Eighteenth International Conference on the Arts in Society

Abstract

Virtual wayang performance have become part of post-pandemic performances. Wayang performances, which were originally very traditional and far removed from new media, suddenly have had to coexist with new media. This study aims to understand the deauthorization of the dalang or puppet master and the increase in the role of the audience in the staging of wayang performances. 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. Research shows that virtual performances have contributed to increased audience participation resulting in reduced authority of the dalang. The role of the dalang, 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 the gamelan players), or guest stars, and crew members who handle the 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.