Journal articles: 'Shadow puppetry'

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Diamond, Catherine. "Wayang Listrik: Dalang Larry Reed's Shadow Bridge Between Bali and San Francisco." Theatre Research International 26, no. 3 (October 2001): 257–76. http://dx.doi.org/10.1017/s0307883301000347.

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Building on the early European experiments with animated shadow figures, American dalang Larry Reed – narrator and puppet manipulator – has enlarged Balinese shadow puppetry to cinema-sized dimensions and combined it with live actors and dancers. In conjunction with Balinese puppet masters, Reed has created several pieces which explore the interaction between puppets and human shadow figures as well as performers in front of the screen. Moreover, Reed's productions are bilingual and bi-cultural, mixing Balinese and American humour and mythology so that the hybrid creations find favour with audiences in both locations. As his technique increasingly becomes refined in the process, each new production expands more subtly on the theme of melding shadow with flesh and the blurring of illusion and reality.

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Amato, I. "Atomic Shadow-Puppetry Reveals Structure." Science News 137, no. 3 (January 20, 1990): 39. http://dx.doi.org/10.2307/3974395.

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Brown, Susannah. "Building Character through Shadow Puppetry." Art Education 57, no. 6 (November 1, 2004): 47. http://dx.doi.org/10.2307/27696044.

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Brown, Susannah. "Building Character through Shadow Puppetry." Art Education 57, no. 6 (November 2004): 47–53. http://dx.doi.org/10.1080/00043125.2004.11653576.

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Oliveira Lopes, Rui. "A New Light on the Shadows of Heavenly Bodies." Religion and the Arts 20, no. 1-2 (2016): 160–96. http://dx.doi.org/10.1163/15685292-02001008.

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The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller. The first part of this paper explores the archetypal and psychological meanings of shadow in Indian culture and religion, as well as its relationship with the origins of painting. The main issues include archetypal references to the shadow of Hindu gods described in Vedic, epic, and Purāņic sources, the use of prototypes to transmit knowledge to humankind, and the analysis of shadow puppets as moving pictures. Secondly, the paper analyzes the materiality of puppets and their consistency with Indian aesthetics and art criticism in the form of theoretical principles found in classical texts and art treatises such as the Nāțyaśāstra, the Viṣṇudhārmottāra, and the Śilpaśāstra.

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Kuo-Huang, Han. "Chinese Shadows: The Amazing World of Shadow Puppetry in Rural Northwest China." Ethnomusicology Forum 18, no. 1 (June 2009): 173–74. http://dx.doi.org/10.1080/17411910902790457.

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Nicholas, Ng. "Chinese Shadows: The Amazing World of Shadow Puppetry in Rural Northwest China." Asia Pacific Journal of Anthropology 12, no. 5 (November 2011): 503–6. http://dx.doi.org/10.1080/14442213.2011.624072.

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Wibowo, Arining, Joko Kurnain, and Juanda Juanda. "History of Inheritance of Wayang Topeng Malangan (Malang Traditional Mask Puppet) in Pakisaji and Tumpang." Harmonia: Journal of Arts Research and Education 20, no. 1 (June 9, 2020): 73–83. http://dx.doi.org/10.15294/harmonia.v20i1.24785.

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This study aims to explain the history and process of inheriting mask puppet art in two representative hermitages (padepokan) (in Malang, namely Padepokan Asmoro Bangun in Pakisaji sub-district and Mangun Dharma in Tumpang sub-district). This research uses a qualitative approach. Data collection techniques are done through interviews, observation, and study documents. The process of inheritance includes art practices such as dancing, puppeteering, playing musical instruments, and making masks and transferring knowledge about Wayang Topeng Malangan. Inheritance is generally done since offsprings (children/grandchildren) are still at an early age. The history of the inheritance of the traditional mask puppet art in Padepokan Asmoro Bangun has occurred for six generations of this family since before 1930 starting from the Serun period. The sixth Padepokan Asmoro Bangun Heirs are two daughters named Winnie Padnecwara (15 years old) and Dita Andhika Raja Padmi (12 years old) who learned this art since the age of four. Padepokan Mangun Dharma is the home of mask puppet art, as well as music, traditional dance, and theatre, macapat, puppetry, and shadow puppets. The history of the inheritance of this hermitage began with the great-grandfather of the puppeteer Soleh namely Kek Sainten (Grandpa Sainten). The current heir of Padepokan Mangun Dharma is the son of the puppeteer Soleh, Supriyono Hadi Prasetyo, who also learned puppetry both autodidact and formally through college. Although inheritance occurs vertically, which is hereditary in each hermitage, horizontal inheritance also occurs between the two. This indicates that the inheritance process of Padepokan Asmoro Bangun and Mangun Dharma are related to each other.

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Mansur, Rosichin. "AKULTURASI NILAI-NILAI PENDIDIKAN ISLAM MULTIKULTURAL DALAM BUDAYA WAYANG TOPENG MALANGAN." PENDIDIKAN MULTIKULTURAL 3, no. 2 (August 19, 2019): 122. http://dx.doi.org/10.33474/multikultural.v3i2.4753.

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Dalang memiliki peran sentral sebagai penguasa, sutradara dan penutur cerita dalam pagelaran wayang topeng malangan. Dalang sebagai pelestari akulturasi nilai, nilai-nilai pendidikan Islam multikultural dalam budaya yang diekspresikan pada pementasan wayang topeng malangan. Akulturasi nilai-nilai pendidikan Islam multikultural dalam ritual wayang topeng malangan berupa nilai religi (nilai kedamaian, humanis) dan budaya (nilai pribadi, kekeluargaan). Model akulturasi nilai dalam tuturan bahasa dalang secara dekulturasi, bangunan model akulturasi dibangun dengan cara rekonstruksi, model akulturasi nilai dalam ritual secara sinkretisme, bangunan model akulturasi dibangun dengan cara rekonstruksi.Kata kunci: akulturasi nilai, pendidikan Islam multikultural, wayang topeng malangan. The mastermind has a central role as the ruler, director and storyteller in the shadow puppet show performance. The mastermind as the preserver of acculturation in values, the values of multicultural Islamic education in culture are expressed in the performance of wayang topeng malangan. There is an acculturation in the values of multicultural Islamic education in wayang topeng malangan rituals in the form of religious values (peace, humanism) and culture (personal values, family values). Acculturation model values in puppeter language speech in deculturation, building acculturation model was built by means of reconstruction, acculturation value models in rituals in syncretism, building acculturation models built by reconstruction.Keywords: acculturation of values, multicultural Islamic education, shadow puppetry of malangan.

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Parikesit, Gea Oswah Fatah. "3D Wayang Kulit: traditional shadow puppetry meets modern display technology." International Journal of Arts and Technology 9, no. 2 (2016): 162. http://dx.doi.org/10.1504/ijart.2016.077238.

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Romadona, Eko Aprianto. "PENCIPTAAN MUSIK KERONCONG DAN WAYANG INOVATIF DALAM PERTUNJUKAN CONGWAYNDUT." Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, no. 1 (August 27, 2019): 12–20. http://dx.doi.org/10.33153/sorai.v12i1.2619.

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Congwayndut is one of the puppet groups whose performances depart from the traditional wayang (puppetry) style. The wayang play itself belongs to the comedy genre. Nevertheless, the stories presented are still adopted from the stories of Ramayana and Mahabarata. There are some interesting things to be used as discourse materials from Congwayndut, whose accompaniment belongs to the so-called keroncong music, while the duration of the music is shortened to two or three hours. The sanggit of the Ramayana and Mahabarata puppet stories are also interpreted humorouslyand “exibly. This paper reveals the musical facts in the puppet group, that keroncong music is able to give its own impression as pakeliran music. Then, the celloin keroncong music is able to provide a distinctive aesthetic touch toaccompany the war scene. Besides that, it also discussed the performance sketches of the Congwayndut group.Keywords: congwayndut, wayang keroncong, innovative shadow puppet.

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Rui, Tang. "The Heritage of Wang Piying Troupe: Shadow Puppetry in North Sichuan." Asian Theatre Journal 35, no. 1 (2018): 53–69. http://dx.doi.org/10.1353/atj.2018.0012.

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Cohen, Matthew Isaac. "Global Modernities and Post-Traditional Shadow Puppetry in Contemporary Southeast Asia." Third Text 30, no. 3-4 (July 3, 2016): 188–206. http://dx.doi.org/10.1080/09528822.2017.1305728.

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Pausacker, Helen. "Presidents as Punakawan: Portrayal of National Leaders as Clown-Servants in Central Javanese Wayang." Journal of Southeast Asian Studies 35, no. 2 (June 2004): 213–33. http://dx.doi.org/10.1017/s0022463404000128.

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The trend to portray Indonesian presidents as punakawan (clown servants) in wayang (shadow puppetry) was started under the former President Soeharto. Whereas Soeharto chose to be conveyed as Semar, a clown but also a former god, greater artistic freedom post-Soeharto led to a more farcical depiction of Habibie and Gus Dur as Semar's sons, Gareng and Bagong.

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Singh, Salil. "If Gandhi Could Fly…: Dilemmas and Directions in Shadow Puppetry of India." TDR/The Drama Review 43, no. 3 (September 1999): 154–68. http://dx.doi.org/10.1162/105420499760347388.

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What happens when the government commissions new puppet plays based on the life of Mohandas Gandhi, India's revered “mahatma” (great soul)? Can the recently sainted compete with the ancient heroes of the Mah bh rata or R m yaa?

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Kurscheid, Johanna, Dan Bendrups, Joko Susilo, Courtney Williams, Salvador Amaral, Budi Laksono, Donald Stewart, and Darren Gray. "Shadow Puppets and Neglected Diseases: Evaluating a Health Promotion Performance in Rural Indonesia." International Journal of Environmental Research and Public Health 15, no. 9 (September 19, 2018): 2050. http://dx.doi.org/10.3390/ijerph15092050.

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‘Rama and the Worm’ is a shadow puppet production targeting neglected diseases in Central Java. It is an entertainment-based intervention study to promote health by reducing the impact of parasitic diseases such as soil-transmitted helminths (STH). The study uses traditional Javanese shadow puppetry (wayang kulit) as a vehicle in village communities to disseminate health messages and promote behaviour change to prevent diseases caused, primarily, by inadequate sanitation and poor hygiene. The health education messages contained in the play, although using traditional characters and themes, required the creation of a completely new narrative script, using characters and plot lines familiar to the wayang kulit repertoire, but placing them in new situations that relate specifically to health promotion objectives. The intervention was piloted in a village in Central Java, Indonesia using a pre/post design with both qualitative and quantitative analysis. A total of 96 male and female villagers, aged between 7 and 87 years, provided both baseline and follow up data. Participant knowledge and behaviours related to gastrointestinal and helminth-related disease were assessed before and after the intervention through a questionnaire administered by interview. Results revealed statistically significant improvements in both knowledge (48.6% pre-intervention score vs. 62.8% post-intervention score, p < 0.001) and behaviour (77.4% vs. 80.6%, p = 0.004) related to gastrointestinal and helminth disease. Findings of the study indicate the wayang kulit performance is an effective health education tool. The results provide proof of concept with scaling up the next step forward. The wayang kulit production provides a significant additional component for an integrated, comprehensive approach to reduction and elimination of STH infection.

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Osnes, Beth, and Angela Hunt. "Solar-powered shadow puppetry in a high school science classroom ‘illuminates’ a Navajo student energy forum." Applied Theatre Research 2, no. 2 (July 1, 2014): 165–81. http://dx.doi.org/10.1386/atr.2.2.165_1.

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Pradana, Gede Yoga Kharisma. "IMPLICATIONS OF COMMODIFIED PARWA SHADOW PUPPET PERFORMANCE FOR TOURISM IN UBUD, BALI." Journal of Business on Hospitality and Tourism 4, no. 1 (July 30, 2018): 70. http://dx.doi.org/10.22334/jbhost.v4i1.103.

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The purpose of this article is to examine the phenomenon of Balinese shadow puppet performances as a tourism entertainment spectacle in Ubud, Bali. Basically, the Parwa shadow puppet shows as Balinese shadow puppets are stag for the purposes of traditional ceremonies with long duration. In contrast to the type of Parwa shadow puppet show in Ubud is stag for tourism, only it's stag with a shorter duration. This phenomenon certainly raises a big question about the implications of stag such performances for tourism.This article is prepared to use qualitative research methods. All data were obtained through literature study, interview and observation. After all data is obtained, it is analyzed by using the perspective of cultural studies.The results show that the commodification of Parwa shadow puppet shows for tourism has economic, social and cultural implications. Economically, the commodification of the Parwa shadow puppet show for tourism has already had implications for a change in instrumental value, adding profit to cottage owners and retailers. Socially, the commodity has implications in the popularity as well as the identity of shadows puppet group. Culturally has implications for the preservation of cultural identity in the context of tourism, mediation of cultural promotion to tourists, cultural degradation of puppets and the difficulty of enculturation.

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Chun, Sooin and 손영훈. "Shadow puppetry as a classroom activity for EFL young learners: A case study for Korean primary school students." Journal of the Korea English Education Society 14, no. 3 (August 2015): 183–208. http://dx.doi.org/10.18649/jkees.2015.14.3.183.

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Featherstone, Simon. "Spiritualism as Popular Performance in the 1930s: the Dark Theatre of Helen Duncan." New Theatre Quarterly 27, no. 2 (May 2011): 141–52. http://dx.doi.org/10.1017/s0266464x11000273.

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In this essay the social historian Simon Featherstone examines the theatre of the Scottish medium Helen Duncan and argues that her strange, illicit performances offer a way of re-reading British popular performance in the 1930s and 1940s. This critically neglected period has been characterized by the decline of the radical energies of nineteenth-century music hall and the variety theatre which displaced it. Duncan's performances, however, with their extravagant display and management of her body and deployment of a range of references to popular materials, including puppetry, melodrama, children's games, and sentimental narratives, suggest the existence of other trajectories. Like the ‘dark village’ that Eric Hobsbawm identified as the illegal shadow of nineteenth-century social practices, Duncan's ‘dark theatre’ can be seen as a shadow world of mid-century performance styles. It provided a knowing yet emotionally fulfilling theatrical experience for her audiences while at the same time posing radical questions about the limits and meanings of the representation of gender and class in the unregulated venues of the spiritualist circuit. Politically ambiguous in their mixture of entrepreneurial exploitation and willingness to offer forthright challenges to social and legal authorities, Duncan's performances indicate the persistence of complex spaces and traditions of popular theatricality in the period.

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Williams, Courtney, Donald Stewart, Dan Bendrups, Budi Laksono, Joko Susilo, Salvador Amaral, Johanna Kurscheid, and Darren Gray. "Shadow Puppets and Neglected Diseases (2): A Qualitative Evaluation of a Health Promotion Performance in Rural Indonesia." International Journal of Environmental Research and Public Health 15, no. 12 (December 12, 2018): 2829. http://dx.doi.org/10.3390/ijerph15122829.

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Performing arts used as a method of spreading health information dates back to the origins of storytelling. However, interventions in developing, non-Western countries typically utilize Western entertainment forms. This qualitative investigation assesses responses to an intervention designed around traditional Javanese shadow puppetry (wayang kulit). Semi-structured interviews provided in-depth responses from a sample (N = 12) of villagers. Responses analyzed both cross-case and within-case, focused on perceptions of the music and storyline, responses to the intervention, and the perceived appropriateness of wayang kulit for disseminating a health message. Wayang kulit was considered to be interesting and easy to remember, but concerns remained regarding the reliability of information provided through the drama. The fusion of traditional and modern music and story elements were perceived positively. Some participants were inspired to improve their hygiene practices, although the lack of motivation, or belief that they were unable to change was noted. The performance was generally received positively in terms of the nature of the intervention, the fusion of traditional and Western music and story elements, as well as the use of wayang kulit to spread health information. The study provides guidance for modifications to the production, prior to scaling up.

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Valverde, Cristina Pérez, and Fernando Perez-Martin. "“There is no ‘us and them’”: Engaging with Migration and Border Crossing Narratives through Shadow Puppetry in Ghosts of the River." Critical Arts 34, no. 4 (February 17, 2020): 47–60. http://dx.doi.org/10.1080/02560046.2020.1721548.

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Fan, Kuo Kuang, and Peng Wei Hsiao. "Learning for Shadow Puppet’s Action Control Inverse Kinematics Method." Applied Mechanics and Materials 284-287 (January 2013): 3569–72. http://dx.doi.org/10.4028/www.scientific.net/amm.284-287.3569.

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Puppet shadow is not only one of the oldest forms of performing, but also a very characteristic traditional folk performing art. Since the action skill is a family heirloom of puppet shadow troupes, they seldom teach outsiders so this issue is rarely discussed. The spatial and regional limitation makes the observation and learning of puppet-motion and action skill rather difficult. This study uses Flash CS4 to create the features and functions of puppets via inverse kinematics (IK) method. Using the concept of inverse kinematics constructs the movement of puppets and simulates the motion of puppets. On this platform, we construct the single-user-game-based digital learning system of puppet shadow. We design situational challenge competitions and interactive games to enhance the quality and pleasure of learning.

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Prayoga, Dwiki Setya, I. Nyoman Lodra, and Autar Abdillah. "Menanamkan Pendidikan Karakter Melalui Media Augmented Reality Animasi Dua Dimensi Lakon Dewa Ruci kepada Remaja." Rekam 16, no. 1 (June 8, 2020): 21–27. http://dx.doi.org/10.24821/rekam.v16i1.3482.

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Implanting Character Education Values through the Augmented Reality of Two-Dimensional Animation of Dewa Ruci to Teenagers. Teenagers are the next generation for the nation and country. However, teenagers tend to have bad behaviors and act out of control that can threat the nation and the country, such as being involved in a fight, violence, drug abuse, alcohol addict, and even free sex. It is very important to instill the values of character education to the teenagers such as honesty, mutual respect, courtesy, and perseverance. Character education is often related to culture with regards to the mind and common senses. This is because human's life cannot be separated from culture and the traditions. One of the cultural things is wayang (shadow puppetry). Shadow puppetry is a symbol of human beings and the shadow of their humanity. Lakon Dewa Ruci (Dewa Ruci play) tells a story of a student who is obedient to his teacher. As implied in the story, a student is supposed to be obedient to his teacher, while the teacher must be discipline yet patient in dealing with the students. A teacher with his responsibility in education is demanded to enhance his quality and his expertise. In the effort to educate the life of a nation, the role of technology is needed in order to make the teenagers have a broader knowledge as well as to have an interest and a passion to keep learning. Nowadays animated videos are often preferred by the teenagers in general, not to mention in the field of education. Animation has become media or instruments to deliver the most updated information. Evaluation conducted in this research had used a questioner and the result showed 98% for the media quality from the material aspects and for the post test obtained 63%. Therefore, the results could define whether this product of animation is eligible, or in other words, no revision is needed. ABSTRAK Remaja merupakan generasi penerus bagi bangsa dan negara. Namun, remaja juga berpotensi mempunyai perilaku buruk dan di luar kendali yang dapat mengancam bangsa dan negara, seperti perkelahian, kekerasan, penyalahgunaan narkoba, minuman keras, dan seks bebas. Sangat penting untuk menanamkan nilai-nilai pendidikan karakter kepada remaja seperti kejujuran, saling menghormati, sopan santun, dan pantang menyerah. Pendidikan karakter sering dikaitkan dengan kebudayaan yang berhubungan dengan budi dan akal manusia. Hidup manusia tidak lepas dari kebudayaan dan adat istiadat. Salah satu contoh kebudayaan adalah wayang. Wayang merupakan simbol manusia dan bayangan dari kemanusiaan itu sendiri. Lakon Dewa Ruci bercerita tentang murid yang patuh kepada gurunya. Sebagai murid hendaknya menghormati gurunya, sedangkan guru hendaknya tegas dan sabar dalam menghadapi muridnya. Guru dalam dunia pendidikan dituntut untuk meningkatkan kualitas dan mutunya. Dalam upaya mencerdaskan kehidupan bangsa, peranan teknologi sangat diperlukan supaya remaja memiliki wawasan yang luas serta dapat memiliki minat dan ketertarikan untuk terus tetap belajar. Saat ini video animasi seringkali digemari oleh remaja umumnya apalagi dalam dunia pendidikan. Animasi digunakan sebagai media atau alat untuk menyampaikan informasi yang lebih terkini. Evaluasi yang dilakukan dalam animasi ini menggunakan angket dan diperoleh hasil uji kualitas media aspek materi mendapatkan hasil 98% dan pada post test mendapatkan hasil 63%. Dari data angket tersebut dapat dikatakan produk ini layak dan tidak perlu direvisi.

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Mažeikienė, Rūta. "The Revitalization of Popular Theatre Forms in Contemporary Performance: The Case of Post-Soviet Lithuanian Theatre." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 120. http://dx.doi.org/10.7146/nts.v29i2.104608.

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The article examines the use of historical popular theatre forms in contemporary performance and analyses how historical popular theatre forms are revitalized in contemporary theatre. The first part of the article addresses the phenomena of popular theatre in general. Referring to the insights on this topic by such theatre scholars as D. Mayer (1972), P. Pavis (1998), T. Grammatas (2013) the article addresses the problem of the definition of popular theatre and discusses what are the major characteristics that make the forms of popular theatre into the source of creative renewal and artistic inspiration.The second part of the article analyses how historical popular theatre practices (such as pantomime, mime, puppetry or shadow plays) have been used by post-Soviet Lithuanian theatre artists – namely, director Gintaras Varnas at Šėpa theatre and director Vega Vaičiūnaitė at Miraklis theatre – as a stimulus to renew theatrical language and to foster new relationship with theatre audiences. The examples of both companies demonstrate that in spite of the conventional genre restrictions, the historical forms of popular theatre are not treated as an unquestionable museum relic, but rather as a means to create a live and immediate contact with a contemporary audience through universal historical forms.

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Ariani, Iva. "FEMINISME DALAM PERGELARAN WAYANG KULIT PURWA TOKOH DEWI SHINTA, DEWI KUNTI, DEWI SRIKANDI." Jurnal Filsafat 26, no. 2 (August 27, 2016): 272. http://dx.doi.org/10.22146/jf.12786.

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This research is a qualitative research which aims to understand the real position of woman in Javanesse culture based on the story of shadow puppets (wayang kulit purwa) performance and to know the values of feminism which relevant with the a woman's life in Java. The results of this study indicate that shadow puppet purwa is a phenomenal piece of art that have stories that can be used as a metaphor for human life. The values of feminism taught in shadow puppet which is that women in puppets depicted in figure Dewi Shinta, Srikandi and Kunti are the attitude of devotion and respect for her husband both in joy and sorrow, loyal and obedient to her husband though it should be a co-wife, always maintain purity, religious, and skilled defending her husband in trouble. Those values are widely used as the teaching of women's lives in Java that uphold the values of loyalty towards her husband and patience and sincerity live and life.

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Subandi. "Peran Identifikasi Tokoh Wayang dalam Pembentukan Identitas Diri." Jurnal Psikologi 44, no. 2 (August 11, 2017): 97. http://dx.doi.org/10.22146/jpsi.22793.

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One of the tasks of human development is to discover its identity. There are many ways a person can find that identity. One of them is through the identification of the idol figure. This study aims to understand the process of identity formation through the identification of shadow puppet figures in the context of Javanese culture. A qualitative phenomenological approach was used to understand the process retrospectively. Three main participants were involved in the study. The process of collecting data was done through in-depth interview methods to both the main participants and their significant others. FGD (focused group discussion) is also conducted to explore participants' understanding of their process of identity formation. Data analysis was done by phenomenological method. This study found three main themes, namely interested in shadow puppet figures, matching self-image with puppet characters, and the use of feeling as a bridge between self and the puppet. This study concluded that shadow puppets can be used as a means to find identity among their fans.

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Ogunleye, Foluke. "Television Docudrama as Alternative Records of History." History in Africa 32 (2005): 479–84. http://dx.doi.org/10.1353/hia.2005.0019.

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From time immemorial human beings have sought to document their activities in realistic forms in order to pass across information about their lives to posterity. Even before the advent of cinematography, human beings had attempted to show life, not as static, but as dynamic. Cave paintings done by early men have shown an attempt to demonstrate movement through drawings of animals with many legs, designed to simulate motion. Also, attempts at showing moving images have included the shadow plays of North Africa and India, puppetry in many parts of the world, the pot art of India, etc. These activities presented the culture of the people and showed how icons are developed, what they stand for in the people's lives, and how people made meaning out of their lives and activities. With the development of the arts of cinematography and television, these also became vehicles to document happenings and events in the lives of the people.In this study, I discuss the television docudrama as an alternative means of documenting history. There are many reasons necessitating an alternative source of documenting history, but two examples from Nigeria will suffice to justify this position. The powers-that-be in Nigeria have decreed that it is no longer necessary to study history in primary and secondary schools, and the subject has been removed from the curriculum. Consequently, if a Nigerian citizen does not go to a tertiary institution to study history, the past of her/his people will forever remain a mystery to her/him. Currently, there is a very lively debate in Nigeria about the origins of the Yoruba people. Traditional rulers, who are supposed to be the custodians of history, are at loggerheads with each other and with eggheads in history departments. The traditional rulers are bringing out diverse facts and evidence that differ from previously written histories.

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Ghani, Dahlan Abdul. "Visualization Elements of Shadow Play Technique Movement and Study of Computer Graphic Imagery (CGI) In Wayang Kulit Kelantan." International Journal of Art, Culture and Design Technologies 1, no. 1 (January 2011): 50–57. http://dx.doi.org/10.4018/ijacdt.2011010105.

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In the attempt to preserve and safeguard the unique heritage of Wayang Kulit (Shadow Play), UNESCO has designated it as a Masterpiece of Oral and Intangible Heritage of Humanity on 7th November 2003. Wayang Kulit Kelantan in Malaysia is threatened with imminent extinction. This paper reviews the critical situation of Wayang Kulit Kelantan in Malaysia. The visualization and movement of Wayang Kulit Kelantan is described in four major aspects, which are the puppets, shadows, screen for shadow projection (Kelir), and its light source. It also reviews the comparison methods and techniques between Wayang Kulit Kelantan traditional shadow play and Computer Graphics Imagery (CGI) used as a prototype design in Wayang Kulit Kelantan.

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Baier, Randal, Ward Keeler, and Jennifer Lindsay. "Javanese Shadow Puppets." Asian Theatre Journal 12, no. 2 (1995): 355. http://dx.doi.org/10.2307/1124115.

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Coller, Elizabeth. "Making shadow puppets." Practical Pre-School 1998, no. 10 (July 1998): 29. http://dx.doi.org/10.12968/prps.1998.1.10.41388.

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Peck, Sharon M., and Aubre J. Virkler. "Reading in the Shadows: Extending Literacy Skills Through Shadow-Puppet Theater." Reading Teacher 59, no. 8 (May 2006): 786–95. http://dx.doi.org/10.1598/rt.59.8.6.

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Junaidi, Junaidi, and Bayu Aji Suseno. "Perubahan Balungan Lampahan dalam Pakeliran Wayang Kulit Purwa Gaya Surakarta." Dance and Theatre Review 3, no. 2 (October 20, 2020): 104. http://dx.doi.org/10.24821/dtr.v3i2.4422.

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The Changes on Balungan Lampahan in Pakeliran of Purwa Puppet of Surakarta Style.This research aims to increase the appreciation of the shadow puppet purwa pakeliran according to the times and society. Balungan lampahan as the basic framework, is static and never to be changed, but then it is dynamic and full of changes. The method used is descriptive comparative, while data analysis is based on the structure theory of the wayang play by Alton L. Becker and Arnold Hauzer's social change. The results can be found in three forms of balungan lampahan namely: (1) overnight, (2) compact, and (3) solid. Change is partial and total due to changes in the society that supports wayang, namely as the art of royal ritual traditions (monarchy and ritualism) turning into modern art and entertainment (modern and profane). Thus, the change in balungan lampahan represents changing times and society, so it needs to be appreciated by the puppeteers for the pakeliran.Keywords: changes; balungan lampahan; pakeliran; shadow puppets; Surakarta style

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Arps, Bernard. "Kepekaan Filologis untuk Pengkajian Budaya." Manuskripta 10, no. 2 (December 20, 2020): 177. http://dx.doi.org/10.33656/manuskripta.v10i2.170.

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The author argues for the importance of a scholarly attitude and competence he terms philological sensitivity. Philology is usually associated with the study of manuscripts, where it is a sophisticated approach for making sense of texts. It entails a specific focus and mode of understanding. But the significance and utility of philology are not restricted to texts or manuscripts. Its scope is wider. Its approach is grounded in a cultural tendency that lives in society, namely the tendency to experience and try to understand five aspects of a cultural process or object: its artefactuality, apprehensibility, compositionality, contextuality, and historicity. If cultivated to meet the requirements of academic scholarship, this philological sensibility may form a perspective for understanding other kinds of artefacts too – especially if selectively enriched with elements from philological traditions worldwide. The author discusses examples from his own research: a manuscript with the narrative of Amir Hamza in Javanese, religious sermons in Osing on Youtube, and oral critique regarding shadow puppetry. --- Penulis mengemukakan pentingnya sebuah sikap dan keterampilan ilmiah yang disebutnya kepekaan filologis. Filologi lazim dihubungkan dengan studi naskah tulisan tangan, di mana filologi merupakan pendekatan canggih untuk mengapresiasi teks. Pendekatan tersebut membawa fokus dan cara pemahaman yang khas. Tetapi makna dan guna filologi tidak terbatas pada teks, apalagi naskah. Jangkauannya lebih luas. Pendekatan yang telah dikembangkan dalam rangka filologi teks itu berdasarkan kecenderungan kultural yang hidup di masyarakat, yaitu kecenderungan untuk menghayati dan memahami lima aspek dari sebuah proses atau benda budaya: keterbuatan, ketercerapan, ketersusunan, kontekstualitas dan kesejarahannya. Jika dipupuk sehingga memenuhi syarat ilmu pengetahuan, sensibilitas filologis tersebut bisa menjadi wawasan yang andal untuk pemahaman artefak budaya lain pula – apalagi kalau wawasan tersebut diperkaya dengan menyerap unsur-unsur terpilih dari tradisi filologi seantero dunia. Penulis mengutip contoh dari penelitiannya sendiri: naskah berisi ceritera Amir Hamzah berbahasa Jawa, ceramah agama Islam berbahasa Osing di Youtube, dan kritik lisan atas pertunjukan wayang.

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Arps, Bernard. "Kepekaan Filologis untuk Pengkajian Budaya." Manuskripta 10, no. 2 (December 20, 2020): 177. http://dx.doi.org/10.33656/manuskripta.v10i2.170.

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The author argues for the importance of a scholarly attitude and competence he terms philological sensitivity. Philology is usually associated with the study of manuscripts, where it is a sophisticated approach for making sense of texts. It entails a specific focus and mode of understanding. But the significance and utility of philology are not restricted to texts or manuscripts. Its scope is wider. Its approach is grounded in a cultural tendency that lives in society, namely the tendency to experience and try to understand five aspects of a cultural process or object: its artefactuality, apprehensibility, compositionality, contextuality, and historicity. If cultivated to meet the requirements of academic scholarship, this philological sensibility may form a perspective for understanding other kinds of artefacts too – especially if selectively enriched with elements from philological traditions worldwide. The author discusses examples from his own research: a manuscript with the narrative of Amir Hamza in Javanese, religious sermons in Osing on Youtube, and oral critique regarding shadow puppetry. --- Penulis mengemukakan pentingnya sebuah sikap dan keterampilan ilmiah yang disebutnya kepekaan filologis. Filologi lazim dihubungkan dengan studi naskah tulisan tangan, di mana filologi merupakan pendekatan canggih untuk mengapresiasi teks. Pendekatan tersebut membawa fokus dan cara pemahaman yang khas. Tetapi makna dan guna filologi tidak terbatas pada teks, apalagi naskah. Jangkauannya lebih luas. Pendekatan yang telah dikembangkan dalam rangka filologi teks itu berdasarkan kecenderungan kultural yang hidup di masyarakat, yaitu kecenderungan untuk menghayati dan memahami lima aspek dari sebuah proses atau benda budaya: keterbuatan, ketercerapan, ketersusunan, kontekstualitas dan kesejarahannya. Jika dipupuk sehingga memenuhi syarat ilmu pengetahuan, sensibilitas filologis tersebut bisa menjadi wawasan yang andal untuk pemahaman artefak budaya lain pula – apalagi kalau wawasan tersebut diperkaya dengan menyerap unsur-unsur terpilih dari tradisi filologi seantero dunia. Penulis mengutip contoh dari penelitiannya sendiri: naskah berisi ceritera Amir Hamzah berbahasa Jawa, ceramah agama Islam berbahasa Osing di Youtube, dan kritik lisan atas pertunjukan wayang.

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Isa Pramana Koesoemadinata, Mohammad. "Visual Adaptation Of Wayang Characters In Teguh Santosa’s Comic Art." Mudra Jurnal Seni Budaya 33, no. 3 (September 30, 2018): 401. http://dx.doi.org/10.31091/mudra.v33i3.544.

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Wayang tradition with its Indian epics of Mahabharata and Ramayana adaptations is the Indonesian high culture acknowledged by UNESCO since 2003. Its stories and characterizations has become philosophical, moral ethics and character learning for the young generations. Those Indian epics have acculturated in every aspect of theatrical and visual arts which are presented in shadow puppet theatre. As the part of traditional visual art, the visual aspect of wayang puppet consists of particular and systematic patterns (systems), in relation to role and characterization. In accordance with technological development, the famous epics of wayang are presented through popular modern media such as comic. Comic art is a popular media which adored by children and teenagers due to its visual narrative appeal. Many Indonesian comic artists such as Ardisoma, R.A. Kosasih, Oerip and Teguh Santosa adopt wayang epics through their own styles. The later artist, Teguh Santosa with his unique visual styles, has contributed color in wayang genre of Indonesian comic. Mostly, parallelities between Teguh’s style and the visual system of wayang role and characterization are detected. This paper discusses how visual adaptations of protagonists and antagonists wayang characters into Mahabharata comic series created by Teguh take place. Those visual adaptations are compared with the visual system of Javanese wayang puppetry, analyzed qualitative-descriptively with Sociology of Art and Aesthetical Morphology (Art Critic) methods. The results indicate that Teguh comprehends the essence of Javanese wayang’s visual aspect, since he adapted it with his own style yet still retains the visual system of Javanese wayang role and characterization.Tradisi Perwayangan dengan adaptasi wiracarita Mahabharata dan Ramayana adalah budaya adiluhung Indonesia yang sudah diakui UNESCO sejak 2003. Kisah-kisah dan penokohannya dijadikan model pembelajaran filsafat, etika moral dan karakter kepada generasi muda. Kisah-kisah tersebut mengalami akulturasi dalam berbagai aspek seni pertunjukan dan senirupa, di mana mereka disajikan dalam pertunjukan wayang kulit. Rupa boneka wayang kulit sendiri sebagai artefak senirupa tradisi memiliki pola yang khas dan sistematis, terkait dengan aspek perwatakan dan raut peranan tokoh. Seiring perkembangan zaman, kisah-kisah terkenal Perwayangan seperti Mahabharata dan Ramayana disajikan melalui media modern populer seperti komik. Komik adalah media populer yang lazim digemari anak-anak dan remaja karena memiliki daya tarik berupa narasi visual. Banyak komikus Indonesia mengadaptasi kisah perwayangan dengan gayanya masing-masing, seperti Ardisoma, R.A. Kosasih, Oerip, termasuk Teguh Santosa. Teguh Santosa (1942 – 2000) dengan kekhasan gaya visualnya telah memberikan nuansa tersendiri dalam komik indonesia khususnya genre perwayangan. Terlebih lagi penulis mendapati adanya kesejajaran pola visual antara gaya Teguh dengan pola rupa wayang kulit terkait perwatakan atau raut peranan tokoh. Tulisan ini mengkaji bagaimana adaptasi visual pada beberapa tokoh wayang protagonis dan antagonis dalam seri komik Mahabharata (1983-1985, 1986-1987) sisipan majalah Ananda dan terbitan Misurind karya Teguh Santosa. Adaptasi visual tersebut diperbandingkan dengan pola visual wayang kulit Jawa, dianalisis secara kualitatif-deskriptif, dengan pendekatan Sosiologi Seni dan Morfologi Estetik (Kritik Seni). Hasil analisis menunjukkan bahwa Teguh sebagai komikus memang memahami betul esensi rupa wayang Jawa, karena ia mengadaptasinya dalam komik dengan gaya visualnya sendiri namun tetap mempertahankan pola visual raut peranan dari wayang kulit Jawa.

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Nugroho, Sugeng. "The Aesthetics Effect of Surakarta-Style Pakeliran on East Javanese Pakeliran." Harmonia: Journal of Arts Research and Education 18, no. 2 (January 3, 2019): 153–61. http://dx.doi.org/10.15294/harmonia.v18i2.11543.

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This study intends to explore the aesthetics of East Javanese Shadow Puppet (Wayang Kulit Jawa Timuran) show as one of the people’s style puppet show model. The problems discussed are related to how East Javanese Shadow Puppeteers respond to the existence of The Surakarta-style shadow puppet shows that are not only flourished in the Central Java region but also in most parts of East Java. This study uses qualitative methods with descriptive analytical analysis. Research data are collected through literature studies, documentation studies, interviews, and field observations. The results of the study show that East Javanese shadow puppet show, both performance elements, the structure, and some elements of “garap pakeliran” have currently been colored by the idioms of Surakarta-style shadow puppet show.

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Yin, Kun, Yun Hao Ge, He Shan Liu, and Yong Quan Yin. "Interactive Experience across Modern Age and Tradition: Application of Arduino in Shadow Play." Applied Mechanics and Materials 868 (July 2017): 242–47. http://dx.doi.org/10.4028/www.scientific.net/amm.868.242.

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Shadow play is a characteristic traditional art form throughout Eastern countries. However, it is currently in decline due to diverse reasons. This study explores a new form of Arduino based interactive experience between shadow play puppets and audience. Participants were able to manipulate the shadow play puppets via TouchOSC (Open Sound Control) on their mobile phones. The mobile phone controlled a Single-Chip Micro-computer (SCM) via WIFI, which in turn controlled steering engines connected to the shadow play puppets. The extent of action conformity between two players was evaluated via computer, and highlighted with a number of turn-on-lights. This system offers participants a way to experience the traditional shadow play art via modern communication tools, and introduce a novel interactive experience.

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Sutiyono, Sutiyono. "An Art Phenomenon Under the State Control: Case Study on Shadow Puppet Performance." Asian Social Science 15, no. 2 (January 30, 2019): 172. http://dx.doi.org/10.5539/ass.v15n2p172.

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This article aimed at revealing the ruling class and the group being ruled in the society. The concern on the ruling party is to create obedience and to eliminate resistance from the ruled group. In this case, Gramsci presented the theory of hegemony by taking control on intellectually and morally leadership that can be accepted through consciousness process. In line with the explanation of hegemony, it seems that the Indonesia government, in the era of New Order (Orde Baru) from 1966 till 1998, was a powerful state with the highest authority control and became a determining force against the socio-political dynamics in the society. During Nee Order period, the state was truly capable of leading and dominating the field of power in various fields of development and statehood. One way to build hegemony is through institutions that determine the cognitive structure in the society, one of them was through the art of puppet. Consequently, puppeter (dalang) as one of intellectual figures in the society was controlled in order to socialize Golkar Party, as the political instrument. It can be concluded that the New Order government has successfully hegemoned the art of puppet.

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Al-Dama, AmaAmalia Nabilah, and Daviq Rizal. "The Effectiveness of Shadow Puppet Media." Islamic Review: Jurnal Riset dan Kajian Keislaman 9, no. 2 (October 28, 2020): 225–44. http://dx.doi.org/10.35878/islamicreview.v9i2.213.

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This research aims to use shadow puppet media, which will be used to improve speaking skills in narrative text learning material. The subjects of this study were at MAK Zidny Ilma Warzuqny Fahma students. The sample in this study were students of tenth grade at MAK Ziwfa. This quantitative study focused on student's achievement in the use of shadow puppet media to increase the student's speaking skills in narrative text. The finding of this study shows that shadow puppet media significantly gives effects on student's learning. The conclusion is based on the significance value calculation of the T count > T table, so H0 is rejected; therefore, Ha is accepted. It means that there was a significant difference between student learning outcomes taught by using a shadow puppet media through English speaking skill.

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Rollins, Annie Katsura. "Chinese Shadow Puppetry’s Changing Apprentice System: Questions of Continuance and a Survey of Remaining Shadow Puppet Practitioners in Mainland China, 2008–2013." Asian Theatre Journal 32, no. 1 (2015): 295–318. http://dx.doi.org/10.1353/atj.2015.0003.

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Osnes, Mary Beth. "Malaysia's Evolving Shadow Puppet Theatre." Asian Theatre Journal 9, no. 1 (1992): 112. http://dx.doi.org/10.2307/1124252.

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Diwan, Diwan, I. Nyoman Kiriana, and I. Made Sujanayasa. "AJARAN SUSILA PADA TOKOH BIMA LAKON DEWA RUCI DALAM PERTUNJUKAN WAYANG KULIT UNTUK MENINGKATKAN MUTU PENDIDIKAN DI ABAD 21." Adi Widya: Jurnal Pendidikan Dasar 4, no. 2 (October 21, 2019): 151. http://dx.doi.org/10.25078/aw.v4i2.1117.

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Wayang Kulit is one of the world's masterpieces because it contains a variety of values, ranging from life philosophy, ethics (moral), spirituality, music (gamelan, gending), to the aesthetics of very complex art forms. This has led to the staging of Balinese shadow puppets not only as a spectacle but also as a guide for the community. Wayang offers a very interesting educational method, because it teaches the values of religious and ethical teachings, as well as the values of life that should be captured by the audience through the play as well as the characters as role models. Like the play Dewa Ruci in the shadow puppet show. This play illustrates the spiritual journey of the Bima character who attains the level of inner and outer chastity. Bima's figure gives anualization of moral teachings between others: Guru Susrusa, Satya, Tri Kaya Parisudha, Wiweka and Tapa, this moral teaching is the provision to improve the quality of education in the 21st century.

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Wibawa, Aji Prasetya, Wahyu Arbianda Yudha Pratama, Anik Nur Handayani, and Anusua Ghosh. "Convolutional Neural Network (CNN) to determine the character of wayang kulit." International Journal of Visual and Performing Arts 3, no. 1 (June 28, 2021): 1–8. http://dx.doi.org/10.31763/viperarts.v3i1.373.

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Indonesia is a country with diverse cultures. One of which is Wayang Kulit, which has been recognized by UNESCO. Wayang kulit has a variety of names and personalities, however most younger generations are not familiar with the characters of these shadow puppets. With today's rapid technological advancements, people could use this technology to detect objects using cameras. Convolutional Neural Network (CNN) is one method that can be used. CNN is a learning process that is included in the Deep Learning section and is used to find the best representation. The CNN is commonly used for object detection, would be used to classify good and bad characters. The data used consists of 100 black and white puppet images that were downloaded one at a time. The data was obtained through a training process that uses the CNN method and Google Colab to help speed up the training process. After that, a new model is created to test the puppet images. The result obtained a 92 percent accuracy rate, means that CNN can differentiate the Wayang Kulit character

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Ciobotaru, Anca Doina. "Margareta Niculescu – A Portrait throughout a Century." Theatrical Colloquia 8, no. 2 (December 1, 2018): 219–31. http://dx.doi.org/10.2478/tco-2018-0017.

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Abstract In the last century, Romanian puppet theatre has not only received, but it has also given to the world – which I would personally correct. Perhaps: “it has given to the world innovative, poetic performances that have brought about a new aesthetic vibe.” If you skim through World Encyclopaedia of Puppetry Arts (first edition published in French, under the title Encyclopédie mondiale des arts de la marionette, and second edition published in English, under the aforementioned titled, available online at: https://wepa.unima.org/en/), you will find more information on Romanian puppet theatre than you might expect. A complicated history that has been reshaped subjectively – as is the case with every history. And, given that Margareta Niculescu left this world on the 19th of August, 2018, I’ve decided to turn back to the pages 493 and 494 (from the first edition), as if going in a pilgrimage. For quite some time, I’ve been thinking of getting closer to her, all prejudices, myths and subjectivity aside; perhaps Matei Brunul 1 has also helped; do shadows make way for themselves/do they follow us? In any domain, at any time, in any place. What matters is that you want to go back into the light, to free yourself, to be able to remember.

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Junaidi, Junaidi. "Leadership characters in shadow puppet show." Harmonia: Journal of Arts Research and Education 17, no. 2 (December 31, 2017): 181. http://dx.doi.org/10.15294/harmonia.v17i2.7731.

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Good leadership characters have been conveyed through the art of puppet. However, in practice, many of us have encountered the opposite fact. This study aims to analyze the leadership characters in the art of puppet. This research is a descriptive qualitative research which uses hermeneutical method to analyze the data gathered from the library research and field study. The data then passes data reduction step, data classification, and data verification. The results show that leadership characteristics in puppet can be formulated into five leadership concepts: (1) dwikridha, (2) tripakarti, (3) caturtama, (4) pancapratama, and (5) hasthabrata. If these five concepts of leadership are known, understood, and done well, our beloved country, Indonesia, will reach welfare together.

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Swensen, Cole. "Shadow Puppets: Birds; Advances in the Form." Iowa Review 32, no. 1 (April 2002): 42–45. http://dx.doi.org/10.17077/0021-065x.5494.

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Wahyuni, M., M. A. Ayu, R. Anhas, and C. H. Pangaribuan. "Digital Representation of a Conceptual Leather Puppet Character using Holographic Prism Glass." Indonesian Journal of Computing, Engineering and Design (IJoCED) 2, no. 1 (April 3, 2020): 38. http://dx.doi.org/10.35806/ijoced.v2i1.102.

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Leather shadow puppet performances are slowly becoming iso-lated. They are no longer attracting the young generation to-wards its long duration and language complexity, inclusive of its incomprehensible storytelling and characters. To address this gap, this research utilized a descriptive qualitative method and mind map to transcribe and describe key concepts of both rede-signing and avatar creation of leather shadow puppet character. The purpose of this study was to explore an alternative method in representing leather puppet performance by implementing a holographic prism glass technique. The digital representation of a leather puppet through a holographic prism glass medium is a manifestation of appreciating Indonesian cultural artwork in the modern era. The contribution of this study is to provide a more detailed explanation of a new manner in exploring and preserving the narrative and figure of the cultural heritage.

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Pramudita, Pandu, Sarwanto Sarwanto, Soetarno Soetarno, and Dendi Pratama. "Jagad Ageng and Jagad Alit In Traditional Kayons." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, no. 2 (February 24, 2020): 13–26. http://dx.doi.org/10.33153/dewaruci.v14i2.2850.

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Kayon is a shadow puppet character who symbolizes the world. In the Java world, there are two types of world concepts, namely the jagad ageng and the jagad alit. This study aims to examine the concepts of jagad ageng and jagad alit which are symbolized by the traditional kayons in purwa shadow puppets. The focus of this research study is to reveal the existence of Kayon Blumbangan and Kayon Gapuran as traditional kayons that have world essence, namely the jagad ageng and the jagad alit. Therefore, this study aims to reveal the existence and essence of Kayon Blumbangan and Kayon Gapuran as traditional kayons that store the concepts of jagad ageng and jagad alit. The method used in this research is iconography. Form theory which is divided into fields and ornament will become the main scalpel in analyzing the existence of Kayon Blumbangan and Kayon Gapuran. This research results that Kayon Blumbangan and Kayon Gapuran have the same shape structure with different widths of fields. The ornamental elements that form the kayon of the two traditional kayon are basically the same, namely forming four elements, including fire, water, wind, and earth. The four elements are the elements that make up the jagad ageng and the jagad alit. So, Kayon Blumbangan and Kayon Gapuran have a symbol of cosmological concepts regarding the concepts of jagad ageng and jagad alit.

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Muthalib, Hassan. "From mousedeer to alien creatures." Animation in Asia 23, no. 1 (April 8, 2013): 41–65. http://dx.doi.org/10.1075/japc.23.1.04has.

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Cinema in the Malay Archipelago can be said to have first come into being with the wayang kulit (Malay shadow play) due to the similar apparatus utilized, i.e., a white screen; the projection of moving images with the accompaniment of dialogue, sound effects, and music. Wayang kulit can also be designated as the first “animated cartoon” because the shadow puppets’ arms and mouth are made to move through manipulation of the articulating parts as in the technique of cutout animation. The main difference between the two art forms is that while wayang kulit movements are created in real time, cutout animation would be laboriously created frame by frame under an animation camera. None of the traditional art forms of Malaysia was any inspiration for early animators (as Chinese shadow puppets had been for the making of Lotte Reiniger’s The Adventures of Prince Achmed, a silhouette animation film made in 1926). The inspiration was only to emerge very much later in the works of film and animation school students’ almost a half century after the first animation film was made in the country.

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Journal articles on the topic 'Shadow puppetry'

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