maka wayangnira, kinudangan panjang langon-langon. Bhatara Iswara sira hudi-pan, rinaksa sira de Hyang Brahma Wisnu. Mider sira ring bhawana masang gina hawayang, tineher habandagina hawayang; mangkana mula kacarita nguni ...".
(Pus Dok Bali, 1987: 43; Pigeaud, 1924: 103 – 104; Hazeu, 1979: 43-44)

The translation was approximately :

"... The gods were afraid, Shiva is intangible, Kalarudra willing to destroy all of the world. Lord Iswara, Brahma and Vishnu knew it, then fell to the earth and held a wayang show. They tell who is Kalarudra and Durga. The show is held on the stage with curtain, while the puppets were made of animal skins carved and chiseled and accompanied by a charming song. Iswara act as puppeteer, accompanied by Bhrahma and Vishnu. They wander the earth by playing music and play the wayang. Hereby created a wayang show ...".

The above two texts fairly clearly mention the wayang shows in Java (Yawa Mandala), but implicitly approximates the form of a wayang show in Bali. It was marked by convening the wayang show in a special place (Bale Gede), puppeteer assisted by two people, right and left, called katengkong /tututan, and use of accompaniment / gamelan gender. These three Gods (Lord Iswara, Brahma, and Vishnu) until now believed to assist a puppeteer to achieve success, for their wayang show. It is clearly stated in the Dharma Pewayangan.
Above data indicate that, the existence of wayang in Bali is so old and its artist-makers are given special status as a special title when compared with the other artists.

Of various types of performing arts that exist and flourish in Bali, wayang performances including the types of "ulameng-lungguh" (respectability) in the cultural life of the people of Bali (Rota, 1990: 5).
A foreign humanist, Covarrubias said that, a puppet show is not only an important entertainment for the people of Bali, but it is thought to be the ancestors of traditional Balinese theater, he said :

"... With elaborate is magic, religious significance, its undiminished popularity, and as the most important firm of Balinese entertainment "(1973: 243)

Reference : pdwi.org