Dance in the Dalang’s Hands: Embodied Dance Knowledge in Kiprah Wayang Kulit

Abstract

Dance knowledge plays an important role in shaping movement in Wayang Kulit, particularly in kiprah, a dance-like
movement sequence performed by Wayang Kulit characters. Although a dalang does not dance directly with his own visible
body, he embodies and translates his understanding of movement through his hands into the Wayang Kulit characters'
movements. This study examines how embodied dance knowledge informs the practice of kiprah in Wayang Kulit, focusing
on the relationship between the dalang’s bodily experience, hand movements, sabet (Wayang Kulit movement), and rhythm.
Using a qualitative approach, the study draws on the researcher’s experience as a dalang and his previous experience in
Javanese dance. The researcher uses Kiprah Boma as the primary case to examine how dance knowledge is applied in Wayang Kulit
movement. Data are derived from audiovisual documentation, movement observation, and reflective analysis of the
researcher’s performance practice. The analysis focuses on selected movement motifs and examines how knowledge of
rhythm, accentuation, movement quality, character, and the relationship between movement and kendang (drumming) is
embodied in the dalang’s manipulation of the Wayang Kulit. Rather than treating the dalang’s hands merely as a technical
means of controlling the Wayang Kulit, this study considers them as a medium through which embodied dance knowledge
is translated into Wayang Kulit movement. The study highlights the significance of dance experience as embodied
movement knowledge in sabet practice and its potential relevance to teaching and learning Wayang Kulit movement.