Wayang Tantri

Tantri.jpg
Type of Performance
Wayang Kulit
Photo reference
-
Puppeteer
I Wayan Wija
Place of origin
Banjar Babakan, Kecamatan Sukawati, Gianyar
Instruments
Semara Pegulingan dan Gender Wayang
Related Books
    Underlying story
    • Cerita Tantri
    Related Holidays


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      Description


      In English

      Indonesian performer and puppet master (dalang) of Balinese wayang parwa shadow puppetry. I Wayan Wija was born in Sukawati (Gianyar, Bali), the village with the most puppeteers (dalang) per capita in Bali. Wija is the son of puppet master I Wayan Gombloh, with whom he studied from age eleven. At thirteen he gave his first performance.

      Though a traditionally trained artist, Wija is also one of the most innovative performers. He created in l982 wayang tantri, a form of shadow puppet play that tells animal fables inset in a Sheherazade-like framework: Lady Tantri preserves her life by telling her stories to a misogynistic king. Wija popularized this little known story after a l980 presentation of it at the Bali arts academy and created new puppets with multiple joints allowing subtle, realistic movement. (Tigers scratch their haunches and deer leap with grace). In l997, the island-wide Bali Arts Festival featured a competition of Tantri wayang. Until now, Wayang Tantri is still very popular, because of its humorous story and the extraordinary ability of the puppeteer Wija in conveying the advice of Tantri stories.

      Wija’s collaborative work with western artists includes experiments with Lee Breuer of Mabou Mimes (see United States of America) and Larry Reed of Shadowlight Theatre in San Francisco (with whom he created Wayang Listrik/Electric Shadows in l998, and other work using a large screen, projections, and a mixture of shadow dancers wearing mask-headdresses and puppets). With composer Evan Ziporyn of Boston, Wija created Shadow Bang (2001 and 2004). In 2011, he was artist in residence at the Asian Art Museum of San Francisco. I Wayan Wija collaborated with Australian composer Paul Grabowsky and director Nigel Jamieson on the concept for the production, The Theft of Sita (1998-2000), based on the Ramayana. These international puppet experiments have involved Wija’s students at ISI Denpasar (Institut Seni Indonesia, Indonesian Institute of the Arts, Denpasar Bali branch) where he sometimes teaches and insure his legacy of innovation is inherited by the coming generation of Balinese puppeteers.

      Most of I Wayan Wija’s performances are solo wayang for traditional ceremonies, but this openness to extension of the Balinese tradition is an important hallmark of his work.

      In Balinese

      Silih sinunggil Seniman Indonesia miwah seniman dalang wayang kulit Bali, mapesengan Wayan Wija sane embas ring Kecamatan Sukawati, Gianyar, Bali. Desa Sukawati pinaka desa sane madue dalang akeh ring Bali. Wija pinaka putra sakeng dalang Wayan Gombloh, sepisanan dados gurune Wija sakeng ipun mayusa solas tiban. Ring yusa telulas tiban, Wija ngawit ngawentenan pentas kapertama. Yadiastun Wija melajah sakeng tradisi miwah wantah latihan otodidak nanging ipun prasida dados dalang sane inovatif. Wija ngripta Wayang Tantri duk warsa 1982, wangun wayang kulit sane nyritayang beburon fable sane kasisipan ring carita sekadi satua dongeng Sheherazade: Tantri nyritayang kauripan baburon majeng ring Sang Raja sane misoginis. Wija nglimbakan carita sane nenten akeh sane uning puniki riwusan presentasinyane duk warsa 1980 ring Akademi Seni Bali taler ngripta soroh wayang-wayang sane anyar antuk ngawewehin sambungan sane prasida ngawinang sesolahan wayange sakadi jadma utawi buron idup. Sakadi macan sane ngurek2 sirahne, rusa sane mekecas-kecos sakadi buron sujati. Duk warsa 1997, Festival Kesenian Bali ring sajebag pulau Bali ngawentenan wimbakara Wayang Tantri. Ngantos mangkin wayang tantri kantun kasenengin, santukan caritane sane banyol miwah kewagedan Dalang Wija nyritayang Tantri miwah ngicenin tuntunan sane wenten ring carita punika.

      Karya Kolaboratif Wija sareng seniman Dura Negara minakadi sadeng Lee Breuer sakeng Mabou Mimes lan Larry Reed sakeng Shadowlight Theatre ring San Fransisco sareng sira ipun ngripta Electric Shadows duk warsa 1998, miwah karyan ipun sane tiosan nganggen kelir sane ageng, proyeksi, miwah campuran penari bayangan nganggen topeng, gelungan miwah boneka Sareng Komposer Evan Ziporyn sakeng Boston, Wija ngripta Shadow Bang 2001 miwah 2004 Duk warsa 2011, ipun kajudi dados duta residensi ring Asian Art Museum Of San Fransisco. Wayan Wija kolaborasi sareng komposer Australia Nigel Jamieson ring konsep produksi The Theft Of Sita 1998-2000 sane kaambil sakeng Ramayana.

      Eksperimen Wayang Internasional puniki kasarengin olih mahasisya Wija ring ISI Denpasar. Ipun ngajahin wayang irika miwah nyantenan warisan inovasi wayangne kalestariang miwah kalimbakan olih dalang bali sane jagi rauh. Silih sinunggil sesolahan wayang Wayan Wija kaanggen ring upacara adat ring baki. Sakewanten dagingnyane setata ngelimbakan tradisi Bali.

      Silih sinunggil Seniman Indonesia miwah seniman dalang wayang kulit Bali, mapesengan I Wayan Wija sane embas ring Kecamatan Sukawati, Gianyar, Bali. Desa Sukawati pinaka desa sane madue dalang akeh ring Bali. Wija pinaka putra sakeng dalang I Wayan Gombloh, sepisanan dados gurune Wija sakeng ipun mayusa solas tiban. Ring yusa telulas tiban, Wija ngawit ngawentenan pentas kapertama. Yadiastun Wija melajah sakeng tradisi miwah wantah latihan otodidak nanging ipun prasida dados dalang sane inovatif. Wija ngripta Wayang Tantri duk warsa 1982, wangun wayang kulit sane nyritayang beburon (fable) sane kasisipan ring carita sekadi satua (dongeng) Sheherazade: Tantri nyritayang kauripan baburon majeng ring Sang Raja sane misoginis. Wija nglimbakan carita sane nenten akeh sane uning puniki riwusan presentasinyane duk warsa 1980 ring Akademi Seni Bali taler ngripta soroh wayang-wayang sane anyar antuk ngawewehin sambungan sane prasida ngawinang sesolahan wayange sakadi jadma utawi buron idup. Sakadi macan sane ngurek2 sirahne, rusa sane mekecas-kecos sakadi buron sujati. Duk warsa 1997, Festival Kesenian Bali ring sajebag pulau Bali ngawentenan wimbakara Wayang Tantri. Ngantos mangkin wayang tantri kantun kasenengin, santukan caritane sane banyol miwah kewagedan Dalang Wija nyritayang Tantri miwah ngicenin tuntunan sane wenten ring carita punika.


      Karya Kolaboratif Wija sareng seniman Dura Negara minakadi sadeng Lee Breuer sakeng Mabou Mimes lan Larry Reed sakeng Shadowlight Theatre ring San Fransisco (sareng sira ipun ngripta Electric Shadows duk warsa 1998, miwah karyan ipun sane tiosan nganggen kelir sane ageng, proyeksi, miwah campuran penari bayangan nganggen topeng, gelungan miwah boneka). Sareng Komposer Evan Ziporyn sakeng Boston, Wija ngripta Shadow Bang (2001 miwah 2004). Duk warsa 2011, ipun kajudi dados duta residensi ring Asian Art Museum Of San Fransisco. I Wayan Wija kolaborasi sareng komposer Australia Nigel Jamieson ring konsep produksi The Theft Of Sita (1998-2000), sane kaambil sakeng Ramayana.

      Eksperimen Wayang Internasional puniki kasarengin olih mahasisya Wija ring ISI Denpasar. Ipun ngajahin wayang irika miwah nyantenan warisan inovasi wayangne kalestariang miwah kalimbakan olih dalang bali sane jagi rauh. Silih sinunggil sesolahan wayang I Wayan Wija kaanggen ring upacara adat ring baki. Sakewanten dagingnyane setata ngelimbakan tradisi Bali.

      In Indonesian

      Seorang seniman Indonesia dan seorang maestro dalang wayang kulit Parwa Bali, I Wayan Wija lahir di Kecamtan Sukawati, Gianyar, Bali, di sebuag desa dengan jumlah dalang per kapita terbanyak di Bali. Wija adalah putra dari dalang I Wayan Gombloh, yang sekaligus juga menjadi guru dalangnya sejak usia sebelas tahun. Pada usia tiga belas, Wija mulai melakukan pementasan pertamanya.

      Meskipun Wija terlatih secara tradisional (secara alami dan otodidak), Wija juga merupakan salah satu seniman dalang yang paling inovatif. Dia menciptakan Wayang Tantri pada tahun l982, sebuah bentuk pertunjukan wayang kulit yang menceritakan dongeng binatang (fable) yang disisipkan dalam rangkaian cerita seperti kisah dongeng Sheherazade: Tantri mengisahkan tentang cara seorang perempuan mempertahankan hidupnya dengan menceritakan rangkaian kisah kehidupan binatang kepada seorang raja yang misoginis. Wija mempopulerkan cerita yang kurang dikenal ini setelah presentasinya pada tahun 1980 di akademi seni Bali dan menciptakan jenis wayang-wayang baru dengan menambahkan banyak persendian/sambungan yang memungkinkan gerakan halus dan realistis, seperti misalnya harimau yang menggaruk pahanya dan rusa yang melompat dengan anggun. Pada tahun 1997, Festival Kesenian Bali di seluruh pulau menampilkan kompetisi wayang Tantri. Hingga kini Wayang Tantri masih banyak digemari, karena kisahnya yang jenaka dan kemampuan dalang Wija yang luar biasa dalam menyampaikan petuah cerita Tantri.

      Karya kolaboratif Wija dengan seniman barat meliputi eksperimen dengan Lee Breuer dari Mabou Mimes dan Larry Reed dari Shadowlight Theatre di San Francisco (dengan siapa ia menciptakan Electric Shadows pada tahun l998, dan karya lainnya menggunakan layar besar , proyeksi, dan campuran penari bayangan mengenakan topeng-hiasan kepala dan boneka). Dengan komposer Evan Ziporyn dari Boston, Wija menciptakan Shadow Bang (2001 dan 2004). Pada tahun 2011, ia menjadi seniman terpilih untuk residensi di Asian Art Museum of San Francisco. I Wayan Wija berkolaborasi dengan komposer Australia Paul Grabowsky dan sutradara Nigel Jamieson dalam konsep produksi The Theft of Sita (1998-2000), berdasarkan Ramayana. Eksperimen wayang internasional ini melibatkan mahasiswa Wija di ISI Denpasar (Institut Seni Indonesia, Institut Seni Indonesia Cabang Denpasar Bali) di mana ia terkadang mengajar dan memastikan warisan inovasinya diwarisi oleh generasi dalang Bali yang akan datang.

      Sebagian besar pertunjukan I Wayan Wija adalah wayang tunggal untuk upacara adat, tetapi keterbukaan terhadap perluasan tradisi Bali ini merupakan ciri penting karyanya.

      In other local languages

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      <ul><li>Property "Description en" (as page type) with input value "Indonesian performer and puppet master (dalang) of Balinese wayang parwa shadow puppetry. I Wayan Wija was born in Sukawati (Gianyar, Bali), the village with the most puppeteers (dalang) per capita in Bali. Wija is the son of puppet master I Wayan Gombloh, with whom he studied from age eleven. At thirteen he gave his first performance.Though a traditionally trained artist, Wija is also one of the most innovative performers. He created in l982 wayang tantri, a form of shadow puppet play that tells animal fables inset in a Sheherazade-like framework: Lady Tantri preserves her life by telling her stories to a misogynistic king. Wija popularized this little known story after a l980 presentation of it at the Bali arts academy and created new puppets with multiple joints allowing subtle, realistic movement. (Tigers scratch their haunches and deer leap with grace). In l997, the island-wide Bali Arts Festival featured a competition of Tantri wayang. Until now, Wayang Tantri is still very popular, because of its humorous story and the extraordinary ability of the puppeteer Wija in conveying the advice of Tantri stories.Wija’s collaborative work with western artists includes experiments with Lee Breuer of Mabou Mimes (see United States of America) and Larry Reed of Shadowlight Theatre in San Francisco (with whom he created Wayang Listrik/Electric Shadows in l998, and other work using a large screen, projections, and a mixture of shadow dancers wearing mask-headdresses and puppets). With composer Evan Ziporyn of Boston, Wija created Shadow Bang (2001 and 2004). In 2011, he was artist in residence at the Asian Art Museum of San Francisco. I Wayan Wija collaborated with Australian composer Paul Grabowsky and director Nigel Jamieson on the concept for the production, The Theft of Sita (1998-2000), based on the Ramayana. These international puppet experiments have involved Wija’s students at ISI Denpasar (Institut Seni Indonesia, Indonesian Institute of the Arts, Denpasar Bali branch) where he sometimes teaches and insure his legacy of innovation is inherited by the coming generation of Balinese puppeteers.Most of I Wayan Wija’s performances are solo wayang for traditional ceremonies, but this openness to extension of the Balinese tradition is an important hallmark of his work." contains invalid characters or is incomplete and therefore can cause unexpected results during a query or annotation process.</li> <!--br--><li>Property "Description id" (as page type) with input value "Indonesian performer and puppet master (dalang) of Balinese wayang parwa shadow puppetry. I Wayan Wija was born in Sukawati (Gianyar, Bali), the village with the most puppeteers (dalang) per capita in Bali. Wija is the son of puppet master I Wayan Gombloh, with whom he studied from age eleven. At thirteen he gave his first performance.Though a traditionally trained artist, Wija is also one of the most innovative performers. He created in l982 wayang tantri, a form of shadow puppet play that tells animal fables inset in a Sheherazade-like framework: Lady Tantri preserves her life by telling her stories to a misogynistic king. Wija popularized this little known story after a l980 presentation of it at the Bali arts academy and created new puppets with multiple joints allowing subtle, realistic movement. (Tigers scratch their haunches and deer leap with grace). In l997, the island-wide Bali Arts Festival featured a competition of Tantri wayang. Until now, Wayang Tantri is still very popular, because of its humorous story and the extraordinary ability of the puppeteer Wija in conveying the advice of Tantri stories.Wija’s collaborative work with western artists includes experiments with Lee Breuer of Mabou Mimes (see United States of America) and Larry Reed of Shadowlight Theatre in San Francisco (with whom he created Wayang Listrik/Electric Shadows in l998, and other work using a large screen, projections, and a mixture of shadow dancers wearing mask-headdresses and puppets). With composer Evan Ziporyn of Boston, Wija created Shadow Bang (2001 and 2004). In 2011, he was artist in residence at the Asian Art Museum of San Francisco. I Wayan Wija collaborated with Australian composer Paul Grabowsky and director Nigel Jamieson on the concept for the production, The Theft of Sita (1998-2000), based on the Ramayana. These international puppet experiments have involved Wija’s students at ISI Denpasar (Institut Seni Indonesia, Indonesian Institute of the Arts, Denpasar Bali branch) where he sometimes teaches and insure his legacy of innovation is inherited by the coming generation of Balinese puppeteers.Most of I Wayan Wija’s performances are solo wayang for traditional ceremonies, but this openness to extension of the Balinese tradition is an important hallmark of his work." contains invalid characters or is incomplete and therefore can cause unexpected results during a query or annotation process.</li> <!--br--><li>Property "Description ban" (as page type) with input value "Indonesian performer and puppet master (dalang) of Balinese wayang parwa shadow puppetry. I Wayan Wija was born in Sukawati (Gianyar, Bali), the village with the most puppeteers (dalang) per capita in Bali. Wija is the son of puppet master I Wayan Gombloh, with whom he studied from age eleven. At thirteen he gave his first performance.Though a traditionally trained artist, Wija is also one of the most innovative performers. He created in l982 wayang tantri, a form of shadow puppet play that tells animal fables inset in a Sheherazade-like framework: Lady Tantri preserves her life by telling her stories to a misogynistic king. Wija popularized this little known story after a l980 presentation of it at the Bali arts academy and created new puppets with multiple joints allowing subtle, realistic movement. (Tigers scratch their haunches and deer leap with grace). In l997, the island-wide Bali Arts Festival featured a competition of Tantri wayang. Until now, Wayang Tantri is still very popular, because of its humorous story and the extraordinary ability of the puppeteer Wija in conveying the advice of Tantri stories.Wija’s collaborative work with western artists includes experiments with Lee Breuer of Mabou Mimes (see United States of America) and Larry Reed of Shadowlight Theatre in San Francisco (with whom he created Wayang Listrik/Electric Shadows in l998, and other work using a large screen, projections, and a mixture of shadow dancers wearing mask-headdresses and puppets). With composer Evan Ziporyn of Boston, Wija created Shadow Bang (2001 and 2004). In 2011, he was artist in residence at the Asian Art Museum of San Francisco. I Wayan Wija collaborated with Australian composer Paul Grabowsky and director Nigel Jamieson on the concept for the production, The Theft of Sita (1998-2000), based on the Ramayana. These international puppet experiments have involved Wija’s students at ISI Denpasar (Institut Seni Indonesia, Indonesian Institute of the Arts, Denpasar Bali branch) where he sometimes teaches and insure his legacy of innovation is inherited by the coming generation of Balinese puppeteers.Most of I Wayan Wija’s performances are solo wayang for traditional ceremonies, but this openness to extension of the Balinese tradition is an important hallmark of his work." contains invalid characters or is incomplete and therefore can cause unexpected results during a query or annotation process.</li></ul>