Other wayang puppets are stored in the wooden box that serves as the dalang’s percussion instrument on which the kepyak (the metal piece attached to a piece of thick wooden base for the dalang’s tapping percussion) is attached. Therefore, Yogyakarta simpingan might also be different from Surakarta simpingan. Yogyakarta leather puppets have different profile than Surakarta puppets Yogyakarta puppets are slightly bigger in size and certain parts are differently carved/painted/featured. The screen is placed at the center of the overall performance with the banana tree trunks beneath to post the wayang puppets, the standard right ‘simpingan’ (line of wayang puppets arranged in their typical sequence) and the left ‘simpingan’. The composition of classical Yogyakarta wayang leather puppet performance more or less comprises the following arrangements:ġ. Therefore, additional entertainment cuncerrently presented with wayang performance is considered somewhat lessening the value of wayang. The principle idea of Yogyakarta classical wayang performance is that the focus of the show is what happens on the screen. Changes and modification can only be made on the minor parts to apply various creativity works as they properly fit to make the performance more interesting but without losing the essential ingredients of the overall performance. Therefore, it is considered improper for him to make radical changes on the main components of wayang performance for fear of losing the deep meaning and eternal beauty of the works of art. Ki Hadi Sugito believes that the classical components of Yogyakarta wayang leather puppet performance have been artistically and intelligently created by the past masters of traditional art to convey deep spiritual meanings with their perpetual classical beauty. This might be a simple twist of words but for sure there is an extent of truth in the statement. Some dalang teachers also state that Surakarta wayang performance is gamelan artwork accompanying wayang performance, while Yogyakarta wayang is wayang performance accompanied by gamelan artwork. It seems that Yogyakarta wayang performance presents more educational and philosophical entity in the form of entertaining presentation. Meanwhile, recent Surakarta wayang performance even presents more entertaining ingredients by inviting additional entertainers in a session that is called ‘limbukan’. This might be the reason why Yogyakarta wayang leather puppet performance is not as popular as Surakarta wayang performance for audience from outside the region.
by presenting more stylish wayang movements on the screen, displaying visual effects, adding more drums and providing a wide variety of gamelan music accompaniment), Ki Hadi Sugito strictly sticks to the original classical Yogyakarta wayang performance arrangement with the standard components, standard gamelan music accompaniment and standard wayang movements simply to support the flow of the story. Unlike the Surakartan dalangs who like to elaborate the stage performance and the accompanying gamelan music to enrich the overall project so as to entice more viewers (i.e. However, Ki Hadi Sugito is the most popular dalang (puppeteer) in the Yogyakarta special province as well as in some regions to the west as far as Purwokerto. Ki Hadi Sugito is not as widely known as Ki Narto Sabdho and Ki Mantep Sudarsono, the Surakartan dalang with the Solo style. To my understanding, the remarkably beautiful Javanese wayang leather puppet performance arrangement in its Yogyakarta classical setting is presented by the late maestro Ki Hadi Sugito, the Yogyakarta dalang (puppeteer) with the Mataram style.
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