If wayang is called world puppet, then two purposes will come across in mind, Indonesian wayang which has been spreading overseas and puppet owned by nations all over the world. Almost all countries have their own typical puppets which is called puppet or doll. While Indonesian wayang can also be mentioned as puppet or doll but its quality and content is wider and deeper. Puppet or doll is a performance art aimed much more for children, while Indonesian wayang is for all kind of people either children, adult and old people. Indonesian wayang is characteristically edipeni (physical, look, pleasant, elegant, structure of music is melodious and entertaining) and adiluhung (more for civilized, dignity and virtuous), which means wayang is not only as a beautiful and esthetic spectacle, but also as a guidance which has an ethic or main moral of life, even nowadays has a wayang philosophy. Wayang philosophy is a highly academic achievement, because it comes from wayang performance. After going through series of sustainable research and development, is succeeded compiled as wayang philosophy. This wayang philosophy has been stated as a subject in master and doctoral degree in Gadjah Mada University (UGM) in Yogyakarta started in 2011.
World puppet is a puppet or doll performance. Many kinds of puppet culture art are owned and developed by global society. For conserving and developing this puppet, an Organization named UNIMA International (Union Internationale de la Marionnette) was therefore founded in Prague Czechoslovakia, in 1929. This Puppet organization has long existed, and its member from 90 countries. Indonesia is also a member of UNIMA by establishing UNIMA Indonesia in 2009. Nowadays Indonesia is really expecting that there is a world organization of wayang apart from marionnette, because in reality Indonesian wayang has spread all over the world. This willingness has been initiated by establishing APA (ASEAN Puppetry Association) for puppet in ASEAN region. It also has been initiated a puppet organization in Asian level by establishing forum of Asian Puppetry Gathering.
Global Society really respect Indonesian wayang especially after UNESCO declared Indonesian wayang as “a Masterpiece of the Oral and Intangible Heritage of Humanity” on November 7th, 2003. This moment actually can be used for presenting wayang culture art in international level. Wayang as an asset of indonesian culture art, has been acknowledged as world culture art heritage. This is an Indonesian strength that can be relied upon international diplomacy and can promote Indonesian image in the world. An effort to put and push wayang in international forum has been conducted. Indonesia has been actively involved in UNIMA, ASEAN Puppetry Association or APA and many Indonesian art missions which are carrying wayang in various opportunities abroad. Wayang promotion inside and abroad should be conducted intensively. Indeed, these efforts require a lot of power/persons, mind and finance. Limited budget is the main problem to solve. Therefore, the government should be responsible to strengthen wayang cultural diplomacy, including to increase the budget.
In May 2012 a meeting of UNIMA International was organized in Chengdu China. In the event of puppet art also there was a congress of UNIMA, world puppet festival, and so on. It is a good chance for Indonesia to perform, its primary in UNIMA Congress in once every 4 year. The further ambition in the future, Indonesia can be elected President of UNIMA International. If Indonesia is elected a Chairman of UNIMA International, Indonesia is going to be very proud, it is a proof that Indonesian wayang is going more and more worldwide. Since a long time ago until now many foreigners have been learning wayang and puppetry in Indonesia. Not a few are learning puppetry. Moreover, a lot of them are also reviewing and learning wayang. Wayang becomes a research and scientific study and therefore they can write books about wayang.
Indonesian wayang, mainly wayang Kulit (leather puppet) from Java and wayang Golek (wooden puppet) from Sunda have spread many European countries, the United States of America, Australia and Asia. Therefore by being proclaimed the Indonesian wayang by UNESCO as World Heritage, wayang culture art is getting strong as one of the country strength elements. Achievement and strength of wayang culture art should be used by the government for conducting cultural diplomacy. Former Indonesian Foreign Minister Mr. Hassan Wirajuda once expressed wayang as an instrument of diplomacy.
Organization and Institution of Indonesian wayang are strong enough. There are SENA WANGI (Indonesian Pewayangan/Puppetry National Secretariat), PEPADI (Indonesian Puppetry Union), PEWANGI (Indonesian Human Puppet Association), APA (ASEAN Puppetry Association), and UNIMA (Union Internationale de la Marionnette) - Indonesia. Wayang educational institutions are also growing such as ISI (Institut Seni Indonesia/Indonesian Institute of Arts), STSI (Sekolah Tinggi Seni Indonesia), Sanggar/Studio (traditional learning of wayang institution) and so on. Wayang culture art is in strong position and ready to be developed abroad. Wayang community is sure, wayang can become a superior culture art in international forum and becomes one of Indonesian strength to be a great country and respected by other countries. The country who is “mardikengrat mbahudhendha nyakrawati”, that means independent country, sovereign and famous in the world.
In the era of globalization, it is open a very tight and keen competition. Not only in political and economical fields but also in culture. Foreign culture values which have not been quite right for Indonesia, is continuously flowing through information technology sophisticated tools. Facing the onslaught of foreign cultures, Indonesian people must be aware and strengthen themselves. One of it is by developing native culture. Also traditional culture can be unified to become a strength to fortify national culture. Wayang culture art has been developing since long time ago to build resilience of Indonesian culture. This effort should be increased. Must be weaved a close co-operation between wayang society and the government. Actually there are many kinds of ways like education. The life of wayang traditional art is apparently dependent on young generation. But in reality young generation is decreasing their interest. Only long term effort that can solve. Through formal education started from elementary till university, traditional art is introduced to young generations. Relating to curriculum policy, Ministry of Education and Culture in 2013 submitted local content competency of culture art subject at the local government autonomy. It is an opportunity for local government to require the teaching of regional language and wayang in school, started from Early Age Learning Education (PAUD=Pendidikan Anak Usia Dini), elementary until high school. Regional language is a cultural instrument that can support wayang culture art.
To strengthen and empower wayang widely and continuously, it is necessary to socialize wayang through information media, such as publishing books, television broadcasting, and so on. The governments either central or regional pay a real attention in the form of development of culture supported by sufficient fund (Central/Regional Government Budget).
Position of wayang culture art either in global or national dimension, is on its track. Wayang is dominant and respectable in international forum, also in national level has been in the midst of national development. Synergy between government effort and wayang community which are coordinated by SENA WANGI will wide openly for Indonesian wayang which is useful for nation welfare and country in facing destructive cultures from other countries.
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