Wayang kulit in the context of "Hayam Wuruk"

Javanese culture (Javanese: ꦏꦧꦸꦢꦪꦤ꧀ꦗꦮ, romanized: Kabudayan Jawa) is the culture of the Javanese people.Javanese culture is centered in the provinces of Central Java, Yogyakarta and East Java in Indonesia. Due to various migrations, it can also be found in other parts of the world, such as Suriname (where 15% of the population are of Javanese descent), the broader Indonesian archipelago region, Cape Malay, Malaysia, Singapore, Netherlands and other countries. The migrants bring with them various aspects of Javanese cultures such as Gamelan music, traditional dances and art of Wayang kulit shadow play.

The migration of Javanese people westward has created the Javanese culture in a small part of the northern coast that is distinct from the Sundanese culture in the majority of West Java and Banten. Being the largest ethnic group, the Javanese culture and people influence Indonesian politics and culture, a process sometimes described as Javanisation.

Wayang (Javanese: ꦮꦪꦁ, romanized: wayang (in the ngoko register), ꦫꦶꦁꦒꦶꦠ꧀, ringgit (in the krama register)) is a traditional Javanese form of puppet theatre. The term wayang refers both to the show as a whole and the puppet in particular. Performances of wayang puppet theatre are accompanied by a gamelan orchestra in Java, and by gender wayang in Bali. The dramatic stories depict mythologies, such as episodes from the Hindu epics the Ramayana and the Mahabharata, as well as local adaptations of cultural legends. Traditionally, a wayang is played out in a ritualized midnight-to-dawn show by a dalang, an artist and spiritual leader; people watch the show from both sides of the screen.

Wayang performances are popular among Indonesians, especially in the islands of Java and Bali. They are usually held at certain rituals, ceremonies, events as well as tourist attractions. In ritual contexts, puppet shows are used for prayer rituals in Balinese temples, ruwatan ritual (cleansing Sukerto children from bad luck), and sedekah bumi ritual (thanksgiving to God for the abundant crops). In the context of ceremonies, usually it is used to celebrate mantenan (Javanese wedding ceremony) and sunatan (circumcision ceremony). In events, it is used to celebrate Independence Day, the anniversaries of municipalities and companies, birthdays, commemorating certain days, and many more. Even in the modern era with the development of tourism activities, wayang puppet shows are used as cultural tourism attractions.

Manteb Soedharsono (Javanese: ꦑꦶꦩꦟ꧀ꦠꦼꦧ꧀ꦯꦸꦝꦂꦱꦤ; 31 August 1948 in Palur, Mojolaban, Sukoharjo, Central Java – 2 July 2021 in Karangpandan, Karanganyar, Central Java) was an Indonesian wayang puppeteer.

The dhalang or dalang (Javanese: ꦝꦭꦁ, romanized: dhalang; Indonesian: dalang) is the puppeteer in an Indonesian wayang performance.

In a performance of wayang kulit, the dalang sits behind a screen (ꦏꦼꦭꦶꦂ, kelir) made of white cotton stretched on a wooden frame. Above his head, hanging from beams attached to the top of the screen is the lamp (ꦧ꧀ꦭꦺꦚ꧀ꦕꦺꦴꦁ, bléncong), which projects the shadows onto the screen. In front of the dhalang is a stage (ꦒꦼꦢꦼꦧꦺꦴꦒ꧀, gedebog), traditionally made from the trunk of a banana tree, into which the sharpened control rods of the puppets can be pushed to keep them in position during the performance. To his left is the puppet chest (ꦏꦺꦴꦛꦏ꧀, kothak), and to his right is the puppet chest's lid, on which the puppets sit ready for use.

Wayang golek (Sundanese: ᮝᮚᮀ ᮍᮧᮜᮦᮊ᮪, romanized: wayang golèk (in the lemes register); is one of the traditional Sundanese puppet arts from West Java, Indonesia. In contrast to the wayang art in other areas of Java that use leather in the production of wayang, wayang golek is a wayang art made of wood. Wayang golek is very popular in West Java, especially in the Pasundan land area. Today, wayang golek has become an important part of Sundanese culture.

On November 7, 2003, UNESCO designated wayang the flat leather shadow puppet (wayang kulit), the flat wooden puppet (wayang klitik), and the three-dimensional wooden puppet (wayang golek) theatre, as a Masterpiece of the Oral and Intangible Heritage of Humanity. In return for the acknowledgment, UNESCO required Indonesians to preserve the tradition.

Gajah Mada (c. 1290 – c. 1364), also known as Jirnnodhara, was a powerful military leader and mahapatih of the Javanese empire of Majapahit during the 14th century. He is credited in Old Javanese manuscripts, poems, and inscriptions with bringing the empire to its peak of glory.

He delivered an oath called Sumpah Palapa, in which he vowed not to rest until he had conquered all of the Southeast Asian archipelago of Nusantara for Majapahit. During his reign, the Hindu epics, including the Rāmāyana and the Mahābhārata, became ingrained in the Javanese culture and worldview through the performing arts of wayang kulit (“leather puppets”). He is considered an important national hero in modern Indonesia, as well as a symbol of patriotism and national unity. Historical accounts of his life, political career, and administration are taken from several sources, mainly the Pararaton ("The Book of Kings"), the Nagarakretagama (a Javanese-language eulogy), and an inscription dating from the mid-14th century.

Traditional Malaysian art is primarily composed of Malay art and Bornean art, is very similar with the other styles from Southeast Asia, such as Bruneian, Indonesian and Singaporean. Art has a long tradition in Malaysia, with Malay art that dating back to the Malay sultanates, has always been influenced by Chinese, Indian and Islamic arts, and also present, due to large population of Chinese and Indian in today's Malaysian demographics.

Colonialism also brought other art forms, such as Portuguese dances and music. During this era, influences from Portuguese, Dutch, and the British, were also visible especially in terms of fashion and architecture in many colonial towns of Malaya and Borneo such as Penang, Malacca, Kuala Lumpur, Kuching and Jesselton. Despite the influences of aboard, the indigenous art of Malaysia continues to survive among the Orang Asli of peninsular and numerous ethnic groups in Sarawak and Sabah.