Wayang beber (Javanese: ꦮꦪꦁꦧꦺꦧꦺꦂ, romanized: wayang bèbèr (in the ngoko register)) is an Indonesian wayang performance art whose presentation is manifested on stretched sheets of paper or cloth, with pictures in the stylized wayang accompanied by a narration by a dalang. Wayang beber performances emerged and developed in Java in pre-Islamic times but continued into the Islamic kingdoms (such as the Sultanate of Mataram). The stories shown are taken from the Mahabharata and the Ramayana. After Islam became the main religion in Java, more Panji tales were performed. Wayang beber bears a strong resemblance to narrative in the form of pictorial ballads common at annual fairs in medieval and early modern Europe. They too suffered the same fate—nearly becoming extinct, although there are still groups of artists who support wayang beber in places like Surakarta (Solo) in Central Java.
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👉 Wayang beber in the context of Wayang kulit
Wayang kulit (Javanese: ꦮꦪꦁꦏꦸꦭꦶꦠ꧀ (in the ngoko register)) is a traditional form of shadow puppetry originally found in the cultures of Java and Bali in Indonesia. In a wayang kulit performance, the puppet figures are rear-projected on a taut linen screen with a coconut oil (or electric) light. The dalang (shadow artist) manipulates carved leather figures between the lamp and the screen to bring the shadows to life. The narratives of wayang kulit often have to do with the major theme of good vs. evil.
Wayang kulit is one of the many different forms of wayang theatre found in Indonesia; the others include wayang beber, wayang klitik, wayang golek, wayang topeng, and wayang wong. Wayang kulit is among the best known, offering a unique combination of ritual, lesson and entertainment.