The Javanese cosmos is composed of diferent levels of belief stemming from older and more accommodating mysticism, the Hindu court culture and a very real belief in ghosts and numerious benevolent and malevolent spirits. Underneath the unifying code of Islam, magic power is concentrated in amulets and heirlooms (especially the Javanese dagger known as the keris), in parts of the human body such as the nails and the hair, and in sacred musical instruments. The dukun (faith healer and herbal doctor or mystic) ois still consulted when illness strickes. Jamu ( traditional medicine) portions are widely taken to do everything from boost libido to cure asthma.
Refinement and politeness are highly regarded, and loud displays of emotion, coarseness, vilgarity and flamboyant behavour are considered "kasar" (bad manner; coarse). "Halus" (refined) Javanese is part of the Hindu court tradition, which still exists in the heartland of Central Java. In contrast to Islam, the court tradition has a hierarchical world view, based of privilege and often guided by the gods or nature spirits.
Indirectness is a Javanese trait that steams from an unwillingness to make others feel uncomfortale. It is impolite to point out mistakes and sensitivities, or to directly criticies authority.
Java has three main ethnic groups, each speaking their own language: the Javanese of Central and East Java (where halus is taken veri seriously); the Sundanese of West Java; and the Madurese from Madura Island (who have a reputation for blunt-speaking and informality). Small pockets of Hindus remain, including the Tenggerese of the Bromo area and the Badui of West Java, whose religion retails many animist beliefs. Even metropolitan Jakarta identifies its own polyglot tradition in the Betawi, the name for the original inhabitants of the city.
Wayang
Wayang kulit is the art of theatre performance using shadow puppets. Perforated leather figures are manipulated behind an illuminated cotton screen to retell stories, which are usually based on Hindu epics the Ramayana and Mahabarata. Unsurprisingly, Wayang kulit owes much to Indian tradition.
In tradition performance, a whole night might be devoted to just one lakon (drama). Many wayang kulit figures and stories have a specific mystical function; certain stories are performed to protect a crop, a village or even individuals.
By the 11th century, wayang performances wih leather puppets flourished in Java, and by the end of 18th century wayang kulit had developed most of the details we see today. The standardisation of the puppet designs is traditionally attributed to King Raden Patah of dDemak a 16th century Islamic king.
The creation of a puppets is an art form in itself. First an outline is cut using a knife, then the fine detail are carved out using small chisels and a hammer. When the carving is finished, the movable arms are attached and the puppet is painted. Lines are drawn in and accentuated with black ink before the cempurit, the stick of horn used to hold the puppet upright, is attached.
The leaf shaped kayon represents the tree or mountain of life, and is used to end scenes or to symbolise wind, montains, obstacles,clouds or the sea.
The characters in wayang are brought to life by a single dalang (puppeteer), who miht manipulated dozens of figures during performance. The dalang must be a linguist, capable of speaking both the language of the audience and the ancient Kawi language of the aristocratic protagonists of the play. He must also be able to reproduce the diferent voice of the character, as well as be responsible for directing the accompanying gamelan orchestra.
Gamelan
The sound produced by gamelan can range from harmonious to eerie (but always hypnotic), with tempo and intensity of sound undulating on a regular basis. Except to hear powerfull waves of music one minute and a single instrument holding court the next.
More often than not gamelan music can be heard at wayang performances, but gamelan concerts are also quite common throughout Java.