Wayang Kulit Tradisional dan Pasca-Tradisional di Jawa Masa Kini


Matthew Isaac Cohen(1*)

(1) Jurusan Teater & Drama Royal Holloway, University of London
(*) Corresponding Author


Regional traditions of wayang kulit puppetry remain alive and vibrant in contemporary Indonesia, responding to currents of global culture, changing configurations of patronage, and the challenges of doctrinal Islam. Enterprising artists tap into new funding sources to renew audiences, strategic alliances are struck between academics and performers, and after the long hiatus of a military dictatorship under President Soeharto, wayang kulit has resumed its role as a mouthpiece for political commentary and dissent. In addition to traditional wayang kulit, the last decade has seen a surge of post-traditional wayang kulit. Post-traditional productions, which are generally not linked to ritual events or functions, etiolate and hybridize the conventions of the form, intentionally violating sacred norms and taboos. Traditionally-trained practitioners alive to global popular culture and the demands of the international contemporary art market, sometimes in collaboration with other artists, create new work that draws deeply on wayang kulit conventions and practices to speak to new audiences about issues of current relevance. While traditional and post-traditional wayang kulit present strikingly different aesthetic profiles, practitioners happily cross between the two art worlds, benefiting from contemporary society’s cultural pluralism.


Wayang Kulit Tradisional, Wayang Kulit Pasca-Tradisional, Jawa

Full Text:


DOI: https://doi.org/10.22146/art.5965

Article Metrics

Abstract views : 2883 | views : 10883


  • There are currently no refbacks.

Copyright (c)

This journal is published by Performing Arts and Visual Arts Studies, Graduate School, Universitas Gadjah Mada.

Creative Commons License
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

statistics View My Stats