Abstrack:
This paper aims to examine the practices and performances of wayang wong ? an art form of Javanese shadow puppet performed by humans in forms of drama and dance ? in relation to the reinforcement of practitioners? developments. Traditionally, wayang means shadow, and wong means human. On- stage performance presents the beautiful aspects, but, off-stage practices remain compelling and dynamic to observe. I build on Judith Hamera?s (2007) work on a dancing community that provides a space for artistic cultural development through creative learning process. Fieldwork was conducted over nine months (November 2012 ? July 2013) that included direct and participant observations to Panca Budaya community, Yogyakarta. In-depth interviews were also deployed for data collection. This paper will analyze how the work of wayang wong creates new social arrangements as well as how it improves developments as articulated by the actors. Analyzing so, I argue that this modified dance drama is purposely re-made for the sustainable survival of wayang wong.
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