In
Javanese , the ()
or () are the clown servants of the hero. There are four of them –
Semar
Semar (Javanese script: ꦱꦼꦩꦂ) is a character in Javanese mythology who frequently appears in wayang shadow plays. He is one of the punokawan (clowns) but is divine and very wise. He is the Hyang, dhanyang (guardian spirit) of Java,Geertz ...
,
Petruk, (), and (). Semar is the personification of a deity, sometimes said to be the () or guardian spirit of the island of Java. In Javanese mythology, deities can only manifest themselves as ugly or otherwise unprepossessing humans, and so Semar is always portrayed as short and fat with a pug nose and a dangling hernia.
His three companions are his adopted sons, given to Semar as votaries by their parents. Petruk is portrayed as tall and gangling with a long nose, Gareng as short with a club foot, and Bagong as obese.
The always appear in the second act of a performance – ''pathet sanga'' – as servants to the hero of the story regardless of who that hero is.
Similar characters appear in other Indonesian wayang and theatrical traditions, including those of
Bali
Bali (English:; Balinese language, Balinese: ) is a Provinces of Indonesia, province of Indonesia and the westernmost of the Lesser Sunda Islands. East of Java and west of Lombok, the province includes the island of Bali and a few smaller o ...
and
Sunda, under different names.
The characters are generally much-loved by audiences who attend wayang plays in Indonesia and their appearance in the plays is usually greeted with laughter and anticipation.
Role
The ''Javanese English Dictionary'' gives the first definition of the
Javanese word as "follower, servant".
In , are not just mere servants or followers, but they also understand what is happening to their masters. They often act as advisors to their masters.
The most distinctive thing about the existence of is they act as a group that spreads humour in the story. Their behavior and speech typically invite laughter from the audience. Apart from being comforters and advisers, they sometimes also act as helpers to their masters in times of adversity. For example, when Bimasena has to face Shakuni in the
Bharatayuddha war, Semar comes up to inform him of Shakuni's weakness.
In conversations between , it is common for the language and terms they use to be modern terms that are not following their era. But this seems to have become normal and is not a problem. For example, in performances, Petruk claims to have a car or cellphone, even though these two objects certainly did not exist in the era back then.
References
Sources
*
{{refend
Further reading
* Brandon, James (1970). ''On thrones of gold - three Javanese shadow plays''. Harvard University Press.
* Keeler, Ward (1987). ''Javanese Shadow Plays, Javanese Selves''. Princeton University Press.
* Keeler, Ward (1992). ''Javanese Shadow Puppets''. OUP.
* Long, Roger (1982). ''Javanese shadow theatre: Movement and characterization in Ngayogyakarta wayang kulit''. Umi Research Press.
External links
Indonesian site in English about Semar and the PunokawanDo You Know Your Kurawas From Your Pandawas: Wayang's Origins Stories: Jakarta Globe
Wayang
Javanese mythology
Indonesian mythology