Shadow Play Research Articles

PENINGKATAN STRATEGI PEMASARAN DAN BRANDING UMKM DESA PENTUR KABUPATEN BOYOLALI MELALUI DIGITAL MARKETING

Economically, most of the residents of Pentur Village are farmers, both working in paddy fields and fields, apart from that, it is also a center for the bamboo woven craft industry which is the livelihood of some of the residents. In fact, Pentur village also has a fairly well-known foundation called "Tumpi Redhouse" which was founded on July 16 2012. In this library there are 2500 book collections, hundreds of film collections, various magazines and reference books. Apart from being a place to read, this library also holds various community empowerment activities such as agricultural activities and MSME groups. Several arts live in this village, various traditional ceremonies such as cleaning the village with shadow puppet performances are still held every year, apart from that, reog art, music and painting are also the breath of artistic activities in this village. The aim of this service is to implement visuals in content and digital marketing formats to improve the economy of Pentur village. Methods for implementing the service include content creator and digital marketing workshops for MSMEs in Pentur village. The resulting output is the implementation of the workshop. At the end of this program, activities will be published via print and online media.

The Theatre of “Glass Puppetry” Enhanced With The Use of The Technology of Lighting

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.

Study on the Development Path of Lingbi Shadow Theater in the Age of Self-media

As an intangible cultural heritage of Anhui Province, how to better inheritance and development is an important issue that Lingbi shadow theatre is facing now. This project mainly explores how Lingbi shadow theatre can make use of the fast and convenient self-media platform to reach the public in the age of self-media. Through the field investigation method, literature reading method and other research methods, we study the artistic characteristics and cultural connotation of Lingbi Shadow Opera, and analyse the dilemmas and reasons it is facing nowadays. According to the communication methods and advantages of self media, combining with the current development situation of Lingbi shadow theatre and the humanities of Lingbi County, we discuss how to combine Lingbi shadow theatre with self media to give full play to its cultural value, economic value, social value and so on. It is proposed to combine traditional media, new media and self-media, everyone can be a non-heritage communicator, and develop cultural and creative products, in order to expand the audience of Lingbi shadow theatre and achieve the common development of self-media and Lingbi shadow theatre. This study is based on the national policy of protecting intangible cultural heritage, the inheritance and development of Lingbi shadow puppet theatre, not to cater to the public to destroy its own cultural characteristics, and to strengthen the supervision of its output culture while using self media. In conclusion, through the results of this study, new vitality is injected into Lingbi shadow theatre, and it is hoped to provide some references and lessons for the inheritance and development of other intangible cultural heritages in China.

MITOS DAN NILAI AJARAN ISLAM DALAM TRADISI APITAN SEBAGAI BUDAYA JAWA DI DESA MEDANI KECAMATAN TEGOWANU KABUPATEN GROBOGAN

This article examines the myth of shadow puppet performances in the Apitan tradition in Medani Village, Tegowanu District, Grobogan Regency. The aim of this study is to find out the mythical narrative of wayang kulit performances in the Apitan tradition in Medani Village. This research uses historical methods with data collection techniques in the form of interviews and literature studies. The results of the research show that, in the myth of the shadow puppet show, there are two mythical narrative stories, namely the first version, which was long believed by native Medani residents with the belief that it is a myth, the first appeared when they once did not perform the Apitan wayang dhanyang, an angry pagebluk occurred and the second version was only believed by newcomers with mythical beliefs. This arose as a result of the spread of disease outbreaks due to the lack of knowledge among residents regarding hygiene and disease management, resulting in a disaster where many residents died simultaneously. The symbolic function of the Apitan tradition for Medani residents is intended to provide reinforcements to obtain safety for Medani residents from the influence of bad things or spiritual threats. Apart from that, it also increases the self-confidence felt by each Medani resident. And strengthening harmony between Medani residents is the result of a series of developing Apitan traditional events.

Designing a Building for Shadow Puppet Shows in Semarang City

The study aim is how to create a different building design that is able to attract the interest of young people who are able to accommodate and also preserve the art of Shadow Puppet (shadow puppet) that it is known by the wider community. Based on the shortage of shadow puppet show facilities in Semarang as the capital of Central Java, the procurement of a shadow puppet performance facility which has educational facilities for the Dalang or puppeteer profession is felt to be the right solution to preserve and revive this art of Shadow Puppet. The design of the shadow puppet show building in Semarang City raises the philosophy of the mountains of Shadow Puppet called “Kayon". Harmony with Nature as the architectural theme of the shadow puppet performance building was chosen so that the architecture of the building can live in harmony with nature by understanding and accepting the inanimate reality of natural forces.

Construction and Application of Multimodal Corpus of Chinese Shadow Play

As one of the prominent embodiments of China’s intangible cultural heritage, shadow play embodies the essence and distinctive charm of traditional Chinese culture. This paper aims to provide an overview of the research on Chinese shadow puppetry conducted both domestically and internationally, as well as the current state of database construction pertaining to Chinese shadow puppetry. By reviewing the existing literature and ongoing efforts in multimodal corpus construction within the field, this paper elucidates the significance and process involved in developing a multimodal corpus specifically tailored to Chinese shadow puppetry. Moreover, it highlights the potential applications of this corpus in various domains, including the preservation and transmission of shadow puppetry, the advancement of language application research, the industrialization of cultural resources, and the promotion of traditional culture to a global audience.

Traditional Wayang Research Productivity: A Bibliometric Analysis

The aim of the research was to review the productivity of Wayang’s research by using the bibliometric method from the Scopus database. Wayang is a form of traditional art recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity since 2003. It was not obtained easily, especially in terms of the world community’s introduction of shadow puppets. Puppet research has exploded since it was recognized by UNESCO. However, global indexed publications still needed to be enhanced. Analysis of Wayang research from internationally indexed journals, such as Scopus, was required to recognize this opportunity; the object could be seen from a different perspective. The dataset used was ‘Traditional Wayang’, based on documents during 2015-2021 from the Arts and Humanities areas. The search has found 36 papers related to ‘Traditional Wayang’ research. The number of Wayang studies in Scopus-indexed papers remains limited, retaining the Wayang perspective as a traditional object. This is shown by the 36 documents examined, among which only two clusters are produced: performance and change. In order for Wayang research to have great potential and be considered from a wide range of perspectives, including technological, social, economic, commercial, and other, there are still other types of Wayang as an object material.

영화 “살인 연극(風中有朵雨做的雲)”을 통해서 본 중국 도시화 인식 경향 연구

Since the reform and opening-up, with the rapid development of China's economy, social contradictions and wealth disparities have formed. The sixth generation that experienced the Tiananmen Square Protests is focusing on personal issues arising from urbanization and economic development. The research objective of this paper is to understand how director Lou Ye recognizes China's rapid development and urbanization. Through Lou Ye's perspective, he tries to analyze the other side of China's urbanization after the reform and opening up, and analyzes his film “The Shadow Play” from a critical point of view. Lou Ye uses a combination of realistic techniques and real-life on-site shooting to present the state of social conflicts triggered by China's economic development and the tragedies triggered by human desires. It is a critical reflection on the marginalization of aborigines with urbanization, and leaves a poignant record of the times. Lou Ye is a chronicler of contemporaneous Chinese realities, but the characters that appear in his films seem inclined to remain observers rather than ultimately resolving these issues. This reflects director Lou Ye's awareness of China's social problems.

Shadow Puppet Videos to Stimulate Time Vocabulary Speaking Skills for Children Aged 4-6 Years

It was found that language skills in early childhood were still feeble. This research aims to develop shadow puppet videos to help children aged 4-6 develop speaking skills using time vocabulary. This type of research is developed using the ADDIE model. Data collection methods use observation, interviews, and questionnaires. The data collection instrument uses a questionnaire. The validity of the shadow puppet video was measured through an evaluation questionnaire assessed by two experts, a media expert, and a material expert. Apart from that, small-group and large-group tests were also carried out to evaluate the feasibility of this shadow puppet video. The collected data was then analyzed using quantitative and qualitative data analysis methods. The school tests showed that experts declared the shadow puppet videos valid, with an average CVR of 1.00 and CVI of 1.00. It was concluded that developing shadow puppet videos to stimulate the speaking skills of children aged 4-6 years using time vocabulary has very high validity. Therefore, this shadow puppet video can be used as media in the school environment to support the learning process.

Correction to: Ludic cybermilitias: shadow play and computational propaganda in the Indonesian predatory state

Correction to: Ludic cybermilitias: shadow play and computational propaganda in the Indonesian predatory state

Leaving Javanese Shadow Theatre (Wayang Kulit) Religiously Unlabelled

Wayang Kulit, the shadow theatre tradition on the island of Java, combines ancient Javanese and Indian myths in a Muslim context and therefore poses as a wonderful example of how religious traditions intertwine with works of art. This article explores the religious appropriation and acculturation at work in the history of Javanese shadow theatre. It also grants a behind-the-scenes look at the curatorial challenges involved in preparing a Wayang Kulit exhibition at the Museum Rietberg in Zurich, in particular how to convey the complex intermingling of cultures and religions so that audiences can understand it. Finally, we call into question some narratives and concepts traditionally used in Western museums to tell the story of Southeast Asian art.

Preservation evaluation method of Chinese traditional shadow puppet relics based on pixel lattice and membership function

The conservation and preservation of shadow puppet artifacts is an important task that requires accurate assessment of their preservation status. Currently, there are many shadow puppet artifacts in collections with varying degrees of deterioration, and an easy-to-use and accurate deterioration assessment method is urgently needed. To address this, this paper proposes a method to convert the color rendering characteristics of shadow puppet artifacts in two-dimensional images into digital information, which is used to create a pixel lattice in processing software Adobe Photoshop. The quantitative signal of the shadow puppet image is extracted and used to calculate the offset of the overall or local chromaticity of the shadow puppet relative to the average chromaticity, allowing for the assessment of the degree of cortical variation and risk of deterioration. A membership function is established based on the observed values of shadow puppet color in the pixel lattice, and the discrete fuzzy set and its scoring index are specified to assign corresponding weight values to the regions with different chromaticity attributes in the pixel lattice.The method of computing scores using the membership function involves ordinary mathematical operations, the overall scoring values are used to comprehensively evaluate the preservation status of the shadow puppet artifacts. This paper establishes a preliminary technical standard for the preventive conservation evaluation of shadow puppet artifacts using pixel lattice and membership function, providing an important guideline for the quantitative and standardized virtual restoration of shadow puppets. The proposed method provides a new approach to quantitatively assess the preservation status of shadow puppets, which is essential for their efficient scientific conservation.

The integration of traditional culture and educational drama for young children based on the AdaBoost model

Abstract However, the integration of traditional culture and modern children’s theater education is not smooth in digitalizing big data information. Take shadow puppet theater. Its traditional culture is no longer as brilliant as yesterday due to the problems of not easy preservation and disconnected content. This paper focuses on integrating traditional culture and educational drama for young children based on the AdaBoost model. Firstly, we understand the principle, concept, and algorithm of the AdaBoost model by finding literature, constructing the AdaBoost-BPN prediction model and AdaBoost-WBLS model, and adopting ordinary BPN weak predictor, AdaBoost-BPN The AdaBoost-BPN prediction model and the AdaBoost-BPN prediction model with “weekend factor” were used to predict the traditional culture and educational drama of young children, and the prediction error evaluated the prediction results. Has higher integration training efficiency. In the integration weight update, different regularization update methods are used for different data categories to retain the features of the data and increase the inter-class distinction. WBLS is used as the base classifier and the optimization method of embedding WBLS in the AdaBoost framework to improve the performance of the integration of early childhood traditional text and educational drama. The results show that the AdaBoost-WBLS model has significantly improved G-mean on dichotomous and multiclassified datasets compared with similar models, with higher accuracy and better ability to handle unbalanced data. This study is conducive to planning the design of the teaching process according to the characteristics of the integration and change of traditional culture and educational drama for young children, and the combination of traditional culture represented by shadow puppet theater and children’s drama education is of great significance and value in guiding young children to establish the correct three views, stimulating their imagination and creativity, and promoting the development of their aesthetic education.

The way storytellers communicate to influence the audience's reactions in the Kumpul Dongeng Surabaya Community

Realizing that not everyone can tell stories well and engagingly, a researcher is interested in investigating the communication patterns of storytellers in creating audience responses in the "Kumpul Dongeng Surabaya" community. The goal is to understand the methods or communication patterns storytellers use to deliver their stories.Using a qualitative descriptive method, the researcher employs the S-O-R (Stimulus-Organism-Response) theory, which aims to determine: 1. Stimulus, 2. Organism, and 3. Response through observations, data collection, and interviews with four informants (storytellers and audience members) from the "Kumpul Dongeng Surabaya" community in order to obtain accurate data. To ensure that their stories captivate the audience and prevent them from losing interest, storytellers must skillfully design themes that cater to the audience's needs. Additionally, storytellers utilize vocal intonation and nonverbal cues, as well as visual aids such as puppets, wayang (traditional Javanese shadow puppets), illustrations, clowns, and sound effects. Furthermore, in the storytelling group, the message (stimulus) conveyed to evoke the storyteller's response should also be delivered using a structured scheme.

Analysis/Reflection on the Influence of Combining Chinese Shadow Play with Digital Art for Foreign and Domestic Audiences

This project focuses on the preservation and dissemination of Chinese Shadow Play, an intangible cultural heritage. In terms of methodology, digitizing traditional Shadow Play is an innovative attempt to break through geographical and content limitations to increase the audience and content diversity of shadow plays. The combination of traditional shadow puppet theater and 3D digital art can enrich the experience, increase interactivity, and lower the cost of viewing conditions, thus bringing the audience closer to shadow puppet theater. In terms of plot, traditional shadow plays’ content is limited to Chinese myths and fables, which is far removed from the modern tide of entertainment; instead, recent events and mixed-cultural elements can effectively innovate the scripts, integrate timely social topics, and explore new possibilities of shadow puppet content, so that shadow plays can become a cultural channel to reflect social issues. In addition, the project hopes to promote concern for the employment environment of older artists and disadvantaged groups in the process of traditional cultural creation, protect the traditional cultural creation environment, and provide a stable employment environment and community for shadow puppet craftsmen. Finally, unexplored financial value of shadow theater can be discovered via combining shadow puppet theater culture with the wider cultural and creative industry. We can develop new cultural and creative products while maintaining the traditional culture of shadow puppetry, such as integrating puppetry elements into everyday items and its proceeds of sell would give shadow play new commercial values.

Ludic cybermilitias: shadow play and computational propaganda in the Indonesian predatory state

Abstract This article ties the studies of computational propaganda to studies of the state in the Global South by examining “political buzzers”—actors of Indonesian computational propaganda. Rather than an extension of state propaganda, I argue that buzzers are a “twilight institution” straddling the boundaries between state and society. As cybermilitias, they are rooted in the historical conjuncture of Indonesian state practices in deploying privatized violence for extractive capitalist accumulation, exhibited by two cases in this article: the reclamation of Benoa Bay in Bali and the Ciliwung forced evictions in Jakarta. Informed by ethnographic fieldwork, I delve into buzzers’ experience of computational propaganda as an avenue for political agency. They conceive their clandestine labor into a play, conjuring the political metaphor of dalang (master puppeteers) pulling strings from behind the scenes. These shadow play theatrics constitute the ludic aspect of buzzers as ludic cybermilitias. By exploring how computational propaganda is shaped by and shapes state power in Indonesia, I problematize the notion that political buzzers signify “democratic regression” or “digital authoritarianism.” Instead, I propose that buzzers represent the latest manifestation of privatized violence within the predatory logic of post-authoritarian states in the Global South.

Going “Viral”

Wayang kulit (traditional shadow puppet theatre) is one of the most important performing arts in present-day Java. Even during the pandemic, performers did not abandon their vocation and employed various online platforms to share their art. Although the use of social media for advertising and, occasionally, livestreaming traditional performances was not entirely unprecedented, the circumstances of 2020 have clearly contributed to the significant acceleration of these trends. Issues of global mediatization and virtual participation have become crucial elements within the shadow puppet theatre of the so-called jaman now (“the time of now”). Some of the most famous puppeteers of Central Java, Ki Cahyo Kuntadi and Ki Seno Nugroho, invented new formats, such as wayang elektrik and wayang climen, and adopted new marketing strategies to meet a new audience demand in a time of social distance. These new forms contributed to confirm and speed-up transformation processes already embryonal to the wayang art and drastically changed the function and fruition of one of the most important Javanese performing arts. Uniting practice-led research and digital ethnography, this article intends to offer an example of how oral traditions are affected by the social and technological reverberations of the pandemic era.

Ethnoscience Study of Sedekah Bumi Bangsri Jepara Village in Elementary School Science Subjects

The rapid flow of globalization can threaten the fading of local cultural values in Indonesia. This can be a challenge for the Indonesian people to choose between maintaining or eliminating the existing environmental culture. Therefore, an approach is needed, namely ethnoscience in the learning process. This study aims to describe the ethnoscience of Sedekah Bumi in Bangsri Jepara Village in elementary science material. The method used is qualitative with a phenomenology research design. The subject of this research was village heads and village officials. The data was obtained by observation, interview, and documentation. Data validation was conducted through triangulation. Based on the research results, it is known that ethnoscience learning can be integrated into elementary science learning, as evidenced in every series of almsgiving activities in Bangsri Jepara Village, including <em>ingkang damar murup</em>, colossal dance, shadow puppets, buffalo slaughter, and the <em>penjor </em> festival. Based on the research that has been done, it is concluded that science content is integrated into grade III, IV, and V SD materials. Grade III material that is integrated with the alms of the earth is a change in the form of objects and the benefits of plants for humans. Grade IV material is the style of motion, the relationship between form and function of animal and plant body parts, and light. Grade V materials are heat transfer, human organs, and the classification of animals based on the type of food they eat. Then, in addition to SD material, namely the emulsion in coconut milk and nutrients in the soil in plants. It is hoped that this research will not only be able to integrate the Sedekah Bumi culture with elementary science material but that students can also relate the almsgiving culture with cultural preservation activities

Tradisi Petik Laut sebagai Pelestarian Budaya Lokal: Kajian Living Qur'an di Desa Kranji Paciran Lamongan

This research contains a study of the tradition of sea harvesting that has been carried out for decades by the residents of Kranji Paciran Lamongan village. The activity is conducted once a year, every August, coinciding with the celebration of the Independence Day of the Republic of Indonesia. This study uses a qualitative method and is presented descriptively using the living al-Qur'an approach. Data collection is done through observation and interviews related to the al-Qur'an values that underlie the activity and its institutionalization as a religious tradition preserved by the community. The research findings indicate that the tradition is based on the values of gratitude taught by religion, as expressed in the al-Qur'an. The gratitude referred to is the thankfulness for the abundance of blessings in the form of marine resources. It also includes gratitude as an expression of thanks to the ancestors. The series of activities within the tradition is a blend of Islamic elements, such as religious lectures, and Javanese culture, in the form of a shadow puppetry (wayang kulit) performance. Through these activities, it is hoped that the community of Kranji village, especially the fishing families, will become more prosperous, secure, and be protected from dangers, including malevolent spirits. The religious values within the tradition are packaged in the form of collective remembrance (zikir) to strengthen faith in Allah. Meanwhile, the timing of the organization, coinciding with the commemoration of Independence Day, is an effort to preserve and foster a spirit of love for the homeland.

ETHNOGRAPHY OF COMMUNICATION: MESSAGES ANALYSIS ENCOUNTERED IN CENK BLONK USING DELL HYMES SPEAKING THEORY

This study aims to investigate the messages conveyed in CenkBlonk Shadow Puppet. Descriptive qualitative method was used in this study. The writer selected one of the YouTube videos of CenkBlonk official channel based on two criteria; a) it provided adequate data, b) it had several fields of discussion. The data was collected by firstly watching the video several times then transcribing, translating, and analyzing the data. Dell Hymes’ SPEAKING (setting and scene, participants, ends, act of sequence, key, instrumentalities, norms of interaction and interpretation, and genre) mnemonic in Ethnography of Communication (EC) theory was used to analyze the data. The finding shows that messages are mostly conveyed explicitly by puppet characters in three different fields such as religion, finance, and education. Those messages contained suggestion, advice and moral values in order to be followed by all people. The show also amused the viewer within the messages conveyed in the form of hilarious jokes. Keywords: Messages, shadow puppet, speaking theory, communication, viewer