Cenk Blonk (I Wayan Nardayana) is Bali’s best known shadow puppeteer (dalang). His moniker is the composite of the names of his two favorite punakawan (clown) characters, Cenk and Blonk. During the COVID-19 pandemic, using his Cenk Blonk Channel on YouTube, he presented a series of simple, ten-to-twenty-minute scenes, featuring clown characters. These were meant to educate the public around issues of COVID-19 and promote social distancing in the Balinese community.

Dru Hendro is a graduate of and teacher at the Institut Seni Indonesia (ISI, Indonesian Arts Institute) in Denpasar, Bali. His extensive writings on wayang in Indonesian are available through Google Scholar, including a different version of this article in Indonesian (Hendro and Marajaya 2021).

I Made Marajaya is a lecturer in the Pedalangan/Puppetry Department at the Institut Seni Indonesia (ISI, Indonesian Arts Institute) in Denpasar, Bali, and has written extensively on aspects of wayang. His undergraduate degree is from ISI, and he has a masters and a doctorate from the Universitas Udayana.

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 Introduction

Indonesian wayang has been recognized by UNESCO as a Masterpiece of World Heritage (2003) and was inscribed as an Intangible Cultural Heritage of Indonesia (2008). Balinese wayang, one variation of this national art, remains a necessary component of ceremonies in ritual contexts. But, to remain strong, it needs the continuing creativity of performers staying relevant and must use modern media to both preserve and enhance the genre (Djatnika 2011). The art of Dalang Cenk Blonk (the stage name of I Wayan Nardayana) during the COVID-19 pandemic showed “best practice” in modernizing Balinese puppetry—his digital presentations were thoughtful, communicative, and educational, while also being comically entertaining.

Wayang is known for its symbolic cultural functions in Bali (Seramasara 2019) but today can be very difficult for some audience members to digest, especially if they are part of the younger generation, given the strong dependence on archaic language (Kawi) for wayang dialogue. I Wayan Nardayana’s skillful communication primarily through heightened focus on characters who speak contemporary Balinese in his clown scenes, however, wins over audiences that otherwise might abandon this heritage art. His performances appeal to workers, school children, university students, and officials, as well as committed wayang aficionados (see Marajaya 2016; Jenkins 2010; Foley 2012).

During the COVID-19 pandemic, Balinese wayang was in a dilemma. It was still needed for entertainment and socio-religious functions, but was stymied by the government’s recommendation to avoid large crowds. Before the pandemic, Balinese wayang was primarily delivered through live performance, but, for almost a year and a half, puppeteers could not perform due to the widespread transmission of COVID-19. Given the challenge, puppeteers in Indonesia embraced digital media, especially YouTube (Hendro and Marajaya 2021; Setyawan 2020). Uploads were either versions of video/cassette recordings made of live performances or, as will be discussed in this paper, performances created specifically for online viewing. This paper will focus on two videos made specifically for virtual audiences.

In Bali the two puppeteers who are most active in creating digital content on YouTube are I Wayan Nardayana from Belayu Village, Tabanan Regency, who had 105 virtual wayang offerings by December 2022, and I Made Sutama (Dalang Bayoe Edan) from Payangan Village, Gianyar Regency, who had seventy-six. Sutama’s Bayoe Edan (Crazy Wind) Channel recordings focus mostly on more traditional issues of Balinese custom and religion and will not be discussed in this paper, which focuses on COVID-19 issues. But I Wayan Nardayana’s Cenk Blonk Channel has been especially prominent in raising COVID-19 awareness—a tenth of his 105 videos at the time of our research dealt with the pandemic in some way. Dialogue from some of these COVID shows will be shared below.

Dalang Nardayana started his pandemic-related social media offerings in 2019, and many of his presentations were quick to go viral in Balinese society. His model for pandemic pieces was not a normal multi-hour performance with full Mahabharata-based narrative that a dalang would normally present for a live audience. Instead, many of his YouTube offerings were short comic scenes which became effective community education during the COVID pandemic.

Cenk Blonk’s puppet work currently appears on social media in four forms: 1) complete shows in versions made for cassettes/DVDs, which are freely sold in the market; 2) short, serialized virtual recordings with a duration of fifteen to twenty minutes; 3) short, commissioned virtual recordings, usually of ten to fifteen minutes; and 4) YouTuber uploads filmed by fans during his live performances, which again are usually ten to twenty minutes long.

While the uploads by viewers (group four) are done without Nardayana’s permission, when interviewed in 2021, he noted he has reconciled himself to the fact that copyright in Bali is impossible to maintain in this oral-aural genre (Nardayana 2021; see also Jenkins 2010). Indeed, his decision to focus on short comic scenes for his pandemic education videos was a direct response to the scenes his viewers post: clown scenes.

The virtual recordings of his short, serialized episodes are fifteen-to-twenty-minute videos and usually feature the standard clown (punakawan, penasar) figures of the “right,” Twalen and Merdah, who serve the heroes in normal plays, and figures of the “left,” Delem and Sangut, who serve the villainous characters, as well as more recently invented clown figures who are not necessarily aligned with any side in the narrative. The latter group includes the comic figures Nardayana developed himself—Nang Klenceng (Cenk) and Nang Eblong (Blonk). Having become famous for clown scenes using these two figures, people call him Dalang Cenk Blonk after these clowns’ nicknames, rather than by his actual name. As in Europe’s commedia dell’arte, each clown character has a known temperament, voice, and persona that is recognized by all. Observing the customary traits and inclinations of these clown figures, Dalang Nardayana began making twenty-minute virtual puppet presentations. These excerpts, of course, had roots in Nardayana’s presentations of the same characters in live performances, especially in his comic scenes of Delem-Sangut (Lem and Ngut) and Nang Klenceng-Nang Eblong (Cenk and Blonk). The characters of Delem and Nang Eblong are comparable, both are belog (foolish) and lugu (clueless). In contrast, Sangut and Nang Klenceng are intelligent, applying critical thought to the debate. In many ways, they replicate the widespread comic pairing of a foolish clown/fall guy and witty clown/straight man whose presence highlights the distance between a fool and a thinking person.

Dalang Nardayana, when I interviewed him in 2021, said the difficult part in devising his short recordings was making a script beforehand and keeping to it—scripted, condensed comedy was unlike his improvisation with the clowns in a live performance. In plays (lakon), clowns mostly present short interludes between narrative scenes and, more importantly, translate into the Balinese vernacular the lofty (and largely obscure) speeches of the noble characters whose dialogue is delivered in Kawi (Sanskrit-derived language). The Kawi sequences are full of archaic terms, since this is a language peculiar to wayang/performing arts, but ill understood by the average viewer. In these new videos the dialogue would be all clowns, and, hence, directly understandable to all.

With the outbreak of COVID-19, Joko Widodo, President of Indonesia, and the provincial government of Bali worked to control the spread of the disease. Dalang Nardayana supported the government effort by posting his short skits featuring these clown characters who could educate and entertain. His efforts have been watched by millions of netizens (a member of the community of Internet users). Rather than a full lakon (play) with multiple characters, dense narrative, and special effects, these short videos only feature the dialogue of the well-known clowns and bebondresan (newly invented comic figures). The scenes are not backed by the fully melodic accompaniment of gender wayang (the quartet of bronze-keyed instruments used in traditional Balinese wayang), but by a simple rhythmic playing of a few metallophone instruments: kajar (kettles set on cords strung on a boxlike stand), klenang (small kettle), kemong (high pitched hanging gong), and kempul (lower pitched medium sized gong). Dalang Nardayana’s performance, however simple, always amazes. His joking dialogues use standard Balinese, the local tongue (with sprinklings of Indonesian and sometimes English). His comic videos also have subtitles in the national language, Indonesian, making the material accessible to viewers of all ethnic groups across the archipelago.

Cenk Blonk Wayang and COVID-19

As noted earlier, YouTubers had long been posting short comic dialogues they recorded during Dalang Nardayana’s live shows. Excerpts filmed usually had the clowns spouting off on government issues or current events. Customarily for a regular performance, a dalang will conceptualize such comic scenes through thinking in advance how to shape a story to suit the particular audience, time, and atmosphere before presenting, or he may just wait to be inspired in the moment of performance.

Thus, the idea of Dalang Nardayana to create a comedian-only virtual series began from observing what his audience members were taping and uploading. Realizing that short comic dialogues were favored, Nardayana began his online series in May 2019, thus making this format available when COVID struck in 2020. These virtual performances, of course, had some of the features of the comic scenes of his normal live performances, wherein constructive (and much deserved) criticism of society and state abound. Nardayana, like other puppeteers, often has two characters of differing viewpoints debate a problem, but on the Internet channel during COVID this debate of two comic figures became the whole show. Online Wayang Cenk Blonk begins with a kayonan (tree of life) dance—the standard opening of all wayang performances. Next, dialogue between a comic pair takes place. In the instances below, the topic was the COVID-19 pandemic. Prior to these virtual performances, Cenk Blonk had often been hired by the government and/or businesses to promote certain programs, but in his pandemic recordings he took such “edu-tainment” further, as the two examples below will demonstrate.

Just Stay Home (Di Rumah Aja)

The Governor’s Regulation No. 15 of 2020 (April) concerning the Coronavirus disease (COVID-19) ordered people to stay at home to break the chain of transmission. In Cenk Blonk’s recording of April 13, Just Stay Home (seen by over 579,000), Delem and Sangut appear (Nardayana 2020a). Dalang Nardayana drew inspiration as he created the piece from Satgas (Satuan Tugas Penangangan, COVID-19 Task Force for Handling COVID-19) information. He wrote the dialogue on a computer and edited it, highlighting COVID information in his jokes. Nardayana’s intention was to educate people regarding  the Coronavirus. Delem, whose nickname in the dialogue is often “Lem” or “Melem,” represents an average villager, while Sangut, often called “Ngut,” is better informed. In the sequence posted April 12, Delem is a virus denier asking Sangut to return to work at the palace of the ruler they both serve. Sangut refuses, afraid of the Coronavirus. Delem calls Sangut a coward, and says he, Delem, is braver and not afraid of leak (sorcery) or unnerved by the shadow of a bird (sikep, hawk) flying by. Delem ignores the virus, claiming, if death is after you, you can’t hide. The dialogue discusses three types of death: 1) Hyang Widhi (God) has destined it; 2) you go seeking death; and 3) mischance, death by being in the wrong place at the wrong time.

If you die from the Coronavirus, the skit says, your death is in category two—you are looking to die. The government had advised everyone to stay at home and avoid people with coughs who had a high probability of spreading the virus to others. The skit emphasizes wearing masks, staying home, and washing hands. The dialogue (given here in our translation) educated the community, especially those living in rural areas.

Is Bali Immune? (Nak Bali Kebal? )

Is Bali Immune? (Nardayana 2020b) was posted 25 April 2020 and has been viewed over 248,000 times. It was a fifteen-minute presentation featuring the gruff and deluded Delem standing by his motorcycle with his more savvy sidekick, Sangut, in the door of his house. By the conclusion of the piece, audience members are warned by Sangut’s critique of how to prevent Corona (stay home, wear a mask, avoid saliva). For a story kernel in the skit, we find the virus—or so Delem argues—can be bribed by ritual offerings. The tawur kesanga (Balinese paying off of demons by extensive offerings in the ninth month just before Nyepi, the day of silence), segehan (small offering of five colors with rice and alcohol put on the ground near the house for buta kala [demons] each fifteen days), arak berem (Balinese red alcohol used in offerings for demons to drink), tedadahan nasi wong-wongan (a human shaped rice offering which includes the four sacred colors), ayab-ayabang (devotional offering), and other practices are referenced. All this banter refers to the local, religiously-sanctioned method of dealing with the demonic—placating the angry spirits with offerings. Balinese believe that if demons are already stuffed with the good things you supply in offerings, they will be too full to attack you. As in a normal show, word play, which is termed kridabasa/kridabasita, abounds. Dalang push words beyond their normal grammatical and linguistic boundaries in the antawacana or wayang dialogue (Sedana et al. 2021: 80-83). Again, the translations are our own and some of the dialogue has been a bit condensed.

Cenk Blonk Wayang Innovating against COVID-19

Wayang Cenk Blonk’s YouTube channel has become a site promoting innovative wayang for the millennial generation. His virtual puppetry presents fresh humor, current issues, and information answering community needs. Cenk Blonk’s advice in his online shows during the pandemic invited the public to take care of their health and avoid transmission of COVID-19. These virtual shows avoided some of the difficulties that regular wayang poses for younger viewers. The archaic Kawi language normally spoken by the major characters was gone, since the dalang focused his skits on the clowns, who speak only the local language. The heavy use of philosophical and religious concepts that are part of traditional wayang are bypassed. Instead, there is direct communication about a pressing issue regarding the health and welfare of the community. Complex manipulation in battle scenes and long musical passages were cut. The puppet master instead went to the heart of communication with the community.

In Bali, the dalang is often nicknamed pinandhita (religious expert) or guru loka (spiritual teacher), considered a preacher of dharma (right action). Hence, a dalang is seen as a servant of society providing both entertainment and important messages. I Wayan Dibia and Setiyono Wahyudi in their 2004 book discuss praginas (performers). This is a title given to dancer-actors and dalangs. Praginas customarily hold high status in Balinese thought. But in our changing times, for art to survive, praginas must work to find relevance while they continue to reflect the noble values that elevate audiences religiously and intellectually. The central position in the hearts of the community that praginas have enjoyed and from which their social status and economic success stems is their socio-spiritual function. Praginas bring truth and balance to the community via performance.

Although traditional wayang kulit performances are still part of religious ceremonies, among the general public, wayang kulit’s popularity has faded and standard plays from the Ramayana and Mahabharata are no longer attracting the audience’s attention without considerable aesthetic elements, jokes, and/or media/technology interest added. Still, individuals like Dalang Nardayana have prompted the emergence of a strong online Wayang Cenk Blonk fan community. Six hundred eighty thousand viewers have often followed one of his new broadcasts in the space of two days. With this large a number of viewers, Dalang Nardayana accrues financial support from YouTube ads.

Concerning entertainment, cultural critic Edi Sedyawati (2007, 129) distinguishes “art” from “entertainment.” She holds that “art” has implications for contemplation, is supported by complex techniques, and has a set of underlying concepts. Meanwhile, “entertainment” directly captures viewers with movement and glamor, stimulating the senses. Wayang has long had multiple functions in Indonesian society, including as a vehicle for character education, conveying morality, unifying society, and providing exciting entertainment for the community (Sunardi, Kuwato, and Sudarsono 2018). Arwan Subaidi (in Ra’uf 2010, 161) argues that a wayang kulit dalang may be the premier public entertainer in the world. All night long, the dalang plays all the characters using his leather figures. He changes his voice and intonation according to each figure that he brings onscreen. He makes jokes and even sings. The Cenk Blonk COVID-19 series in 2020 took as its mission to educate spectators about the virus while entertaining the audience at all social levels by making them laugh and think.

Conclusion

Wayang Cenk Blonk’s virtual performances were innovated by Dalang Nardayana to respond to the curtailing of live performances for a year and a half. Screens, lighting, puppets, language, and music were used with an emphasis on minimalism rather than spectacle. These were short fifteen-minute shows, often featuring the two clown-servant figures, often of the “left,” Delem and Sangut. In Series 63, Just Stay Home, the message was to break the chain of transmission by isolating, wearing a mask, and maintaining distance. The idea in Series 65, Is Bali Immune?, was maintaining health through exercise, diet, rest, and not leaving the house unnecessarily, as the dalang shared humor about the Balinese religious practice of appeasing the demonic. These and other Coronavirus-themed short videos by Dalang Nardayana educated, enlightened, and enlivened the Balinese digital sphere, overcoming Coronavirus isolation while using traditional means—the comic interpolation of clowns—to bring important political, social, and religious ideas down to earth in understandable language and pragmatic terms in a new digital clowning form. Dalang Nardayana was doing what good praginasdo, serving the aesthetic, philosophical, and pragmatic needs of the Balinese community in a changing world.

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