Puppet Stage Research Articles

Penanaman kesadaran pada anak usia dini akan pentingnya hidup sehat

This community service aims to raise awareness of the importance of healthy living in early childhood. The event was held at Anak Ceria Kindertanden, Surabaya. The activity lasted three days and was followed by twelve kindergarten students aged five to six. In this activity, learning is delivered through a variety of exciting activities. One of them is a puppet stage that tells about healthy food, which attracts children's attention and makes it easier for them to understand the concept. In addition, healthy food picture coloring activities are also done, giving children the opportunity to express their creativity while learning. A domino card game with a healthy food theme becomes the last activity. At this activity, children can learn while playing. The results of these activities show that students better understand the importance of a healthy lifestyle. It shows that this interactive and enjoyable learning method effectively raises health awareness from an early age.

The use of puppet stage media in learning language skills in children of KB Darul Falah

The use of puppet stage media in learning language skills in children of KB Darul Falah

The Carolingian Epic in Traditional Liège Puppet Theatre: A Case Study of “Huon de Bordeaux” and “Quatre fils Aymon”

Although Carolingian epics are at the heart of the traditional Liège puppet repertoire, they remain a little explored field of research. This essay focuses on two epics, Les quatre fils Aymon and Huon de Bordeaux, which serve as case studies to examine the transition from narrative to dramatic text and its transposition for the regional puppet stage. Following the stories from the,annotated novels to the modern plays, the first part shows how the dramatisation of the prose text gradually developed. The second part examines the creation process of staging the story of the paladins of France from the point of view of regional identification, focusing on the role of Tchantchès, the typical character of the Liège puppet theatre.

Peningkatan Derajat Kesehatan Melalui Kegiatan Observasi Psikologi Perkembangan Anak dengan Metode Terapi Bermain

Early childhood is a child who is in the process of growth and development. At this age all aspects of child development progress very rapidly. Aspects of development in early childhood include intellectual, physical-motor, socio-emotional, language, moral and religious aspects. All aspects of development that exist in this child should be the concern of educators so that these aspects of development can develop optimally. The purpose of this community service activity is to observe the developmental psychology of children aged 3-5 years at Tunas Bangsa Kindergarten, Kediri City. The approach offered for increasing the degree of health through observation of child development psychology with the play therapy method is the method of observation and puppet stage play therapy. The results of this community service activity The number of children who took part in developmental psychological observation activities and play therapy through the puppet stage were 29 children consisting of 19 girls (65.52) and 10 boys (34.48). The psychological level of child development was obtained from 29 children, 23 children had good developmental psychology and 6 children had poor developmental psychology. It is hoped that the play therapy method with the puppet stage will improve the psychology of child development so that children can achieve maximum growth and development according to their age.

Penggunaan Alat Peraga Pada Pendidikan Informal Di Lembaga Keagamaan Bethel

Educational creativity of religious institutions in the post-covid-19 pandemic is still considered lacking, because teachers seem to only give stories without any creativity in them, especially with the use of relatively ancient methods, making children in virtual classes extremely bored and unwilling to listen to the material presented. every Sunday. This study aims to develop the creativity of all Bethel religious teachers who will face even more severe challenges. This study uses a library research method by carrying out a descriptive qualitative approach where the data obtained comes from sources in the form of books, scientific journals and scientific articles, so that this research is successful where teachers can build the creativity of Sunday school teachers by doing, as follows: (i) teachers can create classes creatively, (ii) the puppet stage is very effective if it is carried out in a Bethel religious institution virtually with the help of the zoom platform and (iii) teach at this institution although it is virtual, it is still relevant to the conditions in this digital era.

Something Beautiful and Powerful: Politics, Art, and Bread and Puppet Theater

Something Beautiful and Powerful: Politics, Art, and Bread and Puppet Theater

Seeing Puppetry: Winter Report from New York City

Seeing Puppetry: Winter Report from New York City

The Plastic Bag Store (Excerpt)

The Plastic Bag Store (Excerpt)

Pendidikan Multikultural Dalam Penanaman Misi Ramah Kemanusiaan Bagi Anak Oleh Komunitas Pelayan Anak Sangkakala (Kopelans)

This article reviews the importance of planting a humanitarian-friendly mission for children as a form of preventive effort from the emergence of selfish attitudes as a result of the onslaught of modernization and a social media lifestyle. The urgency of this research is that if a humanitarian mission is not instilled in children, the next generation will lose character, so the purpose of education, namely to develop the potential of students and form human beings who believe and have noble character (based on Law No. 20 of 2003 concerning National Education System) cannot be realized. Therefore, it is crucial to study this matter. Kopelans, as a community engaged in children's services scope, uses the puppet stage media in teaching a humanitarian-friendly mission for children. The children served are multicultural, specifically from different social, ethnic, and religious statuses. This study uses a qualitative approach using analytical-descriptive methods that can closely describe what is happening in the field. The data collection tools used are literature studies, interviews, and observations. The result is that Kopelans use multicultural education as the basis for inculcating moral values that are a condition of truth for inculcating a humanitarian-friendly mission for children. Humanity-friendly missions are crucial to be ingrained from a young age. Humanity-friendly mission helps children understand tolerance, thereby reducing selfishness. The humanitarian-friendly mission is instilled through the puppet stage media can be accepted by children.

Revolutionary Kašpárek: The Life Cycle of the Radical Puppet

Throughout the Czech National Revival and the final years of the Austro-Hungarian Empire, the puppet stage served as a site of resistance, of advocacy for Czech sovereignty, and criticism of Germanic influences on Czech culture and everyday life. The undisputed star in these efforts was the puppet hero Kašpárek, the little Czech jester who uses his wits to defeat Austro-Hungarian petty bureaucrats, police officers, and other deputies of imperial authority in hundreds of puppet plays throughout the nineteenth and early twentieth centuries. This article explores How Kašpárek Laid Austria to Rest, a 1918 performance which saw Kašpárek’s role shift from one of resistance to one of revolution. In this play, performed in Pilsen (Plzeň) in the final weeks of the First World War, Kašpárek no longer faced off against Austrian officials, but rather met a much larger opponent, the two-headed imperial eagle, symbol of the empire itself. In this performance, Kašpárek does not need to outwit his opponent; he is a dominant force from the start. After beheading the eagle, the performance becomes a kind of funeral mass for the empire with Kašpárek serving as both priest and master of ceremonies, bringing a kind of jubilation to the usually somber context. In this discussion, I examine this turning point from the interconnected perspectives of social history and semiotics. This dual approach exposes both the developments and conditions that allow for this striking symbolic victory on the puppet stage,n but further an exploration of the ways the folk archetype of the jester and, by extension, a folk-based image of Czech national identity navigate radical political change.

The Daughter of Isis at Duke University

The Daughter of Isis at Duke University

MENINGKATKAN KEMAMPUAN BAHASA ANAK USIA DINI MELALUI BERCERITA PANGGUNG BONEKA

A very important factor for children in expressing their emotions is through language. Language for children can be obtained through their experiences in daily life. One method that can be an alternative in developing language for early childhood is using the puppet stage storytelling method. Through listening activities, children can absorb the information contained in the story. The formulation of the problem in this study is (1) How is the implementation of improving early childhood language skills through storytelling on a puppet stage in group B children?. (2) How are the results of improving early childhood language skills through puppet stage storytelling in group B children. This type of research is Classroom Action Research (CAR) with problem solving carried out in cycles. Each cycle consists of planning, action, observation and reflection with the aim of improving the quality of classroom learning. While the results of this study include; (1) The process of implementing the storytelling on the puppet stage begins with asking the children to line up in a circle to tell the story on the puppet stage. The teacher calls the children one by one to come to the stage and the children start telling stories in turn according to the teacher's directions. (2) the results of the study showed an increase in aspects of children's language skills through puppet stage storytelling, namely pre-cycle, the percentage value reached 30%. With an average value of 3.9, after the first cycle of action, the percentage value reached 50%. With an average value of 5.2. The second cycle of action, the percentage value reached 80%, with an average value of 6.7%.

Utilization Of The Puppet Stage As A Method Of Contextual Evangelism To Sunday School Children Aged 5-10 Years

Children's ministry is very motivating for the church and child servants because it affects the growth of the child's faith. One of them is the ministry of evangelism. Evangelism is the message of salvation and judgment in Christ Jesus. Children aged 5 - 10 years do not usually understand and interpret themselves as "Christians" because they only follow what their parents do and do. = 'So it is necessary to teach through evangelism to these children. The question is how does a minister convey the "gospel" message to children so that it can be understood easily and what are the results of the ministry? This paper has two purposes. First, the servant understands the method or way of a servant to convey the "gospel" message simply. Second, so that children better understand the true meaning of the Bible. The research method used is qualitative by interviewing sources to examine and understand the attitudes, views, feelings and behavior of an individual or group of people and literature research to support this writing.

Intersubjective Traps over Tricks on the Kazakhstani Puppet Stage: Animation as Dicentization

This article introduces puppet animation as a process of dicentization, in which the puppet's resemblance to a living creature is treated as if it resulted from the object being alive. This act requires recognition that the puppet is only an object, accompanied by a momentary forgetting. At a state‐funded theater in Kazakhstan, animation is achieved through a complex participant framework. Any component can jeopardize successful animation, yet this configuration enables a range of possibilities for how animation can unfold. A director's shifting of animation techniques transformed social relations and enabled artists to play with new possibilities of puppetry. Coordinating animation requires—and thus assigns—values to those who participate. Understanding animation as dicentization highlights the endeavor as one that generates signs across the proscenium.

Journey of A Goddess: Chen Jinggu Subdues the Snake Demon transed. by Fan Pen Li Chen

Reviewed by: Journey of A Goddess: Chen Jinggu Subdues the Snake Demon transed. by Fan Pen Li Chen Kathy Foley JOURNEY OF A GODDESS: CHEN JINGGU SUBDUES THE SNAKE DEMON. Translated and edited by Fan Pen Li Chen. Albany: State University of New York Press, 2017. 133 pp.; 46 color plates. $75.00; $28.00. Fan Pen Chen continues to fill in information on Chinese puppetry and folklore studies with this 2017 work that joins her Marionette Plays from Northern China (Albany: SUNY Press, 2017) (reviewed by Annie Rollins in Asian Theatre Journal 35: 230–233) and other works in filling out Chinese puppetry knowledge. [End Page 502] Like Victor Mair (1989), Wilt Idema (for example, 2010), and Robin Ruizendaal (2006), Chen takes as her topic under-researched oral/visual texts or performances ("folk" materials). The book provides intriguing elements of complex rituals with semi-obscure meanings that persist in contemporary folk culture. Chen's introduction entices: "Journey of a Goddess is a lively mythology of Chen Jinggu … one of the most important goddesses in Southeast China (the chief deity of the Lüshan sect). … A historical shaman priestess who became a cult, the goddess was a demon slayer (particularly of a snake sprite) before she filled the niche as protectress of women (during pregnancy and childbirth)" (p. 1). The historical shaman Chen Jinggu (766–790 ad) was promoted to goddess in the Song period. The earliest clear reference to her cult dates to 1342 ad, and Haiyouji (Record of Traveling among Seas and Lakes, which Chen translates) is taken from a 1753 ad woodblock reprint of a Ming novel (p. 3). Extensive color plates show puppets, temple statues, actors, priests, ritual paraphernalia, offerings for the puppet stage, and musical instruments. Translations of Haiyouji and two scenes from a local puppet play Biography of the Foster Mother become the body of the text. "Foster Mother" is the Goddess Chen Jinggu, also known as Lady Chen. Language is lively and extensive notes are included. Fan Pen Chen agrees with the interpretation of Ye Mingsheng (Research Institute of Art of Fujian Province) with whom she has done research (see Chen and Clark 2010). Ye traces both the novel and puppetry about Lady Chen to ritual practices of the Lüshan shamanist/Daoist rituals (see Baptandier 2002 for a discussion of some of Ye's work on the cult and Baptandier 2008 for another interpretation of this goddess). For Chen the triumph of the Lüshan goddess over her female snake adversary represents the demotion of an indigenous snake cult by shamanism. The story also represents the balance of snake cults, shamanism/Daoism, and Buddhism (represented in this case by Goddess Kuanyin). The snake is a strand of Kuanyin's hair while Chen Jinggu is born of Kuanyin's nail, so both bow to the Buddhist goddess. Fan Pen Chen taps extensive research Ye did for a large project on Chen Jinggu and makes parts of play texts Ye collected accessible for Anglophone readers. Watching a puppet performance of the tale, Chen describes how ritual mixes with theatre: "The audience exclaimed with excitement when, after performing an elaborate and extensive shamanistic ritual dance, the shaman priestess Chen Jinggu [puppet] drew the snake sprite onstage … commanding two celestial generals (who had been hovering in the air) to attack … [action] more easily executed through the use of string puppets than it would have been with human actors" (p. 13). Lady Chen's story is presented in a variety of forms—including [End Page 503] drum song, nuo opera, etc.—but string marionettes are most popular manifestation (pp. 13–14). The book begins with Chen's thirty-five-page introduction. Next comes the translation of Haiyouji telling how a ravishing seductresssnake/white python is eventually subdued by the demure, hardworking Chen Jinggu whose eldest brother is imprisoned by the python and her tiger-demon male partner. Lady Chen's second, adopted brother, Haiqing, serves as her clown-sidekick during the rescue efforts. Chen Jinggu learns ritual techniques to save brother and others, overpowering the snake. Chen Jinggu owns the narrative. She saves brothers and babies from demons. She must reason with the Buddhist goddess Kuanyin, who...

The character of Gareng’s Gecul movement in Sumar Bagyo version of dance

<p>The aim of this research is to describe and analyze the character of gerak gecul performed by Sumar Bagyo in expressing Gareng. This is considered unique since Sumar Bagyo developed his own version of the movement. Qualitative research by using ethnochoreology approach is used in this research. It is done by using some concepts and theories to support the research. Those theories included social changing theory by A. Boskoff, concept of solah ebrah by Slamet, that is combined with effort-shape by Ann Hutchinson, physiognomy concept by Prasetnyono, mimic and expressive gestures by Morris. Gecul movement which is performed, has its own characteristic that makes it different from other Gareng characters. Based on its wanda (Gareng in Purwa puppet), Sumar Bagyo belongs to wanda kancil since it has the characters of: praupan tengadah, medium face, round head, thin lips, wide forehead/ manyul (Javanese), ovoid nose, up lips, gondhok neck, flat stomach, small slouch body, ndetheng body. Gecul Gareng movement in Sumar Bagyo has the movement motives of gejig, mlaku ceko, sikil mingkup buka, seleh asta, nyorok, nikelwarti, besut alusan, besut gagahan, uncal sikil, geol, and srisig. Those movements always appear in the three types of Sumar Bagyo, either in puppet stage with Gareng identity, or outside of the puppet stage by taking off the Gareng identity.</p>

A Journey to Tales Land by Drama

Various definitions of tales compromise on some points that they are created by the folk, they are usually told to kids and they are supernatural. They are the best narrators of the language and culture of their times. However, cartoons and technology have replaced the tales narrated by grandparents. This study focuses on protection and survival of Cyprus culture by adapting tales to current circumstances. Besides, the study aims to introduce the adapted Cyprus tales to pre-school kids and to use tales in different ways in instruction process. For this reason, Cyprus tales have been examined and seen that many tales exist in the TRNC but they haven’t been integrated into instruction. The working team comprises 20 volunteer parents, 16 high school students, 44 pre-school students, 20 kindergarten teachers and 1 nurse. During the project, a face to face interview was conducted with 8 kindergarten teachers, 427 people filled in a survey and the participant's verbal and written perceptions were collected about the activities in the project. In accordance with the collected data, many tales were compiled with the participation of the grandparents, families and volunteer nurse and narration studies were conducted by creative drama methods. Besides, with the participation of high school students, puppet stage and puppets were developed in harmony with tale narration techniques. “A journey to tales land”, a history of tales themed activity, was performed. Participation of 360 people to this activity was found significant. Cyprus tales should be adapted in accordance with current circumstances and they should be introduced in terms of the needs of kids by using technology.

SISTEM PEWARISAN PENARI ROL DALAM WAYANG ORANG PANGGUNG

The system of inheritance in the puppet stage appears to face a popular issue on the values ofprofessionalism that demands self-discipline and commitment to wrestle in total. Inheritance takes place intwo categories, namely: the first category that the inheritance according to the direct lineage or a child ofthe dancer roller. The second category, the inheritance of acquired dancer roller which is not the biologicalparent, but as a senior where he played the puppet people. Although they were aware that the dancer rolleris never created because it is considered as a replacement actor rivalry. A top dancer is an individual who has a mastery of knowledge and the quality of the high technicalskills, and be able to incarnate into a figure that was delivered. The top dancer transmission regeneration inthe context of the puppet stage is a must propesional profession in building a public figure image as aniconic of audience appeal. Keywords: top dancer, professional, icons appeal, inheritance

Learning Proper Names and Count Nouns: Evidence From 16- and 20-Month-Olds

In 4 experiments, we examined 16- and 20-month-old infants' understanding of proper names and count nouns. In each experiment, infants were taught a novel word modeled linguistically as either a proper name (e.g., "DAXY") or a count noun (e.g., "a DAXY") for a stuffed animal shown on a puppet stage. This animal was moved to a new location on the stage, and a second identical-looking animal was placed in the original animal's starting location. We then assessed infants' looking behavior in response to the word they had heard. At 20 months (Experiments 1 and 3), but not at 16 months (Experiments 2 and 4), infants were significantly more likely to look first at the original object in response to hearing the word in the proper name condition than in the count noun condition or in a baseline condition in which they heard no word. The results suggest that distinct and appropriate form–meaning links involving proper names and count nouns emerge in children's language between 16 and 20 months.

Visible Puppets and HiddenPuppeteers: Indian Gombeyata Puppetry

Gombeyata is a string and rod puppet tradition of India. Here the relationship between performance practice and religious worship is explored by Michael Schuster, who undertook his initial research on a Fulbright fellowship.