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Journal articles on the topic 'Shadow puppets'
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Sutcharitpan, Peerapong, Chettha Muhamad, Daycho Khaenamkhaew, Boonying Pratum, Damrongphun Jaihoweweerapong, and Peeradaw Sutcharitpan. "Mechanism of Cooperation between Shadow Puppet Networks and Cultural Entrepreneurs in Raising the Community Economy and Local Awareness of the Cultural Market Area in front of Wat Phra Mahathat Woramahawihan, Nakhon Si Thammarat Province, Thailand." Parichart Journal, Thaksin University 36, no. 1 (January 5, 2023): 162–81. http://dx.doi.org/10.55164/pactj.v36i1.259209.
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In this paper, we studied the mechanism of cooperation between shadow puppet networks and cultural entrepreneurs in raising the economy of the community and local awareness. It was found that the shadow puppet groups in Nakhon Si Thammarat still exist in large numbers. At present, shadow puppet has been distributed in various established associations and one of them is the Southern Shadow Play Association. Nakhon Si Thammarat Provincial Folk Artist Association and the Federation of Folk Artists cause communication problems; therefore, the researcher studied the network of shadow play. It appears that, at present, shadow consists of the Master of Shadow Puppet Show, the shadow puppet parents’ teacher, the Teacher, and the Youth Puppet Show. From the discussion on the shadow puppet network, it found that the network was organized by having the shadow puppet show host of each district as a coordinator, under the cooperation mechanism of the shadow puppet network and cultural entrepreneurs. This mechanism for cooperation in the manner, “The bloodline of the teacher of shadow puppet” aims to support and promote research for the faculty of shadow puppets in the South to be uniform. There is empowerment in transferring knowledge to the local areas. Promoting the performance of shadow puppets will lead to an increase in income and will also raise awareness about shadow puppetry, preserving traditions and culture to consciously promote, carry on, and preserve shadow puppetry from one generation to another and create cooperation between shadow puppet faculties and other organizations
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-, Suyanto, and Aris Setiawan. "Shadow Puppets In The Hands Of The Young Puppeteers: Loss Of Philosophy Value." Mudra Jurnal Seni Budaya 37, no. 4 (October 17, 2022): 358–67. http://dx.doi.org/10.31091/mudra.v37i4.2049.
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This study aims to actualize philosophical values in shadow puppets performances for the puppeteer and the younger generation. The object of this research is a shadow puppets performance by young puppeteers in Surakarta and its surroundings. Recently, many young puppeteers have appeared arrogantly on stage, for example: standing up and trampling puppet with their feet, throwing puppet off the stage, cursing or saying rude things, exploiting sexual objects for jokes. Whether we realize it or not, one of the causes of this phenomenon is the gap in understanding the philosophical values of puppetry. Data collection methods in this study were the observation of performances and interviews, while to understand the meaning of symbols captured in shadow puppets performances, the method of understanding meaning was used. The notion of "understanding the meaning" in this context is how meaning can be captured from the puppeteers' expressions, either in the form of sabet (puppets movement), catur (puppeteer vocals), and music presented. The result of this research is an attempt to find the factors that influence the tendency of the young puppeteers to express freely. Finding the factors that influence the more youthful generation tends to like glamorous entertainment alone—actualizing philosophical values in shadow puppets according to the contemporary point of view. The ability of the puppeteers to present messages through shadow puppets performances should have direct implications for his personality, in addition to being a means of mass communication that can reach all levels of society (audience) in general.
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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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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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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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Prabawa, Fialin Aryastri, and Pancawati Dewi. "Penerapan Semantik Sebagai Strategi Pembentuk Elemen Desain Berdasarkan Tipologi Rupa Wayang Purwa Pandawa." Review of Urbanism and Architectural Studies 20, no. 2 (December 30, 2022): 109–20. http://dx.doi.org/10.21776/ub.ruas.2022.020.02.10.
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The use of shadow puppets as an object in the formation of an architectural design has been widely used. This is due to the elements of meaning and description and the philosophy closely related to Javanese society. Of the several case studies that have been found, most still focus on the form of shadow puppet and have not focused on the use of meaning as the main focus, so further studies are needed on the use of the appearance and meaning of shadow puppet in architectural forms. Qualitative methods are used by performing typology and semantic processes based on the Gestalt similarity principle to form meaning and rereading new meanings into form to form design elements. The results showed that the Pandava shadow puppets can be used as an object that allows it to use in forming architectural design elements based on visual typology and semantics of meaning.
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Zhang, Jiachen. "Brand Strategy of Shadow Play Digital Museum." BCP Business & Management 13 (November 16, 2021): 82–86. http://dx.doi.org/10.54691/bcpbm.v13i.52.
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China’s intangible cultural heritage shadow puppet shows its more than two thousand years’ history. In today’s era full of luminous screens, few lights are still projected on the shadow puppets. The shadow puppets only exist in the hands of some old craftsmen. Few young generations take over and inherit the skills and knowledge of the old craftsmen, resulting in the shadow puppets gradually disappear in people’s sights. Besides, few people pay attention to the development and charm of traditional folk art shadow puppets. In this paper, the case analysis method is used to summarize the current situation and development trend of the digital museum in the display and navigation, the analysis of the advantages of the application, and the design principles and design methods of the digital museum user interface. It summarizes and analyzes excellent digital museum design cases at home and abroad, and sorts out and summarizes the design principles of digital museums and the specific methods of user interface design. Digital museums are in line with the development of the times. Since the exposure rate of cultural and creative products has increased in recent years, the number of visits and discussions of museums has increased frequently, which has promoted the brand image of digital museums. Digital museum website designs the improvement of cultural and creative product development, the number of people facing the increase. the digital museum is also being improved. Therefore, the construction of an online digital museum for Tangshan Shadow Play Museum is a project to promote the development of shadow puppet culture. With the vigorous development of computer technology, more and more people use digital products, so Tangshan Digital Museum is operational feasibility. It is of great significance for spreading traditional culture.
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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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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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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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Muhammad Rico and Dewicca Fatma Nadilla. "Banjar Wayang Kulit As A Media For Implementing The Profile of Pancasila Students Aspects of Working Together." Amandemen: Journal of Learning, Teaching and Educational Studies 2, no. 1 (April 3, 2024): 1–13. http://dx.doi.org/10.61166/amd.v2i1.47.
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The first aim of writing this article is to analyze the background to the implementation of Banjar Shadow Puppetry. The second objective is to analyze efforts to implement the Pancasila Student Profile through the implementation of Banjar Shadow Puppets. The third objective is to analyze the impact of implementing Banjar Shadow Puppets as a medium for implementing the Pancasila Student Profile aspect of Gotong Royong. This research uses the literature study method, which is an activity that is required in research, especially academic research whose main aim is to develop theoretical and practical aspects and temporary conjectures in research. The results of the research show that the background to the implementation of Banjar shadow puppetry is because of circumcision events, inauguration ceremonies, weddings, national holidays or to fulfill someone's vows. Efforts to implement the Pancasila student profile in Banjar shadow puppetry can be seen from these figures who have exemplary examples that can be applied in social life. The impact of implementing Banjar shadow puppetry also has a connection and there are values contained in it from the beginning of the activity until the end. Activities require mutual cooperation from elements of society. This can be an example in its application at school.
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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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Fu, Qin, and Qingtong Hu. "Study of Chinese Shadow Mapping Classification with the Application of Deep Learning Algorithms." Computational Intelligence and Neuroscience 2022 (May 25, 2022): 1–7. http://dx.doi.org/10.1155/2022/7050260.
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Shadow puppetry is a traditional Chinese fascinating theatre act performed by large group of artists. An artist generally uses sticks, transparent cloth screen, and flat puppets behind an illuminated background to create illusion of moving pictures during the act. These acts showcase the culture, heritage, social belief, and customs of Chinese and are a popular form of entertainment especially to youths. The modern method of digital shadow puppetry has gained a tremendous interest in the diversifying entertainment industry. Proper identification and classification of shadow puppetry is a tedious process, demanding significant research studies attention to solve the real-world vision-based problem. The proposed research studies focus on the design of artificial intelligence-based modified Grey Wolf Optimized Classifier (mGWOC) for the digital shadow puppetry problem. Data augmentation process is performed in the initial stage of the work to increase the size of the dataset used for training and testing. Secondly, to derive feature vectors from shadow puppet images, Alex Net-a deep neural network model as a part of feature extraction is adopted. Finally, Extreme Learning Classifier (ELC) is applied to allocate proper class labels. The experimental results of the proposed mGWOC reports betterment over the ResNet model, DenseNet model, and grey wolf optimization algorithm in terms of precision, recall, F-score, and kappa statistical performance measure reporting average accuracy as 0.951.
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Nishanth, Anisha. "THOLPAVAKOOTHU:A STUDY ON THE PERFORMING ART OF SHADOW PUPPETRY IN KERALA." International Journal of Research -GRANTHAALAYAH 9, no. 12 (December 30, 2021): 17–24. http://dx.doi.org/10.29121/granthaalayah.v9.i12.2021.4406.
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Tholpavakoothu is a form of shadow puppetry which is the ancient art form found only in Kerala and it is a ritualistic worship for Goddess Devi. The main theme of tholpavakoothu is based on Kamba Ramayan and puppets which are chiseled out beautifully on the animal skin are used for the puppetry. Unlike other puppetry, it is the black shadow of puppets that forms on the white screen in the presence of oil lamps that portrays the tale of Ramayana. The study is for the deeper understanding of the origin, style, forms, and themes of tholpavakoothu and also to find out the different influences of applied puppetry in tholpvakoothu. This study uses a qualitative approach using interviews with the artists and performances. It has given a deeper understanding of the uniqueness of tholpavakoothu compared to other puppetry forms. This form basically emphasizes the concepts of mythology and how the form has taken a transition to contemporary issues to cater to all types of audiences.
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Marajaya, I. Made. "Discovery in Balinese Shadow Puppet Shows." Randwick International of Social Science Journal 4, no. 1 (January 31, 2023): 179–89. http://dx.doi.org/10.47175/rissj.v4i1.594.
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The purpose of this article is to examine discovery in relation to the creativity of Balinese shadow puppet show agents. Since time immemorial, there has been nothing new in the creativity of Balinese shadow puppet shows. However, it turns out that there is novelty and discovery in the development of Balinese shadow puppet shows. The problems are: 1) Why does the puppeteer innovate in the Balinese shadow puppet show?; 2) What is the form of discovery in the Balinese shadow puppet show?; 3) Is there an impact of discovery in the Balinese shadow puppet show? This problem has been investigated using qualitative methods. Discovery elements related to creativity in Balinese shadow puppet performances have been observed, and a literature study has been carried out based on publications about Balinese shadow puppets. All data were analyzed qualitatively using practical theory and aesthetic theory from a cultural studies perspective. The results of the study show that: 1) responding to market demands, cultural influences from modern society, technological sophistication, and the need for creativity and artist training for Balinese shadow puppet performances; 2) there is a condensation of the performance structure accompanied by a simplification of the language of the puppeteers, variations in the movements of the puppet characters, variations of light, variations of sound, and new apparatus are discoveries in Balinese shadow puppet performances; and 4) the discovery of the Balinese shadow puppet show has had an impact on Balinese puppet artists and art.
Keywords : Discovery, Creativity, Shadow Puppet Show, Bali.
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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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Sudiana, I. Ketut. "Kreativitas Tata Cahaya Moderen Dalam Pertunjukan Wayang Kulit Bali Masa Kini." Jurnal Syntax Fusion 2, no. 12 (December 22, 2022): 858–69. http://dx.doi.org/10.54543/fusion.v2i12.227.
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The problem of puppet show lighting in the puppet show is a very important element to be carefully considered as it is a medium in projecting shadow puppets on the screen.Because lighting is very influential ( the result of the projected shadow) that project the identity of Balinese leather puppet figures, which contain aesthetic and symbolic values. In principle, the use of lighting in puppet shows should be able to produce a high carrying capacity, not merely the modern practicality but it also able to illuminate according to the form of puppets in a surreal form.It also supports the expected dramatic atmosphere, such as scenery or background depiction,in order to anticipate the shift in the thoughts of contemporary puppet viewers who tend to be realists. In line with the objective of this research which is to produce the anatomical shape of Balinese Wayang Kulit with an ideal proportions of electric lighting. It also aims to produce a scenery that is in accordance to the style of Balinese Wayang Kulit which is not realistic. The method used is the Practice-based Research method , a creating and studying works of art based method. This practice-can produce the ideal shape and anatomy of wayang and the harmony between scenery and wayang.
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Fitriyani, Dwi Nur, and Ahmad Anis Abdullah. "Aktivitas Fundamental Matematis pada Kerajinan Wayang Kulit dan Aplikasinya dalam Pembelajaran Matematika." ARITHMETIC: Academic Journal of Math 4, no. 2 (December 1, 2022): 203. http://dx.doi.org/10.29240/ja.v4i2.5515.
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Mathematics is considered a difficult and boring subject because it involves numbers, symbols, and formulas. The use of culture associated with mathematics will provide new experiences for students in learning mathematics so that it will not cause boredom. The fundamental mathematical aspect that will be observed is the motif and the process by which puppets are made. The purpose of this research to describe fundamental mathematical activity according to Bishop on the shadow puppets craft. The type of research was descriptive qualitative with ethnographic approach. The data collection method that used were interviews, observations, documentation, and references. This research show that mathematics aspect of the shadow puppet craft according to Bishop: (1) counting include a long time of manufacture, number of puppets, number of tools and materials; (2) locating included the division of land, boundaries, placement of motifs; (3) measuring included fat content, calculation size and weight of the device, symmetrical motif size, color mix ratio, gradation level; (4) designing incuded the shapes of tools and materials, sketching, motifs, lines; (5) playing induded the steps and process production; and (6) explaining included the meaning of motifs, the use of tatah, and the application of color. In addition, the fundamental aspects of mathematics in the process of making puppets can be implemented in junior high schools in the form of questions.
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Prahmana, Rully Charitas Indra, and Afit Istiandaru. "Learning Sets Theory Using Shadow Puppet: A Study of Javanese Ethnomathematics." Mathematics 9, no. 22 (November 18, 2021): 2938. http://dx.doi.org/10.3390/math9222938.
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Some countries have puppet culture in various forms, terms, and ways, including Indonesia. As a country with a diverse culture, it has detailed and comprehensive characteristics and stories related to puppets, especially the Javanese shadow puppet. Some experts have explored its characteristics and found out that it contains many mathematical elements which could be used as a starting point to learn mathematics. The elements, however, still focus on the exploration of geometry material. We hardly find any other material that has been explored as deep as the geometry material in the context of the Javanese shadow puppet. Therefore, this study aims to explore the other elements of mathematics potentially found in this context which—for this example—is the sets material. Besides, this study also discusses the righteous life values that the students could internalize during mathematics learning through shadow puppet culture. We used ethnography to explore it through literature study, documentation, and field notes. We found some interesting elements, characteristics, and patterns in the Javanese shadow puppet, which can be used as a starting point to learn the sets concept. Furthermore, the values and philosophy of the shadow puppet culture harbor the potential to foster the students’ good character and behavior.
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Fawwaz, Muhammad Naufal. "KONSEP PENCIPTAAN FILM WAYANG HOROR BEKASAKAN." LAYAR: Jurnal Ilmiah Seni Media Rekam 9, no. 2 (February 2, 2023): 65. http://dx.doi.org/10.26742/layar.v9i2.2416.
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ABSTRACT
Bekasakan is a horror movie that uses shadow puppets as the object of its character. This work aims to create a new genre in the shadow puppets of Java, especially in packaging horror themes as special performance plays. Based on puppet performances which were later adapted into a movie perspective, this work is one of the most attractive offers for teh shadow puppets. The novelty of this work is the formation of the demonic figure of Mahakali, which is realized by depicting a strange anatomy of the body and at the same time giving the audience a scary impression. In addition to the formation of the devil Mahakali figure, the application of rules in film is also worked out in such a way as to produce a film work that can give the impression of horror to the audience. It is hoped that the works of secondhand horror puppet films will become an offer or a new style in the world of puppet creativity as well as being a useful contribution to the development of arts and sciences.
ABSTRAK
Bekasakan merupakan sebuah karya film horor dengan menggunakan media wayang kulit sebagai objek pemerannya. Karya ini bertujuan untuk menciptakan sebuah genre baru dalam dunia pewayangan terutama dalam mengemas tema-tema horor sebagai lakon pertunjukan secara khusus. Berpijak dari pertunjukan wayang yang kemudian diangkat ke dalam perspektif film menjadikan karya ini sebagai salah satu tawaran menarik bagi dunia pewayangan. Kebaruan dari karya ini adalah pembentukan sosok setan Mahakali yang direalisasikan dengan penggambaran anatomi tubuh yang aneh sekaligus memberi kesan seram bagi penonton. Selain terbentuknya sosok setan Mahakali juga penerapan kaidah-kaidah dalam perfilman digarap sedemikian rupa sehingga menghasilkan suatu garap karya film yang dapat memberi kesan horor bagi pernonton. Karya film wayang horor bekasakan diharapkan dapat menjadi tawaran atau gaya baru dalam dunia kreativitas pewayangan sekaligus dapat menjadi sumbangan berguna bagi perkembangan ilmu seni dan ilmu pengetahuan.
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Duija, I. Nengah, and Ni Made Ayu Susanthi Pradnya Paramitha. "Dharma Pawayangan: Transliteration, Translation, And Cultural Values Analysis." Jurnal Penelitian Agama Hindu 6, no. 1 (January 21, 2022): 1–12. http://dx.doi.org/10.37329/jpah.v6i1.1333.
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As time changes, the Balinese wayang (shadow puppet show) performances has undergone changes marked by the emergence of new plays. This study examines the lontar (traditional scripture) of Dharma Pawayangan through a manuscript study since the Dharma Pawayangan Lontar contains information and instructions on traditional puppetry art which can be used as the basis for aesthetic understanding of Balinese puppeteers today. To avoid being crushed by the secularization of new wayang creation, thus resulting in the retainment of its religio-magic nature. This study aims to determine the transliteration and translation of Dharma Pawayangan B text, and its cultural values. Another goal is to produce puppetry literary texts that are a source of inspiration for Balinese puppet masters. The result of this research is the Dharma Pawayangan B, transliterated into Latin characters and translated into Indonesian. This manuscript contains information on puppets, puppetry, and the aspects that must be understood by the dalang, namely kiwa tengen, ethics, taboos, equipment, theology, rituals, and punishment for violation of the rules, as well as the development of wayang in the modern era.
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Kurnianto, Arik. "The Sustainable Adaptation of Traditional Art into Digital Medium (Case Study the Motion of Shadow Puppet Scene Perang Kembang)." E3S Web of Conferences 388 (2023): 04059. http://dx.doi.org/10.1051/e3sconf/202338804059.
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“Perang Kembang” is a battle scene between the knights against the giant in traditional shadow puppet performance. A knight who has soft and gentle movement is in stark contrast to the giant who has a rugged and attractive movement. The two contrasting characters can represent a very interesting and beautiful war scene, so this war scene becomes a scene awaiting by the audience, as well as a scene capable of showing the skill of the Puppeteer in the art of puppet movement. But how to adapt the beauty of the shadow puppet shadow "Perang Kembang" scene to the digital animation medium? So that the beauty of puppet motion can still continue to be enjoyed by new generations with new media, especially through digital animation media? So to answer this problem, this study uses art-based research methods by experimenting with the motion of digital animation based on the pattern of movement of the shadow of the “Perang Kembang” scenes. Adaptation motion puppet scene " Perang Kembang" to the digital medium can be done through some experimental methods of motion with the best output in the form of an animated silhouette. The choice of silhouette animation refers to the nature of puppets as a the art of shadow play. The results of this study are the "Perang Kembang" puppet motion experimentation in the form of digital silhouette animation.
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Johnson, Irving Chan, and Darryl Lim. "Curating Shadows: Malayan Shadow Puppets in Singapore's Asian Civilisations Museum." Journal of the Malaysian Branch of the Royal Asiatic Society 95, no. 1 (June 2022): 51–88. http://dx.doi.org/10.1353/ras.2022.0008.
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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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Ali, Moh Mahrush. "Portrait of Pesinden Documentary Film: Role of Sinden in Puppet Show." Gelar : Jurnal Seni Budaya 19, no. 2 (December 1, 2021): 129–38. http://dx.doi.org/10.33153/glr.v19i2.3307.
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ABSTRAKPotret Posinden merupakan film dokumenter yang berusaha menunjukkan peran dan kedudukan sinden pada pertunjukan wayang kulit. Perubahan yang terjadi pada sinden saat ini membuat pertunjukan wayang kulit menjadi semakin menarik. Hal ini dibuktikan dengan fungsi sinden saat ini, bukan hanya menembang namun menjadi unsur penghibur. Sesekali jadi bahan lelucon pada saat limbukan dan goro-goro. Umumnya, sinden harus tampil dengan dandanan yang tidak biasa, sebab saat ini posisi sinden menghadap ke penonton. Sinden menjadi aspek penting di dalam setiap pertunjukan wayang kulit, dan hal itu tidak bisa dipisahkan. Film dokumenter ini menggunakan gaya expository, yaitu memiliki ciri berbicara langsung kepada penonton melalui on screen. Dokementer ini memanfaatkan penuturan dari narasumber atau subjek utama dalam menyampaikan informasi atau isi pada film.Kata kunci: Film Dokumenter, Sinden, Wayang Kulit. ABSTRACTPortrait of Pesinden is a documentary film that attempts to show Sinden's role and position in shadow puppets performances. The changes that occurred in the current Sinden made shadow puppets performances even more enjoyable. This matter is evidenced by the current function of Sinden singing and being an entertainment element. Occasionally it becomes the material for a joke at the moment when it is “limbukan” and “goro-goro”. The general findings show that the Sinden must appear with unusual make-up because the position of the Sinden is facing the audience. In addition, Sinden is an essential aspect of every shadow puppet show, and it cannot be separated. To sum up, this documentary film uses an expository style characterized by speaking directly to the audience via the on-screen. So, the documentary uses the narrative from the primary source or subject in conveying information or content in the film.Keywords: Documentary Film, Sinden; Shadow Puppets.
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Marajaya, I. Made. "Pakeliran Layar Lebar." Linguistics and Culture Review 7, no. 1 (January 29, 2023): 22–38. http://dx.doi.org/10.21744/lingcure.v7n1.2241.
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This study aims to describe the development model for Balinese shadow puppet shows in the era of globalization. For nearly thirty years, Balinese shadow puppet performances marked ups and downs of requests from the public to respond to and watch them, especially for traditional performances. For this reason, to restore the Balinese shadow puppets to revival in the era of globalization, young puppeteers try to save them by exploring, preserving, and developing shadow puppet shows by creating a new work called Pakeliran Layar Lebar. The work on Pakeliran Layar Lebar is one of the genres of traditional wayang art that has appeared since 1988 under the encouragement of Prof. Dr. I Made Bandem, who at that time was chairman of the Denpasar Indonesian Art College. Visually, the form of Pakeliran Layar Lebar is very much different from the traditional ones. In its presentation, dance artists, musicians, puppeteers, theatres, narrators, and interpreters supported Pakeliran Layar Lebar with advanced technology such as; lighting, scenery, sound system, computer, LCD, and so on also support. Pakeliran Layar Lebar is classified as a balih-alihan (spectacle) art, so it functions as a medium for education, entertainment, and artistic creativity with an aesthetic nuance.
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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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Cheng, Xiaochun, and Musdi bin Hj Shanat. "Tradition Unveiled: A Comparative Exploration of Kelantan and Shaanxi Shadow Puppet Craftsmanship." Art and Society 3, no. 3 (June 2024): 1–12. http://dx.doi.org/10.56397/as.2024.06.01.
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This study intricately examines the craftsmanship of Kelantan, Malaysia, and Shaanxi, China’s shadow puppets, highlighting how their unique making processes contribute to distinct visual characteristics. Kelantan artisans meticulously treat cattle hide, emphasizing sunlight exposure for drying, intricate chiselling techniques, and vibrant coloration. In contrast, Shaanxi craftsmen employ a moist carving process, with detailed motifs influenced by traditional Chinese mural paintings. The comparative analysis exposes fundamental disparities: Kelantan emphasizes dry leather, producing flat colours and detailed chiselling, while Shaanxi relies on moist leather for vibrant, translucent hues. The study further explores variations in carving techniques and movable parts, providing insight into the rich cultural tapestry woven into the artistry of Kelantan and Shaanxi shadow puppet craftsmanship.
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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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Subarkah, Krisna, Muhamad Azrino Gustalika, and Pradana Ananda Raharja. "AUGMENTED REALITY BASED IMAGE TRACKING FOR INTRODUCE PUPPET SHADOW TRADITIONAL MUSICAL INSTRUMENT." Jurnal Teknik Informatika (Jutif) 4, no. 1 (February 10, 2023): 205–16. http://dx.doi.org/10.52436/1.jutif.2023.4.1.376.
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With the development of science and technology, traditional musical instruments are starting to be abandoned, one of the factors is the ease of playing modern musical instruments, and traditional musical instruments are also rarely found in everyday life. With the progress of today's era, AR (Augmented Reality) technology was born. The way Augmented Reality works is by scanning a sign or marker. This research aims to build an application with augmented reality technology to introduce traditional shadow puppets musical instruments. This research was designed using the MDLC (Multimedia Development Life Cycle) method. They were testing the application using blackbox testing on two smartphones with different specifications, with the result that both smartphones could run the application properly. Then for testing the use of the application using the heuristic evaluation method carried out by an expert with the highest severity rating value on the visibility of system status with a value of 0.625. The result of this research is the application of traditional shadow puppets musical instruments based on augmented reality, which is expected to be used to introduce traditional shadow puppets musical instruments.
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Suhardjanto, Djoko, Supriyono ., Aji Nusantara, Wulan Suci Rachmadani, Rizky Windar Amelia, Nur Kabib, Indrian Supheni, and Kusumaningdiah Retno Setiorini. "Accountability of Shadow Puppet Performances as Evidence of Surakarta's Local Wisdom: Perspective of Stakeholder Satisfaction." International Journal of Religion 5, no. 10 (June 3, 2024): 546–50. http://dx.doi.org/10.61707/1x7xey36.
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This study explores how the accountability of shadow puppets in performances using the perspective of stakeholder theory is related to accountability, so that it can be in accordance with the principle of accountability, where in every organization and stakeholders get satisfaction as in stakeholder theory. Wayang performance as a noble value in the culture of local wisdom in Surakarta in particular, is expected to run sustainably and sustainably, namely by paying attention to the stakeholders in it, namely sinden, pins, niyaga, pangrawit and sound system workers, whether it has run well according to rights and obligations. The respondents selected include: sinden, pins, niyaga, pangrawit and sound system workers. The results of this research are formed from satisfaction outside finance, among others: developing a noble culture, harmonious guyub and nerimo ing pandum to become a strong foundation for art actors to maintain the wayang tradition in the midst of the onslaught of the era of globalization and modernization. Art actors, who in this case are stakeholders of puppet performances, uphold mutual cooperation, help each other and leave the results to the creator. The distribution of work responsibilities in wayang does not only depend on the puppeteer but can be transferred to pins and sinden, but for the distribution of honorarium the puppeteer plays a role and is fully responsible for his internal stakeholders such as pins, niyaga and sinden. The principle of loyalty is reflected in internal stakeholders in shadow puppets. Commitment, right promise is reflected in the sincerity of an artist in living the shadow puppet culture, this is what makes wayang performances have a high existence and are able to survive, sustainable in an era that is all digitalization.
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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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Wood, Manor, and Victoria Lungu. "We've explored… shadows." Nursery World 2021, no. 2 (February 2, 2021): 24–25. http://dx.doi.org/10.12968/nuwa.2021.2.24.
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Cohen, Matthew Isaac. "Ramayana and Animism in "Wayang" Puppet Theatre." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 4, no. 2 (December 30, 2023): 227–47. http://dx.doi.org/10.54103/2724-3346/22208.
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Traditions of wayang puppetry in Indonesia realize what Philippe Descola refers to as an «animist ontology». Not only human figures, but also what Tim Ingold calls «nonhuman persons», including personal possessions, landforms, and animals, possess consciousness and interiority. Among wayang’s diverse story sources, the Ramayana stands out for its animistic qualities. Episodes depict interactions between humans, ogres, monkeys, deities, and other nonhuman persons, activating the potential of the medium for representing transformation and theatrically mining the suspension of natural laws. This essay, based on ongoing research into the wayang collection of Yale University Art Gallery, examines how the characters of the Ramayana reflect shifting theatrical styles and animistic beliefs. Analysis of these historical puppets is followed by an exploration of an experimental 2023 Ramayana production originated at the University of Con-necticut hybridizing wayang with the tholpavakoothu shadow puppet tradition of Kerala, India, in which the epic is retold from the perspective of the trees and wood inhabiting it.
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Muhammad Ikhwan. "PENGGUNAAN MESIN CROCKMETER UNTUK UJI GOSOK PADA KULIT PERKAMEN." Berkala Penelitian Teknologi Kulit, Sepatu, dan Produk Kulit 21, no. 2 (August 31, 2022): 202–11. http://dx.doi.org/10.58533/bptkspk.v21i2.173.
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One of the small industries that survives and needs to be developed is the shadow puppet industry. The shadow puppet industry uses parchment skin as the main raw material. As a laboratory institution, the author tested the quality of parchment skin dye paint for shadow puppet using a crockmeter machine. The test is carried out by adding an auxiliary material in the form of ethylene glycol to the dye paint which is expected to improve the quality of the rubbing resistance of the dye paint on the shadow puppets. In this test the author uses parchment skin from sun-dried buffalo skin with a transparent color and an even thickness of the skin and a large cross-sectional area so that no part is wasted. Furthermore, the parchment skin surface was sanded before staining. This sanding aims to level the parchment skin surface and remove the remaining collagen, protein and fat. The test was carried out using 3 samples. Sample I used coloring materials (mowilex paint, foxputih glue, water and finishing using mowilex clear). Sample II uses coloring materials (mowilex paint, white fox glue, water, Ethylen Glycol and finishing using mowilex clear). Sample III uses dyes (mowilex paint, white fox glue, water, Ethylen Glycol, finishing using mowilex clear and the addition of a clearing process using a sunlight wetting agent. From the experiments and tests carried out, better results were obtained for the use of Ethylen Glycol in the coloring and also the clearing process to improve the color quality of the wayang kulit products produced.
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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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DeJarnette, Anna F., Sahid L. Rosado Lausell, and Gloriana González. "Shadow Puppets: Exploring a Context for Similarity and Dilations." Mathematics Teacher 109, no. 1 (August 2015): 20–27. http://dx.doi.org/10.5951/mathteacher.109.1.0020.
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Ismurdyahwati, Ika. "Shadow Puppets Performance of Yogyakarta through its Visual Language." ITB Journal of Visual Art and Design 4, no. 1 (November 2013): 28–34. http://dx.doi.org/10.5614/itbj.vad.2013.4.1.4.
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Milwright, Marcus. "ON THE DATE OF PAUL KAHLE’S EGYPTIAN SHADOW PUPPETS." Muqarnas Online 28, no. 1 (2011): 43–68. http://dx.doi.org/10.1163/22118993-90000173.
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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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Gede Wira Ady Saputra, Aron Meko Mbete, and I Nyoman Muliana. "Humor Discourse in Art Performances of Shadow Puppets Cenk Blonk." Austronesian: Journal of Language Science & Literature 1, no. 2 (August 17, 2022): 56–73. http://dx.doi.org/10.59011/austronesian.1.2.2022.56-73.
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Humor discourse as non-bonafide discourse is frequently found daily. The existence of humor, besides for entertainment purposes, is also being used for educational purposes, also culture and language conservation. Some approaches can be implied to understand how discourse humor is created. One of them is through language elements and pragmatism flouting. This research of humor discourse in art performances of shadow puppets aims to analyze the utilization of language elements and pragmatism flouting. This study uses a mixed-method approach. The data of this research are in the form of conversation found in the dialogue of shadow puppets performances. As the results, it was found that humor discourse is formed by the first utilization of language elements such as phonological utilization (5.56%), lexical ambiguity (3.70%), grammatical ambiguity (31.48%), rhyme utilization, and language style (59.26%); secondly, Maxim flouting such as quantity flouting (39.13%), quality flouting (21.74%), manner flouting (17.39%), relevance flouting (21.74%).
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Wadley, Susan S. "Inside the Drama House: Rama Stories and Shadow Puppets in South India:Inside the Drama House: Rama Stories and Shadow Puppets in South India." American Anthropologist 99, no. 2 (June 1997): 443–44. http://dx.doi.org/10.1525/aa.1997.99.2.443.2.
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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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<p>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: <em>Guru Susrusa, Satya, Tri Kaya Parisudha, Wiweka and Tapa</em>, this moral teaching is the provision to improve the quality of education in the 21st century.</p>
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Slamet, Yosep Bambang Margono. "CONSTRUCTING A COURSE ON INDONESIAN SHADOW PUPPETS FOR INTERNATIONAL STUDENTS." Celt: A Journal of Culture, English Language Teaching & Literature 14, no. 1 (December 2, 2014): 16. http://dx.doi.org/10.24167/celt.v14i1.54.
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Abstract: This paper is a course design on Indonesian shadow puppet to promote Indonesian culture to international students as a way of building a cultural bridge to create global citizens. In todays world, it is of paramount importance for every individual from diverse cultural, linguistic, and ethnic backgrounds to understand each other and work together. Creating this course is to introduce and promote an aspect Indonesian culture so that international students are more interested in and knowledgeable of Indonesian people and culture in general. Even though students only learn an aspect of Indonesian culture it is expected that they will be able to explore Indonesian culture in a broad sense.
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Arifin, Ferdi. "Learning Islam from the Performance of Wayang Kulit (Shadow Puppets)." HUNAFA: Jurnal Studia Islamika 14, no. 1 (July 2, 2017): 99. http://dx.doi.org/10.24239/jsi.v14i1.457.99-115.
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Ciccola, Alessandro, Ilaria Serafini, Giulia D'Agostino, Belinda Giambra, Adele Bosi, Francesca Ripanti, Alessandro Nucara, Paolo Postorino, Roberta Curini, and Maurizio Bruno. "Dyes of a Shadow Theatre: Investigating Tholu Bommalu Indian Puppets through a Highly Sensitive Multi-Spectroscopic Approach." Heritage 4, no. 3 (August 16, 2021): 1807–20. http://dx.doi.org/10.3390/heritage4030101.
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Tholu Bommalu are typical leather puppets of the traditional Indian shadow theatre. Two of these objects are part of a collection in the International Puppets Museum “Antonio Pasqualino” (Palermo, Sicily, Italy), which can count on one hundred-seventy-three of artifacts. These Indian puppets were investigated to obtain information related to the use of dyes for their manufacturing through a multi-technical approach exploiting the combination of highly sensitive spectroscopic techniques. Wet cotton stubbons were used to entrap small particles of dyes on the fibers from the art objects for the consequent analyses. Visible Light Micro-Reflectance spectroscopy was employed for the preliminary identification of the molecular class of dyes directly on the swabs, while Surface Enhanced Raman Scattering allowed the identification of the specific dye. Several synthetic dyes belonging to different typologies of coloring compounds were identified. The study resulted in an interesting overview of dyes used in recent Tholu Bommalata manufacturing through the combination of micro-invasive techniques directly on the sampling substrate.
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Sudiatmika, Ida Bagus Kresna, and I. Gusti Ayu Agung Sari Dewi. "Indonesian Shadow Puppet Recognition Using VGG-16 and Cosine Similarity." IJICS (International Journal of Informatics and Computer Science) 5, no. 1 (March 29, 2021): 1. http://dx.doi.org/10.30865/ijics.v5i1.2579.
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Wayang is one of Indonesia's cultural heritages that must be preserved, where puppets have various functions not only as a means of art, Wayang is also used as a means of religious ceremonies in Indonesia. Therefore, It is very important to preserve the wayang tradition, to preserve it and it is well known by the public, especially young people. In this research, to participate in the preservation of wayang, the authors propose a preservation approach using artificial intelligence and web scraping techniques. Artificial intelligence in this case is carrying out the process of recognizing wayang images and finding information from the puppet data. In searching for information, web scraping techniques are used where information is automatically retrieved from the internet. Information obtained from the internet will be processed using the TF-IDF method and cosine similarity. This study uses the CNN architecture on the existing model, namely VGG-16. The training process is carried out with 200 iterations with an accuracy of 89%. The application of the CNN network architecture and web scraping has been successfully applied and will still be developed in the future to obtain maximum results
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Nusiana, Salma, and Herawati -. "SEJARAH KERAJINAN KULIT DI KELURAHAN SONOREJO, KECAMATAN SUKOHARJO, KABUPATEN SUKOHARJO, TAHUN 1970 – 2016 M." Thaqafiyyat : Jurnal Bahasa, Peradaban dan Informasi Islam 20, no. 2 (November 20, 2021): 144. http://dx.doi.org/10.14421/thaq.2021.20202.
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Sonorejo is one of the areas in the Sukoharjo district that made handicrafts animal skins through home industry. Leather handicrafts are produced puppet on cow and buffalo leather since the 1970s. The market of handicrafts leather distributed to souvenir centers outside Sukoharjo City. Most of the puppet crafts are made to fulfill the puppeteer's orders for performances. This narrow marketing circle provides other innovation for craftsmen to make new crafts, namely calligraphy. In 1980 the craftsmen went to various areas such as Jakarta, Bandung and Surabaya to learn to make calligraphy using goat skin as media. The economic crisis that occurred in 1997-1998 led to a decline in the production of shadow puppets in several home industries in Sonorejo, which eventually led to many craftsmen turning to new innovations, calligraphy. Based on these reasons, this scientific study intends to analyze and describe the conditions of the leather handicrafts in Sonorejo Village and the dynamics of the development of the leather industry in Sonorejo.
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Cohen, Matthew Isaac. "Reading “Suluk Wayang”: Javanese Shadow Puppets, “Nala”-Vision, Private Self, Bodily Self." Journal of the Royal Asiatic Society of Great Britain & Ireland 12, no. 2 (July 2002): 167–86. http://dx.doi.org/10.1017/s1356186302000238.
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AbstractWayang kulit (shadow puppet theatre; henceforth “wayang”) as practiced in Java (Indonesia) has been recognized by exegetes – European and Indonesian alike – for its centrality as both a performative vehicle for and a symbolic figuration of understandings of the human developmental cycle, the variety of character models available to individuals, the precarious balance of chaos and stability in society, and kinship dialectics of conflict and complementariness. It is Java's most complex art form, in terms of dramaturgy, music, and repertoire, and also one of its most highly mediated. The beginning of what I would like to discuss is located at the end of Ward Keeler's exemplary ethnography of Central Javanese wayang and the dialogical play of selves and others in relations of hierarchy. Keeler concludes his evocative account of Javanese selves and theatre (and here I paraphrase) with the statement that “the peculiar fascination” of the dhalang in Javanese culture stems from his ability to dissimulate his self in performance. The puppeteer's voice is splintered, his presence veiled by a screen and mediated by puppets and the constraints of tradition, and his authority derived from indirect relations to a ritual sponsor, the Javanese autarchy, the ancestors, and the unseen world. “He is at once a dissembled authority, one whose power is great, non-coercive, and unworldly, and a dissembled interpreter, one who mediates between an unreal but persuasive and distracting world, and our own”.
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I Made Sidia. "The Theatre of “Glass Puppetry” Enhanced With The Use of The Technology of Lighting." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 6, no. 2 (October 25, 2023): 170–81. http://dx.doi.org/10.31091/lekesan.v6i2.2538.
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The life of a Wayang Artist is an honorable role to have in the society of the Balinese people. Storytellers using the art of the wayang are highly respected, whose role in the community is to pass on the precious stories about the history, the culture and the spiritual heart of the Balinese people. The Wayang artist, known as the dalang goes on a life journey in sharing their philosophies through stories for the enrichment and soul of society. The process of internalization of the Puppet master from an early age through the world of wayang, forms a cognitive map of the creator who is immersed in the stories and characters of wayang art figures. The wayang artist continues to strive for innovation in form, exploring new techniques and exciting presentations, and with that in mind, the invention of the Glass Wayang enables the creator to explore the new technologies in developing a new way forward in the shadow puppet world. The process of creating Glass Puppets using the technology of lighting as a medium, opens one up to reflect on the mirroring of the self-image- to self-awareness and the inner workings our role in this human life Dramatic depictions of life processes are conveyed through the medium of glass puppets. Experiences and realities of life from the past until now. The search for identity is awakened. Wayang Kaca's work ranges from the making of various styles and forms of puppets supported by one hundred and six dancers accompanied by digital musical instruments (midi) and Bebonangan and Semarandhana gamelan. Digital musical instruments (midi) and gamelan are not only accompaniment but are an important part in providing a traditional and modern feel. The performance venue at Sanggar Paripurna Bona, Gianyar includes a side stage along with the traditional proscenium stage. allowing for a full presentation for displaying this Glass Wayang work. The facilities the sanggar offers allow for all aspects of the creation process in developing, rehearsing, and presenting a final performance.