Weintraub (2001) discussed the wayang competitions and contests in Indonesia. He goes on to describe the requirements for Sundanese wayang golek performance. As he summarized the main points, the author explained the main factors of the wayang performance evolved around language, emotions of the audience, and a particular message. This type of performance must adapt to many different ages and socioeconomic status in order to get the underlying message across to the audience (p. 93). Wayang focuses the performance in understanding issues through the message of the show. In order to adapt to their audience, they must be able to interpret the historical stories in a way that each audience member will understand their underlying message. This type of performance would use metaphorical texts in order to help the audience develop their "mental and spiritual development"(p. 93). Metaphorical texts will help this wayang performance get their political agenda across to the audience without stating their political opposition right out.
-Miranda
I agree that the underlying political messages can make metaphors useful in wayang performances. This makes me think of metaphors that are often used in music that contains implicit social or political messages. Not all audiences understand the metaphors that allow them to understand the entirety of the messages, so in a way the use of metaphor is safer than explicitly commenting on social or political issues.
ReplyDelete^ from Jenna Barclay. I forgot to sign it - sorry!
DeleteYou've not actually addressed the question -- What is it about puppet shows in general and these puppet shows in general that make it easy for audiences to tell that they're supposed to read a double meaning into the performance? What factors make it easy for viewers to realize, for example, when a puppet is standing for both the character of Hanuman from the Ramayana and a Javanese politician?
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