The panggung (theatre/stage) for the Pokok Pauh Janggi performance was denoted by a tikar sengkuang (seashore pandan mat) and 2 cushions to mark the positions of the ersatz Dalang (puppet master) and the Pawang (shaman). The traditional Wayang Kulit batang pisang (banana stem) constituted the ibu pertiwi (mother earth) of the panggung and at each end of this ‘ground’ was inserted a bamboo rod, stating the vertical plane and marking the left and right boundaries of the proscenium. Wayang Kulit normally takes place in the dark so the shadows of the puppets can be starkly delineated on the kelir (screen), which is the ultimate site or interface of the performance. The Pokok Pauh Janggi performance was not, however, the presentation of a shadow play but, rather, the sharing of the sacred or magical upacara (rites) of Malay Wayang Kulit. The performance took place just before dusk, while there was still enough light for the buang badi rusa (dispelling of the mischief of the deer) and the invocation of the jambalang wayang (spirit of the puppets) could be observed by the audience. There could of course be no screen, and this led to practical problems with regard to support for the puppets and focusing the space of the performance.

To help delineate the proscenium and to order the space of the ritual, some devices were borrowed from the Balinese Wayang Lemah which also traditionally takes place in daylight without the mediation of a screen. In the presentation of Wayang Lemah, an intertwined cord of three threads known as the tukelan is tied across the vertical posts of the proscenium. The taught, straight tukelan signifies akasa (sky) and dharma (righteousness). At either end of the tukelan is strung an Uang Kepeng (pierced Chinese coin) that was the medium of exchange in the traditional Balinese economy, and which is said to symbolize balance between the Bhuana Agung (macrocosm) and Bhuana Alit (microcosm). While the incorporation of these elements of Wayang Lemah constitutes a deviation from the Kelantan tradition, it was apropos to the mechanics, optics, and metaphysics of the daylight performance of Pokok Pauh Janggi and, most importantly, it brought a broader Nusantara perspective to the proceedings.

“The Philosophical Meaning of Elements of the Balinese Lemah Leather Puppet Performance” written by I Putu Ardiyasa

Thanks to my friend and Vancouver based Tok Dalang Mark Parlett for guiding me towards the realization of this important aspect of the Pokok Pauh Janggi performance.

Pokok Pauh Janggi performance and installation by Niranjan Rajah runs from 5th Aug – 30th Sept 2023.