Shadow Puppet Performances Research Articles

Abur-aburan Gathutkaca: the Work of Sabet Motion of the Samberan War in the Classical Shadow Puppet Performing Arts

This article describes the artistic research work on garap sabet of Gathutkaca character in classical shadow puppet by the artists; Jaka Rianto and Andi Wicaksono. The focus of the work is the design of abur-aburan motion and Samberan war of the creative-innovative Gathutkaca character, as well as blending them into a classical shadow puppet (wayang Purwa) performance. The method of creating works was carried out from the stage of determining ideas, studies of previous works, and literature studies. After that, the concept of the work embodied by wayang dramaturgy; sambung-rapet , and greget-sahut was formulated. The process of realizing the work was carried out by searching for the exploratory motion of Gathutkaca's sabet and making a dramatic script. The performance of the work was carried out using the rules of Surakarta-style wayang performances after the exercise stage was considered to be solid. The conclusion obtained in the process of this work is that the search for creative-innovative forms of sabet movement must be carried out with exploratory and repeated. The basic rules of cepengan, tanceban, bedholan and solah elements in working on sabet classical shadow puppet cannot be abandoned in order to achieve the aesthetics of classical shadow puppet performances. Keywords: abur-aburan Gathutkaca, perang samberan, garap sabet, dramaturgi wayang DOI: 10.7176/JCSD/66-06 Publication date: September 30th 2021

Young Banyumasan Street Traders as Shapeshifters of Modernity: Refreshment, Production, and the Pursuit of Pranks and Jokes in Jakarta

Banyumasan Javanese people of Indonesia are often revered as funnier than other Javanese. Ethnographic accounts herein illuminate how young, Banyumasan street traders in Jakarta perform and participate in laughing, joking, and pranking at work. Intersectional analysis reveals the utility of joking and pranking as heuristics to understand the affective dimensions of status, stigmatization, migrating for work, and growing up in Indonesia. The polysemic nature of jokes and pranks reference camaraderie and othering, incongruities and expectations, agency and oppression, as well as intersubjective relations between young men at work. This view of Banyumasan street traders as urban jokers and jesters, producing and consuming humour “from below” for and about each other, departs from previous scholarship on humour in Java, which has focused on how clown characters in staged shadow puppet (wayang kulit) performances have asserted and perpetuated inequalities through a refined-unrefined (halus-kasar) binary whereby those deemed kasar are seen as lacking something. This article, in contrast, asserts the utility of jokes and pranks to refreshing and regenerating understandings of kasar, what it is to be human, and the temporalities, spatialities, and intersubjectivities of boys growing up and working in Indonesia’s street economy.

Young Banyumasan Street Traders as Shapeshifters of Modernity: Refreshment, Production, and the Pursuit of Pranks and Jokes in Jakarta

Banyumasan Javanese people of Indonesia are often revered as funnier than other Javanese. Ethnographic accounts herein illuminate how young, Banyumasan street traders in Jakarta perform and participate in laughing, joking, and pranking at work. Intersectional analysis reveals the utility of joking and pranking as heuristics to understand the affective dimensions of status, stigmatization, migrating for work, and growing up in Indonesia. The polysemic nature of jokes and pranks reference camaraderie and othering, incongruities and expectations, agency and oppression, as well as intersubjective relations between young men at work. This view of Banyumasan street traders as urban jokers and jesters, producing and consuming humour "from below" for and about each other, departs from previous scholarship on humour in Java, which has focused on how clown characters in staged shadow puppet (wayang kulit) performances have asserted and perpetuated inequalities through a refined-unrefined (halus-kasar) binary whereby those deemed kasar are seen as lacking something. This article, in contrast, asserts the utility of jokes and pranks to refreshing and regenerating understandings of kasar, what it is to be human, and the temporalities, spatialities, and intersubjectivities of boys growing up and working in Indonesia's street economy.

The truth behind the screen: Digital shadows in the time of pandemic

The COVID-19 pandemic has highlighted the challenges of communicating digitally to the fore as people turn almost solely to their digital screens for connection and collaboration. In doing so, such as through web conferencing, we open up our living spaces to others, revealing parts of our lives heretofore we could keep hidden. In this article, I will describe ‘Interior’, a live Zoom shadow puppet performance by Australian puppet theatre collective, The Jill Collective, as an example of a deliberate response to COVID-19 pandemic isolation and social distancing restrictions. I offer the practice of traditional Wayang architecture of the shadow screen as a surface to physically work on, in, behind and through, as well as the screen as metaphorical façade or gateway as a unique theoretical and practical approach to digital performance.

Digital Representation of a Conceptual Leather Puppet Character using Holographic Prism Glass

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

The Effect of Time Management in Shadow Puppet Performance on the Audience Satisfaction

Indonesia has one of the greatest diversities in the world as reflected by its many cultures, languages, customs, and beliefs. This diversity can be easily seen in the East Java region which, despite its Javanese ethnic majority, is also populated by other ethnics, sub ethnics, and mixed groups. Shadow puppet theatre is a form of public attraction long existing in Java, even before the era of the Majapahit Empire. It is usually performed at night and takes a considerable time. In this multidisciplinary paper, it is hypothesized that good time management will increase audience satisfaction and in turn contribute to the sustainability of the theatre and Javanese culture. Based on the analysis of the survey, using partial least square by java web start program, it is found that, first, shadow puppet attraction positively affects to time management as 0.720. Further, the attraction leads to audience satisfaction as 0.558. Lastly, time management affects audience satisfaction as 0.258.
 Keywords: audience satisfaction; wayang attraction; wayang time management.

3D Puppets Animation for Encouraging Character Education and Culture Preservation in Surakarta

The creation of this art is an effort to preserve traditional arts, especially wayang kulit (shadow puppets) and as a medium for character education for the younger generation as a solution to the phenomenon of increasingly intense globalization in the present, wherein the increasingly fragile condition of the nation's morality with the increasingly hedonism and individualistic culture of life in the younger generation in Surakarta. This art creation research method is descriptive qualitative located in the Surakarta and surrounding areas, data sources include the puppet show itself, literature, and competent informants and related art creation. Stages of analysis from various sources resulting from information from both the literature review and interviews were conducted using an interactive model, where each component of the analysis included the stages of data collection, data reduction, presentation and conclusion drawing. Next is the process of designing puppet show art with a collaboration of 3Dimensi animation through several stages, namely: Envisioning Phase, Planning Phase, Developing Phase, Stabilizing Phase, and Deploying Phase. Stages of wayang kulit story selection are adjusted to the segmentation of the younger generation of viewers and the current state of society in the community, the drafting of customized shadow puppet performances and collaborations with 3Dimensional Animation technology, and the selection and design of prototypes of wayang kulit figures as intermediary characters. puppet animation 3D dimensions.

Advanced Machine Learning for Gesture Learning and Recognition Based on Intelligent Big Data of Heterogeneous Sensors

With intelligent big data, a variety of gesture-based recognition systems have been developed to enable intuitive interaction by utilizing machine learning algorithms. Realizing a high gesture recognition accuracy is crucial, and current systems learn extensive gestures in advance to augment their recognition accuracies. However, the process of accurately recognizing gestures relies on identifying and editing numerous gestures collected from the actual end users of the system. This final end-user learning component remains troublesome for most existing gesture recognition systems. This paper proposes a method that facilitates end-user gesture learning and recognition by improving the editing process applied on intelligent big data, which is collected through end-user gestures. The proposed method realizes the recognition of more complex and precise gestures by merging gestures collected from multiple sensors and processing them as a single gesture. To evaluate the proposed method, it was used in a shadow puppet performance that could interact with on-screen animations. An average gesture recognition rate of 90% was achieved in the experimental evaluation, demonstrating the efficacy and intuitiveness of the proposed method for editing visualized learning gestures.

Strategies for Establishing Harmony in Javanese Face-to-face Dialog in Purwa Shadow Puppet Performances

Harmony is a critical Javanese philosophical concept used to establish social relationships . In face - to - face communication, the principle of harmony is enacted in an attempt to ensure the social relations between the speakers remain harmonious, peaceful, and free from disputes. In face - to - face discourse, the selection of speech acts that establishes these aspects is a strategic communication tool. Every speech act states a different level of politeness when addressed to different speech partner. Wayang kulit, a leading puppet theater performance of the Javanese, contains face - to - face dialogs that enact such efforts to maintain harmony. This study examines these dialogs between wayang kulit characters to better understand the role that language plays in establishing harmony in this art form of puppet theater. The study uses the classification of speech acts by Searle (1975). It is observed that the choice of illocutionary speech acts plays a role in controlling the occurrence of disputes in communication. These speech acts are also studied from the perspective of the theories of politeness from Brown and Levinson (1978) and Leech (1983) ; (2014) . We argue that politeness in speech is used to express the values of Javanese harmony. The results of this study provide practical insight into the principle of Javanese harmony, represented in face - to - face communication in a purwa shadow puppet performance, and also represents a universal value appropriate for the realization of friendly social relationships more broadly. Keywords: Javanese harmony; politeness strategy; speech acts; wayang purwa

IMPLICATIONS OF COMMODIFIED PARWA SHADOW PUPPET PERFORMANCE FOR TOURISM IN UBUD, BALI

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.

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

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.

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.

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.

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

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.

Pertunjukan Wayang Kulit Nang Talung, Representasi Kehidupan Masyarakat Thailand Selatan

Nang Talung shadow puppet performance in southern Thailand is one of the shadow puppet performances in Thailand. The development of the figure, the creation and presentation techniques as well as the story underwent evolution according to the times and technological developments. Nang Talung puppet show is a representation of a growing phenomenon in the life of Thai society in general and especially the community of South Thailand.

Theatre in a Time of Terrorism: Renewing Natural Harmony after the Bali Bombing via Wayang Kontemporer

The bombing of the Sari Club on Legian Street, Kuta, Bali, on 12 October 2002 disrupted the natural balance that is sought for in Balinese religion. This article shows how a technically innovative shadow puppet performance that responds to the disaster is informed by the Balinese conception of the natural balance of human life governed by tri hita karana (three elements of harmony) and dasanama kerta (ten elements that cause harmonious prosperity). These ideas provide a context for healing through performance.

KONSEP MUSIK PAKELIRAN PILIHAN GARAP K1 PURBO ASMORO

T he Concept of Wayang Accompaniment of Purbo  Asmoro The wayang pe,formance of Pu,bo Asmoro is related It’ condensed shadow puppet performance (pake/i,~n padat). This can be seen fivm: the dear messages, the efficient treatment of the stofy, and the omission of unnecessary idioms. For that reason, he does not feel necessary to use the “huge” ensemble of campursari (the hybrid style between game/an and popular music). The concept of musical accompaniment makes it possible to use alternate source and be effective in using the music.