Audience Participation in Virtual Wayang Performances of Post-Pandemic Covid – 19 in Indonesia

Krisna Nuryanta Putra; Hanggar Budi Prasetya; Wisma Nugraha Chistianto; Lucia Lusi Ani Handayani

doi:10.35516/hum.v52i3.5213

Authors

Krisna Nuryanta Putra Puppetry Department, Indonesia Institute of The Arts, Yogyakarta, Indonesia https://orcid.org/0009-0004-8141-886X
Hanggar Budi Prasetya Puppetry Department, Indonesia Institute of The Arts, Yogyakarta, Indonesia https://orcid.org/0000-0002-6278-2373
Wisma Nugraha Chistianto Cultural and Media Studies, Gadjah Mada University, Yogyakarta, Indonesia https://orcid.org/0000-0001-7584-4572
Lucia Lusi Ani Handayani Linguistic Department, Universitas Indonesia, Depok, Indonesia https://orcid.org/0009-0002-3909-5484

DOI:

https://doi.org/10.35516/hum.v52i3.5213

Keywords:

wayang desacralization, virtual wayang, climen wayang, post-pandemic performances

Abstract

Objectives: This study aims to understand the reauthorization of the dalang or the shadow puppet master and the increase in the role of the audience in the staging of wayang performances.

Methods: To understand this phenomenon, this research makes use of a qualitative methodology using a case study of the performances of the "Wargo Laras" wayang performance group, a group that stages the most performances in Yogyakarta. Data was collected through observation and in-depth interviews.

Result: Research shows that virtual wayang performances have contributed to increased audience participation resulting in reduced authority of the dalang. The role of the puppeteer, who in original traditional performances was the group’s most powerful person, both on and behind the stage, has now been reduced, as it is distributed among other members of the performance (sinden or female singer, pengrawit or gamelan players), or guest stars, and crew members who handle the media.

Conclusions: Virtual wayang performance have become part of post-pandemic performances. Wayang theatre, which were originally very traditional and far removed from new media, suddenly have had to coexist with new media. This study recommends further research on wayang wider selection of performance groups to obtain a more comprehensive picture of the audience of wayang performances.

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