Feature by Abdulla Bugis
KUALA LUMPUR, March 25 (KUNA) -- The art of Shadow Theater, or Wayang Kuilt as it is locally known in Malaysia, is a form of storytelling that was once quite popular with the local community as they used to gather around and watch epic narratives unfold right before their eyes.
The UNESCO listed Wayang Kuilt as a puppet show relying on the play of light and shadow, presenting to its audience ancient Indian legends interlaid with relevant messages and accompanied by traditional orchestra music known as Gamelan.
Puppet master Mohammad Din Othman told KUNA that while the art of Wayang Kuilt originated in Indo-Javanese culture, it flourished in Malaysia, namely in Northeastern states of Kelantan and Terengganu.
The word Wayang in Malay translates into shadow, he explained, while Kuilt means leather, the material of choice for the puppets themselves.
It is more than just an entertaining spectacle, Othman told KUNA, it is a cultural philosophy offering a closer look at the moral and spiritual fabric of Malaysian society.
He described it as a platform for social commentary as the puppeteer weaves into the show modern issues, sparking dialogue and discussions between audience members.
Traditionally, Wayang Kuilt shows take place after dark, and its storylines depicting battles between good and bad are told over the course of three stages.
First, it introduce the characters and sets up the conflict, the second stage is when the battles and ploys unfold, while the third, usually taking place around dawn is meant for the resolution of conflict, and the kindling of friendship.
Othman, who picked up the art form in the 1980s, spoke of how many see it as archaic, no longer appealing with entertainment industry growing bigger and more advanced.
Politically and religiously motivated criticism played a hand in excluding Wayang Kuilt from the modern scene, and it became an art form at risk of extinction, he expounded.
The 2007 listing of Wayang Kuilt at UNESCO's oral and intangible heritage of humanity helped revive it through integrating it with modern films and technology.
Fusion Wayang Kuilt is a group founded by youths aiming to reinsert the lost art back into the narrative.
Founder Tintoy Chuo told KUNA that they had greatly benefited from the expertise and input of puppet master Othman who is officially accredited by traditional Malaysian art school.
Chou and his partners managed to convince Othman to preform within more modern, air-conditioned theaters while still maintaining traditional ways of the art form itself.
Since 2012, the group put on shows in Malaysia and abroad, and was met with wide success.
Chou told KUNA of how they adapted modern day, well-known plots including Star Wars, Batman, Wonder Woman and Iron Man into Wayang Kuilt style, to capture the attention of younger audiences.
Despite success of modernization efforts, Chou said that they were met with local disapproval accusing them of undermining the authenticity of the art.
Chou invites those critics to come and watch the shows, to engage in constructive discussion on revival attempts intriguing and attracting newer generations.
As for chief of traditional arts organization Eddin Khoo, he believes it imperative to preserve the traditional route of Wayang Kuilt, to keep on relaying the Indian epics, saying that such stories have traversed far and wide.
Wayang Kuilt has undergone constant modernization efforts whether in secondary characters or in music, but have remained in cohesion with local cultures and principles, he commented.
It is split into three main forms depending on the region it takes place, as it is heavily influenced by culture and dialect.
Malaysia is on a quest to gain a UNESCO listing for its own brand of Wayang Kuilt as the current listing is credited to Indonesia, home of the art form. (end) aab.aai