Puppet Show as Popular Culture in Bali

The Revitalization of Puppet Performing Arts through the Rhetoric Originality of Wayang Cenk Blonk

Bibliographic Data

ID15701504
AuthorsI Nyoman Suaka (0000-0002-5673-3663, Universitas Mahasaraswati Denpasar), I Made Budiasa (0000-0002-4743-9227, National Research and Innovation Agency)
Year2024
Volume14
Issue1
Pages45-69
Publication date2024-04-18
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueJurnal Kajian Bali (Journal of Bali Studies (JOURNAL)
Journal identifiersISSN: 2088-4443 • E-ISSN: 2580-0698
PublisherUniversitas Udayana (PUBLISHER)
DOI10.24843/jkb.2024.v14.i01.p03
OpenAlexW4394926626
LanguageEN
References cited8

The contemporary history of Balinese performing arts is characterized by the inception of the renowned puppeteer Wayan Nardayana’s monumental puppet show, popularly known as puppet or wayang Cenk Blonk, derived from the name of their punakawan characters (servants to the main hero) who are comical, intelligent, critical, and possessed of a broad range of social knowledge. The emergence of the Cenk Blonk puppeteer since the early 1990s has led to a significant expansion of the wayang performance in Bali, from rural older adult to urban youth audiences. This article examines the popularity of puppeteer Nardayana, focusing on his ability to incorporate rhetoric into his performances. The data was taken from the dialogue texts of his performances and examined with rhetoric theory. The study demonstrates that puppeteer Nardayana’s popularity is attributed to his ability to present stories in a refreshing, original, critical, and entertaining style without sacrificing the traditional puppetry principles. This study contributes to appreciating the revitalization of traditional art in a globalized era

Asian Studies and History · Computer Science · Cultural and Artistic Studies · Cultural and Social Studies

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