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Kawi Dalang: Creativity in Wayang Theatre

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Kawi Dalang: Creativity in Wayang Theatre KAWI DALANG: CREATIVITY IN WAYANG THEATRE by I NYOMAN SEDANA (Under the direction of Professor Farley Richmond, Ph.D.) ABSTRACT The wayang puppet theatre is the oldest continuously performed theatrical form among the many genres of performing art in Bali. While wayang theatre has a fixed structure and stock dramatic characters, creativity and improvisation play a major role in the way the dalang puppet master shapes a performance. The dalang’s creativity serves as the ‘soul’ of wayang and has successfully been responsible for transmitting cultural traditions as well as reflecting contemporary social and political issues from one generation to another. This dissertation examines the creativity and improvisation of the dalang puppeteer in the performance of Balinese wayang theatre. Due to the dynamic nature of its constituent parts it is possible to consider these innovations within a particular paradigm, that is Trisandi ‘the interplay of Genre-Scenario-Character.’ After outlining the mythology of wayang and providing a brief overview of the various types of wayang in Bali, the study explores the structural interplay within the organic elements of genre, story, and characters. Next is a chapter on the creativity in plot construction, recounting the process of selecting a play and transforming narration into dialogue, complemented by the six fundamental principles of constructing a play and originating the story. Then it explores other elements of creativity such as selecting puppets, naming the characters and locale of the action, puppet construction and manipulation, scenery and stage business, jokes and social criticism, creating puns or play on words, modifying and creating poetry, and making creative responses to any unexpected and expected happenings during a performance. Integrated into Chaper 3 and 4 are two extensive examples of how puppeteers introduce creativity into a performance. The most recent example is a performance of dalang Wija, a respected puppet master in south Bali. In addition, the study discusses a performance of dalang Sudarma, a highly regarded exponent of wayang in the north Bali. Ultimately, this study may help to clarify a common misconception among western spectators and scholars alike, that Asian theatre forms are generally strictly codified and lack originality in content and form. INDEX WORDS: Balinese shadow theatre, Wayang theatre, Kawi dalang, Creativity, Improvisation, Innovation, Modification, Genre, Story, Characters, Puppetry, Prepared and spontaneous improvisation, Composition, Scenario, Experiment, Wayang kulit, Wayang puppets, Dalang, Shadow master, Bali, Indonesia. KAWI DALANG: CREATIVITY IN WAYANG THEATRE by I NYOMAN SEDANA B.A., National Dance Academy of Indonesia, 1986 M.A., Brown University, 1993 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2002 2002 I Nyoman Sedana All Rights Reserved KAWI DALANG: CREATIVITY IN WAYANG THEATRE by I NYOMAN SEDANA Approved: Major Professor: Farley Richmond Committee: Charles V. Eidsvik Dorothy Figueira Freda Scott Giles David Z. Saltz Electronic Version Approved: Gordhan L. Patel Dean of Graduate School The University of Georgia April 2002 To the GOD (HYANG WIDHI), my SUPREME GURU, who gives me life, grace, and protections, this dissertation is dedicated. HE sends me HIS love and encouragement through my parent, my wife Seniasih, my sons Wina and Georgiana, family and friends. Without their supports I would not accomplish any success in my life. I love them dearly and wish to fully express my deep gratitude to all of them. iv ACKNOWLEDGMENT My graduate study would have been impossible without the generous financial support of the Asian Cultural Council of New York and a Graduate Research Fellowship from the University of Georgia, for which I am very grateful. For all knowledge and skills of wayang that I know and have performed, I am deeply indebted by all of my gurus both in the several villages and in the government-sponsored educational institutions in Bali, i.e. the High School of Arts (SMKI, 1977-1982), the National Arts Academy (ASTI, 1982-1986), and the Indonesian State College of Arts (STSI, 1986-1989). I am grateful to my gurus who had also allowed me to record their performances: I Nyoman Sumandhi, Dewa Ngakan Nyoman Sayang, I Made Sija, I Nyoman Rajeg (in Tunjuk), Wayan Nartha, Wayan Loceng, Ida Bagus Sarga (in Bongkasa), Wayan Wija, Nyoman Ganjreng (in Sukawati), Ida Bagus Puja (in Buduk), Wayan Persib, Made Mawa, Gusti Pekak Pacung (in Bitera), Pekak Sabung and Pekak Ketut Rindha (both were in Balahbatuh), Nyoman Catra and Tjokorda Raka Tisnu (in Denpasar). In numerous ways of my daily life I think that I have also learned wayang from many of my friends and colleagues who shared, asked, and learned together: Gusti Ngurah Serama Semadi, I Ketut Kodi, Dewa Ketut Wicaksana, Sang Ketut Sandiyasa, Gusti Putu Sudarta, Made Yudha Bakti, Wayan Sujana, Wayan Sika, Made Sidia, Ketut Sudiana, Kadek Widnyana, Made Marajaya, Komang Sekar Marhaeni, Ni Ketut Trijata, Ni Nyoman Candri, and Ni Wayan Rasiani. Dalang artists that allowed me to record their performances and dalang students who inspired me theatrically include: I Wayan v Sudarma, Made Kembar, Wayan Tunjung, Wayan Mahardika, Wayan Sira, and Nengah Darsana. When I was a little boy, my uncle Made Surung often made wayang puppets for me from the bamboo petals, by which I began to first enjoy and understand how a single string allowed my finger to control the puppet jaw. I am deeply indebted by some material and spiritual supports from Ida Pedanda Griya Tegallantang, Ida Bagus Adnyana Koripan, Mr. Phils Smith, Ms. Linda Smith, Ms. Sara McMullan-Richmond, Mr. Kenneth and Ms. Janet W Kytle. My Ph.D. has been initiated by some stimulating academic guidance form Dr. John Emigh, Dr. Kathy Foley, Dr. I Made Bandem, Dr. I Wayan Dibia, Dr. Linda Burman-Hall, Dr. Michael Bakan, Dr. Ki Mantle Hood, Dr. Wayan Rai S., and many of my theoretical professors, English instructors, and the writing centers in University of California Santa Cruz, Brown University, and University of Georgia. Ultimately my graduate work has been intensified by various academic experiences under a number of my professors at the University of Georgia such as Dr. Farley Richmond, Dr. David Z. Saltz, Dr. Stanley V. Longman, Dr. Franklin Hildy, Dr. Freda Scott Giles, Dr. Michael Hussey, Dr. Antony Shuttleworth, Ms. Jennifer Maldonado, Dr. Scott A. Shamp, Dr. Bradley Tindall, and Elena Hartwell. Just like Vincent Argentina, Nathan Hruby, and John Davis who helped me with computer, Ms. Tracey and Ms. Yvonne who helped me with administration, the librarians have always been so helpful in my search for books that I needed throughout my course of study. To any support from my relatives and friends that I have not named here, I wish to express my great gratitude. vi TABLE OF CONTENTS Page ACKNOWLEDGMENTS………………………………………………………………. iv CHAPTER 1 INTRODUCTION ………………………………………………….………..1 A. Purpose and Definition of Related Terms………………..…………..1 B. Justification Based on Contemporary Publications………………..…….4 C. Sources and Research Methodology………………………………... 6 D. Limitation and Subject Division/organization…………………...…10 2 WAYANG THEATRE IN BALINESE CULTURE ………………..……… 13 A. The Mythology of Wayang: Purwagama……………………………….. 15 B. Brief Overview of All Wayang Types in Bali……………………....18 C. The Interplay of Genre-Scenario-Character……………………….. 30 3 CREATIVITY IN PLOT…………………………………………………... 68 A. Transforming Narration Into Dialogue …………………………… 69 B. Selecting a Play: Its Premise and Choice …………………………. 79 C. Constructing a Play ………………………………………………...84 D. Originating a Story: Carita Kawi Dalang……………………….. 123 4 CREATIVITY IN PRESENTATION ……………………………..…….. 132 A. Selecting Puppets to Represent Characters in a Performance …….132 vii B. Naming the Characters and Place………………………………….138 C. Puppet Construction and Manipulation (Tetikasan) ………………142 D. Scenery and Stage Business……………………………………… 147 E. Jokes and Social Criticism………………………………………... 150 F. Creating Puns or Playing on Words………………………………. 179 G. Modifying and Creating Poetry. …………………………………..186 H. Making Creative Responses to any Unexpected and Expected Performance Situation …………………………………………... 193 5 SUMMARY AND CONCLUSION ……………………………….. .. …. 299 A. Summary …………………………..………………………...…... 299 B. Conclusion ……………..………………………………………… 203 BIBLIOGRAPHY………………………….……………………………………. …… 206 APPENDICES A OTHER RELEVANT DRAMATIC LITERATURE …………….. ……..216 B PHOTOGRAPHS OF NEW MANIPULABLE PUPPETS……………….218 viii CHAPTER 1 INTRODUCTION The puppet theatre (wayang kulit) is the oldest documented theatrical form in Bali. It still survives—performed for both ritual and entertainment purposes—despite the recent overwhelming influx of technologically based entertainment and the endless flow of tourists visiting the island. Wayang (or wayang kulit) are carved flat leather puppets with highly stylistic shape and color representing animals, demonic beings, mythical figures, human beings of all social strata, heavenly beings, and scenic props or figures. In a wayang kulit performance, those flat cutout figures are silhouetted by a dalang against a translucent white screen, with an oil lamp as a single source of light. While wayang theatre has a fixed structure and stock dramatic characters, its performance invariably involves creativity and improvisation of the dalang puppet master. The dalang is the
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