In late spring of 2007, Felicia Katz Harris set off on a three-month visit to Indonesia to research the history, artistry and cultural elements of a traditional shadow puppet theater called wayang kulit. As curator of Asian and Middle Eastern folk art at the Museum of International Folk Art, she hoped to gather information and materials for an exhibition on the ancient Javanese art form and its exquisite puppets.

What Katz Harris didn't expect was to end up facilitating a purchase that makes the Santa Fe museum unique in the United States.

Just before leaving for the South Pacific island nation, Katz Harris was told by a colleague about a master Javanese puppeteer who had a full set of spectacular classical shadow puppets available for acquisition. The puppets, which are flat and intricately carved, painted and often adorned with gold leaf, are made of water buffalo hide and horn, water-based paint, fish glue and other materials.

Rather than being created for the tourist market, the set has a rich performance history by Ki Purbo Asmoro, among the most popular Javanese puppeteers. This provenance greatly increases the puppets' value as cultural artifacts.

As it turned out, the International Folk Art Foundation, which sponsored Katz Harris' trip, provided the money for the museum to purchase the set of more than 200 finely carved and painted puppets for its permanent collection — and for an exhibition opening in March 2009, Dancing Shadows, Epic Tales: Wayang Kulit of Indonesia.

Before the acquisition, MOIFA, like other museums, had a number of wayang kulit in its collection. But the puppets originated from different sets and different parts of Indonesia, with multiples of some traditional characters and other characters missing, Katz Harris explained. Asmoro's complete set was collected and used by the puppeteer over a period of more than 20 years. The purchase also included individual wayang kulit from other performers and artists.

With a lifelong interest in Southeast Asian culture and art, Katz Harris holds a master's in anthropology from Arizona State University, with a focus on Southeast Asian studies. As a graduate student she spent time in Yogyakarta, Indonesia, on a fellowship learning the Indonesian language, and has returned several times since then. Before joining MOIFA's staff, she worked at the Brooklyn Children's Museum and the Woody Guthrie Archives in New York.

The curator's 2007 trip to Indonesia allowed her to become immersed in the Javanese culture of which wayang kulit is said to be the heart.

For her first shadow puppet performance, for example, she was invited to sit among the musicians of the traditional gamelan orchestra, on stage close to the puppeteer. It was an honored seat and an experience of intense musical and visual magnificence.

But it also meant that during the performance, which lasted until dawn, Katz Harris was too self-conscious to get up and walk around, as wayang kulit audiences traditionally do. They talk, eat noodles, drink coffee and play games, coming and going with ease.

Katz Harris, on the other hand, was concerned she would be a distraction if she stood up. So she sat unmoving among the musicians for more than eight hours, with increasing physical discomfort (especially since she was four months pregnant at the time.) Suffice it to say she politely declined all offers of an onstage seat after that.

In times past, the puppeteer worked behind a lit screen, creating highly animated shadow figures on the screen. Audience members were free to walk around and watch the action behind the screen. Today, at least in Central Java, the situation is reversed, Katz Harris explained. The puppeteer most often works his magic in full view of the public, who can wander behind the screen and watch the shadow dance.

What hasn't changed is that a single puppeteer manipulates all the puppets throughout the entire epic performance, bringing to life each character's distinct personality, voice, physical traits and movements, all within the context of the character's specific and often complicated personal and family history and social relations.

It's a daunting task, augmented by the fact that many performers also design and/or create their own puppets. Just as complex and intricate are the tales the puppets perform, full of morality lessons, philosophy, battles and love stories reflecting the values of Javanese culture and society, Katz Harris said.

For someone with a passionate interest in all aspects of Indonesian culture, the curator's research visits to the islands have been rewarding, both personally and professionally. "I have a great job," she said. "I feel lucky every day."