scholarly journals Pertunjukan Boneka Multi Dimensi ”Sumpah Pralaya”

2013 ◽  
Vol 13 (2) ◽  
Author(s):  
Aneng Kriswantoro
Keyword(s):  
Moral Values ◽  
Three Dimension ◽  
Two Dimension ◽  
One Stage ◽  
Puppet Theatre ◽  
Art Performance ◽  
Performance Dimensions ◽  
Dimension One ◽  
Wayang Kulit

Perancangan naskah Sumpah Pralaya ini lebih bersifat eksperimen yang mencoba untuk menggabungkan dua konsep bentuk pertunjukan boneka dua dimensi (wayang kulit) dan tiga dimensi (wayang golek) sebagai media penuangan. Wayang golek dan wayang kulit mempunyai bentuk dan karakter yang berbeda baik secara konsep pertunjukan maupun cara menggerakan. Namun perbedaan ini justru menjadi tantangan yang harus bisa dipecahkan dalam rangka membentuk sebuah pertunjukan yang tetap bisa dipahami oleh penikmatnya. Perancangan ini mengreinterpretasi tokoh Abimanyu supaya menjadi cerita yang ideal untuk dipaparkan dimasyarakat luas. Tema tentang kepahlawanan, keteguhan hati manusia, dan cinta, diharapkan menjadi pelajaran yang berharga bagi penikmatnya. Cerita ini juga dalam rangka memunculkan pitutur-pitutur Jawa untuk dikomunikasikan kembali kepada para penikmat. Setelah memahami cerita ini penikmat diharapkan mendapatkan pencerahan dan pengetahuan tentang kehidupan yang baik. Orientasi dari perancangan ini adalah mencoba untuk menempatkan dan memaknai dimensi dalam sebuah pertunjukan. Pertunjukan ini diharapkan mampu memunculkan dimensi lain yang justru merangsang dan mendorong penikmat kedalam sebuah imajinasi baru yang sebelumnya tidak pernah terpikirkan.Kata kunci: wayang, golek, boneka, abimanyuABSTRACTSumpah Pralaya: Puppet Theatre. The design of The Pralaya Oath represents an experiment which is trying to collaborate the two-dimension puppet and the three-dimension one as a united performance. The two-dimension puppet applied in this design is the wayang kulit (leather puppet), whereas the three-dimension puppet is the wayang golek (wooden puppet). These have different forms and characters in its concept of performance. However, the method to play these puppet scopes has dissimilar features and techniques. This remarkable distinction somehow becomes a challenge for the puppet artists to create an understandable and entertaining art performance. This work entitled The Pralaya Oath is clasified as an effort to reinterpret the character of Abimanyu in the form of a particular story that can be widely well-narated. Heroism, courage, and love knotted in this work are all lessons for people to learn. Moreover, this work is aimed to bring out the Javanese moral values as well. After watching and understanding this work, people are expected to gain both enligment and knowledge of a proper life. The orientation of this work is to attach as well as to interpret these particular dimensions in one stage. Hopefully, this performance is able to emerge other particular performance dimensions that could stimulate and assist people to win a new imagination they never thought before.Keywords: puppet performance, wooden puppet, abimanyu

scholarly journals SEJARAH PERKEMBANGAN DAN PERUBAHAN FUNGSI WAYANG DALAM MASYARAKAT.

Kebudayaan ◽  
2019 ◽  
Vol 13 (1) ◽  
pp. 77-89
Author(s):  
Fatkur Rohman Nur Awalin
Keyword(s):  
Moral Values ◽  
Social Conditions ◽  
Indian Culture ◽  
Cultural Elements ◽  
Know How ◽  
History Of Development ◽  
History Of ◽  
Art Performance ◽  
Performing Art ◽  
Descriptive Method

AbstractWayang art performance that develops in Java is a traditional performing art that is able to survive and adapt to all aspects of its changes. The issue of this research is to know, how does the history of development and change of wayang function in society? The development of wayang art performance is influenced by social conditions, which affect the change of function of wayang art performance. The objective of the research is to explain the history of development and change of wayang function in society.This study uses descriptive method, with the support of literature review and observation on wayang performance. The results show that the history of wayang development is conceptually a combination of several cultural elements that enter in Indonesia (Java), namely Indian culture with Hindu-Buddhism and Islam with sufism. Indicator of changes in wayang function in the community is the change of pakeliran wayang as an industry tomeet the entertainment market. Changes in ritual function can be seen from the waning of guidance or moral values in wayang, so its has only entertainment or spectacle functions and as a popular performances.AbstrakSeni pertunjukan wayang yang tumbuh dan berkembang di Jawa merupakan kesenian tradisonal yang mampu bertahan dan menyesuaikan dengan perkembangan zaman dengan segala aspek perubahan-perubahannya. Masalah dalam penelitian ini adalah mengkaji mengenai bagaimana sejarah perkembangan dan perubahan fungsi wayang dalam masyarakat? Perkembangan seni pertunjukan wayang dipengaruhi oleh kondisi sosial, yang berpengaruh terhadap perubahan fungsi seni pertunjukan wayang.Tujuannya adalah menjelaskan sejarah perkembangan dan perubahan fungsi wayang dalam masyarakat. Penelitian ini menggunakan metode deskriptif, dengan dukungan kajian pustaka dan pengamatan (observasi) terhadap pergelaran wayang. Hasil penelitian menunjukkan bahwa sejarah perkembangan wayang secara konseptual merupakan perpaduan dari beberapa unsur kebudayaan yang masuk di Indonesia (Jawa), yakni kebudayaan India dengan Agama Hindu-Buddha dan Islam dengan tasawufnya. Indikator perubahan fungsi wayang dalam masyarakat adalah perubahan pakeliran dalam wayang sebagai industri untuk memenuhi pasar hiburan. Perubahan fungsi ritual dapat dilihat dari memudarnya nilai-nilai tuntunan atau moral dalam wayang, sehingga wayang hanya mempunyai fungsi hiburan atau tontonan dan sebagai pertunjukan populer.

Reading “Suluk Wayang”: Javanese Shadow Puppets, “Nala”-Vision, Private Self, Bodily Self

2002 ◽  
Vol 12 (2) ◽  
pp. 167-186
Author(s):  
Matthew Isaac Cohen
Keyword(s):  
Developmental Cycle ◽  
Art Form ◽  
Puppet Theatre ◽  
Wayang Kulit

AbstractWayang kulit (shadow puppet theatre; henceforth “wayang”) as practiced in Java (Indonesia) has been recognized by exegetes – European and Indonesian alike – for its centrality as both a performative vehicle for and a symbolic figuration of understandings of the human developmental cycle, the variety of character models available to individuals, the precarious balance of chaos and stability in society, and kinship dialectics of conflict and complementariness. It is Java's most complex art form, in terms of dramaturgy, music, and repertoire, and also one of its most highly mediated. The beginning of what I would like to discuss is located at the end of Ward Keeler's exemplary ethnography of Central Javanese wayang and the dialogical play of selves and others in relations of hierarchy. Keeler concludes his evocative account of Javanese selves and theatre (and here I paraphrase) with the statement that “the peculiar fascination” of the dhalang in Javanese culture stems from his ability to dissimulate his self in performance. The puppeteer's voice is splintered, his presence veiled by a screen and mediated by puppets and the constraints of tradition, and his authority derived from indirect relations to a ritual sponsor, the Javanese autarchy, the ancestors, and the unseen world. “He is at once a dissembled authority, one whose power is great, non-coercive, and unworldly, and a dissembled interpreter, one who mediates between an unreal but persuasive and distracting world, and our own”.

WayanginJaman Now: Reflexive Traditionalization and Local, National and Global Networks of Javanese Shadow Puppet Theatre

2019 ◽  
Vol 44 (1) ◽  
pp. 40-57
Author(s):  
MATTHEW ISAAC COHEN
Keyword(s):  
Social Media ◽  
Communities Of Practice ◽  
Digital Media ◽  
Prior Knowledge ◽  
Global Networks ◽  
Geographically Dispersed ◽  
Long Duration ◽  
Puppet Theatre ◽  
Traditional Arts ◽  
Wayang Kulit

Doomsayers and traditionalists prognosticate that the dominance of digital media spells the end of traditional arts in Java, Indonesia.Wayang kulit(shadow puppet theatre), while still highly regarded as theatrical heritage, is said to be under particular threat due to the long duration of its plays, complexity of language and the need for prior knowledge of characters and situations. Such features are at odds with the short attention spans and need for instant comprehension and gratification of Gen Z – the youth referred to in Indonesian media as inhabitingjaman now(literally the ‘era of now’). While digital social media, including Facebook and YouTube, definitely offer up alternative forms of entertainment and amusement, they are also being used by traditional puppet practitioners to reinforce and expand communities of practice. Facebook provides platforms for comparative discussion and critical debate, while YouTube potentiates the inclusion of a geographically dispersed audience, including overseas workers.

Prospectivity modeling: From two-dimension to three-dimension

2019 ◽  
Vol 35 (12) ◽  
pp. 3863-3874
Author(s):  
YUAN Feng ◽  
◽  
ZHANG MingMing ◽  
LI XiaoHui ◽  
GE Can ◽  
...  
Keyword(s):  
Three Dimension ◽  
Two Dimension

Application of Information Visualization in Museums’ Display and Design

2014 ◽  
Vol 989-994 ◽  
pp. 5411-5414
Author(s):  
Jie Ming Hu
Keyword(s):  
Information Visualization ◽  
Graphic Design ◽  
Design Science ◽  
Rapid Development ◽  
Three Dimension ◽  
Two Dimension ◽  
Space Design ◽  
Traditional Design

Information visualization is more inclined to two-dimension design in traditional design field. As known to us all, it is unable to be applied in three-dimension. However, with the rapid development of design science, a growing number of people who are engaged in design have found that the application of information visualization can’t be only restricted to graphic design as graphic design is gradually crossing with space design.

The Application of FDM in Solving Problem of Electromagnetic Field

2012 ◽  
Vol 463-464 ◽  
pp. 331-335
Author(s):  
Pei Nan Zhao ◽  
Meng Yun Zhang
Keyword(s):  
Electromagnetic Field ◽  
Finite Difference ◽  
Finite Difference Method ◽  
Difference Method ◽  
Three Dimension ◽  
Field Problem ◽  
Two Dimension ◽  
Numerical Computing

In this paper, a static electromagnetic field problem will be solved. The method to solve the problem is Finite Difference Method ( FDM ). The software MATLAB is the main environment used to finish the numerical computing. Finally, we found using Finite Difference Method to solve a static electromagnetic field problem is quite convenient. We also can draw the two-dimension and three-dimension graph of the distribution of the electromagnetic field. Furthermore, we discuss the advantages of using FDM to solve the problem, and the disadvantages still exist in this method.

scholarly journals Visual Adaptation Of Wayang Characters In Teguh Santosa’s Comic Art

2018 ◽  
Vol 33 (3) ◽  
pp. 401
Author(s):  
Mohammad Isa Pramana Koesoemadinata
Keyword(s):  
Visual System ◽  
Visual Art ◽  
Technological Development ◽  
Popular Media ◽  
Visual Narrative ◽  
Sociology Of Art ◽  
Puppet Theatre ◽  
Moral Ethics ◽  
Comic Art ◽  
Wayang Kulit

Wayang tradition with its Indian epics of Mahabharata and Ramayana adaptations is the Indonesian high culture acknowledged by UNESCO since 2003. Its stories and characterizations has become philosophical, moral ethics and character learning for the young generations. Those Indian epics have acculturated in every aspect of theatrical and visual arts which are presented in shadow puppet theatre. As the part of traditional visual art, the visual aspect of wayang puppet consists of particular and systematic patterns (systems), in relation to role and characterization. In accordance with technological development, the famous epics of wayang are presented through popular modern media such as comic. Comic art is a popular media which adored by children and teenagers due to its visual narrative appeal. Many Indonesian comic artists such as Ardisoma, R.A. Kosasih, Oerip and Teguh Santosa adopt wayang epics through their own styles. The later artist, Teguh Santosa with his unique visual styles, has contributed color in wayang genre of Indonesian comic. Mostly, parallelities between Teguh’s style and the visual system of wayang role and characterization are detected. This paper discusses how visual adaptations of protagonists and antagonists wayang characters into Mahabharata comic series created by Teguh take place. Those visual adaptations are compared with the visual system of Javanese wayang puppetry, analyzed qualitative-descriptively with Sociology of Art and Aesthetical Morphology (Art Critic) methods. The results indicate that Teguh comprehends the essence of Javanese wayang’s visual aspect, since he adapted it with his own style yet still retains the visual system of Javanese wayang role and characterization.Tradisi Perwayangan dengan adaptasi wiracarita Mahabharata dan Ramayana adalah budaya adiluhung Indonesia yang sudah diakui UNESCO sejak 2003.  Kisah-kisah dan penokohannya dijadikan model pembelajaran filsafat, etika moral dan karakter kepada generasi muda.  Kisah-kisah tersebut mengalami akulturasi dalam berbagai aspek seni pertunjukan dan senirupa, di mana mereka disajikan dalam pertunjukan wayang kulit.  Rupa boneka wayang kulit sendiri sebagai artefak senirupa tradisi memiliki pola yang khas dan sistematis, terkait dengan aspek perwatakan dan raut peranan tokoh.  Seiring perkembangan zaman, kisah-kisah terkenal Perwayangan seperti Mahabharata dan Ramayana disajikan melalui media modern populer seperti komik.  Komik adalah media populer yang lazim digemari anak-anak dan remaja karena memiliki daya tarik berupa narasi visual.  Banyak komikus Indonesia mengadaptasi kisah perwayangan dengan gayanya masing-masing, seperti Ardisoma, R.A. Kosasih, Oerip, termasuk Teguh Santosa.  Teguh Santosa (1942 – 2000) dengan kekhasan gaya visualnya telah memberikan nuansa tersendiri dalam komik indonesia khususnya genre perwayangan. Terlebih lagi penulis mendapati adanya kesejajaran pola visual antara gaya Teguh dengan pola rupa wayang kulit terkait perwatakan atau raut peranan tokoh.  Tulisan ini mengkaji bagaimana adaptasi visual pada beberapa tokoh wayang protagonis dan antagonis dalam seri komik Mahabharata (1983-1985, 1986-1987) sisipan majalah Ananda dan terbitan Misurind karya Teguh Santosa.  Adaptasi visual tersebut diperbandingkan dengan pola visual wayang kulit Jawa, dianalisis secara kualitatif-deskriptif, dengan pendekatan Sosiologi Seni dan Morfologi Estetik (Kritik Seni).  Hasil analisis menunjukkan bahwa Teguh sebagai komikus memang memahami betul esensi rupa wayang Jawa, karena ia mengadaptasinya dalam komik dengan gaya visualnya sendiri namun tetap mempertahankan pola visual raut peranan dari wayang kulit Jawa.

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