Towards Re-enchantment of the Wayang Puppet Theatre: Puppeteers as Agents of Morality in the Contemporary Indonesian Society

Abstract

Wayang is a dynamic intangible cultural heritage that evolves with the times. The problem facing wayang performances today is the declining quality of the performing arts. The role of the puppeteer becomes immensely significant as a moral agent in society. This research analyzes the creativity and innovation of puppeteers as moral agents in the contemporary Indonesian society.The research employed a qualitative approach, using the phenomenological paradigm. Data were obtained through in-depth interviews with puppeteers involved in polemics over the declining quality of Wayang performing arts. Subsequently, Jürgen Habermas's theory of communicative action is employed to analyze these moral and cultural polemics.The results reveal the existence of two competing groups of puppeteers concerning the creativity and innovation of puppeteers as moral agents in contemporary Indonesian society. On the one hand, some puppeteers emphasize the aspect of tontonan (entertainment). On the other, some puppeteers emphasize the aspect of tuntunan (moral teaching). Puppeteers who prioritize the tontonan aspect attract a larger fan-base but often result in a decline in the quality of performing arts.Meanwhile, puppeteers who focus on the tuntunan aspect can preserve the traditional values of wayang. However, their performances often fail to captivate the audience. Each group of puppeteers staunchly defends its own opinions and beliefs.

Heritage in Motion: Safeguarding the Cultural Legacy of Wayang Kulit Kedu, Indonesia

“…In the context of Wayang Kulit, these concepts are intertwined in efforts to transform and revitalize this art form by adapting its traditional elements to contemporary contexts, ensuring its relevance and sustainability while preserving its core cultural and artistic values. This dual process of transformation and revitalization is pivotal for maintaining the cultural significance of Wayang Kulit in modern Indonesian youth society and beyond (Nurrochsyam et al 2023, Nyoman Sedana 2016.…”

“…Within the rich tapestry of Javanese culture, the art of performance and the craft of traditional Wayang Kulit Purwa have evolved into six distinct gagrak (styles or genres), reflecting diverse cultural identities across Java. These styles include Kedu, Yogyakarta, Surakarta, Coastal (Pesisir), Banyumas, East Java (Jawatimuran), and Banyuwangi, all rooted in their geographical and cultural landscapes (Angst 2007, Groenendael 1985, Isaac Cohen 2023, Manik et al 2022, Nurrochsyam et al 2023, Parikesit 2017, Setiawan 2022. The division of these styles is based on Java's cultural identity zones, illustrating how regional distinctions shape artistic expressions.…”

“…These stories have undergone signi fi cant acculturation from the Hindu-Buddhist era to the Islamic period in Java, resulting in adaptations that reflect the local ethos and societal norms. This blending of cultures has enriched the Javanese versions of these epics, making them distinct from their original Indian narratives (Nugroho 2019, Nurrochsyam et al 2023). Acculturation has created unique stories and characters inspired by Mahabharata and Ramayana, deeply rooted in Javanese mythology and worldviews.…”

“…Over these centuries, the art of Wayang Kulit has evolved alongside the rise and fall of kingdoms in Java and Bali. It has spread to rural areas and islands, such as Lombok, Madura, Sumatra, and Kalimantan, where various local performance styles and musical accompaniments have developed harmoniously with local cultures (Nurrochsyam et al 2023, UNESCO 2003b, Wiratama 2021.…”

“…This is mainly due to the Dalang's expertise in memorizing numerous stories and skillfully reciting ancient narratives and poetic songs to captivate the performances. The preservation and transmission of this cultural wealth and knowledge in Wayang Kulit is facilitated through formal and informal education by dalang to their successors, ensuring its inheritance and continuity for future generations (Nurrochsyam et al 2023, Boonstra 2015.…”