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The Javanese and Balinese repertoires of individual dances are rich, with various forms and styles. Dance in these two islands has strong artistic, social, ritual and supernatural connotations. The general term for dance is tari, not only for the traditional Javano-Balinese dances but any dance. Certain dances have names made up of the word “tari” followed by another word.
Dance and dance-drama can be masked (tari topèng and wayang topèng) and non-masked. Certain masked dances have names made up of the word “topèng” followed by another word. The mask (topèng) also has an artistic value as an object. Indeed, masks from Java and Bali are often more finely conceived, finished and viewed than in most other Asian countries.
The other main stage art is the shadow puppet play (wayang kulit). In both Java and Bali, it has a very important cultural, social, sacred and artistic role. The art, the puppets, the stories are full of mystery and symbolism. The flat, articulated rod puppets are made of slightly translucent leather. Their shadows are projected onto a screen by an oil lamp. The puppeteer (dalang) is also musician, priest, erudite, magician, craftsman, painter. The dalang is an important element not only in the stage arts but in Javano-Balinese culture in general. His manipulation of puppets is a complete art in itself. In a sense, wayang kulit is also a dance, the dance of flat beings. Wayang kulit is an art of Malaya too, showing close connections with the Javanese tradition.
In Java, another kind of flat rod puppets are used. They look like the wayang kulit puppets but are made of wood. They are not translucent and not projected onto a screen. This puppet play is called wayang krucil.
Non-flat puppets exist in Java, sculpted in the round. Their play is named wayang golèk. Compared to wayang kulit, the puppets are also on rod and use the same typecasts, shape types and symbolism. The puppeteer is also a dalang.
Wayang bèbèr is a Javanese play where a scroll is used instead of puppets. It is being unrolled at the right side while rolled at the left side, showing scene after scene. It is an art that has the flatness of both painting and wayang kulit. It is situated between the two. There is actualy a painting tradition in the style of wayang kulit. It was the main style before the new modern styles.
Like gamelan instruments and kris, wayang puppets and topèng are objects treated in a special way because of their sacred and supernatural power (sakti). The locals regard them with wonder and sometimes even fear. In the case of a puppet and topèng, the sakti reflects the character or role inhabiting the object.
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