In Java, Wayang Kulit plays are performed in villages and towns on public holidays, religious festivals, weddings, birth celebrations and the traditional muslim event of the transition from childhood to teenage. In Bali, they are also staged at cremations.

The dalang manipulates the Wayang (puppets), sings and taps out signals to the orchestra. He also speaks the parts for all characters; he must be able to render the shy sweetness in the voice of a princess, the spiteful whine of a lackey and the righteous but controlled anger of a noble hero.

Not everyone can be a dalang. A Dalang is a most extraordinary man. First of all, he is a public entertainer. To amuse a great number of people is not an easy matter. He must be physically strong and healthy, otherwise he would not be able to stand the strain. Just imagine, he is seated cross-legged for nine successive hours. He cannot even have a wink of sleep. He cannot get up from his seat until six o'clock the next morning. He also has to strike the kechrek (rattle) with his right foot almost incessantly. He handles the puppets with both hands, imitates their different voices, tell jokes at the right times, and even sings every now and then. In addition, he controls the musicians without anyone among the audience ever noticing it.

The Dalang lifts the chempala (rod) with his left hand and simultaneously we hear the soulful and haunting sound of the rebab (two string violin). Now every one is listening. The Dalang quickly glances up at the lamp above his head, and after removing the 'gunungan', the mountain, from the center of the stage, he then begins.

Now every one is listening. The Dalang quickly glances up at the lamp above his head, and after removing the 'gunungan', the mountain, from the center of the stage, he then begins.