Very likely, the problem of 'gagrak' not too dominant in the past. Perhaps this is also due to the difficulty of communication links between one area to area. However, in line with the development of cultural and inter-regional relations (in the past, usually the relationship between the kingdom or trade), also develops regional properties applied in the game gamelan instruments (gamelan) and also at various puppet game. Thus, we finally recognize the existence of some form of 'gagrak' certain, according to a specific regional characteristics.
Application of certain gagrak, not just made to play the gamelan instruments, but also to work on, how to play the gamelan instrument, arrangement, composition, leather puppet show, puppet-shaped form, the type of puppets, how to speak (antawacana), how to tell (janturan) , sulukan (singing dhalang), how nembang (singing), or senggakan (vocal filler). In fact, to the problems of traditional clothing traditional clothes or used, can also be very different. All of this, a wealth of extraordinary culture and Nusantara priceless. Developments such as this, is definitely a positive development nuanced and commendable, and appreciated.
Grip understood as a 'joint agreements' designed, made, agreed, and observed by a group of people (artist) supporters. Grip, in the past was developed in the centers of power, like a palace or administrative centers (royal). So imagine, this grip today we know as a sort of 'guidelines' (instruction execution) or 'guidelines' (technical guidance), which is used to implement a gamelan performance and / or puppets.
Grip, is not something that is absolute, dogmatic, and in no way be changed. Nevertheless, strong support to a certain standard, in fact do exist. In the past, the dominance of power centers or centers of government (kingdom), is very real. Therefore, in the past the change grip arguably much less likely to occur. However, in line with the cultural development and shifting centers of power (government), grip shift and become something that is no longer too obeyed as something that is dogmatic and must be followed.
Around the year 1966, Ki Narto Sabdo, a puppeteer from skin purwa city, began 'breaking the grip' by applying two different gagrak, namely Surakarta and Yogyakarta (Mataraman) in every single show he played shadow puppets prototype. In fact, in the next period, he also inserts gagrak Banyumasan and even combine it with the game style of Sundanese. At first, all of which carried Ki Narto Sabdo many people opposed, especially those who become fanatical supporters gagrak-gagrak them. This inability to what is done sukaan Ki Narto Sabdo, even to the prohibition of actions staged performances in a particular region.
However, the facts obtained turned out differently. The groups who oppose Ki Narto Sabdo, dealing with the wider community that does not question what it is gagrak or certain standard. For people pecintanya, leather puppet show performed purwa Ki Narto Sabdo acceptable public audience, as well as 'extremely meet the tastes and desires' them. Even at around 1971, the results of a poll conducted by the RRI (Radio Republik Indonesia), indicating that Ki Narto dhalang Sabdo is most popular in Indonesia (then).
Since this incident, little by little, leather puppet show that applying some gagrak prototype at a time, starting fluid and no longer enemy or disputed. In fact, at the present time, we can see two or three gagrak game combined in one purwa leather puppet show, has a prevalence that is no longer questioned.
Although conditions at the present time has become more liquid, but the leather puppet show (any), actually remained at a gagrak oriented and / or a certain standard. Of course, often comes with change, adjustment, and merging with other gagrak. Therefore, at the present time we are very lucky to still be able to watch performances, puppet performances in accordance with gagrak and / or a certain standard.
Exhibition gagrak Surakarta
Gamelan performances and / or puppet gagrak Surakarta (Solo), generally very mengeksploitas game gamelan instruments are exotic, complex and elegant.
Exhibition of Yogyakarta gagrak
Among the common people, better known as Yogyakarta gagrak gagrak Mataraman. Gamelan performances and / or puppet gagrak Yogyakarta (Mataraman), generally very mengekspolitas game gamelan instruments that are 'original Mataram', full of populist, and full freedom berkespresi.
Exhibition gagrak Banyumasan
Gamelan performances and / or puppet gagrak Banyumasan, better known as it is very close to the coastal gagrak. Generally featuring performances that are happy, full of humor, populist, many apply 'senggakan', full of cheers and excitement.
Exhibition gagrak Semarangan
Gamelan performances and / or puppet gagrak Semarangan, many exploit gendhing-based gendhing pelog tone. Gagrak Semarangan can be said to receive a strong dominance of gagrak Surakarta. Nevertheless, the game that many exploit karawitannya pelog tone, makes it very different and very handsome memorable.
Exhibition coastal gagrak
Gamelan performances and / or coastal gagrak puppet, is the form most widely exploit performances gendhing game-based gendhing tone 'slendro goods oblique' (minor tone). This is one peculiarity which is generally not found in other gagrak. Therefore, the game puppets, musicians, and vocals; tend to display the colors and atmosphere of melancholy, romantic, and also sad.
The performance of Java gagrak Timuran
Gamelan performances and / or puppet gagrak Timuran Java, has a style that is very unique and different from other gagrak gagrak-originating from Central Java and West Java. The impression is strong, independent, energetic, and ferocious, it is seen not only in games gamelan instruments, but also in the form of-way wayangnya.
Exhibition gagrak Bali
Gamelan performances and / or puppet gagrak Bali, it can be said really bebda as the one on the island of Java. Many people who do not know, that the Balinese gamelan is used as a puppet gagrak completeness Balinese gamelan music, is a ladder-based gamelan slendro tone, and wearing a ricikan gamelan gender. Therefore, gamelan performances and / or puppet gagrak Bali to be very exotic and very elegant. This will be a very, very different performances with Balinese dance performances, for example (which is very well known).
Exhibition gagrak Sunda
Gamelan performances and / or gagrak Sundanese wayang, has changed rapidly since around the 1970's. Gagrak Sundanese gamelan games, started receiving a lot of changes since that time until now. Puppet style of play very exploit certain puppet figures, is one peculiarity gagrak Sundanese wayang performance today.
Exhibition gagrak Outside Java
Gamelan performances and / or puppet gagrak Outside Java, often highly influenced by geographical conditions, language and local custom. Therefore, at the present time we can see gagrak Outside Java is growing in several different areas, and produce performances of musicians and / or different puppets as well. For example, leather puppet show style Jambi, Palembang, Banjar-salty, Lombok, or other.
Exhibition gagrak Cirebonan
Gamelan performances and / or puppet gagrak Cirebonan, can be said is a combination of several different gagrak. Generally, a combination gagrak Sundanese (very dominant), gagrak Banyumasan (Java), and some of them also with gagrak Betawi. The influence of Islamic religion and culture of China, was very closely with the various performances musicians and / or puppet gagrak Cirebonan.
Exhibition gagrak Betawi
Gamelan performances and / or puppet gagrak Betawi, in general, strongly influenced by gagrak Sundanese and Chinese culture.
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