[11] Wayang traditions include acting, singing, music, drama, literature, painting, sculpture, carving, and symbolic arts.

[13] Etymologically, wayang is the Javanese-origin term, inherited from Old Javanese wayaṅ, literally means 'shadow',[4][14] refers to its initial shadow puppetry form.

There is no true contemporary puppet shadow artwork in either China or India that has the sophistication, depth, and creativity expressed in wayang in Java, Indonesia.

Similarly, some of the other technical terms used in the wayang kulit found in Java and Bali are based on local languages, even when the play overlaps with Buddhist or Hindu mythologies.

argues that wayang originated from shamanism, and makes comparisons with ancient archipelago ceremonial forms which aim to contact the spirit world by presenting religious poetry praising the greatness of the soul.

[citation needed] Hinduism and Buddhism arrived on the Indonesian islands in the early centuries of the 1st millennium, and along with theology, the peoples of Indonesia and Indian subcontinent exchanged culture, architecture, and traded goods.

[20] Further, the eastern coastal region of India (Andhra Pradesh, Odisha, and Tamil Nadu), which most interacted with Indonesian islands, has had traditions of intricate, leather-based puppet arts called tholu bommalata, tholpavakoothu, and rabana chhaya, which share many elements with wayang.

[17] Jivan Pani states that wayang developed from two art forms from Odisha in eastern India: the Ravana Chhaya puppet theatre and the Chhau dance.

It describes a wayang performance: si galigī mavayaṁ buAt thyaṁ macarita bimva ya kumāra, which means 'Galigi held a puppet show, as service to the gods, telling the story of Bima Kumara'.

Old Javanese inscription called Kuṭi, probably issued in the mid-10th century by Maharaja Sri Lokapala from East Java,[24] mention three sorts of performers: atapukan (lit.

Mpu Kanwa, the poet of Airlangga's court of the Kahuripan kingdom, writes in 1035 CE in his kakawin (narrative poem) Arjunawiwaha, "santoṣâhĕlĕtan kĕlir sira sakêng sang hyang Jagatkāraṇa", which means, "He is steadfast and just a wayang screen away from the 'Mover of the World'.

[28] There is a family of characters in Javanese wayang called punokawan; they are sometimes referred to as "clown-servants" because they normally are associated with the story's hero, and provide humorous and philosophical interludes.

Often modern-world objects as bicycles, automobiles, airplanes and ships will be added for comic effect, but for the most part the traditional puppet designs have changed little in the last 300 years.

They start from master models (typically on paper) which are traced out onto skin or parchment, providing the figures with an outline and with indications of any holes that will need to be cut (such as for the mouth or eyes).

While the main characters from the Ramayana and Mahabharata are similar to wayang kulit purwa versions from Central Java, some punakawan (servants or jesters) were rendered in Sundanese names and characteristics, such as Cepot or Astrajingga as Bagong, and Dawala or Udel as Petruk.

Damarwulan is a clever chap, who with courage, aptitude, intelligence and the assistance of his young lover Anjasmara makes a surprise attack on the neighboring kingdom and brings down Minakjinggo, an Adipati (viceroy) of Blambangan and mighty enemy of Majapahit's beautiful queen Sri Ratu Kencanawungu.

[32] Wayang beber has strong similarities to narratives in the form of illustrated ballads that were common at annual fairs in medieval and early modern Europe.

[33] Chinese visitors to Java during the 15th century described a storyteller who unrolled scrolls and told stories that made the audience laugh or cry.

There are two sets, hand-painted on hand-made bark cloth, that are still owned by families who have inherited them from many generations ago, in Pacitan and Wonogiri, both villages in Central Java.

The content of the story typically stems from the Panji romances which are semi-historical legends set in the 12th–13th century East Javanese kingdoms of Jenggala, Daha and Kediri, and also in Bali.

[37] Wayang gedhog centers on a love story about Princess Candra Kirana of Kediri and Raden Panji Asmarabangun, the legendary crown prince of Janggala.

Menak (Javanese: ꦩꦺꦤꦏ꧀, romanized: Ménak)[40] is a cycle of wayang puppet plays that feature the heroic exploits of Wong Agung Jayengrana, who is based on the 12th-century Muslim literary hero Amir Hamzah.

[42] The word Ménak is a Javanese honorific title that is given to people who are recognized at court for their exemplary character even though they are not nobly born.

The literary figure of Amir Hamzah is loosely based on the historic person of Hamza ibn Abdul-Muttalib who was the paternal uncle of Muhammad.

the literary tradition traveled from Persia to India and from then on to Southeast Asia where the court poet Yasadipura I (1729-1802) set down the epic in the Javanese language in the Serat Menak.

[47] There have also been attempts to retell modern fiction with the art of wayang, most famously Star Wars as done by Malaysians Tintuoy Chuo and Dalang Pak Dain.

Dialogue between characters, narrative expressions (janturan, pocapan, carita), suluk, kombangan, dhodhogan, and kepyakan are important elements in wayang performances.

[51] With a traditional orchestra in the background to provide a resonant melody and its conventional rhythm, the dalang modulates his voice to create suspense, thus heightening the drama.

Hundreds of people will stay up all night long to watch the superstar performers, dalang, who command extravagant fees and are international celebrities.

[citation needed] PasindhènPesindhén or sindhén (from Javanese) is the term for a woman who sings to accompany a gamelan orchestra, generally as the sole singer.