1. W YANG By: Michael Nathaniel & Daniel Haryono Introduction to

2. DEFINITION of WAYANG Wayang = RINGGIT (Krama Hinggil)  Miring Anggenipun Nganggit, artinya gambaran manusia dari samping. Wayang = Shadow / image / imagination  SHADOW PUPPET  Wayang Kulit (the most famous one of many other types of wayang)

3. TYPES of WAYANG Berdasarkan ALUR CERITA: 1.Wayang Purwa (kuno) 2.Wayang Madya (Abad Pertengahan) 3.Wayang Modern 4.Wayang Suluk 5.Wayang Wahyu 6.Wayang Suluh 7.Wayang Sandosa 8.Wayang Kancil, dll.

4. TYPES of WAYANG Berdasarkan BAHAN: 1.Wayang Beber 2.Wayang Kulit 3.Wayang Golek Sunda 4.Wayang Golek Cepak / Papak 5.Wayang Golek Pakuan 6.Wayang Golek Bendo 7.Wayang Golek Menak 8.Wayang Klitik / Krucil

5. TYPES of WAYANG Berdasarkan BAHAN: 9.Wayang Wong 10. Kethoprak 11.Wayang Suket 12.Wayang Batu 13.Wayang Potehi 14.Wayang Tenggul, Kuluk Cundul, Lokapala, dll

6. TYPES of WAYANG Berdasarkan Lakon: 1.Tragedi  perang Baratayudha: gugurnya Bisma 2.Raben / Alap-Alapan  pernikahan agung: Arjuna & Sembadra 3.Lahiran  Gatotkaca 4.Kraman  Pemberontakan: Rajamala 5.Wahyu  Wahyu Cakraningrat 6.Mistik / Kesepuhan  Falsafah hidup: Dewaruci

7. TYPES of CHARACTERS KARAKTER TOKOH wayang: 1.Ksatria (Satrio/Gagah/Alus) 2.Raksasa (Buto/Danawa/Kasar) 3.Putri 4.Monyet (Wanara) 5.Dhagelan / Punakawan (Clowns / Goro-goro)

8. ANATOMY of a WAYANG

9. TYPES of STYLIZATIONS KARAKTER TOKOH wayang: 1.Bentuk Mata 2.Bentuk Hidung 3.Bentuk Mahkota & Kenthu 4.Bentuk mahkota & Gelung 5.Bentuk Hiasan Kepala

10. WAYANG KULIT 2 Dimensi Semata wayang Cempurit (tanduk kerbau) Disungging (kulit kerbau ditatah & diwarna)

11. KAYON / GUNUNGAN Forest Gunungan / Mountain Change Scenery Flames & Demonic faces Intervention of natural Forces (Wind/Fire)

12. THE USE of COLORS white for holiness or purity or youth gold for nobility black for resolution or forthrightness pink or red for a quick temper green for deceitfulness

13. STAGES in a WAYANG show 1.Talu 2.Adeg Jejer 3.Adeg Sabrang 4.Goro-Goro 5.Tancep Kayon

14. 1TALU Opens the the Wayang Purwa performance and sets its mood. In rular Java the sonorous sounds of large gongs carry for long distances to entice and beckon people to come and see the play.

15. ADEG Is an opening scene or Jejer. In the center of the screen, the mountain or Gunungan, has not been moved, but soon it will be manipulated by the puppet master or Dalang, indicating that the play is commencing. Starts with a narrative of the court scene, describe the state of the nation, the king, his prime ministers, courtiers, and subjects, even the mode of dress. JEJER 2

16. After the court scene, the dalang invariably moves on to the adeg sabrang, which literally translate the scene from the other side or across the sea ( meaning outside java ). Adeg Sabrang is a contributing force, good or evil, to the drama of wayang. Foreign enemy or allies. ADEG SABRANG 3

17. After the court scene ( Adeg Jejer ) and the outside influence scenes ( Adeg Sabrang ). The play reaches turning point, usually called the goro – goro or upheaval this scene represents the sometimes violent change in the status quo that occurs when the courts come into contact with outside factors. The Dalang, or puppet master begins by telling the audience about the impending perils or disaster that can be expected. The time is around midnight and the mood of the play visibly changes. GORO 4

18. At the tancep kayon, the dalang finaly sticks his kayon, the shadow puppet that represents mountains or forests, in the soft part of a banana tree. This Closes tale and states the end results of the drama the tancep kayon is the epilogue of the story. TANCEP 5 KAYON

19. MAHABHARATA is the story of the Pandawa brothers and their fight to regain their kingdom from the evil usurpers the Kurawa.

20. PANDAWA - पाण् ‍ डव pāṇḍavaḥ 1.Yudhisthira 2.Bhima 3.Arjuna 4.Nakula 5.Sahadeva

21. PANDAWA - पाण् ‍ डव pāṇḍavaḥ YudhishthiraYudhishthira possessed a "complexion like that of pure gold, possessed of a prominent nose and large eyes, and endued with a slender make." He was just, had a correct sense of morality, and was merciful to surrendering foes. Draupadi counselled Jayadrath to run to Yudhishthir and to beg for forgiveness. BhimaBhima as tall and long-armed. In a display of ferocity, he was "biting his lips, and contracting his forehead so as to bring the two eye- brows together." His superhuman feats had earned him great renown. "They that offend him are never suffered to live. He never forgets a foe. On some pretext or other he wreaks his vengeance.“ ArjunArjuna she praised as the greatest of archers, intelligent, "with senses under complete control." Neither lust nor fear nor anger could make him forsake virtue. Though capable of withstanding any foeman, he would never commit an act of cruelty.

22. PANDAWA - पाण् ‍ डव pāṇḍavaḥ NakulNakul, said Draupadi, was "the most handsome person in the whole world." An accomplished swordsman, he was also "versed in every question of morality and profit" and "endued with high wisdom." He was unflinchingly devoted to his brothers, who in turn regarded him as more valuable than their own lives.The name Nakul generally means full of love and the male characteristics implied by the name are: Intelligence, Focus, Hard-Work, Handsomeness, Health, Attractiveness, Success, Popularity, Respect, and unconditional Love. SahadevaSahadeva was the youngest of the brothers, and like the others formidable in war and observant of morality. "Heroic, intelligent, wise and ever wrathful, there is not another man equal unto him in intelligence or in eloquence amid assemblies of the wise."

23. PANDAWA - पाण् ‍ डव pāṇḍavaḥ Create an interior design to display the five Wayang Pandawas in a 5-6 m wall.

24. PANDAWA - पाण् ‍ डव pāṇḍavaḥ Create visual characters that represents the five Pandawas

25. RAMAYANA is the story of Rama’s search for his wife Sinta who has been abducted by the demon Dasamuka. Create an interior design that embodies the spirit of the story of Ramayana