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Wayang Sasak
media
posted on 2021-08-19, 15:50 authored by David HarnishAll clips are from a performance at Kidang by dalang (puppeteer) Ki Budiman in 2017. The right-side puppets, prominently including Jayengrana (Amir Hamza, also known as Wong Menak – see Wayang Wong from the Traditional Musics folder) are the morally correct characters and will triumph in the coming conflict. Most left-side puppets are evil; they will lose the battle. “Wayang Prabu” is what the major puppets are called (right and left side; note, “Prabu” also means king) and rerencekan are the physically smaller commoners, sidekicks, and servants
3.1 Wayang Sasak opening. Ki Budiman manipulates the central Gunungan, with Jayengrana (as Adam) and Munigarim (as Eve), as he symbolically creates the world. Then, Adam and Eve are placed on either side of the Gunungan to symbolically create human life. The accompaniment by gamelan wayang Sasak features suling wayang and a small bronze ensemble. The pieces featured are the fast-tempo “Rangsang” at the beginning (this is the third repetition of the melody; the three statements represent fire, air, and water) and the slower-tempo “Selutur,” used for the removal, “awakening,” and positioning of the puppets and “flying” by the Gunungan.
3.2 Right-side rerencekan sidekick. Dialog/voice of rerencekan and “rumba” beat for humor.
3.3 Left-side King and subjects (the conniving Prabu Nursiwan and Patih Baktak probably among them), wayang prabu (major, larger puppets) characters.
3.4 Left side King, Entourage (and supplication to the Prabu), and rerencekan
3.5 Jayengrana with Umar Maya, then other left-side wayang prabu arrive
3.6 Jayengrana with more subjects, including Umar Maya and the large Umar Madi (behind Jayengrana), across from other wayang prabu allies. Accompaniment seems to be “Jangel,” referring to walking as characters pay respects to Jayengrana
3.7 Jayengrana with entourage, some newly arriving to pay him respects. The clip includes a sendon song (suling weaving around the dalang’s singing) about halfway through.
3.8 Behind screen Jayengrana and entourage. Umar Maya speaks with Jayengrana toward the beginning of the clip.
3.9 Behind screen left side puppets and rerencekan. Includes Panah Api fire puppet. Clip also shows the gamelan and coordination issues between the dalang and assistants.
3.10 Behind screen rerencekan (including a female with exaggerated breast). Some views of left side puppets and the suling player.
3.1 Wayang Sasak opening. Ki Budiman manipulates the central Gunungan, with Jayengrana (as Adam) and Munigarim (as Eve), as he symbolically creates the world. Then, Adam and Eve are placed on either side of the Gunungan to symbolically create human life. The accompaniment by gamelan wayang Sasak features suling wayang and a small bronze ensemble. The pieces featured are the fast-tempo “Rangsang” at the beginning (this is the third repetition of the melody; the three statements represent fire, air, and water) and the slower-tempo “Selutur,” used for the removal, “awakening,” and positioning of the puppets and “flying” by the Gunungan.
3.2 Right-side rerencekan sidekick. Dialog/voice of rerencekan and “rumba” beat for humor.
3.3 Left-side King and subjects (the conniving Prabu Nursiwan and Patih Baktak probably among them), wayang prabu (major, larger puppets) characters.
3.4 Left side King, Entourage (and supplication to the Prabu), and rerencekan
3.5 Jayengrana with Umar Maya, then other left-side wayang prabu arrive
3.6 Jayengrana with more subjects, including Umar Maya and the large Umar Madi (behind Jayengrana), across from other wayang prabu allies. Accompaniment seems to be “Jangel,” referring to walking as characters pay respects to Jayengrana
3.7 Jayengrana with entourage, some newly arriving to pay him respects. The clip includes a sendon song (suling weaving around the dalang’s singing) about halfway through.
3.8 Behind screen Jayengrana and entourage. Umar Maya speaks with Jayengrana toward the beginning of the clip.
3.9 Behind screen left side puppets and rerencekan. Includes Panah Api fire puppet. Clip also shows the gamelan and coordination issues between the dalang and assistants.
3.10 Behind screen rerencekan (including a female with exaggerated breast). Some views of left side puppets and the suling player.
