Wajang Balinese Shadow Puppets  Combining art and music    There is some disagreement as to how the tradition of the wajang originally started.  In modern times it has been associated with Hinduism.  It is believed that in some manor or another there was a type of dramatic performance existing in Bali prior to the Hindu invasion from Java.  “If the shadow play came from India it superseded at an earlier date than the original dramatic form in the rituals of ancestor worship.”  (McPhee, 3)
 When the wajang koelit reached Bali from Java near the end of the Fifteenth Century (as supposed by the Hindus theory), it had lost much of its significance in ancestral worship or honoring. It is not, however, mere entertainment today, but is an important aspect in religious and non-religious ceremonies.
    The plays, lampahan, are inspired by a number of sources.  The most well-known ones are the ones inspired by legends such as the two great Hindu legends, the Mahabharata (known in Bali as the astadasa parwa) and the Ramayana.  These two plays use two different sets of puppets.  The night performances have been viewed by some as entertainment even though they may take place after a religious ceremony.  However, there are also more clearly religious and ritualistic day performances called wajang lemah.  It is a "prescribed offering, and takes place during the time the priest is officiating."  (4)  The wajang lemah  has a variety of aspects which differ from the wajang koelit.  It uses no lamp or fire, it has no screen, only a white rope symbolizing a screen, it takes place on the ground near the offerings, and there is no audience.
    The dalang is the puppeteer and master storyteller. The dalang has to be capable of learning and mimicking the voices of each character.  They also must be trained in poetry, history, and religion.  There are certain ceremonies in which only a dalang specially prepared by a priest can perform.  A well trained dalang must also possess knowledge of kawi, old Javanese.  This is the language of the classics. The beginning of the wajang performance alone requires the dalang to have religious training.  The performance is opened with prayer and offerings and the puppets are being brought out.
    The music is provided by four gender wajang.   This instrument is made up of ten metal keys, "suspended by means of leather thongs above bamboo resonators,
which are tuned to the same vibrations as their respective keys."  (8)  The instruments are paired up, a large one and a smaller one.  The smaller one is tuned an
octive higher.  Even from a brief introduction to the wajang it is easy to see the value art has in the Balinese

Ardjoena	Tjalonarang	Clown from Tjoepak

Gender wajang	Wajang lemah

 

Wajang Set-up

1.  gedebong  2.  loedjoeh  3.  klir  4.  kropak  5.  6.  dalang  7.  damar  8.  gender  gde (pengisep)  9.  “            “     (pengoembang)  10. gender tjenik (pengisep)  11. “           “        (pengoembang)   *    toetoetan dalang  X   djoeroe gender  1.  base  2.  poles  3.  screen  4.  puppet box  5.  lid to box  6.  manipulator  7.  lamp  8.  large gender  9.  large gender  10.  small gender  11.  small gender  *  dalang's assistants  X  gender players (McPhee, 25)

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