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Semar is a character in Javanese mythology who frequently appears in wayang shadow plays. He is one of the punokawan (clowns) but is divine and very wise. He is the dhanyang (guardian spirit) of Java, [1] and is regarded by some as the most sacred figure of the wayang set. [2] He is said to be the god Sang Hyang Ismaya in human form. [3] [4]
The six monoecious species provide a wide range of local uses and are commonly called bertam or wild Bornean sago. The genus is the sole representative of the Eugeissoninae having very few obvious relatives; the hermaphrodite and staminate flowers are also found in Metroxylon , however the other specialized characteristics are unique suggesting ...
This dance-drama demonstrates wayang performance due to the movement is adopted from one of the scenes in wayang kulit performance, that is the Perang Kembang scene. [3] The Perang Kembang told about war between kesatria and raksasa. The kesatria has soft and gentle characters, while the raksasa is described as a character who is rough and violent.
Wayang is used as a means of understanding a tradition, an approach to society, lighting, [clarification needed] and disseminating values. Wayang as a medium for character education lies not only in the elements of the story, the stage, the instruments, and the art of puppetry, but also the embodiment of values in each wayang character.
Wayang golek began using the accompaniment of sinden in the 1920s. Until now the wayang golek continues to develop as entertainment for the community, especially in Sundanese land. In this wayang golek show, as with other wayang shows, plays and stories are played by a puppeteer. The difference is the language in the dialogue that is brought is ...
Wayang style is a style of puppetry influenced by the Indonesian wayang kulit, in which human figures and those that are supernatural are depicted as flat and very two-dimensional - hence the name wayang, meaning "shadow" [1]). This style was commonly used in East Java during the Majapahit Empire, which lasted from about 1293 AD to around 1500 AD.
The Panji tales are a cycle of Javanese stories, centred around the legendary prince of the same name (actually a title) from East Java, Indonesia.Along with the Ramayana and Mahabharata, the tales are the basis of various poems, sculpture and painting, dance-drama performances and genres of wayang (shadow puppetry), especially the one known in East and Central Java as wayang gedhog (the ...
This reference to wayang as shadow plays suggested that wayang performance was already familiar in Airlangga's court and wayang tradition had been established in Java, perhaps even earlier. An inscription from this period also mentions some occupations such as awayang and aringgit. [19] Wayang kulit is a unique form of theatre employing light ...