Gedhog

From Indian Epics to Local Legends

Before the Panji tales rose to popularity, wayang performances told stories of ancestors and later absorbed the great Indian epics. By the 9th century, the reliefs of Prambanan Temple were already depicting scenes from the Ramayana and Kresnayana, evidence that wayang had become an important medium for Hindu-Buddhist mythology. Ancient inscriptions also record wayang performances dedicated to the spirits of ancestors.

During the reign of King Darmawangsa (11th century), there was a well-known phrase mangjawaken Byasamata—“to Javanize the teachings of Vyasa” (the author of the Mahabharata). This meant that Indian works were not merely translated into Old Javanese, but were also adapted to align with local values. Kakawin such as Arjunawiwaha and Bharatayuddha were not only literary works but also sources for wayang stories. However, by the 14th century, people began to grow weary of tales told in Sanskrit. This gave rise to the tradition of kidung written in Middle Javanese, a language closer to the people, featuring local heroes—most notably, Panji.

The Emergence of the Panji Tales

The Panji tales recount the adventures of Raden Panji of Janggala, who becomes separated from his beloved, Dewi Candra Kirana of Kediri. Through various disguises, Panji embarks on a journey filled with challenges until he is finally reunited with his true love. During the Majapahit era, the Panji stories reached the height of their popularity, appearing in *kidung* (epic poems), folk dances, and *wayang gambuh*. From this tradition emerged the form of performance later known as wayang gedhog. The Panji stories later spread to Bali, Lombok, and even as far as Thailand and Cambodia, signifying the vast reach of their influence.

Apa Itu Wayang Gedhog?

The Origin of the term gedhog is still debated. Some link it to gedhogan (kandang kuda, meaning “horse stable”), since many Panji characters’ names begin with “Kuda-.” Others associate it with the sound dhodhogan (of the dalang’s puppet box being tapped), or gedheg (gedhog, meaning “boundary” or “divider”), which marks the distinction between purwa tales and the Panji stories. Some even associate it with kedhok (topeng, or mask), since the Panji tales are also performed in the art of masked dance drama.

Whatever its origin, wayang gedhog is defined as a leather puppet performance based on the Panji stories. Its main characteristics include:

• The main character, Panji, wears a headdress called tekes and carries a kris (traditional dagger).
• The main antagonist is King Klana from a foreign land, commanding troops from Bugis, Bali, or Makassar.
• It uses the gamelan tuning system pélog.
• The shape and style of the puppets vary by region (Yogyakarta, Surakarta, Madura, Kediri).

Wayang Gedhog in the Islamic and Mataram Eras

The arrival of Islam did not extinguish the wayang tradition; instead, it gave it new life. Tradition attributes the emergence of wayang gedhog in the 16th century to Sunan Giri II, who used it as a medium for Islamic teaching. During the reign of Sultan Agung (17th century), wayang gedhog became an important part of courtly art.

Although it declined following the Trunajaya rebellion, wayang gedhog experienced a revival in the 18th century in Surakarta. The kings commissioned magnificent puppet sets such as Kyahi Banjed and Kyahi Dewakatong, which served as royal heirlooms. Beyond the palace, local variations also flourished: wayang sasak in Lombok, wayang takul in Banyuwangi, and even records of performances in Banten.

Thus, wayang gedhog was not merely a courtly art form but also an integral part of the broader community’s culture.

Wayang Gedhog in Yogyakarta

The event of Palihan Nagari in 1755 divided the Mataram Kingdom into Surakarta and Yogyakarta. Sultan Hamengkubuwana I of Yogyakarta was known as both a warrior king and a great artist. He created numerous dances and wayang characters, and also contributed to the development of wayang gedhog.

During the reigns of Hamengkubuwana II through V, wayang gedhog became increasingly refined: the puppets were made larger and their carvings more intricate. A unique variant even emerged, wayang tepèn, featuring Panji in various types of headdresses. Performances were held during royal ceremonies, night vigils (*tirakatan*), or wedding celebrations.

However, since its language was considered too “rough,” puppeteers from the Pakualaman court were often invited to perform it. The Pakualaman version had distinct characteristics—for instance, its characters’ costumes more closely resembled those of wayang purwa. These subtle differences reflect the unique creativity of each royal court.

The Decline of Wayang Gedhog

By the 19th century, the prestige of wayang gedhog began to fade. The reasons were varied:

• Many manuscripts and puppet sets were lost or damaged.
• There was a lack of new puppeteers (dalang) to carry on the tradition.
• The public was more familiar with and preferred wayang purwa.

By the 20th century, wayang gedhog performances were held only occasionally, serving more as cultural spectacles than as living traditions. Some puppeteers from Surakarta were even brought in to perform in Yogyakarta or Pakualaman. Nevertheless, small efforts continued in schools, language centers, and arts communities to preserve the tradition.

Rediscovery Through Manuscripts

Hope for a renewed understanding of wayang gedhog has emerged thanks to ancient manuscripts preserved abroad.

• Leiden University Library houses manuscript Or. 6428, which contains 51 Panji tales, copied in 1906 from an older source.
• British Library in London holds manuscripts MSS Jav 44 and 62 from the late 18th century, which depict the early Yogyakarta style.

These manuscripts reveal two types of stories: non-cyclical love tales (Panji and Candra Kirana in various disguises) and cyclical tales (Panji as the ancestor of Javanese kings). They also show the influence of wayang purwa, such as the character King Klana or scenes reminiscent of the Dewa Ruci episode.

Tanpa manuskrip-manuskrip ini, hampir semua detail tentang wayang gedhog mungkin sudah hilang.

Narrative and Dramaturgy

The structure of wayang gedhog performances resembles that of wayang purwa, but with its own distinct character.

Types of Stories

1. Non-cyclical: focuses on Panji’s adventures and love story, usually ending with their reunion.
2. Cyclical: portrays Panji as a historical figure, with descendants who inherit the throne.

Performance Pattern

• Opening Scene (jejer) set in the palace.
• Panji’s journey in disguise.
• Conflict with King Klana and the Bugis troops.
• The comedic Bancak-Dhoyok scene.
• The climactic battle and the reunion of Panji and Candra Kirana.

The music uses the laras (tuning system) pélog accompanied by characteristic gendhing such as Kombang Mas and Kemong-Kemong. The puppeteer’s sulukan contains praises for the king or prayers to Sang Hyang Wasesa, emphasizing the sacred atmosphere of the performance.

Meaning and Contemporary Relevance

Wayang gedhog is a mirror of Javanese cultural history: from Indian epics to local legends, from Hindu-Buddhist traditions to Islam, from folk art to courtly art.

Today, its existence is very fragile. Puppeteers (dalang) who master the Panji repertoire can be counted on one hand, and its audience is limited. Yet revitalization efforts continue. Digitization projects by Leiden and the British Library have made Panji manuscripts accessible to anyone, and some reconstructed performances are staged to reintroduce this genre.

Reviving wayang gedhog is not merely about preserving a rare art form, but about nurturing the Javanese cultural imagination of love, adventure, disguise, and destiny.

Conclusion

Wayang gedhog is both shadow and light: shadow, because it is nearly extinct; light, because it reveals the richness of Javanese imagination. From the Panji tales full of love and adventure, from royal courts to foreign libraries, from palace stages to digital archives, we can witness how resilient the wayang tradition is in the face of changing times.

Though rarely performed, wayang gedhog remains essential for understanding Javanese identity—a creative heritage that connects the past, present, and future. As long as Panji’s shadow still dances on the leather screen, history lives on.