Puppet Performance Research Articles

#Incisive Illumination

In Asianfail: Narratives of Disenchantment and the Model Minority, Eleanor Ty analyzes a broad selection of twenty-first century Asian American and Asian Canadian texts whose genres include, as she describes them, “graphic fiction, graphic biography, memoir, play, puppet performance, postmodern novel, and film” (25). The slimness of the volume (one in “The Asian American Experience” series, edited by Eiichiro Azuma, Jigna Desai, Martin Manalansan IV, Lisa Sun-Hee Park, and David K. Yoo) belies the impressive ground that the author covers as she examines tensions between long-held notions of Asian Americans and Asian Canadians as the “model minority” and the day-to-day, lived realities of the individuals to whom the phrase is routinely affixed. As with her previous contributions to Asian North American studies – perhaps most notably Unfastened: Globality and Asian North American Narratives (2010) and The Politics of the Visible in Asian North American Narratives (2004) – Ty’s new book is compelling and timely, at once rigorous and readable.

Ancestral Deliverance and Puppet Performance: Mulian Rescues his Mother and Bima Goes to Heaven

Asian ancestral deliverance narratives are epitomized, in the Chinese puppet show stories of Mulian rescuing his mother and the Balinese puppet show tale of Bima saving his parents. The Mulian story with links to the Hungry Ghost Festival and Bima's story with ties to cremation ceremonies in Bali are comparable, showing that puppetry across different Asian religious and national divides has link to rituals honoring the dead.

Shank's Mare: A Transcultural Journey of Puppetry Creation and Performance

This article looks at the production Shank's Mare , a collaboration between North American puppeteer Tom Lee and Nishikawa Koryu V, master of the Japanese kuruma ningyō or cart puppetry traditions and shows how the production and creative process blended different models of puppet performance, while also contributing to Nishikawa's greater project of finding new ways to invigorate and preserve his traditional art. It offers a brief history and understanding of kuruma ningyō , a puppetry form less well-known nationally and internationally than Japan's bunraku tradition, and an account of Shank's Mare's creation process and international tour to New York and two venues in Japan. It invites consideration of a tree as a model for understanding traditional forms and how they might maintain a recognizable core while also drawing from various roots and giving birth to new works.

Wayang Purwa Gagrag Banyumasan dan Peran Wali

This article discusses the differences of puppet styles and the role of Wali towards puppet performance. The Nine Wali used puppet performance as one of their media to diffuse Islam. In addition to entertainment, puppet was functioned as guidance and rules for human life. To eliminate its syirik aspects, the Wali changed its substantial form of the puppets in order not to look like human being. This descriptive qualitative research studied the differences between purwa gagrag Banyumasan puppet and the role of Wali. This research found that there are some differences in names, forms, characters, and equipment in purwa gagrag Banyumasan puppet and the puppet innovated by the Wali. Meanwhile, the role of Wali existed on the changes of form and meaning of the puppets.

Wayang Purwa Gagrag Banyumasan dan Peran Wali

This article discusses the differences of puppet styles and the role of Wali towards puppet performance. The Nine Wali used puppet performance as one of their media to diffuse Islam. In addition to entertainment, puppet was functioned as guidance and rules for human life. To eliminate its syirik aspects, the Wali changed its substantial form of the puppets in order not to look like human being. This descriptive qualitative research studied the differences between purwa gagrag Banyumasan puppet and the role of Wali. This research found that there are some differences in names, forms, characters, and equipment in purwa gagrag Banyumasan puppet and the puppet innovated by the Wali. Meanwhile, the role of Wali existed on the changes of form and meaning of the puppets.

Building Creative Art Product in Jombang Regency by Conserving Mask Puppet

<p>Building creative industry is one the effort chose to keep up with the ongoing of era development. Traditional art is one of the resource to produce creative art products. Gate Duwur Mask Puppet is a mask performance in Jombang Regency East Java that contains local wisdom. The local wisdom was one of the creativity sources to develop creative art products in Jombang Regency because maintaining Jati Duwur Mask Puppet performance was hard in the middle of the fast society development. The transformation of the source culture (mask puppet) to become the current target culture is one of the efforts made to build creative art. The research on mask dance conservation on mask puppet performance in Jombang was needed. The research method used was an art development through conservation. There were three products of mask dance created as a result of this research. The dances were Gladhen dancers – a couple dance, Mbanmban mask dance – a theatrical group dance, Maduretno-citralanggenan dance – a dance fragment. These mask dance products were a creative realization of a mask performance originated from mask puppet. The community and mask, puppet performer agreed to the development of mask dance to become a more creative art product that could be enjoyed by the young generation.</p>

Malang Mask Puppet Presentation Structure Arrangement of the Story Rabine Panji as Cultural Tourism Commodity in Malang Regency East Java

<p>This research aimed to describe the model of structure arrangement of Malang Mask Puppet traditional art performance as the tourism commodity. The research method used was single case study with holistic single-case study approach toward the event program done by the traditional art performance group in Malang. It is done as an effort to maintain the existence of tradition art through tourism art performance arrangement. The result was the performance structure of the story (<em>lakon</em>) of Rabine Panji in Malang mask puppet performance. Malang mask puppet has been performed in shorter duration so that it became more interesting for the purpose of tourism.</p><p><strong>How to Cite:</strong> Pratamawati, E. W. S. D. (2016). Malang Mask Puppet Presentation Structure Arrangement of the Story Rabine Panji as Cultural Tourism Commodity in Malang Regency East Java. <em>Harmonia: Journal of Arts Research And Education</em>, 16(1), 66-74. doi:http://dx.doi.org/10.15294/harmonia.v16i1.4561</p>

The “Terrorism” of Puppets. An Attempt at understanding state violence in the arrest of two Spanish puppeteers accused of “promoting terrorism” in a play.

Abstract The article reports on the arrest and detainment of two Spanish puppeteers for promoting terrorism during their puppet performance at the Carnival in Madrid; it also mentions an anarchistic organization accused of promoting terrorism. While pointing out the various levels of irony involved in this particular incident, the author then outlines the bigger picture of repression in Spain (and across the world) being carried out by way of anti-terrorist politics.

Театр кукол как пространственно-временной вид искусства

Modern theater is an effective tool of allegorical representation of surroundingand theatrical doll is one of the means of rethinking of existing reality and simulation of the simulacrum of reality, allowing doubling the life experience. Theatrical art has become the object of a comprehensive test of fantasy, imagination, consciousness itself. As a spatio-temporal form of art, modern theater is a tool of rethinking of the traditional spatial-temporal categories of discourse, the scope for modeling qualitatively new categories of theater art, characterized by high consistence, compression of space, forming a high intertextuality, deep undertones of the puppet performances.

The Musical Heritage of Water Puppet Performances in Hanoi, Socialist Republic of Vietnam

Rối nước (water puppetry) is a national art of Vietnam that represents the traditions, folklore, beliefs and lifestyle of the local people. This qualitative research is conducted in the context of Hanoi, Socialist Republic of Vietnam. The research objectives are to understand the history, status and role of the water puppet show, its music and inheritance. This article shows that the water puppet shows are widely found in many villages and provinces in the alluvial plains of the Red River Delta. The important elements of the water puppet show are the puppets, music, puppeteers, mechanisms and manipulation methods, theater and story. The music in water puppet shows was formerly produced by percussion instruments, such as Trổng Cai (drum), Chum Choẹ (cymbals) and Mỗ (wooden percussion instrument). Presently, many more musical instruments have been added to create more melodies. The sound of music in the water puppet show is from the folk song called Cheo, which is a short melodic verse played repeatedly. The melodic verse style is matched with the dancing posture of the puppets. The music of the water puppet show has been adapted to the changing social and western influences through conservation, rehabilitation, musical application and new generation compositions.

KONSTELASI BAHASA JAWA MODERN DALAM PAGELARAN WAYANG KULIT PURWA (KAJIAN SOSIOLINGUISTIK)

The shadow puppet performance as part of the Javanese folk arts reflects thesociety’s life attitude and philosophy. This art is not only a performance, but it is alsoguidance consisting of traditional values and didactic philosophy that the society canemploy. Language is a medium of communication to present the values and essence of thestory in a shadow puppet performance and has an important and strategic function.Through language, shadow puppet characters are made alive by the puppeteer. This studyinvestigates language variants in the shadow puppet performance. There are six types,namely kasar, ngoko, madya, krama, bagongan and renggabasa. Renggabasa is used insulukan, janturan, antawecana, panyandra, and sasmita. The data reveal that theelaboration shows the growth of the Javanese levels more comprehensively.Keywords: shadow puppet performance, guidance, didactic philosophy

PERTUNJUKAN WAYANG KULIT PURWA LAKON “CUPU MANIK ASTAGINA” SEBAGAI MEDIA DAKWA

This research tries to answer the following research questions: (1) how is the perfection of the purwa leather puppet performance entitled “Cupu Manik Astagina” as a sermon? (2) What lessons are taught? and (3) How are the lessons delivered through the leather puppet performance? This research is a descriptive-qualitative research. The data collecting technique was conducted through library research, observation and interview, and documentation. The research results show: (1) the perfection of the performance of purwa leather pupet entitled “Cupu Manik Astagina” as a sermon cannot be gained optimally as it only achieves the the targhiblevel, not the takhrujlevel. (2) The religious lessons given are those related to hablumminalllah (relationship with God), hablumminannaas(relationship among human beings), dan hablumminal ‘alm(relationship with nature). (3) The methods of delivering the religious lessons are methok, and medhang miring.

Perancangan Permainan Digital Kisah Dewa Ruci sebagai Media Pengenalan Wayang bagi Remaja

Teenagers today are more interested in modern western cultures and have gradually loosing respects for their own traditional cultures. Many of them have already started to forget the stories and arts of wayang. One form of modern culture that is increasingly favored by teenagers is digital game that presents diverse contents and ease of access as it can be played on a variety of electronic devices. This project is trying to reintroduce Indonesian wayang culture in the form of digital game to regain the interest of the teenagers. The story introduced in the game design is based on the legend of Dewa Ruci from the myths of wayang purwa. The story resolves around Bima and his journeys to find the water of life. The design method incorporates data collecting, data analysis and game design process. Fullerton's iteration method is applied in the process of game development. The methods used for data mining are based on the descriptive methods, implementing researches on the narratives and characters found in Dewa Ruci story both visually and philosophically, along with the substances of the story respectively. Data collections are derived from literatures and interviews. Information gathered such as Bima's heavy coarse features and his vicious Pancanaka, attributes such as Bima's poleng cloth and Candrakirana armlets, sacred mantras such as Jalasengsara and Bayu Braja, and Bima's adversaries confronted along the paths in finding the water of life are analyzed and developed into various visual assets in the game. The model of the game which is being developed is an action adventure side-scrolling platformer with a distinctive iconic character style, utilizing visual concepts derived from traditional shadow puppet's performance.

‘Langen Katresnan’ Video Animasi dengan Tema Ramayana Episode Penculikan Shinta

Ramayana story has been widely known in Indonesian society since centuries ago. This story has been disseminated from generation to generation. The story is familiar to the public in the form of this kakawin often staged in the form of performing arts, dramatari, puppet performances, as well as in the form of puppet or sculpture. Ramayana story has a lot of episodes, but in the creation of this animated video work taking Shinta kidnapping episode. This animated video works explored the form of characters and stories, as well as collaborate with dance, heater and musical arts. Kidnapping of Shinta’s story became the basis of the principal narrative in the creation of animated video with the theme of Ramayana episode kidnapping Shinta ‘Langen Katresnan’ which then developed in accordance with the ideas and concepts. It also supports the creation of new work that promotes originality of the work. This animated video works using two-dimensional techniques. This is actually a reference to that puppet animation that was first recognized by earlier ancestors.Keywords: puppet, Ramayana, animation

Aesthetic affordances: Computer animation and Wayang Kulit puppet theatre

Abstract This article describes the various animation techniques we used in creating our short animated piece, Si Lunchai (based on the Indonesian folktale of the same name). We took our aesthetic inspiration from Indonesian Shadow Puppetry (Wayang Kulit). Because 3D animation technology provides many ‘naturalistic’ advantages not available in traditional shadow puppet performances, much of the challenge of the work involved seeking out compelling compromises between retaining the aesthetic value of the original Wayang Kulit, while also taking advantage of the various affordances of 3D animation. Among other things, this essay describes working with 2D characters in a layered (2.5-D) environment, character mobility and pivot points, character ‘flipping’ and our attempt to maintain some sense of the live action quality of Wayang Kulit theatre.

AMÈN: Tatakelola Wayang Jekdong dalam Tradisi Jawa Timuran

Amen: Jekdong Shadow Puppet Play Management in East Java Tradition. Amen is a moving jekdongshadow puppet performances from one place to another place. This is done by a cantrik ( puppet master assistant)in his last period of study. This is a kind of procession preparing a puppet master assistant to meet any possibilitiesand challenges in different kinds of situations for his future shadow puppet performances. Amen is a better wayfor a puppet master assistant to know and compete in the markets of shadow puppet business. Furthermore, amenis also done by a dalang ( puppet master) together with some panjak (musicians) in rainy season when farmers startto cultivate their rice fi elds. Since it is not the time for harvest yet and not the time for them to do some traditionalceremonies and rituals, amen becomes a way of

Komposisi Karawitan ‘Dinamika Rumah Tangga’

“The Dinamika Rumah Tangga” Karawitan Music Composition. ’Household Dynamics’. The purpose ofthis creation is transforming the household dynamics in the form of karawitan musical composition. Dynamics embodiedin the form of rhythm, tempo, vocal, harmony, the arrangement of the stage, lighting, sound, costume andpuppet performances. Puppet performances are intended to enhance the audience’s imagination based on the musicalatmosphere, the lyrics and the fl ow of rhetoric. The composition is motivated by the story of Begawan Wisrawa,Danaraja and Goddess Lokati in a play ”Bedhahing Lokapala”. This work was inspired by the arrogant behavior,jealousy, hate, anger, lies, prejudice, exclusion of human rights and confl ict between characters.

Pertunjukan Wayang Dalam Era Global

Shadow Puppet Performances in Global Era. This article discusses the changes of shadow puppetry inrelation to the changes of society in global era. Some relevant changes are in the fi elds of: (a) communicationtechnology; (b) social systems; and (c) value systems. To anticipate these changes, puppet masters have also madesome changes in their performances. The shadow puppet performances and society cannot stand alone but theyhave mutual interactions. Each of them may act as an object or as a subject. Thus, in transitional or developingsociety, the infl uences of social and shadow puppetry are mutual. Shadow puppet performances reveal socialtendencies while society show infl uences on the development of shadow puppetry world.

Shadow Puppets Performance of Yogyakarta through its Visual Language

The shadow puppet performance conveys its story to the viewers through its visual language. The aim of this resear ch is to reveal the visual language of the gesture effects in the shadow image s of the shadow puppet performance of Yogyakarta. Visual language stands f or the representative images that are similar to the original objects and the way to draw it. In the case of shadow puppet performance of Yogyakarta, Central Java, Indonesia, the way to draw the images correlated to the space-time-pla ne system of drawing. The space-time-plane system has the characteristic to h ave multiple angles, distances and moments. The results of this research were each movements of the main puppet character determine it own body language.

KARAWITAN WAYANG WALISANGA SEBAGAI MANIFESTASI MUSIK SENI ISLAMI

The Walisanga’s puppet performance has its uniqueness which is able to distinguish to another type of puppet performance. One of the uniqueness is the song or the piece. In accordance with the identity, song, and the lyric has to be appropriate with the Islamic religion. This phenomenon is very interesting to investigate as long as the song appropriate with the Islamic value. In order to understand the object, this investigation uses gamelan music knowledge and hermeneutic. The result is a synergy correlation between gamelan music pieces with the Islamic religious proselytizing using gamelan music performance, as a form of specific Javanese culture to the Indonesian society which is majority consist of Moslems community. Keywords: Karawitan, Walisanga Puppets, Islamic Music