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| Wayang beber | |
|---|---|
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| Types | Traditional puppet theatre |
| Ancestor arts | Javanese culture |
| Originating culture | Indonesia |
| Originating era | Hindu–Buddhist civilisations |
| Wayang puppet theatre | |
|---|---|
| Country | Indonesia |
| Reference | 00063 |
| Region | Asia and the Pacific |
| Inscription history | |
| Inscription | 2008 (3rd session) |
| List | Representative |
| Wayang kulit (the leather shadow puppet), wayang klitik (the flat wooden puppet), wayang golek (the three-dimensional wooden puppet) | |
| This article is a part of the series on |
| Indonesian mythology and folklore |
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 Indonesia portal Mythology portal |
Wayang beber (Javanese: ꦮꦪꦁꦧꦺꦧꦺꦂ, romanized: wayang bèbèr (in the ngoko register))[1] is an Indonesian wayang performance art whose presentation is manifested on stretched sheets of paper or cloth, with pictures in the stylized wayang accompanied by a narration by a dalang.[2] Wayang beber performances emerged and developed in Java in pre-Islamic times but continued into the Islamic kingdoms (such as the Sultanate of Mataram). The stories shown are taken from the Mahabharata and the Ramayana. After Islam became the main religion in Java, more Panji tales were performed.[3] Wayang beber bears a strong resemblance to narrative in the form of pictorial ballads common at annual fairs in medieval and early modern Europe. They too suffered the same fate—nearly becoming extinct, although there are still groups of artists who support wayang beber in places like Surakarta (Solo) in Central Java.
The first foreign records of a wayang beber performance were reported by Ma Huan in his 1451 book, Yingya Shenglan, which tells of Zheng He's visit to Java in about 1413–1415, during the Majapahit empire, as well as by Fei Xin. They saw crowds of people listening to someone tell a story based on pictures displayed on a partially rolled sheet of paper. The storyteller would hold a piece of wood and use it to point to the pictures on the sheet. Such practices are still the same as wayang beber performances in later times.[citation needed]
The pictures of the wayang scenes are depicted on sheets of cloth, or deluwang, each containing several scenes (called (pe)jagong), according to the order of the story. The images are unfurled one by one, with the dalang, or puppeteer, narrating the depicted scenes, including dialogue.[4]
In the present day, wayang beber is only performed in a few locations, such as Gelaran hamlet in Bejiharjo village, Karangmojo, Gunungkidul. The performance is a dying art, and few young people have learned it from the original dalang.[5]
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Source: Wikipedia. Article content is retrieved live through the MediaWiki API.
Wayang beber (Javanese: ꦮꦪꦁꦧꦺꦧꦺꦂ, romanized: wayang bèbèr (in the ngoko register)) is an Indonesian wayang performance art whose presentation is manifested on stretched sheets of paper or cloth, with pictures in the stylized wayang accompanied by a narration by a dalang. Wayang beber performances emerged and developed in Java in pre-Islamic times but continued into the Islamic kingdoms (such as the Sultanate of Mataram). The stories shown are taken from the Mahabharata and the Ramayana. After Islam became the main religion in Java, more Panji tales were performed. Wayang beber bears a strong resemblance to narrative in the form of pictorial ballads common at annual fairs in medieval and early modern Europe. They too suffered the same fate—nearly becoming extinct, although there are still groups of artists who support wayang beber in places like Surakarta (Solo) in Central Java.
Wayang kulit (Javanese: ꦮꦪꦁꦏꦸꦭꦶꦠ꧀ (in the ngoko register)) is a traditional form of shadow puppetry originally found in the cultures of Java and Bali in Indonesia. In a wayang kulit performance, the puppet figures are rear-projected on a taut linen screen with a coconut oil (or electric) light. The dalang (shadow artist) manipulates carved leather figures between the lamp and the screen to bring the shadows to life. The narratives of wayang kulit often have to do with the major theme of good vs. evil. Wayang kulit is one of the many different forms of wayang theatre found in Indonesia; the others include wayang beber, wayang klitik, wayang golek, wayang topeng, and wayang wong. Wayang kulit is among the best known, offering a unique combination of ritual, lesson and entertainment. On 7 November 2003, UNESCO designated Wayang the flat leather shadow puppet (wayang kulit), the flat wooden puppet (wayang klitik), and the three-dimensional wooden puppet (wayang golek) theatre, as a Masterpiece of the Oral and Intangible Heritage of Humanity. In return for the acknowledgment, UNESCO required Indonesians to preserve the tradition.
The gunungan (Javanese: ꦒꦸꦤꦸꦁꦔꦤ꧀, lit. 'mountain' (in the ngoko register)), also known as kayon (Javanese: ꦏꦪꦺꦴꦤ꧀) is a figure in the Javanese theatrical performance of wayang e.g. wayang kulit, wayang klitik, wayang golek sangat bagus, and wayang beber. The gunungan is a conical or triangular structure (tapered peak) inspired by the shape of a mountain (volcano). In wayang, gunungan are special figures in the form of pictures of mountains and its contents. Gunungan has many functions in wayang performances, therefore, there are many different depictions. In the standard function, as the opening and closing of a performance stage, two things are depicted on two different sides. On one side, at the bottom is a picture of a gate guarded by two rakshasa holding swords and shields. It symbolizes the palace gate, and when played the gunungan is used as a palace. At the top of the mountain is the tree of life (kalpataru) which is entangled by a dragon. On the tree branch depicted several forest animals, such as tigers, bulls, monkeys, and birds. The picture as a whole depicts the situation in the wilderness. This side symbolizes the state of the world and its contents. On the other side, a blazing fire is depicted. It symbolizes chaos and hell. Before the puppet is played, the gunungan is stuck in the middle of the screen, leaning slightly to the right which means that the wayang play has not yet started, like a world that has not yet been told. After playing, gunungan is removed, lined up on the right. Gunungan is used as a sign of changing plays/story stages. For that the mountains are plugged in the middle leaning to the left. In addition, gunungan is also used to symbolize fire or wind. In this case the side of the mountain is reversed, on the other hand there is only red-red paint, and this color symbolizes fire. Gunungan can act as land, forest, roads and others by following the dialogue of the dhalang. After the play is finished, Gunungan is plugged again in the center of the screen, symbolizing that the story is finished. There are two kinds of gunungan, namely Gunungan Gapuran and Gunungan Blumbangan. Gunungan Blumbangan was composed by Sunan Kalijaga in the era of the Demak Kingdom. Then during the Kartasura era, it was composed again with the Gunungan Gapuran. Gunungan contains high philosophical teachings, namely the teachings of wisdom. All of this implies that the play in wayang contains lessons of high value. This means that wayang performances also contain high philosophical teachings.
Inna Naumovna Solomonik (7 August 1932, Moscow – 14 July 2009, Moscow) was a Soviet and Russian specialist in puppet theatre. She graduated from the Moscow State Pedagogical Institute of Foreign Languages in 1973 (first degree, diploma of French teacher) and got her PhD at the Institute of Oriental Studies under the USSR Academy of Sciences (Moscow) in 1981 (thesis: Javanese Wayang Purwa performance as a semiotic system under the supervision of Dr. Vladimir I. Braginsky). Inna Solomonik studied the history of the puppet theatre for over 40 years. From 1961 till 1991 she was a research fellow with the Museum of Puppets under the State Academic Central Puppet Theatre led by Sergey Obraztsov. She began her research career by investigating folk puppet shows in pre-revolutionary Russia, then in Europe and the Americas. By the late 1960s she had prepared a volume of documents and descriptions (about 3000 typed pages) on the history of the Russian folk puppet theatre. In 1993, a small part of this work was printed in the book Puppets come in the stage. Beginning in the mid-1970s, Inna Solomonik turned to studies of oriental puppet performances. In 1980, she was ready with her PhD thesis. The kernel of this research was a semiotic analysis of the silhouettes of Wayang Purwa figures. Later, Inna Solomonik continued to study the Asian puppet theatre, and published two monographs on the subject (1983 and 1992). In 2001, she published the book-album on Javanese Wayang Beber. She was an active member of the Nusantara Society. She died on 14 July 2009.
Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.
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