At that time, while the followers of Islam there who think that art of gamelan and wayang is haram because it smells Hindu. The emergence of differences between the attitudes and forbid it has enjoyed a very important influence on the development of puppet art itself. To eliminate the impression that all smells and feel of worship to the Hindu statues, cause the new idea to create a new puppet in the shape of the picture by eliminating human beings. Thanks to the tenacity and skill of the followers of Islam who enjoyed puppets arts, especially the mayor, has created a new form of Wayang Purwa with buffalo leather is slightly thinned with a face drawn on her side, the size of hands-on for longer than the size of human hands, so until the foot . Kerbauini leather puppet given primary color white made from a mixture of glue and bone meal, while the clothes in the paint with ink.

 At that time there was a change on a large scale around the puppet. In addition to form a new puppet, also revamped pakelirannya techniques, namely, using the means of screen / display, use the banana tree as a tool to stick puppet, use blencong as a means of lighting, use the box as a means to save the puppet. And also created a special tool to hit the box called mobile. Nevertheless the show still plays to use material from the Ramayana and Mahabharata fibers, but here and there already incorporated elements of propaganda, although still in the form of multi pasemon or in the form of symbols. The puppets Click Here that is the source, removed from the palace and still show dipagelarkan outside the palace.

 In the era of Sultan Shah Alam III or Emperor Akbar Trenggana, the embodiment of the more lively shadow puppets. Standard forms of puppets begin created. For example the form of currency, introduced two kinds of eye liyepan or picture-like grains of rice or a similar person who is sleepy. And the eyes are the eyes of puppets telengan circular. Appearance more lively puppets anymore because diprada with golden paint.

 At the same time His Majesty the Queen single from Giri, is pleased to create another type of wayang puppets Gedog. Basic forms are obtained from the wayang puppet Gedog Purwa. The difference can be seen that for a male figure wearing signature. Plays the principal is the four countries are brothers, namely Jenggala, Mamenang / Kediri, Ngurawan and Singasari. In the opinion of Dr. GAJ Hazeu, mentioned that the word Gedog means horse. Thus the sense of a wayang puppet show featuring Gedog-tale story is more heroism than Kudawanengpatiatau known as Panji Kudhawanengpati. In the leather puppet show accompanied by gamelan pelog Gedog. Wali Sunan Kudus in Java, one set of wayang Gedog dipagelarkan only in the palace. Because puppets Gedog dipagelarkan only in the palace, then make a puppet that Sunan Bonang prepared as the spectacle of the people, namely creating a puppet Damarwulan. Used as the main hero is a story that revolves around the events Damarwulan upheaval of the Majapahit kingdom during the reign of Queen Wungu Kencana Ayu, rebellion Blambangan Regents named Minak Jinggo.

 To complement the existing types of puppets, creating puppet Sunan Kudus wooden Marionette. Pakemnya taken from the puppet play and accompanied by a gamelan Purwa Slendro, but it only consists of gongs, kenong, percussion, drums, intelligence and fiddle. Sunan Kalijaga does not lag too, to brighten the development of puppetry arts in those days by creating a mask made of wood. Goods taken from the grip ceriteranya Gedog puppet who finally called the mask of Panji. Forms the eye of the mask was made similar to the puppet Purwa. At the time of the Mataram kingdom ruled by Panembahan Senapati or Sutawijaya, held Purwa repairs and wayang puppet form Gedog. Finely carved leather puppets and puppet Gedog equipped with a dagger.

 Besides, both puppet and puppet Purwa Gedog be separated shoulder and hand and given a stalk. In the reign of Sultan Agung Anyakrawati, puppets Click Here which was originally used for the medium was replaced with a puppet Ruwatan ceremony Purwa and it applies to the present. At that time also created some giant figures who previously did not exist, among other Cakil Buto. Giant-like face, usually appear in scenes of War or War of Flower Cinnamon.

 Blind Cakil embodiment is sengkalan which reads: Hand Attorney Satataning creature (1552 J / 1670 AD). In Purwa puppet character is a symbol Cakil Blind anger. Forms completion by Sultan Agung Purwa puppet ends with the making of the giant figures who called Blind hair Geni, which is saying Urubing Puppet sengkalan Gumulung Single: (1553 J / 1671 AD). Around the 17th century, Raden shriek from Surabaya create Klitik puppets, shadow puppets are made from compressed wood, like a puppet Purwa. In the grip of the story pagelarannya Damarwulan used, the implementation of a performance done in the afternoon.

 In the year 1731 I created a puppet Sultan Hamangkurat in other forms of puppet Wong. Wayang wong is a puppet that consists of humans using the devices or clothing that is made similar to the clothes that existed at the wayang kulit.

 In a performance grip that stems from the use of Fibre and Fibre Mahabharata Ramayana. Wong differences with puppet puppet mask is; the time playing, Wayang Wong perpetrator of active dialogue, while the perpetrators puppet mask dialogue conducted by the puppeteer.

 In the era of Sri Hamangkurat IV; he can heritage book of Fiber and Fiber Witaraja Pustakaraja Madya from Raden Ngabehi Ranggawarsito. The contents of the book is narrated history of Aji Pamasa or Prabu Prabu Kusumawicitra who reigned in the country Mamenang / Kediri.

 Then move the Palace in Pengging. The contents of this book inspired him to create a new puppet called Madya puppet. Wayang stories from Madya starts from King Parikshit, the last figure of the story until the Kingdom Jenggala Mahabharata as narrated in the Panji stories.
 Intermediate forms of puppets, puppet similar to the top of Purwa, while the bottom of puppet-like shape gedog. During times of physical Revolution between the years 1945 - 1949, attempts to peal the determination to maintain Indonesia's independence struggle carried out in various ways.

 One effort is through the art of puppetry. Especially for the shew-tale story of struggle, the puppets were created Suluh.

 Wayang puppet Suluh means of Information, because the word also means Suluh torch as a tool which is used to illuminate a dark place. Suluh puppet forms, good cuts and clothes similar to those of everyday clothing.

 Materials used for making puppets from Suluh there skin some are derived from compressed wood. There are some people argue that the puppet torch was originally born in Madiun district created by an employee of illumination and also as the mastermind. There was no standard form of puppet Suluh, as always follow the development era. This is due particularly public dress code is always changing, especially its officials.

Puppet art in its original form arose before the Hindu culture entered Indonesia and began to develop in the era of Javanese Hindu.

 Performing Arts puppet is the remnants of the religious ceremony of the Javanese are the remnants of animistic beliefs and dynamisme. About the origins of puppet arts to adulthood is still an unsolved problem completely. However, many experts began trying to trace the history of puppets and the problem proved to be extremely interesting as a source or object of research. According to the Book Centini, about the origins of wayang puppet Purwa mentioned that art, once initially created by King of the Kingdom of Jayabaya Mamenang / Kediri. Sektar Century 10 King Jayabaya trying to create a picture of the ancestral spirits and scrawled on the palm leaves. Shape description is copied from the picture of wayang Ramayana reliefs on the temple in Blitar Upgrading. Ramayana story is very interesting because Jayabaya attention, including a faithful worshiper of Lord Vishnu, even by people regarded as the embodiment or incarnation of Vishnu Batara. Figure drawn character for the first time is or Sang Hyang Guru Jagadnata is a manifestation of the god Vishnu.
 The next period is the time of Jenggala, puppet creation activities flourished. Since King Jenggala Sri Lembuami noble death, then the government is held by his son, whose name and title of Raden Panji Rawisrengga Sri Suryawisesa. During the ruling Sri Suryawisesa enterprising puppets Purwa perfect shape. Wayang-puppet creations collected and stored in a beautiful box. Meanwhile, also created puppets Purwa pakem story. Every important ceremonial occasions at court held puppet show and Sri Suryawisesa own Purwa act sebagal mastermind.

 The performances of his relatives to help and act as a gamelan. At that time Purwa puppet was accompanied by gamelan slendro barrel. After Sri Suryawisesa dies, succeeded by his son, who bear the title of Raden Kudalaleyan Suryaamiluhur. During his reign he is also keen to improve puppetry. Pictures of palm leaves puppet creation ancestors moved to the paper by maintaining the existing form of palm leaves. With the picture painted puppets in this paper, whenever there is an important ceremony in the palace held puppet.

 In business Majapahit paints a picture on paper puppets plus enhanced with small parts rolled into one. The scroll-shaped puppet, to be played when the scrolls must dibeber. Therefore this type of unusual puppets called wayang Lyrics Click. Click Here Since the creation of puppets can be seen also that the scope of puppet arts is not merely an art palace, but instead extends to the environment outside the palace, although its nature is still very limited. Since then the society outside the palace had also come to enjoy its beauty. When the show is done in the palace accompanied by gamelan slendro barrel. But when the show made outside the palace, the only form of iringannya lakonnya Rebab and even play Murwakala limited to, the special plays for Ruwatan ceremony. In the court of last UB, what a coincidence blessed with a son who has the skill to paint, namely Raden Prabangkara decoration. Talent is exploited by his son King UB for menyempurkan Click Here to paint puppet form. The coloring of the puppets are adjusted to form and dignity of character, that for example the King, Warrior, Priest, god, Punakawan and others. Thus at the end of the Majapahit Kingdom, the state of the splendor of the puppets Click Here. Since the collapse of the Majapahit kingdom with sengkala; Geni murub siniram creature (1433 / 1511 AD), the puppets and gamelan brought to Demak. This occurs because the Sultan of Demak Akbar Shah Alam I really enjoyed music and performing arts puppets.

The puppet master, called Dalang, narrates old stories from Indian epics Ramayana and Mahabarata but they were transformed by generations of Javanese tellers. Gamelan orchestra and a few female singers accompanies the dalang. The dalang is seated in front of the white linnen screen (kelir). The dalang has to sit cross legged for eight hours on a mat to perform wayang. He requires several assisants to hand him his puppets, ranged along the banana tree trunks, to the left and right of the dalang.

Deciding the title of wayang story (Lakon)

After deciding the title of wayang story, a dalang (puppet master), a dalang to perform the show must be appointed. Dalang position is very important, as he is the leader of the performance. Sometimes dalang could be chosen first, afterwards a consultation with him could be held to choose an appropriate title. Dalang comes from the words juru udalan (juru : an expert, a skillful man - udalan abbreviated to dalan, then becomes dalang means to tell stories), so dalang is a story teller.

Dalang is an overall artist. He must have a broad knowledge of several disciplines of arts, such as :

   1. Mastering deeply the stories of wayang Ramayana as well as Mahabharata, knows the characters of wayang figures.
   2. Having a thorough knowledge of Javanese philosophy and moral ethics, as Javanese philosophy and moral ethics are inter-connected, or might be almost similar.
   3. Having an accurate information in many aspects of life in the country (or even internationally in this era of information and globalization).
   4. Having a good and clear voice, as he has to imitate about 50 (fifty) wayang figures with different voices. He has to explain every occasion, which has or should happened. And he has also to perfectly master the language ‘high’ and ‘ordinary’ used in dialogue, song and narration. He has to be a good singer, as he has to sing a lot during a performance.
   5. Having the ability of preparing the scenario, so that plot of stories should flow smoothly, in accordance with standard patterns.
   6. He has to know gamelan (Javanese musical instruments) used to accompany the show. He has also the capacity of a conductor as he should command the gamelan music; when it should begin and stop, and he should ask the gamelan crew what kind of music or song to be played.
   7. He has to lead the chorus of pesinden (women singers), usually consists of three to five singers and wira swara (male singers).
   8. He has to be skillful to move the puppets attractively.
   9. He has to know how to make good jokes, at the sametime advising the audience unnoticeably.