The oldest known record that probably concerns wayang is from the 9th century.
Around 860 CE an Old Javanese (Kawi) charter issued by Maharaja Sri Lokapala mentions three sorts of performers: atapukan, aringgit, and abanol.
Ringgit is described in an 11th-century Javanese poem as a leather shadow figure.
An inscription dated 930 CE says, si Galigi mawayang ("Sir Galigi played wayang").
It seems certain features of traditional puppet theatre have survived from that time.
Galigi was an itinerant performer who was requested to perform for a special royal occasion.
At that event he performed a story about the hero Bhima from the Mahabharata.
Mpu Kanwa, the poet of Airlangga's court of Kahuripan kingdom, writes in 1035 CE in his kakawin Arjunawiwaha: "santoṣâhĕlĕtan kĕlir sira sakêng sang hyang Jagatkāraṇa", which means, "He is steadfast and just a wayang screen away from the 'Mover of the World'."
Kelir is the Javanese word for the wayang screen, the verse eloquently comparing actual life to a wayang performance where the almighty Jagatkāraṇa (the mover of the world) as the ultimate dalang (puppet master) is just a thin screen away from mortals.
This reference to wayang as shadow plays suggested that wayang performance was already familiar in Airlangga's court and wayang tradition had been established in Java, perhaps earlier.
An inscription from this period also mentions some occupations as awayang and aringgit.

Wayang kulit is a unique form of theatre employing light and shadow.
The puppets are crafted from buffalo hide and mounted on bamboo sticks.
When held up behind a piece of white cloth, with an electric bulb or an oil lamp as the light source, shadows are cast on the screen.
The plays are typically based on romantic tales and religious legends, especially adaptations of the classic Indian epics, the Mahabharata and the Ramayana.
Some of the plays are also based on local happenings or other local secular stories.
The oldest known record that probably concerns wayang is from the 9th century. Around 860 CE an Old Javanese (Kawi) charter issued by Maharaja Sri Lokapala mentions three sorts of performers: atapukan, aringgit, and abanol. Ringgit is described in an 11th-century Javanese poem as a leather shadow figure. An inscription dated 930 CE says, si Galigi mawayang ("Sir Galigi played wayang"). It seems certain features of traditional puppet theatre have survived from that time. Galigi was an itinerant performer who was requested to perform for a special royal occasion. At that event he performed a story about the hero Bhima from the Mahabharata. Mpu Kanwa, the poet of Airlangga's court of Kahuripan kingdom, writes in 1035 CE in his kakawin Arjunawiwaha: "santoṣâhĕlĕtan kĕlir sira sakêng sang hyang Jagatkāraṇa", which means, "He is steadfast and just a wayang screen away from the 'Mover of the World'." Kelir is the Javanese word for the wayang screen, the verse eloquently comparing actual life to a wayang performance where the almighty Jagatkāraṇa (the mover of the world) as the ultimate dalang (puppet master) is just a thin screen away from mortals. This reference to wayang as shadow plays suggested that wayang performance was already familiar in Airlangga's court and wayang tradition had been established in Java, perhaps earlier. An inscription from this period also mentions some occupations as awayang and aringgit.
Wayang kulit is a unique form of theatre employing light and shadow. The puppets are crafted from buffalo hide and mounted on bamboo sticks. When held up behind a piece of white cloth, with an electric bulb or an oil lamp as the light source, shadows are cast on the screen. The plays are typically based on romantic tales and religious legends, especially adaptations of the classic Indian epics, the Mahabharata and the Ramayana. Some of the plays are also based on local happenings or other local secular stories.
Wayang