A Javanese word meaning literally 'shadow' or 'ghost'. Wayang is a theatrical performance of living actors, puppets, or of shadow images held before a lighted screen from behind. The word could also refer to the puppets themselves. In most forms, the dialogue is in Javanese or in Sundanese; sometimes the Indonesian language is used. Most often the chants are in K/aten (or Kawi), Old Javanese, as archaic a language as Shakespearean English. Performances are held when some transitional event happens in a person's life: birthdays or weddings, an important religious occasion, or as ritual entertainment during family feasts or se/amatans. Promotions in rank, the building of a new swimming pool, coming of age (puberty) or a circumcision ceremony, all could be an excuse for a show. Wayang stories are both entertainment and protection against the spirits; while you're in the audience the spirits can't get at you. Wayang drama forms reflect all aspects of Javanese culture. Characters are judged not by their actions but by their devotion to what is appropriate to their castes, their predetermined roles in the drama. Gestures are appreciated more than commonsense, style more than content. Courage, loyalty and refinement always win out in the end and fate is accepted without question. As a foreigner you won't be able to follow all the stories, but you could never miss the atmosphere. The audience is the best show of all. Made up of just 20 people or as many as thousands, Javanese sit up all night long in a theatre reeking with clove cigarette smoke and packed to the overflowing. Babies fall asleep on mothers' laps, people tip off chairs in hysterics, while kids alter nately come awake and giggle in front of or behind the screen until dawn. Though they already know all the stories and roles backwards and forwards and are constantly moving around eating, sleeping and talking, the audience never loses the thread of the story. A show is like eavesdropping on neighbors, or on friends and relatives. The suspense is excruciating and they lose all sense of time. This 3000 year old mythology applies to today, it's living and dynamic. The gods themselves - not their shadows - are on the screen. Wayang characters provide types to be emulated, giving the young an idea of what qualities and virtues to strive for. It is a character chart by which to judge people and Indonesians even use the names from the Indian epic poems to refer to real live people they meet: 'He's a Suyudana.', the ambitious and decitful leader of the 99 korawa brothers; or 'He is just like Gatutkaca!' (brave). The shape of a person's face and body could designate him: 'He walks like a Raksasa!' threatening and lumbering). Arjuna typifies tenacity and dedication to duty; Yudistira is pure, righteous and compassionate; Krishna exemplifies clairvoyance and magic powers, ar!d on and on.