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Wayang Golek evolved from shadow puppets that originally came to Indonesia from India. The puppets are operated using the two rods affixed to their hands and a movable wooden torso. This allows them a wide range of motion — they can be rotated as well as be moved up and down. In the hands of an experienced puppeteer, they are almost completely human like in their gestures and movements.

Dalang (puppet maestro) Asep Sunandar Sunarya is one of the foremost puppet masters in modern times and is nicknamed Superstar Dalang due to the international fame he has garnered for Wayang Golek.

In Indonesia, full length Wayang Golek shows usually last six hours and are performed for the public or on invitation for corporate or personal events like the opening of a building or a wedding.

The most popular puppet stories are adapted from classic Indian ones, containing all the elements of a classic Bollywood film — love, hate, anger, violence, surprise and intrigue. So perhaps it is not at all surprising that Dalang Sunarya took it all in stride when a Sri Lankan girl turned up at his doorstep and asked to stay for two months and learn his art. He agreed.

The girl named Sulochana Dissanayake first encountered three dimensional wooden puppets in her “Musics of South East Asia” class at Bates College in the United States when her teacher Gina Fatone brought out such a puppet.

“I was instantly attracted to the form,” said Dissanayake.

“My mind blanked for the rest of the class as I focused on the intricacy of this puppet — the minute detail on its face, the way it ‘breathed’ like a human and turned its head to gaze serenely at a group of awestruck students. Then and there I decided to see the creation of these puppets and how they ‘lived’ in modern times,” Dissanayake wrote later.

It was Fatone who advised her to study under Dalang Sunarya if she was serious about learning all she could about the form. So she went to Indonesia by her Thomas J. Watson Fellowship in 2009, which is awarded to college graduates to spend a year researching topics that are important to them outside the academic environment and in new cultures and locations.

She spent six months in total in Indonesia studying performance arts from Sunarya including a few months in Jakarta where she spent a lot of time with its largest contemporary theater company.

Gunungan (tree of life), the main puppet, always opens the show with a traditional orchestra in accompaniment. Female singers intertwine songs with narration and there is a tradition of the puppets teasing the audience in mid-performance.

Dissanayake said a good dalang must be an actor, director, singer, dancer, historian and a philosopher amongst others, and be well informed in current world affairs.

Dissanayake’s ultimate aim for her Watson Fellowship grant was to use her research to teach contemporary drama in her native Sri Lanka. Unlike most of her contemporaries who leave the country for higher education with no plans to return, she always knew that she would come back.

Her strong family roots were yet another reason. So having seen through the entire process of a Wayang Golek performance, from the creation of the puppet to the direction of the performance, the music and the dialogue, she was ready to bring back the form to her own country.

“When I said I want to take this to Sri Lanka, my guru said, ‘ okay but you need a story’. I wondered what story was close to our (Sri Lankan) hearts as well as full of specific physical characteristics that were ideal to be captured on these expressive puppets. And it was obvious — it had to be Mahadanamutta,” recalled Dissanayake.

Mahadanamutta is a Sinhales folk tale about a man ( Mahadanamutta) holding a position of authority without skills in solving problems. He usually travelled with his five golayas ( apprentices). In one particular story, when he was asked to help a goat having got its head stuck in a clay pot, he ordered that the animal be beheaded.

But in keeping with her target of contemporary theater, Dissanayake “adapted with appreciation” the folk tale to suit modern times. “A trick I learnt was that if you put on a play with a diverse cast, when everyone in the audience can identify with someone or at least know of someone like one of the characters, then they enjoy it more,” she said.

So instead of the five golayas being all Sinhalese males, they now consist of three females and two males, including a Tamil and a Muslim. Most of them are also quite modern and are at home in a world of internet and mobile telephony.

Dissanayake described the characters to visiting Bhatara Sena, Dalang Asep’s 9th son who sketched them for her. The Mahadanamutta puppet, considering him remains unchanged in the story, fitted exactly the Lankan description of what he was supposed to look like, despite Bhatara not even having heard the story before.

Dissanayake used her newly created puppets to tell the old tale Mahadanamutta late November in a show at the Indonesian embassy in Colombo.

Indonesia was not Dissanayake’s first stop however. She spent six months observing performing arts in Grahamstown, South Africa, working with theater companies. She was also involved in the Grahamstown National Arts Festival which is second only to the world’s largest Edinburgh Arts Festival.

“South Africa has such a thriving arts scene despite all its political and economic issues. I wanted to see what models they had at work there, and which I could bring back to Sri Lanka,” said Dissanayake.

“I chose South Africa and Indonesia because I found that their circumstances were quite similar to Sri Lanka – poverty, a dark past and being colonized by Western powers.”

Dissanayake completed her secondary education at one of Colombo ‘s elite private schools — St. Bridget’s College — before leaving to Bates College, a leading liberal arts university in the United States, on a scholarship.

She double majored in theater and economics on her parents advice — “They want me to have a good base while following my passion.”

Apart from directing and writing her own productions, Dissanayake also teaches at schools and institutions. She is currently looking for performers for a movement theater production she is putting on with Carol Dilley, an American choreographer from Bates College in February 2011.