Shadow Play Research Articles

Psychometric evaluation of recall and recognition tasks for the measurement of young spectators’ theatrical memory

The purpose of this research is the construction and psychometric evaluation of seven categories of recall and recognition tasks for the measurement of young spectators’ theatrical memory, based on the respective theatre codes of a specific performance for young spectators. The aim of those tasks is the evaluation of the young spectators’ mnemonic recordings on a level a) the actors’ representation of the characters on stage (acting), b) the visual frame of the performance, c) the audio code d) the lights, e) the dramatic text, f) the plot/action and g) the Shadow Theatre technique.
 The recall and recognition tasks were constructed according to the Classical Test Theory of Question Analysis on a sample of 5th Grade Primary School pupils (i.e. ten-year-old pupils), who had seen this specific performance addressed to young spectators and were evaluated with the Factor Analysis method. For the evaluation of the quality of the questions, we took into consideration the difficulty coefficient of each question, the discriminant coefficient and the evaluation of the correlation level of expert judges. For the psychometric control of the tests we examined the validity of their conceptual construct via inquiry factor analysis and the internal validity coefficient.
 The result of the above tasks was the creation of seven reliable and valid measurement tools, in which no gender effect is inferred.

IDEOLOGI DALAM STRUKTUR TEMA-REMA DAN TRANSITIVITAS LAGU CAMPURSARI SESIDHEMAN

This aticle reveals the ideology proposed in the campursari song entitled Sesideman written by Ki Dalang H Sukron Suwondo. This Critical Discource Analisys (CDA) is based on Halliday’s Systemic Functional Linguictics (SFL) as its analytical framework and Fairclough’s Dialectical Relational model as the conceptual framework. Conceptually, the analysis of the song refers to the three dimensions of CDA proposed by Fairclough. The Theme-Rheme and transitivity systems are used to describe the micro structure of the text, interpret the text, and explain the relations between interations contained in the lyric of the song as refected in the text with the social practices associated with the lyric of the song. The Theme-Rheme structure of the song <em>Sesideman</em> lyric consists of macro theme of the <em>Bowo</em>, the intro part of the lyric, and hyper-theme in the main lyric. The mscro theme structure and the transitivity of the <em>Bowo</em> part depict the background, process, and the effect of the actions committed by the characters in the story contained in the lyric. The hyper-theme structure and the transitivity of the main part of the lyric depict the decision making, the cuases of decision making, and the consequence resulted in the decision making, which includes the material and non-material values. The transitivity of the song lyric is dominated by material process depicting the action committed by the male and female characters of the song lyric. As a form of of social practice and a means to shape society, the campurari song <em>Sesideman</em> depicts the ideology proposed by the song writer upon the phenomena happening in the community surrounding shadow puppet artits (traditional Javanese song singers and pupeteers).

The Effectiveness of Shadow Puppet Media

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

Perubahan Balungan Lampahan dalam Pakeliran Wayang Kulit Purwa Gaya Surakarta

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

Wayang Image Classification Using MLP Method and GLCM Feature Extraction

Wayang is a form of shadow art that has been known to the Javanese people more than 1500 years ago. For Javanese people, the function of wayang is not only as a spectacle but also as a request, because in the wayang story there are values that are important to Javanese society. Wayang has developed from time to time, there are many types of wayang in Indonesia, with many types of wayang in Indonesia, of course preserving the art of wayang kulit is not an easy thing, especially because this traditional art is not yet very popular among young people, especially in the regionsburban. Today's young people use technology more in finding information, such as using laptops or smartphones. Because to make it easier for people who want to know about puppets and their types, a technology is created that can distinguish the types of puppets based on wayang images. So this research was made using the MLP (The Multi Layer Perceptron) method and its extraction feature GLCM (Gray-Level Co-Occurrence Matrix) with a total system accuracy of recognizing wayang image objects up to 73.4%.

The Application of SPSS in Statistical Analysis Project—A Study of the Inheritance of Chinese Traditional Shadow Play in Schools

Chinese traditional shadow play has been selected into the List of Intangible Cultural Heritage in 2011. Yet, reflecting abundant national cultural values, such traditional art form is degenerating and fading out from people’s sight. As the earliest statistical analysis software, Statistical Package for the Social Science (SPSS) is comprehensive in analyzing and managing statistical data. This study explores the application of SPSS in minimizing the workload of researchers while raising the validity of data in supporting the analysis of the survey data which reflected the inheritance and development of Chinese traditional shadow play in schools.

Shadow theatre and older people

For five years now, Stichting Droomtheater has been producing interdisciplinary puppet theatre and organizing presentations and workshops featuring shadow theatre. In conjunction with various narrative techniques, this ancient Chinese art form offers great possibilities for small-scale theatre shows and workshops for special target groups. The audiences are easily captured, fascinated and motivated to participate in the creative, interactive sessions following the theatre shows.

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.

The Origin and Initial Development of Chinese Documentaries (1905-1931)

This article discusses the origins and early development of Chinese documentaries. Cinematography in almost all countries began with documentaries, because from the very beginning cinema existed as a means of recording. Chinese documentaries, which appeared in 1905, are no exception either. Documentaries reveal the history of Chinese cinematography. The first film produced by the Chinese was a piece from the Beijing Opera. The development of science and technology, especially photography, created necessary preconditions for the invention of cinema. In 1839, a photography emerged. In 1840, a reduction in exposure time was invented. In 1851, a photograph with moving person and an animal was taken. In 1851, the first photograph was taken. In 1878, a camera roll was invented. In 1888, the French physiologist Dules Marey presented the French Academy of Sciences with the world’s first film camera. In 1888, the film was invented. In 1892, Mr. Marei’s assistant showed moving photographs on the screen. On 28 December 1895, the Frenchman Louis Lumière in one of the cafes of Paris officially showed his films: «The doors of the factory», «The arrival of the train» etc. It is believed that in different countries of the world that this show started the era of cinematography. In early 1896, Lumière hired more than 20 people as assistants, and sent them around the world to show his film. At this time, China, India and Japan had their first film screenings. In addition, Lumière had sent many cameramen around the world to shoot the film, including to China. Therefore, the earliest films about China were not made by the Chinese themselves, but by foreign entrepreneurs. Under the influence of «Western Shadow Theatre» the Chinese also began their attempts in film production organization. In 1905, the Chinese made their first silent film in Beijing.

History of Inheritance of Wayang Topeng Malangan (Malang Traditional Mask Puppet) in Pakisaji and Tumpang

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.

Shadow play

Shadow play

PERUBAHAN MOTIF KENDANGAN JAIPONG PADA PERTUNJUKAN WAYANG KULIT KI SENO NUGROHO

Acculturation of Sundanese and Javanese culture one of which appears in the Sundanese jaipong kendang motif that is adapted so that it becomes Javanese in character. This can be seen in the appearance of Wayang Kulit Ki Seno Nugroho. This study aims to analyze changes in kendang jaipong’s motives using the observation methode. Observation was carried out by revealing a systematic picture of the shadow puppet show, the player’s behavior, and paying attention to the space, place, actors, activities, time, and events. From the observation, it was found that there was a change in the jaipong drum construction on the improvisation, ayak-ayak patterns, various pangjadi motives, bukaan, mincid, ngala, and tepak ngeureunkeun. The results of this study concluded that althought the presentation of jaipong drums imitated the Sundanese style, the resulting motives were generally not Sundanese motifs. All jaipong kendang motifs are responded creatively to new motifs by Seno Nugroho drummer so that the results of their work are not Sundanese but Javanese.Keywords: tepak, jaipong, mincid, seno.

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.

Jagad Ageng and Jagad Alit In Traditional Kayons

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

“There is no ‘us and them’”: Engaging with Migration and Border Crossing Narratives through Shadow Puppetry in Ghosts of the River

ABSTRACT This paper explores the representation of border crossing and other migration experiences in the shadow play Ghosts of the River, written by Octavio Solís and performed by the ShadowLight Company. The devices employed to engage spectators with the reality of migrants in the Rio Grande Valley of Texas are analysed in order to bring out the play’s potential to raise awareness of social (in)justice and human rights in the context of the current migratory crisis. Solís’s accounts of his own purposes and composition process are considered, with particular reference to the need to erase the “us” versus “them” divide that tears people apart. The study is underpinned by theories of othering pertaining to the construction of the migrant as alien other or stranger, as articulated by several key scholars. Likewise, spectral criticism informs the interpretation of the characters’ ghostly nature. In this regard, theories deriving from Derrida’s hauntology elaborate on the use of the ghost trope in fictional texts, particularly in those texts pertaining to minority cultural discourses, in which the ghost embodies the oppressed other reappearing as a haunting figure that questions the established order. As is shown, this is the case with the play’s ghost figures, caught in the liminal space of the river as haunting presences endowed with a voice that enables them to articulate their narratives and reenact once and again their ordeals as migrant crossers.

Evidence-based conservation education in Mexican communities: Connecting arts and science.

Several studies suggest that 63% of primate species are currently threatened due to deforestation, pet-trade, and bushmeat hunting. Successful primate conservation strategies require effective educational programs capable of enhancing critical system-thinking and responsible behavior towards these species. Arts-based conservation education can simultaneously foster cognitive and emotional processes. In this paper, we evaluate an arts-based educational program focused on the conservation of black howler monkeys (Alouatta pigra). Our goals were to determine (1) whether children's knowledge changed with our educational techniques, (2) if there was a particular educational technique that better improved the children's learning, and (3) the children's emotional feedback regarding the whole program. A total of 229 children from communities located in primate-habitat areas, both inside and outside protected areas, participated in the study. Different educational techniques were tested (storytelling, theater and shadow puppets), contrasted with a control group, and evaluated through an analysis of drawings. Our results showed that children's knowledge increase with each art-based technique, with storytelling being the most effective for children's learning. Specific drawings indicators also revealed the increase of children's knowledge and a decrease of misconceptions between pre and post evaluations. Finally, a satisfaction survey about the program showed a high positive feedback. The study highlights the value of designing multidisciplinary projects, where arts-based education program (grounded in scientific information) has shown to be a successful way to communicate animal knowledge and promote conservation.

Fény és árnyék : Bánky Róbert árnyjátékos munkássága

This paper gives a brief summary of the oeuvre of two exceptional shadow puppeteers of 20th century Hungary, Béla Büky and László Vízvári. It also summarises the shadow puppetry performances held in the National Puppet Theatre between 1970 and 1982, and details the 1975 beginnings of shadow puppetry education.

Chart the Moon

Chart the Moon Sarah Richards Graba (bio) Phase 1: New Moon Phase 2: Waxing Crescent. Phase 3: First Quarter Half Moon. Phase 4: Waxing Gibbous. Phase 5: Full Moon. Phase 6: Waning Gibbous. Phase 7: Last Quarter Half Moon. Phase 8: Waning Crescent. Phase 0: No Moon I complain to my husband about the difficulty of writing this, how I'm unable to identify the ritual my mother and I perform whenever we argue. How I can't ever seem to nail down specifics. How only the feeling of being angry, of being guilty, stays withme. He asks, "Have you talked to your mom about it?" I reply, "No. She would would just say something like, 'Did I abuse you as a child? Was I a bad mother?'" "It sounds like you already know the ritual," he replied. I sit down and light a candle to write this. I draw a card from the tarot deck. I turn on classical music and I try to let things flow through me. Eight of Cups: abandonment. I know this just from the picture, before I look up the meaning. I decide to write inside the phases of the moon, although it's not all that domestic, the moon. I begin to write in the space titled: "Phase 5: Full Moon." I stop. I look up the meaning of the card: abandonment. I try to write ritually but all that occurs is a jumping about. I'm uncomfortable in this space, placed in the center column. I jump out. For weeks I've been talking to Wes about memory storage for computers, trying to understand how the brain works by trying to understand those machines. They are modeled after us, a simplified version, Wes once said, "Or—maybe… less elegant." He explains that sometimes there are hidden files in the nonvolatile memory; that sometimes we need a key. And sometimes there's a backdoor. And someone like a hacker would try to exploit the algorithm that encrypts the data, because there are too many possibilities to go through all the permutations. You stand with your back to me, the moon at your face. Your face is shadowed; I can make out a blotted profile, but no emotion. Are you leaving me behind, mom? Now that I am grown, are we done arguing? Or is that me out there, face shadowed, not looking back, and leaving you? I am trying my own permutations now, trying to find my own key, or the backdoor. 1's and 0's in a number of possibilities. "But there needs to be a seed," Wes says. "Even if the pattern is random, it's still a pattern, and you still have to give it something to start with, the first input into your number generator algorithm," he says. "If you know what the seeding was, you can build a backdoor." I'm searching for seeds, something to start with. I wonder what it means that nothing grew out of my buried manuscript except for worms. I move to this section next because it's also in the center and I'm uncomfortable here, so I want to get it over with. I think it's easier as an immigrant's daughter to view from the outside. To write on the edges. Being in the center feels fake. Nothing revolves around me, and nothing should be anchored by me either. I try my hand at waning. I like the idea of waning. Of the sliver that's left, that will disappear soon. The energy that is fading, almost faded, almost gone into darkness. It will be a few more weeks before the moon looks like this again. The shadow across its face, registering empty cups, strewn here and there. It is easier to leave. To strike out again upon something new. You know, when the moon is a crescent, it's really just that the earth is playing as a shadow puppet upon its face. And so I begin again, in the center. If there is no anchor here, how can I begin? I sit in the center and feel uncomfortable. I resolve to stay with it for as...

If you can’t say it, take a puppet

Using puppets in language learning is unusual in secondary or higher education but has agreat potential to allow students to develop their language skills and creativity. Shy students can learn to engage in open discussions – a requirement for the oral exam – by speaking through the puppet. I wanted to investigate whether young adult learners are willing to engage in such rather unusual but promising method and record their experiences. This article gives an overview of the approach and summarises the student feedback received. I love to watch puppet shows. And I am a language teacher. Having used hand puppets and shadow puppets in a supplementary school, teaching German to 8 to 9-year-old children, I could immediately see their interest rising when I introduced the puppets. The children were mesmerised, focused and happy to engage in activities. But usually I am teaching German to young adults. I have been a German teacher at King’s College’s Modern Language Centre for 15 years now, and my students are undergrads and postgrads in language courses from A1 to C2 level of the CEFR. I was wondering whether puppets would spark the same interest and engagement in such young adults as it did ...