The traditional art of wayang kulit is born, lives, grows, develops especially in Javanese society. More than just a show, wayang kulit used to be a medium of contemplation towards the spiritual spirits of the gods.
The term "wayang" itself comes from the word "ma Hyang", which means towards the spirituality of the Almighty. But there are also those who say "puppet" comes from a performance technique that relies on shadows (shadows/puppets) on the screen.
Wayang kulit, made from buffalo skin, is believed to be the embryo of the various types of puppets that exist today. He is played by a puppeteer; accompanied by gamelan music played by a group of nayaga (gamelan players) and songs sung by singers. Each part of the wayang performance has strong philosophical symbols and meanings. Especially in terms of content, wayang stories always teach noble character, love and respect for one another, while sometimes inserting social criticism and humorous roles through the goro-goro scene.
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Wayang kulit has a long history. The oldest record of wayang kulit or wayang purwa is found in the Kuti Inscription dated 840 AD from Joho, Sidoarjo, East Java. This inscription mentions the word haringgit or mastermind. “Haringgit is a refined form of the word ringgit. This word is still present in Javanese, which means wayang," noted Timbul Haryono, professor of archeology at Gadjah Mada University, in "Old Javanese Society and Its Environment During the Borobudur Period" published in 100 Years After the Restoration of Borobudur Temple.
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At that time, puppeteers lead and play puppet shows in the palace environment. Archaeologist Dyah W. Dewi in "Puppet Art in the Ancient Javanese Period and Its Distribution in Asia" mentions that wayang performances have a special meaning. "In connection with the holding of a ceremony to commemorate an event," Dyah noted, contained in the Archaeological Meeting V. Some wayang experts, such as R.M. Mangkudimedja, suspected that the initial form of wayang was not what it is today. In the past, only the front part of the puppet was visible. The basic materials for making wayang were different from now. In the past, puppets were made of palm leaves, not animal skins as they are today. But a circle of other archaeologists dispute the allegations of R.M. Mangkudimedja. For example Soedarso Sp. He believed that wayang was made of leather. He based his views on the contents of the Kakawin Arjunawiwaha angitan Mpu Kanwa dated 1036 AD.
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Since independence, Indonesia has had a number of high schools with puppetry majors. From this institution, new possibilities for the development of revolving shadow puppets emerged. The performance of wayang kulit several times came out of standard. Such as story plays, characters, and technical matters using digital screens and the latest technology. Although shadow puppets now appear in various faces, these performances are still captivating and enduring. Each type of show has its fans. People from far away lands are willing to come to Indonesia to study the history and forms of wayang kulit performances to be rolled out in new forms in their respective countries. Wayang kulit is born, grows, lives in Indonesia, then spreads throughout the world. It is not wrong if the United Nations Agency for Education, Science and Culture (Unesco) has designated wayang kulit as a world cultural heritage from Indonesia.