![]() It is said that during the Great Depression (1929-1939) the wages of a dalang as a rain shaman continued to increase. While the dalang earns wages for a day's performances of up to 10 guilders. In the 1920s alone, the wages of workers working a day were only 0.10 guilders. This success makes the dalang profession have a greater value than labor. The celebration that brings the dalang as a rain shaman is actually able to hold or move the rain. The dalang also played his role as a rain shaman well. The dalang was asked to be a rain shaman. The general public also often takes advantage of their services when there are relatives who hold celebrations in the form of celebration of life rites: birth, marriage, circumcision, and death. Even the magic is not only used or intended when he was just performing. The magic of the dalang began to be widely known by the public since time immemorial. ![]() So, with these two metaphors, the duality of the second nature can be maintained, but at the same time it acknowledges the existence of a kind of monism, or oneness," said the expert on modern Javanese literature, George Quinn in the book Wali Berandal Tanah Jawa (2021). The person in the mirror and his image in the mirror are separate, but again, the one cannot exist without the other. “There is also a mirror metaphor which depicts humans as the image of God on earth. Wayang (puppet) and dalang (puppeteer) are different, but have a kind of unity, because in a wayang kulit show, wayang and dalang are inseparable and cannot exist without the other.” One of them is wayang kulit: God is the dalang, and humans are the wayang (and layar kelir or colored screen, is the mundane or cosmic setting). Sufi thinkers in Java have expressed this idea through various parables. “Sunan Bonang seems to think that humans and God cannot be separated, but they are also not singular and the same. After all, only the chosen people can be the dalang. However, above all, the dalang profession cannot be entered by just anyone. Sometimes a puppeteer is described as like God. He has absolute power or someone who rules everything. Because, he is described as the center of the world of puppets. In simple words: a dalang must be powerful and supernatural. ![]() A dalang (puppeteer) in a wayang kulit (shadow puppet) show. Thanks to that, the dalang is considered a character who is able to connect between humans and invisible forces. But a dalang must have the ability to revive the spirit of each character played. His expertise is not only about being able to tell stories and move puppets well. There is a vital role of a dalang behind it. Among others, Semar, Bagong, Gareng, Petruk, Bilung, and others. The results of this acculturation formed many Hindu and Javanese characters in the wayang world. That is why the Dutch scientist, Jan Laurens Andries Brandes (1857-1905) revealed that wayang as an element of the original culture of Nusantara had existed long before the arrival of Hindu-Buddhist influences.Īfter that, the art of wayang developed rapidly. In a sense, the ancestors of the Indonesian people have known cultural values since time immemorial. ![]() Puppets are like a symbol of the progress of civilization. ![]() Wayang kulit is a great masterpiece belonging to the ancestors of the bumiputras. The dalang's skills are not only used during performances, but also for other big celebration events: births, marriages, circumcisions, and deaths. Therefore, the extra task for the dalang is also known as the rain shaman. From concocting stories and even holding or controlling the rain. They are spearheading the success of a puppet show. JAKARTA - The role of the dalang (puppeteer) in wayang kulit (shadow puppet) performances is vital. ![]()
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