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Indonesian Performing Arts | Asian Recipe

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Indonesian Performing Arts | Asian Recipe

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Traditional Performing Arts of Indonesia

The sober, majestic, and profound court arts of eastern and central Java, where Javanese is spoken, include wayang kulit shadow theatre, wayang orang unmasked dance, and wayang topeng masked dance.

Shadow-puppet theatre

It is uncertain whether the shadow theatre is indigenous to Java or was brought from India, but the wayang kulit technique of having a single seated puppeteer who manipulates puppets, sings, chants narration, and speaks dialogue seems to be an Indonesian invention. Unlike most court arts, wayang kulit has had centuries of performance in the folk tradition as well, so that today, with several thousand puppeteers active, it is the strongest traditional theatre form in Southeast Asia.

Plays are set in mythological times, some relating to indigenous animistic festivals and worship of local spirits, some directly dramatizing episodes from the Ramayana and Mahabharata epics, while the majority-the Pandawa (Pandav in Sanskrit) cycle of about 100 plays-are essentially Javanese creations in which the five heroic Pandawa brothers are placed in different situations. Three and sometimes four god-clown-servants and a set of ogre-antagonists who are not in the epics at all suggest how far removed the shadow plays are from the epics.

Wayang Kulit

The wayang puppeteer works within one of the world's most carefully organized performing arts, making possible a virtually solo performance without intermission, from around nine at night until the gray before dawn. Each play is in three parts, coordinated with three keys of music played by the gamelan ensemble. Certain standard scenes appear in a standard order, though some may be dropped. "Opening Audience" introduces the play's conflict, "Inner Palace" shows the king meeting his queen(s), and in "Outer Audience" the army is dispatched. In "Forest Clearing" the first battle scene occurs, and in "Foreign Audience" the antagonist kingdom, usually one of overseas ogres, is introduced. Concluding part one are "Foreign Outer Audience," in which the second army marches forth, and "Opening Skirmish," a battle scene between the two armies.

The puppeteer chooses from among 150 musical selections, matched to scene type, character, mood, or action. The puppet figures are carved to indicate character type and status according to fixed patterns for nose, eyes, gaze, stance, body build, and costume. The puppeteer can choose one or another puppet of the same character, coloured gold or black or with a stern or relaxed countenance, to indicate the mood of the figure in a particular scene. In battle scenes, he develops individual encounters between opponents, drawing upon a repertory of 119 movements that are classified for use by god, female, refined hero, muscular hero, ogre, or monkey.

Formula narrative phrases describe famous kingdoms and characters, and battles are preceded by challenges couched in standard phrases. Although the puppeteer works only from a brief scenario, he is able to extemporize each performance, adding contemporary jokes for the clowns and molding the performance to suit the occasion and the audience. He and his supporting musicians and female singers are improvising within completely known, although exceptionally complex and subtle, artistic conventions.

This artistic system, developed within the shadow theatre for performance of Pandawa plays, has proven to work so well that it has been widely imitated. The entire body of wayang kulit drama was adopted in Bali and in Malaysia. At least 25 other play cycles have been performed in Indonesia as shadow drama within this system, including the Pandji cycle (wayang gedog), Islamic Amir Hamzah plays (wayang menak), and plays dramatizing the revolutionary struggle against the Dutch (wayang suluh). The Pandawa wayang kulit repertory was transposed to the doll-puppet theatre (wayang golek) in Sunda, the western part of Java, and to dance-drama in eastern and central Java (wayang orang) and in Bali (wayang wong).

Performances are commissioned for special occasions and usually can be interpreted in religious or mystical fashion. There may be offertory plays at harvest time or animistic, ritualistic exorcisms protecting children from being devoured by the voracious god Kala. In The Reincarnation of Rama the divine attributes of the god Wisnu (Vishnu in Sanskrit) reincarnate in Ardjuna (Arjuna), hero of the Pandawa cycle and ancestor of the Javanese race. The translucent screen can be interpreted as heaven, the banana-log stage as earth, the puppets as man, and the puppeteer as god, and the Pandawas can symbolize the manifold attributes of righteous behaviour.

Wayang topeng

Masked dance was also popular at the eastern Javanese courts (c. 1000-1400) and may be related to ancient animistic masked dance seen throughout the Pacific islands. Later, Indian dance style was assimilated, and sometime after the 15th century at the earliest, the Pandji story was dramatized. This is wayang topeng, widely performed as both a sophisticated and a folk art throughout Indonesia. Unlike the large-scale unmasked dance-drama, topeng dance focusses on interpreting character through solo dance.

Wayang Topeng

Wayang orang.

Java's spectacular dance-drama, wayang orang, grew out of the strong unmasked dance tradition that is illustrated in reliefs of female dancers carved on the 9th-century Borobudur and Prambanan temples in central Java and that produced the carefully cultivated female group dances of the Surakarta and Jogjakarta courts after their establishment in the 16th century. Of the latter dances, two stand out, the almost sacred bedaja, which even today is danced only in court surroundings, and the srimpi, in which two pairs of girls execute a delicate slow-motion duel with daggers and bows. In the middle of the 18th century, wayang kulit's Rama and Pandawa plays were set to court dance to form wayang orang, or "human" wayang.

The music, narrative, and dramatic organization of the shadow play was kept largely intact, many of the actors' movements mimicking the stiff actions of the puppets, while new dance sections were added. Court performances stopped with World War II, but wayang orang continues to be performed by some 20 to 30 professional troupes in major cities. In popular performances, attractive actresses play the roles of such refined heroes as Ardjuna and humour and spectacle take precedence over dance.

Wayang Orang

Ketoprak and ludruk.

Two other types of popular theatre, ketoprak and ludruk, were performed in Java by 150 to 200 professional troupes. Ketoprak, created by a Surakarta court official in 1914, evolved into a spoken drama of Javanese and Islamic history in which the clown figure is a spokesman of the common man. Whereas ketoprak is performed primarily in central Java, ludruk, a spoken drama that handles mainly contemporary subject matter, is performed in eastern Java by both amateur and professional troupes. Though ludruk is relatively realistic, male actors play all roles. Songs and dances, accompanied by gamelan music, are performed between acts in both forms.

Sundanese performing arts.

There are three main performing arts in the Sundanese area of western Java. Reog, a kind of urban folk performance, can be seen especially in the streets of Jakarta: two or three men improvise popular songs, dances, and dramatic sketches for a neighbourhood audience in this type of entertainment. Wayang golek is a performance based on wayang kulit but using doll puppets without a screen. Approximately 500 Sundanese puppeteers perform wayang golek. Female singers, who are almost as important as the puppeteer, respond to requests and gifts of money by singing song after song and virtually stopping the play. Sandiwara troupes in Jakarta, Bandung, and a score of other cities perform both wayang stories in the form of Sundanese dance-drama and spoken historical and contemporary dramas for popular audiences. Sundanese-style court dances and topeng masked dances are often performed solo at festivals and for circumcision or wedding celebrations in private homes. Sundanese dance is more sensuous than Javanese and broader in style.

Balinese dance-drama.

Of the many factors that have contributed to the remarkable flourishing of dance and drama on the island of Bali for more than a millennium, three are of particular note. First, Bali remained isolated from both Islam and the West. Second, there was a merging of folk and court performance styles into a single communal tradition appreciated by all. Third, dances and plays are indissolubly linked to the recurring cycles of local festivals and rituals whereby the well-being of the community is maintained against constantly threatening malicious forces in the spirit world. From the verve and brilliance of Balinese performances it is clear not only that the people like to perform but also that there exists some culturally determined compulsion to do so.

Balinese dance and dramatic forms are so numerous that only a few can be noted. Balinese villagers playing in the barong exorcism dance-drama are not merely actors exercising theatrical skills. The actors' bodies, going into a trance, are believed to receive the spirits of Rangda and the Barong, and it is the spirits themselves that do battle. Thus the performance is actually more a ritual than a piece of theatre. The sanghyang dance is usually performed by two young girls who gradually go into a state of trance as women sing in chorus and incense is wafted about them. Supposedly entered by the spirit of the nymph Supraba, the girls rise and dance, often acrobatically, though they have been chosen from among girls untrained in dance. The dance's purpose is to entice Supraba to the village to gain her blessing when evil forces threaten. In the ketjak, or monkey dance, as many as 150 village men, sitting in concentric circles around a flaming lamp, chant and gesticulate in unison until, in trance, they appear to have become ecstatically possessed by the spirits of monkeys. This performance, however, has no ritual function of altering an earthly condition.

Barong Dance

That the Balinese wayang kulit may represent the older style of wayang, known on Java before the coming of Islam, is suggested by the less stylized shape of the puppets, by the shorter performing time of four to five hours, and by the simple music of only four gender, a bronze instrument similar to a xylophone with resonance chambers underneath, from the gamelan ensemble. In one type of shadow play having a special religious significance, the puppets perform before a screen during the daytime, and the puppeteer is seen in his role as a Brahman priest, bare to the waist. In the redjang processional dance, village women symbolically offer their bodies to their temple gods.

Because Balinese performing arts are vitally alive, they change from decade to decade, even from year to year. The gambuh, respected for its age, contains elements of dramatic dance, song, narrative, and characterization found in later forms. It is thought dull, however, and is seldom performed, though it is believed to have provided the model for the singing style of popular ardja opera troupes and the dance style of the lovely girls' legong. Wayang wong is analogous to the Javanese wayang orang, but masks are worn and the repertory is limited to Rama plays. Pandawa plays are staged in identical style but are called parwa. It has been suggested that these forms also stem, at least in part, from gambuh. Wayang topeng masked-dance plays are ancient, being mentioned in a palm-leaf document of 1058. The Javanese chronicle of the Majapahit period (c. 1293-1520), the Pararaton, in which Ken Angrok is the hero, is a favourite tapeng story. This points to the strong influence exerted by Javanese on Balinese arts after the Majapahit court was transferred to Bali in the 16th century to escape Islamic domination.

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Traditional Performing Arts of Indonesia The sober, majestic, and profound court arts of eastern and central Java, where Javanese is spoken, include wayang kulit shadow theatre, wayang orang unmasked dance, and wayang topeng masked dance. Shadow-puppet theatre It is uncertain whether the shadow theatre is indigenous to

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- Indonesia has performances based on folklore and legends
- Many are through dance or puppetry
- However, many only know stories like Ramayana
- There's more to Indonesian Performance Arts than just ballet or puppetry

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Theater is the other name of "drama", but with broader definition. It presents real or imagined stories, sometimes taken from a book, myths, or folklores at front of live audience in a specific place, usually a stage.

Theater may use combinations of song, gestures, music, speech, and dance to communicate with the audience.

The place where we can see the performance is also called "theater", derived from Greek word " theatron ", means a place for viewing/observe.

See also:

History

Theater has been developed since prehistoric time. It blended with cultural traditions and flourished across the world, even in prehistoric time. Almost all cultures in the world includes theater in their folk arts, includes Indonesia. Theater was also performed in ancient civilizations, such as Ancient Egypt, Ancient Greek, and Ancient Rome.

Theatre was probably developed from ritual activities. Pagan rituals often included entertainment or pleasurable elements, such as costumes, masks and skillful performers. As societies became more complex, these elements began to be performed without ritualistic conditions, purely for entertainment or pleasure.
A. European Theater B. Ancient Egypt

Ancient Greek: In Ancient Greek, theater mainly developed in Athens, then spreader to other polish. The theater consists of 3 types of drama, which is still used until now: comedy, tragedy, and satyr. The Greek theater would later dispersed through Europe, North Africa and West Asia by colonization of Alexander the Great.

Ancient Rome: Roman theater consists of the Hellenistic theater (same like Greek theater), sometimes accompanied with street theater, nude dancing, and acrobatics. In Ancient Rome, the type of drama is usually comedy.

Middle ages: During middle ages, the theater mainly consists of biblical stories. These drama would later developed into Liturgical Drama, often played in the church during big ceremony, for example Christmas and Easter.

Renaissance: In Renaissance, the theater stories come back to Greek mythologies and Roman stories, for example plays of Shakespeare.

The oldest Egyptian theater script was found in 2000 BC, written by Egyptian priest, I Kher-nefert. That time, Egypt were already very civilized, they already could bild pyramids, irigation, and callendars.
C. Asian Theaters D. Indonesian Theater
In early Egypt civilization, most of the theatres had the stories of Gods and Goddess, and performed as religious rituals. After being colonized by Alexander the Great, Egyptian Theater adopted Hellenistic style too.

Indian theater: Consists of Sanskrit drama, with stories from Ramayana or Mahabharata epics. The drama started to emerge in 2 century BC. During Islamic conquest in 10th-11th century AC, the dramas were forbidden. The modern Indian theaters started from English colonization, adopting European style drama.

Chinese theater: It is first dated in Shang Dinasty, 1500 BC. The theater involved music, clowns, and acrobatics.

Japanese theater: It is first dated in 1330. Japanese theater were usually short, sometimes vulgar comedies.

In Indonesia, just like other parts of the world, in the beginning theater has functions for:

Calling ancestor's spirits

Picking up ancestor's spirits to come to the stage

Calling good spirits to kick away the bad spirits, for example for healing sick people

To remember their ancestor's greatness by performing bravery / heroic plays

As complementary in ceremonies

Even until now, these functions still exist in traditional theater. After colonization of the Dutch, modern theaters started to develop.

See also: Indonesian Cultures - Most Watched Indonesian Movies
A. Traditional Theaters
Types

In Indonesia, we can find 3 types of theater: traditional theaters , classical theater and modern theaters. Traditional theaters are influenced by cultures of each ethnic groups. While modern theaters are influenced by European cultures, the story is more about the life of common people, and use musics and lighting just like modern European theaters. Classical theaters are based on the life of royal families adapted to Hindu epics, the Ramayana or Mahabharata.
1. Wayang Orang
See also: The Largest Mosque in Indonesia - Gamelan Facts

Traditional theaters have been existed along with the cultures of each ethnic groups. It often cannot be separated from traditional and religious ceremonies. It means, traditional theaters are only performed in some particular ceremonies, for example circumcision ceremonies, wedding, benedictions when moving to new homes, etc.

The host (a family who holds the ceremony) pay all the expenses, so the theaters can be watched by all the guests and people around the house. The stages can be put anywhere: front yard, gardens, village meeting hall, terrains, etc.

Here are some of the most known traditional theaters in Indonesia:

Wayang Orang, or Wayang Wong in Javanese, is a traditional theaters native to Central Java and Yogyakarta. Until now, this performance art still can be seen in many places in those regions.
2. Ketoprak
The story is taken from Wayang stories, an Indonesian adaptation of the epics Ramayana and Mahabharata. The story should follow the Wayang stories strictly, even the costumes and backgrounds should be the same. That is why some people call Wayang Orang "Teater Pakem", a theater which has strict stories and cannot be changed.

Wayang orang is also classified in Classical Theater, as it is often performed in Yogyakarta Palace and uses the story from Mahabharata or Ramayana.

The music is usually Gamelan, a Javanese traditional music consists of saron (a Metallophone played by mallets), kendhang (a series of hand-played drums), bamboo flutes and rebab (a bowed instrument).

See also: Largest Cities in Indonesia - Best Airports in Indonesia

Ketoprak is a traditional theater founded in 1925 and developed in Yogyakarta. The story is usually about the life of Keraton (Yogyakarta palace) and noblemen, often about romance of the royal family members.
3. Ludruk
It differs from Ludruk, which uses contemporary setting and the story of common people. It is also differs from Wayang Orang, where Ketoprak is more free of improvisations such as speech, jokes, popular language and dances. Ketoprak is often performed in celebrations, such as wedding, circumcision, and Independence day.

Ketoprak groups may have their own stages or rent a performance building, or the groups might travel from one village to another. Ketoprak Tonil or Ketoprak Tobong is a ketoprak group who travels from one village to another. The crews often sleep in " tobong " , a kind of traditional caravan.

The music still uses Gamelan, but now modern instruments such as drums, violins and keyboards may be added as well. Recently, we can see Ketoprak in TV show, the "Ketoprak Humor", a comedy and action performance which is aired in Indonesian national television.
4. Lenong
See also: Biggest Stadiums in Indonesia - National Library of Indonesia

Ludruk is a traditional theater from East Java. All the performers are males, even the female role is played by males. The stories are about the daily life of common people and their economic struggles. The dialogues are mostly comedic. It is usually performed in celebrations, such as wedding, circumcision, or Independence day.

The typical ludruk performance begins with Remong Dance by an actor. It is different from Ketoprak of Central Java, since Ketoprak tells story about Javanese history, legends, or the life of Javanese nobles.

See also: Indonesian Democracy - Indonesian Language
5. Randai
Lenong is a traditional theater from Jakarta. It derived from a Chinese trader's name, Lien Ong, who often called actors and actresses to perform comedy dramas in his house. The dialogues are in Betawi language. The actors are called Panjak, while the actress are called Ronggeng.

It uses various stories, from adapted folklores such as The Tales of 1001 Nights, and common people's life. In general there are 2 divisions of Lenong: Lenong Denes and Lenong Preman. Lenong Preman stories focus on the exploitation of common people by the nobility, the rich, and powerful people. Lenong denes stories focus on commoners or folk heroes, such as Si Pitung.

There is no script in Lenong, so the actors and actresses have to remember the story then improvise it. Now, schools in Jakarta include Lenong as extracurricular activity, along with sports and other type of arts. Thanks to Arifin C Noer, an Indonesian actor and theater director, now lenong is also aired in TV.

See also: Deforestation in Indonesia - Biggest Earthquake in Indonesia
6. Barong Performance
Randai is a traditional theater of Minangkabau, West Sumatra. It incorporates music, singing, dance, drama and silat (traditional martial art). Randai is usually performed in traditional ceremonies, and the complex stories can be divided into some episodes, performed every night. The stories are based on Minangkabau legends and folklores. It was originated in 20th century AD.

Male performers originally played both female and male roles, but since 1960 female performers have also been participated.

The music is typical Malay music, with addition of Rebab (a traditional bowed instrument), Puput Batang Padi (a traditional flute made of paddy twigs) and Talempong (small gongs played with mallets).

See also: Indonesian Martial Arts - Indonesian Traditional Trasnportation
B. Classical Theaters
Barong performance is traditional dance-drama that uses masks and costumes which describe Balinese mythology. According to Balinese people, Barong dance is a sacred fine art, which also has mystical side. It also has moral values.
C. Modern Theater
Typically, there are 2 types of Barong dance: the sacred one, usually performed in Pura (Balinese temple) or streets in Balinese ceremonies. The second is the pure art performance, usually performed almost everyday in Gianyar.

The story is about the battle of Barong (good spirit) and Rangda (evil spirit). During the performance, Rangda would use black magic to make male dancers do suicide by stabbing themselves with Keris (traditional weapon). Barong would prevent the suicide by using white magic to make the male dancers immune of sharp objects. At the end, Rangda runs away and Barong wins the battle. As Rangda is not dead, it gives the moral lesson that the goodness will win over evilness, but evilness will always happens alongside of goodness.
1. Bengkel Teater Rendra
There are other traditional theater of Indonesia, such as:

This theater is often performed in Palace or 5-stars hotels. The story is usually around royal family's life and good values of the king, since this theater is usually patronned by royal family. Usually, the story involves the Hindu epic of Mahabharata and Ramayana, but already adapted to the royal family's life.

This theater includes Wayang Kulit (leather puppets), Wayang Golek (wood puppets), and Wayang Orang. The stories of those wayangs are the same, the difference is only the mediums (puppets or person).
2. Teater Populer
Indonesian modern thereat is a mix of many genres. It still mostly uses traditional stories, but uses modern style music (sometimes mixed with traditional music) and modern background (modern furniture and modern paintings). The performance is more in order, since modern theater has a director.
3. Teater Kecil
Modern theater in Indonesia started in 1920, where the performers use both European style performance (from the Dutch) and Asian style performance (Chinese, Japanese, traditional Indonesian). Later, these styles are mixed together. The story can be about the life of common people, adapted stories from European literature (such as Shakespeare's plays), Chinese legends (such as Madam White Snake), etc.

Here are some modern theater groups which give big contribution of development of Indonesian modern theatre.

It was founded by W.S. Rendra, in Yogyakarta (1961) and Depok (1986). Their performances are always rave, and become barometers of other theater performance in Indonesia. W.S.Rendra himself is a very good litterateur, actor, poet, director, and scriptwriter. He made many excellent performances.
"4. Teater Koma
His famous works are for examples: Orang-orang di Tikungan Jalan, 1954 (People in the junction of the road); Bip Bop Rambaterata, Selamatan Anak Cucu Sulaiman (Sulaiman's descendants' ceremonies), Mastodon dan Burung Kondor (Mastodon and Condor), in 1972; Kasidah Barzanji, Panembahan Reso (1986); and Kisah Perjuangan Suku Naga (the story of dragon tribe).

See also : Most Beautiful Fabric in Indonesia - Indonesian Red Cross Society
5. Teater Mandiri
It was founded by Teguh Karya in 1968. The development of this Theater group leads to Indonesian film industry. The members are: Slamet Rahardjo, El Malik, Christine Hakim, and Nano Riantiarno. After Teguh Karya died in 2001, the performers move to film industry. One of the members, Christine Hakim, is the first Indonesian jury of Cannes Film Festival in France. She also played in Eat, Pray and Love with Julia Roberts in Bali, 2010.

It is a theater group founded by Arifin C.Noer in Jakarta, 1968. He is one of the pioneers of Indonesian modern theater. Their power is distinctive script themes which reflect the life of lower-class people, such as their sufferings, hope and integrity.

Then, Arifin's scripts attract younger theater directors, so his works are often performed in many places. Arifin involves cultural elements in his work, such as Lenong, Stambul, Marionettes, Wooden and Leather Puppets, and Coastal Melodies of Betawi people.

His important works are: Sumur Tanpa Dasar (Well without End), Tengul, Madekur dan Tarkeni, Umang-umang (hermit crab), Sandek, Kapai-Kapai in 1970; Madekur dan Tarkeni 2nd in 1974; Sandek Pemuda Pekerja (Sandek the young worker) in 1979, Dalam Bayangan Tuhan (in God's shadows) and Interogasi (interogation).

The chief is Nano Riantiarno, an ex-member of Teater Populer. It is the most productive theater group now. It already performed more than 100 performances in stages and television. Nano Riantiarno is a very good scriptwriter and potential director. His works for examples:

Rumah Kertas (paper house).

Maaf, Maaf, Maaf (I'm sorry, I'm sorry, I'm sorry).

Opera Kecoa (cockroach's opera).

Opera Julini (Julini's opera).

Konglomerat Burisrawa (Bhurishrava's conglomerate).

The chief is Putu Wijaya, a litterateur and actor from Bali. He is an ex-member of Bengkel Teater Rendra, and he is an excellent scriptwriter. His scripts are influenced from the script of Menunggu Godot (waiting for Godot) by Samuel Beckett which he ever performed with Rendra. This script was about Vladimir and Estragon who were waiting for Godot, who never appeared until the performance ended.

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Fate of Indonesian Theatres Today

Today, many traditional theater groups are facing bankcruptcy. Now, the managers of performance arts need to have more sophisticated skills, not only art or directing skills. They need to learn corporate management, marketing skills, and mass-psychology to meet audience's taste. Traditional theater artists are reduced much in numbers because many of their seniors already died.

The bankruptcy is also faced by modern theater groups. There are still some theatre artists who still continue to work in theaters although it is not promising financially. Now, many theaters are performed in schools and universities as extracurricular activities.

Although some of the cities like Jakarta, Bandung and Yogyakarta often collaborate with local governments to perform theaters in weekends, the audiences are still small, not enough to support the art itself.

Although watching theaters is said to be high-classed, young Indonesian people are more attracted to low-quality sitcoms and movies. They also turned into "alay" generation, a dumb generation who often mimics dumb acting in sitcoms, which resulted in not honoring Indonesian National Heroes and underestimate Indonesian theaters. Thanks to the sitcoms, they think that traditional theaters are only for older people and villagers.

See also: Indonesian Heroes - Poverty in Indonesia

Some of the theaters, both traditional, classical and modern ones, are often performed abroad by Indonesian students. As younger generation, we should be proud of Indonesian theatres since it reflects the rich cultures of Indonesia. It does not hurt to watch the theaters once every month. Moreover, theater stories usually contain moral teachings, not like the sitcoms which just show boring stories and just rely on handsome actors and pretty actresses.

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Indonesian Theater Summary - History, Arts, and Development - Facts of Indonesia

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Theater is the other name of "drama", but with broader definition. It presents real or imagined stories, sometimes taken from a book, myths, or folklores at front of live audience in a specific place, usually a stage. Theater may use combinations of song, gestures, music, speech, and dance to communicate with the audience.

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Other interesting performances:
- Ludruk: All male performance (even the females in the story are played by male actors)
- Lenong: Improvise from memory
- Barong Performance: Tells the story of Barong and Rangda, uses masks and costumes.

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These are all guys I'm not kidding

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They memorize a story (usually a famous or more well-known tale) and try to act it out as much as possible.

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These performances are usually comedic about the daily life of common Indonesian people.

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There are 2 different types of Lenong: Lenong Denes (stories of common folk and small town heroes) and Lenong Preman (stories involving the rich and noble)

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NOT TO BE MISTAKEN FOR BARONGSAI
This tells the story of Barong (white spirit) and Rangda (black spirit) and their battle.

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LOOK AT THIS FLUFF BOI WHAT A GOOD SPIRIT

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- Open air, free entry
- Scheduled performances to be done at a certain area
- No two performances are playing at the same time because of the noise.
- Local theater groups and renowned actors can perform
- Some concerts (instrumental/vocal), dance performances (Barong, ballet) or theater (Lenong, Ludruk)
- Indonesian food stalls for refreshments SO Y'ALL DONT GO GET SOME OUTSIDE FOOD

- no outside food to promo indo culture and also bc thats

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- Banners on the lampposts of the city area
- Posters in public places such as malls or bus stops

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- Video advertisements?
- Beep beep put ad on bus

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Anakku menjadi anak mantan istri suamiku :P