Preservation of Local Wisdom: Reconstruction and Revitalization of

Cecak Puppet from Riau Island

Mu'jizah

Agency for Development and Cultivation Language

Ministry of Education and Culture

Keyword: tradition, collective memory, reconstruction, revitalization

Abstract: Wayang Cecak or lizard puppet is one kind of oral tradition which is almost critically abandoned because of

lack of successors. Its maestros are no longer active nor alive. This puppet remains only in the memories of

the people in Penyengat Island. To prevent this puppet from being completely forgotten, it is important to

revive it through research, reconstruction, and revitalization of this puppet. This paper is intended to find a

way of reviving Wayang Cecak within the collective memory of the people into a living tradition by means

of literary study and field study through surveys, observations, and interviews. The finding shows that the

last maestro of Wayang Cecak has been inactive since the 1940s. Wayang Cecak has a distinctive

performing structure. To reconstruct the puppet show, traditional artists from Penyengat Island were

involved in this project based on collective memory data. From the reconstruction, revitalization of Wayang

Cecak was carried out through socialization and improvement of the performance. Revitalization was

conducted by performing Wayang Cecak in Penyengat Island, the origin place of this performing art. It is

expected that Wayang Cecak will be revived from its critical condition to a safer condition as a living

tradition among the Malay community. Support from regional stakeholders, the Central Government, and

the local community is needed to realize this purpose.

1 INTRODUCTION

Interest in the literary tradition of the Wayang Cecak

began when Sanggar Lembayung participated in the

Art Performance in Tanjung Pinang on November

17, 2012, by performing the fragments of King Haj

Fisabilillah’s struggle against the Dutch colonial.

They performed the puppet made of cardboard. Why

cardboard? Why not the famous puppet called

Wayang Cecak that had become the icon of

Penyengat Island in the past. Has it been completely

forgotten? These questions found their answers in

2016 when the Center for Language Development

and Preservation initiated a research program with

Wayang Cecak as the object of study.

Early searches were carried out through literature

study and collecting information from several

cultural elites around Tanjung Pinang and the

surounding island. It turned out that Wayang Cecak

had not been performed for a long time, and their

active puppetters were no longer found. Indeed, its

artefacts are difficult to find. After the field study by

interviewing several elderly people in Penyengt and

Tanjung Pinang islands, there came a slight hope.

Resource person, most of whom were in their late

60s provided some informations. Those are people

who have watched the Wayang Cecak performance.

This puppet show used puppet doll made of

cloth. The show ws set on a table with a small stage.

In Malay oral literary tradition in Penyengat Island,

the puppet show was also known as a traditional

play. Their memories are the key to reconstruct and

revitalize Wayang Cecak in the community.

Basically, the traditional puppet shows can be

found in many ethnic groups in Indonesia, such as

the Javanese, Sundanese, Madurese, Balinese, the

Sasak, and Malay. Malay people living all over the

country have various kinds of Wayang, such as

Wayang Betawi, Wayang Palembang, and Wayang

Banjar. Those ethnic groups still maintain their

puppets show and perform them in the local

languages with their respective cultural

backgrounds. This puppet tradition can be found in

various types, ranging from Wayang Orang, Wayang

Beber, Wayang Kulit, and Wayang Golek.

In addition to the four types of puppet show,

there are also puppets resulted from acculturation

between Javanese and Chinese cultures, also known

288

Mu’jizah, .

Preservation of Local Wisdom: Reconstruction and Revitalization of Cecak Puppet from Riau Island.

DOI: 10.5220/0009901700002480

In Proceedings of the International Conference on Natural Resources and Sustainable Development (ICNRSD 2018), pages 288-293

ISBN: 978-989-758-543-2

as Wayang Potehi. This kind of puppet show can be

found in several regions, such as in Jakarta,

Sukabumi, and Semarang (Mastuti, 204: 4). What

about the Wayang Cecak in Riau Islands?

According to some sources, Wayang Cecak is

also the result of acculturation between the Malay

and the Chinese ethnic groups. This puppet has

never been performed on stage again, and no more

been the living tradition of the Malay people. The

local community is no longer intact with Wayang

Cecak show.After some tracking back, somehow,

some traces of this Wayang Cecak can still be found,

especially in Penyengat and Tanjungpinang islands.

Moreover, the tradition of Wayang Cecak

performance can sill be tracked down in Daek

Lingga.

There are several opinions about the origin of

Wayang Cecak. This oral tradition is named Wayang

Cecak because the puppets are made into small

puppets like the wall lizards. This statement was

taken from Azmi Mahmud the gazal player of

Kampung Kambat. According to King Abdul Malik,

the Malay people in Riau used to refer something

tiny to the word cecak or wall lizard. The word is

directly contrasted with the word buaya which refers

to something big.

Different from Javanese or Sundanese wayang

which originated in the Indian epic, the Mahabarata

and the Ramayana, Wayang Cecak presents stories

of typical Malay epics, such as Syair Siti Zubaedah,

Raja Haji Fi Sabilillah, and Syair Silindung Delima.

Those three stories are very well known among the

Malay community. The recordings of this story are

also documented in the ancient handwritten-

manuscripts. No screen is needed to create a shadow

for Wayang Cecak, and a small stage is used instead.

The condition of Wayang Cecak can now be

considered as critical or even extinct because this

kind of puppet show is no longer staged. This

information was obtained from several cultural

observers in the Riau islands. To revive this puppet

show, the research was carried out through

interviews with elderly people who witnessed the

live puppet show.

The critical condition of Wayang Cecak has

raised concerns amids the latest effort of UNESCO

to establish wayang as the world heritage from

Indonesia in November 2003 (Masterpiece of Oral

and Intangible Heritage of Humanity). The

recognition of UNESCO is an appreciation of

Indonesian dignity to the world level. In connection

with the award, Indonesian people should maintain

the Wayang as their cultural heritage in the effort to

revive the Wayang tradition as part of the living

traditions. The efforts are carried out not only by

preserving the tradition, but also by developing

wayang to continue living in the tradition, not

merely in the memory of the elderly people who

witnessed the Wayang Cecak show.

Related to the high appreciation of wayang and

the efforts to develop it, it is appropriate that

Wayang Cecak is revived and developed so that its

existence can be known and its performance can be

enjoyed again by the present generation.

The main problems in this paper are to show the

current condition of the Wayang Cecak as part of the

local traditiions, to describe its performance, and to

revive it as part of the living tradition of local

people. The aim is to explore the existence of

Wayang Cecak within the Malay community and to

know the elements of the show and to revive it as an

effort to improve the viability of Wayang Cecak.

Wayang Cecak, like other puppet shows, should

have aesthetics and benefits. According to

Yirtohadimidkoko (1987), the puppet show contains

splendid philosophy and moral teachings. Wayang

can be used as a means to refine human behavior

and attitude. Refinement through aesthetic package

in this puppet show is delivered through its narative.

Related to thas, Wayang Cecak also has aesthetics

and ethics that should be empowered. Such

empowerment can be done through research tracing

back its existence.

2 TRACING THE TRADITION OF

Wayang Cecak

2.1 Memory Reminding and the

Reconstruction

In the 1940s, a Wayang Cecak puppet show was

played by a maestro, named Khatijah Terung, wife

of Abu Muhammad Adnan. Thanks to Khadijah that

made Wayang Cecak quite populer in its time. The

puppets used in the performance are small-sized

dolls made of cloth. It also reflect the influence of

Chinese culture in the Malay community.

The existence of Chinese culture is inherent in

the Malay tradition. Chinese people living in

Senggarang Island—across Penyengat island—have

a tradition of Chinese opera and puppet show. The

proximity of those places allows for a blend of

cultures. This can be proven by many Malay

classical literature with Chinese nuances, such as

Syair Perkawinan Nak Kapitan, Syair Baba Tik

Sing, and Syair Tan Tik Tjoe. The existence of

Preservation of Local Wisdom: Reconstruction and Revitalization of Cecak Puppet from Riau Island

289

Malay-Chinese literature was examined by Salmon

(1985:30). According to him, in 1852 during the

Netherlands Indies there were around 1165 Chinese

residents aged 12 years and over. The closeness of

the Chinese people and Malay ethnic group made

them acculturated.

Basically, Wayang Cecak in the Riau islands was

adapted from the Chinese puppet show. The

interraction between Malay and Chinese cultures has

been going on for a long time. Salmon (1985:30)

quoted

"... ada satoe njonja Tionghoa dengan anak

prampocannja, golongan orang baek-baek tapi

miskin, jang biasa tjari penghiopenan dengan trima

oepah menjanji dan mendongeng. Beberapa njonja

biasa patoengan aken ondang itoe iboe dan anak di

salah satoe roemah boeat dengerkan rame-rame

marika poenja dongengan dan njanjian, jang

biasanja diberikoetkan djoega dengan taboengan

gambang ... Banjak njonja-njonja Tionghoa jang

pande berpantoen lantaran soedah biasa denger

wajang tjokek jang meramekan pesta-pesta jang

mempoenjai stock besar dari segala machem

pantoenan..." (Claudine Salmon, 1985:30)

“There was a Chinese woman with her daughter

from a good but poor family. They earned their

living by singing and story-telling. Some hostesses

would collect some money to invite the mother and

daughter to sing songs and narrate folklores in one

of the houses. This occasion would be accompanied

by gambang musical instrument.... Many Chinese

mistresses could recite the poems because they had

been familiar with the Wayang Cecak that was

performed in big parties with a lot of poetry

reading….” (Claudine Salmon, 1985:30)

Wayang Cecak as the product of aculturation

existed in the past and was developed in the Riau

regions, especially in Penyengat island. Even though

Wayang Cecak is now no longer performed, its

traces are still aparent in the public memory. The

process of tracing back was conducted by

intervieweing several live-show spectators.

According to Mr. Ibrahim and Mr. Adenan from

Daik Lingga (as conveyed by Yoan Sutrisna, 2016),

the puppets were made of cloth. These dolls were

small in size, about 7.8 inches or 20 cm. Cotton was

inserted into the dolls to shape them in proportion.

This puppet was played at night with a kerosene

lamp and was played on a portable mini stage. This

puppet show told well-known stories from the old

Malay poems, such as Siti Zubaidah, Selendang

Delima, and the story of King Haj and the Chinese

Captain.

The information about the dolls made of cloth

and stuffed with cotton was justified by Mrs. Zainab,

wife of Raja Hamzah, the owner of the Indrasakti

Foundation in Penyengat Island. The same

information was affirmed by Mr. Ibrahim Jantan, a

cultural observer of Penyengat island.

Another trail that deserves attention is the

collection of around 50 puppets in the Setiadarma

Mask House in Bali. The most interesting

information of the puppet show tells that the puppet

show was originated from the Hok Kian province in

China with the name of Wayang Kaet or Mu Euw

Shi. These puppets have become the collection of

the Mask and Puppet House of Setiadarma, in

Sukawati, Gianjar, since 2010. Wayang Gaek (Mu

Euw Shi) performs folklores that are popular among

Chinese descents living in Tanjungpinang, Riau

Islands, and the surrounding areas. Those dolls were

obtained from antique dealers. The question which

follows is whether Wayang Cecak has something to

do with Wayang Kaet.

The public memory of the Wayang Cecak was

also traced through four different works that might

have been inspired by Wayang Cecak, but with

different performances. First, the theatrical puppet

performance of Yoan Sutrisna (2013). This young

artist works in cooperation with the Sabda Bunian

community and Sanggar Lembayung to make a

puppet show made of cardboard paper. The story

played was taken from a fragment of “Raja Haji

Fisabilillah against the Dutch collonial” at

Tanjungpinang City Art Council.

Second, the dance “Lenggang Cecak”

choreographed by Hasnizar Hood. This dance was

played by 8 people with a duration of 10 minutes.

This dance was performed at the Riau Island Art

Council. Third, the “Senandung Perce” dance

created by Azmi Mahmud. This performance was

played by 10 young men. According to the

choreographer, this dance was created based on his

memory of the Wayang Cecak. The fourth, a novelet

by Hasan Junus (2005) entitled “Pengantin Boneka”

deicted clearly about the Wayang Cecak puppet

show. The play played “Amuk si Biring Kuning,” a

Malay legend that tells about the origin of mermaids.

This novelet becomes the most complete records of

Wayang Cecak.

In this paper there are also some important things

about the dalang or the puppeters. One of them is

Salamah who lives in a small island (Referred to as

Penyengat island). Her father became a widower

after her mother passed away on the day when she

was born. Her father gave her the name Salamah

which means ‘female carrier of peace.’ Salamah’s

ICNRSD 2018 - International Conference on Natural Resources and Sustainable Development

290

husband is Mr. Muhammad, a government court

official in Penyengat island. Her husband passed

away in Mecca where he sought higher education.

Since childhood, Salamah was trained by her

grandmother to make dolls. Salamah was also taught

by her grandmother about Wayang Cecak. Every

time she ended her puppet show, salamah always

mimicked her grandmother’s words. She has recited

those words thousands times during her life.

One day a young man was introduced to

Grandma Lamah (a common address for Nenek

Salamah). He has been living for a few months on

the island. He knows in details about Wayang

Cecak, except for the twelfth story. After amost a

year of practice, he officially performed the puppet

show in the large living room of her house.

Salamah’s mastery was handed down from

Nenek Anjung, the old woman who had rigorously

nursed her since childhood, ranging from all sorts of

housework, courtesy, to memorizing the dialogue.

There was supposed to be no mistake in the plots as

well as the narration.

It ws stated on a part of Hasan Junus’s work that

“Salamah was invited by the sultan to play Wayang

Cecak in the royal palace in front of the Sultan’s

family, and it happened several times. Nevertheless,

the twelfth episode of Wayang Cecak “Amuk si

Biring Kuning” could not be finished because she

got news from people that Nenek Anjung passed

away. Other information about the stage

performance of Wayang Cecak, “The old woman’s

voice was still clearly heard. The old woman was

sitting in front of the copper mini stage.” One by one

she set the patchwork dolls in front of the stage.

“The drum and the trumpet sounded, soft at the

beginning, then the sound became louder as they

approached closer. All the puppets were lined up

towards the door facing to the sea. And then

Grandma walked down the stairs ont onto the calm

water while leading all the puppet brides in twelve

episodes of Wayang Cecak.

Other interesting information is stated that before

the puppet show, there was a special ceremony. The

ceremony was carried out by the Grandma. “Incense

was burned, the mantra was spelled out by the

grandmother with her trembling old voice. But how

did she get the voice of a teenage girl when she

began singing the prologue?

Hidup ini seperti embun di daun

Seperti embun di atas daun

Embun di ujung daun…

Dan dalam embun Tuban

Mari mandikan diri

Cuci-cuci!”

Life is like dew on leaves

like dew in the leaf's surface

dew on the tip of the leaf

and in the dew of Tuban

let's take care of yourself

do the washing up.

There are 12 episodes in Wayang Cecak, some of

which are “Pengantin Duyung” (The Bride

Mermaids), and “Si Biring-Biring Kuning.” Yoan

Sutrisna told that the story was taken from a

manuscript with various versions, such as the story

of Nak Kapiten, Raja Haji Fi Sabilillah, and “Syair

Sitti Zubaedah.”

The original text of the story is still stored in the

Indrasakti foundation, chaired by Raja Hamzah.

Now it was handed down to his son after the cultural

observer died. The story of Raja Haji Fi Sabilillah is

found in the Hikayat Negeri Johor. The manuscript

of the Hikayat Baba Tik Sing is still well-kept in the

National Library in Jakarta and in Leiden University

library. The same thing applies to Syair Sitti

Zubaedah which has been popular in Malay. This

story tells about a brave woman who travelled to

China (Al-Hamidi, without years).

The audience of this wayang perca or puppet

cloth is children from the noble family, and it cannot

be performed carelessly. In the work of Junus, there

were about twenty women and children during the

puppet show. All those audience were amazed by the

show. They watched it and thought that it was real,

and that they became parts of the story.The distance

between the spectators and the stage is not too far

because of the small-sized puppets.

2.2 Revitalization of Wayang Cecak

Based on the track record of Wayang Cecak, a

puppet show was performed. This show is one of the

efforts to revitalize it so that this puppet show will

not extinct. This performance is expected to remind

the people of Penyengat island about the Wayang

Cecak performing art. The community together with

the stakeholders must work hand in hand to revive

the Wayang Cecak show, and to maintain it so that

the puppet show will remain as part of the local

tradition in the Malay land. Maintenance is

important because when puppets are no longer exist,

a lot of cultural teachings will be lost, too.

Revitalization and reconstruction of the Wayang

Cecak were carried out by the team from the Center

of Development and Protection, the Language

Agency (Mu’jizah and Purwaningsih) in

collaboration with relevant institutions, including

Tanjungpinang City Tourism and Cultural Office

Preservation of Local Wisdom: Reconstruction and Revitalization of Cecak Puppet from Riau Island

291

and the Riau Islands Provincial culture Office, and

Mr. Azmi Mahmud supported by several artists and

the adat elders of Penyengat Island. This

collaboration has made the performance of Wayang

Cecak possible and can be enjoyed by the Malay

people in Penyengat and Tanjungpinang Islands. Mr.

Azmi Mahmud and the traditional leaders on

Penyengat Island were very proud if the tradition of

Wayang Cecak can be performed again.

With various limitations, eventually the Wayang

Cecak was performed by taking a fragment taken

from “Syair Sitti Zubaedah.” The performanced

lasted about 30 minutes on July 23, 2017 at 3:00

p.m. It was performed in the village hall of

Penyengat Island together with the Penyengat Island

Festival 2017. The second performance was held at

Tanjungpinang City Center (TCC) on July 25, 2017,

at 7:00 p.m.

During this premiere puppet show, small dolls

were used, about 15 cm in size involving a total of 7

dolls based on the story of “Sitti Zubaedah.” The

stage was about 1.5 meters high with proper

decoration based on the story. Sitti Zubaedah’s story

was composed into some dialogues which were

adjusted to the number of characters in the story.

The plot involved conflict and climax at the end of

the story with careful scriptwriting. The process of

composing the story was very important so that it

became an interesting story for the audience. The

accompanying music for this puppet show included

the gongs, kompang, babanu, tambur, kecapi, and

violin. In the past, this kind of puppet shows was

only accompanied by trumpet and tambourine.

The audience was currious about this show after

its disappearance for almost 70 years. It was sold-out

and all of them were very enthusiastic. The came

from various backgrounds and age groups: parents,

teenagers, and children. Many spectators sit down on

the floor. Even both sides of the stages were full

with audience. Even a lot of people sat on the

guardrail of the mosque. The heat of the sun did not

inhiit them from watching the Wayang Cecak show.

The second performance was staged at night on

the Tanjungpinang City Center (TCC). The

audience’s enthusiasm could also be seen during this

show. Many people who were shopping approached

the stage and watched it till the end. This show could

satisfy their curiosity on Wayang Cecak. The

performance of “Sitti Zubaedah” puppet show was

not a final and perfect performance. This show still

searched for appropriate styles; therefore, some

elements as parts of the stow still need some

improvement, in terms of stories, puppets, stages

decoration, and accompanying music. People’s

feedback was needed to improve the puppet show in

the process of finding the perfect style of Wayang

Cecak.

The show, which was presented by the Language

Agency, in collaoration with the Penyengat Island

Heritage Center, was expected to provoke people to

revive the Wayang Cecak performance. People were

asked to criticize this performance so that in the

upcoming performance, there would be better

performance. For the socialization of this activity,

news of the puppet show was broadcast b several

media, at RRI Tanjung Pinang and Fitcom TV.

News were also broadcasted through Riau Pos.

The Wayang Cecak show is now starting to crawl

back to life. This was also marked by te re-

peformance of the puppet show by Mr. Azmi

Mahmud and his team in several shows, including

the performance that tells the story of “Hang Tuah.”

This show was recorded and specifically reported in

Kompas.com. With the redisplaying of Wayang

Cecak, this traditional performing art is expected to

return as part of the living tradition among local

community.

3 CONCLUSION

Wayang Cecak as an oral tradition of Penyengat

Island needs immediate attention to prevent it from

being extinct. The disappearance of Wayang Cecak

will also mean the lost of cultural teachings inherent

in it. Intensive efforts are needed to dig and excavate

it from the people’s memory for the re-

eompowerment of the Wayang Cecak as an

important part of the living tradition in Malay.

Hopefully, Wayang Cecak will regain its popularity,

and this condition can be achieved by the frequent

performance of Wayang Cecak in the region.

Efforts to trace the existence of Wayang Cecak

can be done in various ways, ranging from literature

studies and field studies through interviews with

elderly people who have watched it. Ideally, this

effort of revitalizing Wayang Cecak will be

supported by the community and the stakeholders in

the local area where the tradition lives and survives.

These reconstructed performance must be presented

and repeated in various important events within the

communities.

The Wayang Cecak show with the story of “Sitti

Zubaedah” is not a final reconstruction. This

performance must continue to improve and achieve

the best performance that are close to the origiinal.

For this reason, the role of the community is needed

ICNRSD 2018 - International Conference on Natural Resources and Sustainable Development

292

in giving their criticism regarding its story, puppet,

stage, and music.

Hopefully, the effort of reconstructing Wayang

Cecak performance is not the end activity. A series

of revitalization program should be initiated to make

this effort successful. One of the ways is through

learning process, either formally or informally, or

through non-formal trainings. Through these

process, it is expected that the effort of revitalizing

Wayang Cecak will be maximum.

ACKNOWLEDGEMENTS

Thanks you for people who helped to recunstruction

and revitalization of Cecak Puppet tradition in Pulau

Penyengat, Riau Island. There are Dr. Hurip Danu

Ismadi, the head of Center for Development and

Cultivation Language. Our thanks also to the source

and artists in Riau Islands, especially to Raja Malik,

Ibu Zainab, Bapak Abdul Kadir Ibrahim, and Pak

Azmi Mahmud. Thank you also for head of

Department of education and cultural in Riau Island.

REFERENCES

Al-Hamidi, Kaeh, A.R., Tanpa Tahun. Syair Siti Zubaedah

Perang Cina: Perspektif Sejarah. Dewan Bahasa dan

Pustaka. Kuala Lumpur.

Braginsky, V.I., 1998. Yang Indah, Berfaedah dan Kamal:

Sejarah Sastra Melayu dalam Abad 7—19. INIS.

Jakarta.

Bidang Kebudayaan dan Cagar Budaya Kabupaten

Natuna. 2010. Kebudayaan dan Cagar Budaya

Kabupaten Natuna. Kabupaten Natuna : Dinas

Pemuda, Olahraga, Kebudayaan dan Pariwisata

Kabupaten Natuna

Danandjaja, J., 1984. Folklore Indonesia: llmu Gosip

Dongeng dan Lain-Lain. Grafiti. Jakarta.

Groenendeael, V.M.C. van., 1987. Dalang di Balik

Wayang. Pustaka Utama Grafiti. Jakarta.

Hilal, S., 2011. Hikayat Dewa Mendu (Cerita Rakyat

Natuna). Kabupaten Natuna : Dinas Pemuda,

Olahraga, Kebudayaan dan Pariwisata Kabupaten

Natuna.

Hooykaas, C. 1955. The Old-Javanese Rāmāyaṇa

kakawin, VKI 16, The Hague: Martinus Nijhoff.

Ikram, A., 1980. Hikayat Sri Rama: Suntingan Naskah

Disertai Telaah Amanat dan Struktur. UI press.

Jakarta.

Junus, H., 2005. Pengantin Boneka. Pekanbaru.

Kusumawardani, 1984. “Sair Cerita Wayang”. Skripsi UI.

Jakarta.

Liaw, Y.F., 1991. Sastra Melayu Klasik. Erlangga.

Jakarta.

Mastuti, D.W.R., 2004. Wayang Potehi Gudo. Sinar

Harapan-Shangbao. Jakarta.

Salmon, C., Lombart, D., 1977. Chinese of Jakarta dalam

Archipel 6. Page 368.

Salmon, C., 1980. Literature in Malay by Chinese of

Indonesia. Martinus Nijhoff. The Hague.

”Setia Menyokong Wayang Palembang” 2014. Kompas 10

Februari 2014.

Soedjarwo, Heru S, Sumari, Wiyono, U., 2010. Rupa dan

Karakter Wayang Purwa: Dewa, Ramayana,

Mahabarata. Kaki Langit Kencana. Jakarta.

Sudikan, S.Y., 2001. Metode Penelitian Sastra Lisan.

Citra Wacana. Surabaya.

Sutrisno, S, 1983. Hikayat Hang Tuah: Analisa Struktur

dan Fungsi. Gadjah Mada University Press.

Yogyakarta.

Talhah, Sibarani, 2015. Metode Penelitian Sastra Lisan.

Asosiasi Tradisi Lisan. Jakarta.

Tirtohadimidkoko, S., 1987. Wayang: Ilmu Pengetahuan

Hidup. Wiratama Prasetya Sakti. Jakarta.

Tusiran, A., Al-Habd, T., 2006. Butang Emas, Warisan

Budaya Melayu Kepulauan Riau. Tanjung pinang:

Pemerintah Kota Tanjung pinang

Preservation of Local Wisdom: Reconstruction and Revitalization of Cecak Puppet from Riau Island

293