Sanskrit became the literary and court language of Java and later of Bali. Hinduism arrived in Indonesia from India even before the Christian era, and was slowly adopted as the local belief system. Invariably, the play climaxes with the triumph of good over evil With a traditional orchestra in the background to provide a resonant melody and its conventional rhythm, the Dalang modulates his voice to create suspense thus heightening the drama. It is he who sits behind the screen and narrates the story. The Dalang is the genius behind the entire performance. It is up to the conductor or "Tok Dalang" to decide his direction. Some of the plays are also based on local happenings (current issues) or other local secular stories. Wayang Kulit plays are invariably based on romantic tales, especially adaptations of the classic Indian epics, "The Mahabarata" and "The Ramayana". When held up behind a piece of white cloth, with an electric bulb or an oil lamp as the light source, shadows are cast on the screen. The puppets are crafted from buffalo hide and mounted on bamboo sticks. Wayang Kulit is a very unique form of theatre employing the principle of light and shadow. The origin of the theatre is still remained a mistery, perhaps because the influence of neighbouring Indonesia, but it was brought to Malaya hundreds of years ago also known as Wayang Kulit Kelantan and Wayang Kulit Siam. Wayang Kulit is also known as shadow puppet show in the East Coast of Peninsular Malaysia, especially those in Kelantan and Terengganu, and also in Johor. At that event he performed a story about the hero Bhima from the Mahabharata. Galigi was an itinerant performer who was requested to perform for a special royal occasion. From that time till today it seems certain features of traditional puppet theatre have remained. The first record of a wayang performance is from an inscription dated 930 CE which says "si Galigi mawayang," or "Sir Galigi played wayang". However, there very well may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theatre. There is no evidence that wayang existed before Hinduism came to Southeast Asia sometime in the first century CE brought in by Indian traders. Wayang is a generic term denoting traditional theatre in Indonesia. Rounder CD 5060.Wayang shadow-puppet ( Bali, early 20th century) Shadow Music of Java, CD with thirteen-page booklet.'Bali & Beyond Educational Resources'.2 ('The Everyday, the Familiar and the Bizarre') Summer 2001, pp. India International Centre Quarterly, Vol. ^ Constantine Korsovitis: 'Ways of the Wayang'.^ Kathy Foley: 'My Bodies: The Performer in West Java'.On Thrones of Gold, Javanese Shadow Plays. Art in Indonesia, Continuities and Changes. Bijdragen tot de Taal-, Land- en Volkenkunde, 136 (1980), no: 4, Leiden, pp. 'Wayang Purwa Puppets: The Language of the Silhouette'. Honolulu: University of Hawaii Press, 1988. Painting and Performance: Picture Recitation and Its Indian Genesis. ^ 'Wayang puppet theatre - intangible heritage - Culture Sector - UNESCO'.See also Wikimedia Commons has media related to Wayang kulit. Gamelan players respond to the direction of the dalang. The puppet master contextualizes stories from the plays, making them relevant to current community, national or global issues. Wayang shadow plays are usually tales from the two major Hindu epics, the Ramayana and Mahabharata. The repertoire is unique to the island and is based on the Muslim Menak Cycle (the adventures of Amir Hamzah). In Lombok (where Islam is predominant and Bali's influence is strong), vernacular wayang kulit is known as wayang sasak, with puppets similar to Javanese ringgits, a small orchestra with no sinden, but flutes, metallophones and drums.
As such, they may also perform during daylight, for religious purposes ( exorcism), without lamp and without screen ( wayang sakral, or ' lemah') Balinese dalangs are often also priests ( amangku dalang). Music is mainly by the four gender wayang, with drums only if the story is from the Ramayana.
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A full gamelan with (pe)sinden is typically used. In Java (where Islam is predominant), the puppets (named ringgit) are elongated, the play lasts all night and the lamp (named blencong) is, nowadays, almost always electric.There are important differences between the three islands where wayang kulit is played (due to local religious canon):
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