Wayang Kancil in Indonesia: Playing with the Animals

4 March 2017 | mahasiswa UGM
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ABSTRACT

This descriptive paper reflects my involvement in the re-emergence of 'Wayang Kancil' as a contemporary art form. I will examine and describe its re-emergence in Yogyakarta, and examine the form of performance to find out whether there have been any changes since it was revived in 1980. Finally, this paper will describe the life of 'Wayang Kancil' in Yogyakarta up to 2002. The Indonesian people are surrounded by 'wayang'. There are various types of 'wayang' in almost all parts of Indonesia, though some are no longer performed while others have become less popular for various reasons. Among the types of 'wayang' that use puppets are 'Wayang Purwa' (Java), 'Wayang Kulit Parwa' (Bali), 'Wayang Cepak' (Cirebon), 'Wayang Golek' (Sunda), and 'Wayang Krucil' (Central Java). There are other types of 'wayang' that are dance performances, such as 'Wayang Wong' (Yogyakarta and Surakarta), 'Wayang Topeng Malang' (East Java), 'Wayang Topeng Dalang' (Madura), and 'Wayang Topeng Cirebon' (West Java). In addition to these older forms of wayang performance there are a number of new forms of 'wayang', for example 'Wayang Suluh', 'Wayang Revolusi', 'Wayang Pancasila', 'Wayang Wahyu', 'Wayang Sadat' and 'Wayang Kancil' (Sedyawati 1998). It is 'Wayang Kancil' that is the focus of this paper.

 

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