Study of the Main Wayang Golek Purwa Types Using Specific Examples
It is now appropriate to make a brief study of some of the main Wayang Golek Puppets. Though the number categories vary from source to source, we will look at eleven distinct varieties of Puppets. The Puppets used for examples were all carved in the Bogor style in 1991 and are currently part of my collection. Bogor style Puppets can be recognized by their high headdress and compared to some other centers of carving by their refined facial features.
The titles preceding the names listed below have the following meanings: Raden = A noble title for a Prince, Prabu = King, Dewi = Title for Princesses and Goddesses, Resi = Holy man or Priest.
I. Raden Arjuna 23" high, face color white.
Arjuna type of Puppets is a noble with inclined faces, without mustache. This Puppet type sometimes carries a Keris (Dagger) and occurs in all sets. Arjuna is the third of the Pandawa brothers of the good party. Though not highly intelligent he is self-confident, friendly and cheerful. His voice is pleasant and his dialogue is usually brief. He is the adored by women and has at least twenty wives and many children. Traditionally he is the hero of both the original Mahabharata and of many of the Wayang Golek Purwa Lakon.
II. Prabu Kresna 26" high, face color pink or less commonly black.
These types are gods or noblemen with upright refined faces. In contrast to the Arjuna type Puppets, these Puppets have light mustaches. This Puppet also occurs in all sets. Kresna is the advisor of the Pandawa and a friend of Arjuna. He is also the eighth avatar or reincarnation of the God Vishnu, sent to earth on a mission to fulfill the Dharma or destiny of the characters in the Mahabharata. He has many powers and his weapon is the discus or Cakra. He uses this only on seldom occasions. Kresna is attractive and intelligent and thus the advisor of the Pandawa. He can be dominant and can be very angry at times. His language is more aggressive than Arjuna's, though he is never rude.
III. Dewi Arimbi 24" high, face color white.
These types of Puppets are noblewomen with inclined faces. All noblewomen have slender bodies with slightly pronounced breasts. All wear a strapless bodice over the kain and all have white face.
It is in this group and the next "Srikandi type group where a few Puppets are used for a great many roles. The greatest variety in this and the next group are in the headdress. This particular Puppet has a full crown and occurs in all sets. Arimbi is the mother of Gatotkaca and the wife of Bima. She is the daughter of a Raksasa or giant and she has some magical powers.
IV. Dewi Srikandi, 24" high, face color white.
These Puppets are similar to the previous group, the biggest difference being that in this case the noblewomen have upright faces and thus show a more determined character. This Puppet occurs in most sets and its headdress is of compact hairstyle type usually with comb and bird. Srikandi is the reincarnation of Dewi Amba, who in the beginning of the Mahabharata was killed accidentally by an arrow shot from the bow of Resi Bisma. In the Bharatayuda, the war between the Pandawa and Korawa, she avenges the death of Amba and kills Resi Bisma, the only person on the battlefield able to do so. Her character is serious and she is clear thinking. Her speech is clear and cheerful.
V. Resi Bisma 25" high, face color pink.
Puppets of this type have larger heads than the Arjuna or Kresna types. These Puppets also have a larger more pronounced nose, large eyes which may have red irises and a heavy mustache and beard. Puppets of this type may be gods or noblemen. Face colors in this group are always pink. This particular Puppet wears a wound headcloth or sumping, which can vary in color, either green or blue. Bisma is the son of Santanu and Dewi Gangga (the river Ganges). He is also the reincarnation of Prabsasa. When young his name is Dewabrata, but when taking a vow of celibacy he takes the name Bisma. He is loyal, honorable, intelligent and righteous. He is respected by both sides the Pandawa and Korawa and is a great warrior. Able to choose the time of his own death, which occurs at the hands of Srikandi in the Bharatayuda.
VI. Prabu Baladewa, 27" high, face color pink.
This type differs from the previous type mainly in the fact that the head is held upright. These Puppets also have large eyes and a mustache and beard. The face color is always pink. This Puppet occurs in almost all sets and rarely varies. Baladewa is the reincarnation of Basuki, and he is the King of Mandura. He is also the brother of Kresna but serves on the side of the Korawa.
VII. Raden Bima, 28" high, face color light blue.
Puppets in this category have large heads, a very pronounced nose, large eyes and heavy mustaches and beards. Puppets of this type are generally less refined than the previous types. Face colors vary widely and may be light blue, green, ocher or pink. A wide variety of characters both good and evil can be found in this category. There is also a wide variety of body color and dress. Our example Bima is naked from the waist up and always wears a snake around his neck. We also notice that he has long thumbnails or pancanaka. Bima is always larger than the other Puppets, but smaller than the Puppets depicting giants.
VIII. Raden Indrajit, 27" high, face color red.
This type of Puppets differ from the previous group in that they have more hooked noses and that their teeth are often visible, thus showing even less refinement than the Bima type group. Sometimes fang like canines may be visible.Face colors are pink red or dark red and heads are inclined. Our example Raden Indrajit is a very course and aggressive character.
IX. Raden Dursasana, 26" high, face color red.
Puppets in this category have upright faces and have very aggressive looking protruding noses. Eyes also protrude and Puppets of this type also have fangs. Faces are pink or red. Puppets of this group are aggressive and unrefined types. Our example Raden Dursasana one of the Korawa occurs in every set and he wears cap with a headcloth. This Puppet varies from area to area. Dursasana is a very coarse and particularly evil character.
X. Raden Hanoman, 24" high, face color white.
This category consists of monkeys or wanara. A wide variety of monkeys exist. They may have white, pink, blue, green, red, purple or gray faces and bodies. Several monkeys occur in all sets and our example Raden Hanoman the monkey general is one of these Puppets and from the Ramayana cycle of stories.
XI. Semar, 21" high, face color white.
This is the most difficult category of Puppets to define. Most simply put these Puppets have one characteristic in common. They do not fit into the previous ten categories. Characters in this category may include: clowns, gods, priests, animals, knights, ministers, giants, villains and ogres or demons. It can be argued however that the ogres / demons can form a category of their own, but for the sake of simplicity I shall treat all "other Characters" as one category, because there other possible subdivisions as well. This category of Puppets consists of over fifty characters and a wide variety of colors, styles, dress etc. are possible. Our example, Semar a clown and servant of the Pandawa the good faction in the Mahabharata, occurs in all sets and is one of the most important characters in Wayang Golek. Semar is always black with a white face, because he is both male and female and represents both the day and the night. He wears a black cap and has a protruding brow. His body is stout and look deformed. Semar wears a medicine bag on his chest and his sarong is black. He has one tooth in his lower jaw and a bump on the back of his head.
Conclusion
In summary we have briefly touched on the origins of Wayang Golek, the carving of the Puppets and eleven different types of Puppets. It is hoped that this essay has been helpful for the reader to get to know the main categories of Puppets. A select Bibliography of Wayang and related fields follows. It is hoped that the reader will seek out some of these works. There is however no substitute for actually attending a performance and being part of the audience. The sights and smells and the excitement of the Puppet Drama can only then be really appreciated. As mentioned earlier, this essay is only meant as a very brief introduction to Puppet types them and the writer apologizes for omissions or errors.
