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274:, in which meditation is carried out naked at night while immersed up to the neck in water. Such practices are felt to be essential in building up the stamina to perform for nine hours at a stretch. A further ascetic element is that dhalangs never eat during the performance, although almost all drink sweet tea and many also smoke heavily.
260:, and sometimes acting as an accompanying musician or as an assistant puppeteer. He would also frequently end up marrying his master's daughter, who would have been trained as a gendér player by her mother. The social aspects of the dalang caste are covered in Victoria Clara van Groenendael's book
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performances. The sons of dalangs were often apprenticed out around the age of 13 to another dhalang. His role included helping to set up the screen ahead of a performance, performing the afternoon show before a main all-night
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Much of the traditional training of dhalangs was in the form of a practical apprenticeship, with a certain amount of spiritual training thrown in. This included meditation and a form of ascetic exercise known as
245:) was traditionally handed down within families, and dalangs formed a type of informal caste within Javanese society. The women of these families traditionally were expert players of the
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falls into three main areas - musical, vocal, and puppetry. The musical aspects include the direction and cueing of the gamelan and the singing of mood-setting songs (
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In addition to moving the puppets and speaking their lines, the dalang is also responsible for giving cues to the
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stretched on a wooden frame. Above his head, hanging from beams attached to the top of the screen is the lamp (
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Javanese shadow theatre: Movement and characterization in
Ngayogyakarta wayang kulit
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In recent times, however, schools teaching a standardized version of
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is also taught at
Indonesian state institutions such as the
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have been founded, such as the
Habirandha school within the
439:. Yogyakarta, Yayasan Habirandha (Habirandha Foundation).
288:. The Habirandha school published its textbook, the
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402:Dictionary of Traditional Southeast Asian Theatre
326:in English by Roger Long (see Further reading).
238:) with a wooden mallet held in the left hand.
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298:Indonesian Institute of the Arts, Yogyakarta
137:, with the story "Gathutkaca Winisuda", in
230:. This is done principally by playing the
215:), traditionally made from the trunk of a
16:Puppeteer in Indonesian wayang performance
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393:Clara van Groenendael, Victoria (1985).
141:, to commemorate the anniversary of the
416:Javanese Shadow Plays, Javanese Selves
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418:. Princeton University Press.
400:Ghulam-Sarwar Yousof (1994).
395:The Dalang Behind the Wayang
262:The Dalang Behind the Wayang
404:. Oxford University Press.
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432:. Umi Research Press.
421:Keeler, Ward (1992).
414:Keeler, Ward (1987).
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