The musical aspects include the direction and cueing of the gamelan and the singing of mood-setting songs ( sulukan), the vocal includes the recitation of set texts at scene-openings ( kandha) and the extemporisation of dialogue showing mastery of Javanese linguistic etiquette, while the puppetry itself ( sabetan) involves a complex system of movements and positions. Pedhalangan falls into three main areas - musical, vocal and puppetry. Standardized pedhalangan is also taught at Indonesian state institutions such as the Indonesian Institute of the Arts, Yogyakarta. The Habirandha school published its own textbook, the Pedhalangan Ngayogyakarta, in 1976. In recent times, however, schools teaching a standardized version of pedhalangan have been founded, such as the Habirandha school within the Kraton Yogyakarta. A further ascetic element is that dhalangs never eat during the performance, although almost all drink sweet tea and many also smoke heavily.

Such practices are felt to be essential in building up the stamina to perform for nine hours at a stretch. This included meditation and a form of ascetic exercise known as kungkum, in which meditation is carried out naked at night while immersed up to the neck in water. Much of the traditional training of dhalangs was in the form of a practical apprenticeship, with a certain amount of spiritual training thrown in. The social aspects of the dalang caste are covered by Victoria Clara van Groenendael's book The Dalang Behind the Wayang (Dordrecht, 1985). He would also frequently end up marrying his master's daughter, who would have been trained as a gendér player by her mother. His role included helping to set up the screen ahead of a performance, performing the afternoon show before a main all-night wayang, and sometimes acting as an accompanying musician or as an assistant puppeteer. The sons of dalangs were often apprenticed out around the age of 13 to another dhalang. The women of these families traditionally were expert players of the gendér, an instrument which has a particularly important role in accompanying wayang performances. The art of puppetry ( pedhalangan) was traditionally handed down within families, and dalangs formed a type of informal caste within Javanese society. This is done principally by playing the kepyak, a metal plate or set of plates played with his foot, or by rapping on the puppet chest ( kotak) with a wooden mallet held in the left hand.

In addition to moving the puppets and speaking their lines, the dalang is also responsible for giving cues to the gamelan. To his left is the puppet chest ( kotak), and to his right is the puppet chest's lid, on which the puppets sit ready for use.

In front of the dhalang is a stage ( debog), traditionally made from the trunk of a banana tree, into which the sharpened control rods of the puppets can be pushed to keep them in position during the performance. Above his head, hanging from beams attached to the top of the screen, is the lamp ( blencong), which projects the shadows onto the screen. In a performance of wayang kulit, the dalang sits behind a screen ( kelir) made of white cotton stretched on a wooden frame. The dhalang or dalang ( Javanese: dhalang Indonesian: dalang) is the puppeteer in an Indonesian wayang performance. The wayang kulit performance by the Indonesian notable dalang (puppet master) Manteb Soedharsono, with the story 'Gathutkaca Winisuda', in Bentara Budaya Jakarta, to commemorate the anniversary of the Kompas daily.

Kelir wayang kulit