scholarly journals COMPARISON TRADITIONAL FOLKLORE BETWEEN CHINESE PI YING AND INDONESIAN WAYANG KULIT

2020 ◽  
Author(s):  
Zhang Guannan
Keyword(s):  
Rural Area ◽  
Digital Technology ◽  
Han Dynasty ◽  
Animal Skin ◽  
Traditional Arts ◽  
Wayang Kulit ◽  
Traditional Stories

Chinese Pi Ying and Indonesian Wayang Kulit as known as the crystal of folklore from two different countries. This article is aim to make a comparison between these two traditional folklore.Pi Ying and Wayang Kulit both are made from wood and paper or animal skin. The function of these two folklore is giving a show or performance to audiences based on traditional stories or mythological stories. Compared with Wayang Kulit, Chinese Pi Ying was originated from Han Dynasty, earlier than Wayang Kulit. As traditional arts, coming with improvement of digital technology, Chinese Pi Ying and Wayang Kulit are losing their influence now, these two traditional folklore only can be seen more frequently in theater or rural area. Through this article, Pi Ying and Wayang Kulit will be analyzed, compared and found out the same and different aspects from these two traditional folklore, furthermore, this article will also give certain solutions to solve the problems these two folklore are facing.

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.

The Use of Digital Images Recording Historical Sites and ‘Spirit of Place’: A Case Study of Xuejia Tzu-chi Temple

2013 ◽  
Vol 7 (supplement) ◽  
pp. 156-171 ◽  
Author(s):  
Yung-Kuan Tseng ◽  
Hong-Kun Chen ◽  
Pi-Yen Hsu
Keyword(s):  
Digital Technology ◽  
Future Generations ◽  
Digital Recording ◽  
Panoramic Imaging ◽  
Religious Significance ◽  
Spirit Of Place ◽  
Historical Sites ◽  
Traditional Arts ◽  
The Temple

ICOMOS emphasised in the 2008 Québec Declaration that the ‘Spirit of Place,’ possessed by monuments and sites, must be preserved, the idea spread and promoted, and that digital technology should be extensively utilised. Xuejia Tzu-chi Temple in Taiwan, an ancestral temple that inherited the traditional belief of Bao Sheng Da Di ([Formula: see text], God of medicine) from Baijiao ([Formula: see text]), holds much religious significance and is crucial to the residents' spiritual sustenance and community. Among those objects preserved in this temple are the intricate Ye Wang's Koji potteries as well as various other precious cultural relics, making the palace an important research base for Taiwan's traditional arts. As such, religion, society, art and other elements coalesce to form the unique spirit of place of the Tzu-chi Temple. This study, under the principle of continuity in space, focuses on the temple square, corridors spanning different areas, the pantheon, and uses ‘image-based interactive panoramic imaging technology’ to capture a total of 45 spatial scenes, recording the overall spatial construct and the paths within which the space could move, completing the spirit of space of the object, and recording the track of space. Then setting this as the basis for establishing a recording of various activities of the humanities and for preserving the spirit of place of the Xuejia Tzu-chi Temple for future generations, we hope that the results of this study will provide various relevant types of digital recording for research on spatial construct in monuments.

scholarly journals Makna Simbolik Tabu Pertunjukan Wayang Kulit Di Purbalingga, Karesidenan Banyumas, Jawa Tengah

2021 ◽  
Vol 20 (1) ◽  
Author(s):  
Sugeng Priyadi
Keyword(s):  
Rural Area ◽  
Rural Community ◽  
Cultural Conflict ◽  
Social Conflicts ◽  
Cultural Conflicts ◽  
Spiritual Conflict ◽  
Puppet Show ◽  
Wayang Kulit ◽  
Ethic Violation

The taboo of leather puppet show in the rural community of Purbalingga shows a plurality of socio-culture laying on the puppet myth that has changed into local legend. The myth said that Purbalingga is the region of Kurawa. This belief leads to such social conflicts as cultural conflict, marriage conflict, spiritual conflict, and ethic conflict. These conflicts are so obviously seen in the area. The cultural conflicts have triggered the taboo of puppet show in the rural area of Purbalingga. The taboo can be perceived as the phenomena of 1) a violence ang regret to the local puppet legend making some story sacral and taboo to perform, 2) a knight ascetics having some different meanings. Arjuna lived as an ascetic to get a weapon and a glory in the battle, while Yudhistira did that to achieve ultimate nobility in life, and 3) an ethic violation concerned with the characters, of puppet in the legend of Ramayana and Mahabarata, that are regarded as the ancestors of Purbalingga community.

scholarly journals Hanoman's 2D animated character in ramayana wayang story

2020 ◽  
Vol 4 (3) ◽  
Author(s):  
S H Heriwati ◽  
B Pujiono ◽  
A N Panindias ◽  
Suwondo Suwondo ◽  
B H Prilosadoso
Keyword(s):  
Data Sources ◽  
Design Stage ◽  
Literature Reviews ◽  
2D Animation ◽  
Collection Data ◽  
Qualitative Descriptive ◽  
Younger Generation ◽  
Using Data ◽  
Traditional Arts ◽  
Wayang Kulit

Research in art creation is an effort to preserve traditional arts, especially wayang kulit in the form of character development of the Hanoman character in the Ramayana story through animated 2D media which aims to introduce traditional skills among the younger generation in Surakarta. This research method of art creation uses a qualitative descriptive approach through data sources, including Ramayana puppet shows, literature studies, and competent speakers in the field of puppetry and animation. The stages of analysis from various sources of results from information from both literature reviews and interviews were carried out using an interactive model, where each component of the research includes the stages of data collection, data reduction, presentation and conclusion drawing. Test the validity of the data using data triangulation techniques, namely triangulation of data sources and triangulation of theories. The locations of designing 2D animated Hanoman characters go through several processes, namely: the Envisioning Phase, the Planning Phase, the Design/Design Stage, the Stabilizing Phase, and the Deploying Phase. The Hanoman character in the Ramayana wayang story collaborates with 2D animation technology as an alternative to introducing wayang characters and educational media that are suitable for the younger generation segmentation.

scholarly journals Iraqi Digital Art: Origin and Evolution

2021 ◽  
pp. 191-197
Author(s):  
Sanaa Mohsin
Keyword(s):  
Digital Technology ◽  
Virtual World ◽  
Modern Art ◽  
Digital Art ◽  
Origin And Evolution ◽  
Digital World ◽  
The World ◽  
Different Dimensions ◽  
A New Technique ◽  
Traditional Arts

The current challenge facing our age is the information digitization, at the same time, there is a huge development in the interdisciplinary of technologies with sciences. In the last few years, the World witnessed a number of information challenges with different dimensions, including digital dimensions, which are called the digital world and the virtual world for authors and movie writers. Consequently, the digital art concept emerged that utilizes the computer in an efficient way and as a new technique for drawing. This art is considered a great leap for modern art. The influence of digital technology transformed traditional arts like painting and sculpture into new forms, from pure arts to virtual reality. The most important characteristics and advantages are reflected in saving time, effort, cost and area. Digitally, art would enrich Iraqi culture by employing Iraqi creativity. This paper targets the concept of digital art, characteristics of art in virtual society and presenting the history – origins and evolution – of digital art. A group of paintings have been created using Photoshop Cc, Photo Shop C5 and Art Rage programs.

scholarly journals MARGINALISASI GAMELAN BATEL DALAM SENI PERTUNJUKAN WAYANG KULIT DI DESA SIBANGGEDE, KABUPATEN BADUNG

2017 ◽  
Vol 17 (1) ◽  
pp. 8-12
Author(s):  
I Nyoman Surianta
Keyword(s):  
External Factors ◽  
Internal Factors ◽  
Traditional Art ◽  
Reconstruction Effort ◽  
Two Factors ◽  
Revitalization Effort ◽  
Internal And External Factors ◽  
Traditional Arts ◽  
Wayang Kulit ◽  
The Impact

The marginalization of the Gamelan Batel in Sibanggede Village can be observed in the form of the decrease of the traditional art values in the society, the displacement of traditional arts, the seculariza- tion of the traditional art, the narrowing of the traditional art performances, the hegemony of the modern art to that of the traditional one. Second, there are two factors that cause the Gamelan Batel in Sibanggede Village to be marginalized, namely, internal and external factors. The internal factors include lack of talent, lack of public interest, lack of open attitude, lack of funding from the govern- ment. The external factors are economics, technology and information, the function shift of the tradi- tional gamelan. Third, the impact of the marginalization of the Gamelan Batel in Sibanggede Village is in the form of the failure to form regeneration, failure of reconstruction effort, failure of revitalization effort.

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

2019 ◽  
Vol 9 (1) ◽  
pp. 1551-1555
Keyword(s):  
Character Education ◽  
Current State ◽  
Collection Data ◽  
Puppet Show ◽  
Individualistic Culture ◽  
Younger Generation ◽  
Surrounding Areas ◽  
Traditional Arts ◽  
Wayang Kulit ◽  
Story Selection

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.

E-Tutor Perceptions towards the Star Rural Area E-Learning Project

2015 ◽  
Vol 5 (1) ◽  
pp. 20-29 ◽  
Author(s):  
Chiung-Wei Huang ◽  
Eric Zhi Feng Liu
Keyword(s):  
Information Technology ◽  
Service Learning ◽  
Rural Area ◽  
Digital Technology ◽  
Educational Resources ◽  
Teaching Preparation ◽  
E Learning

The authors examine e-tutor perceptions of the star rural area e-learning project, service learning. The study employed 125 volunteer e-tutors twice per week for one semester. A survey found that e-tutors had the most positive perceptions towards teaching preparation. The results showed that only e-tutors from different grades reflected various perceptions of the star rural area e-learning project and no significant differences existed regarding genders, schools, and majors' perceptions. Integrating digital technology into teaching improves e-tutee abilities in information technology and balances the educational resources gap between city and county.

scholarly journals Adaptation of Nusantara Fable Story in a Circus Show

2020 ◽  
Vol 5 (2) ◽  
pp. 49-58
Author(s):  
Greta Ariati Mulyosantoso ◽  
◽  
Chrisdina Wempi ◽  
Keyword(s):  
Performing Arts ◽  
Local Culture ◽  
Emotional Expressions ◽  
Early Age ◽  
Dance Movement ◽  
Folk Tales ◽  
The Arts ◽  
The Times ◽  
Traditional Arts ◽  
Traditional Stories

Along with the times, traditional arts slowly began to fade. So, it is with traditional folk tales. It is important to keep traditional stories known and understood by children. Introducing the arts, especially performing arts, can be done from an early age, carried out by parents, teachers, to certain communities. For children, of course, an easy and interesting way is needed so that they can be enjoyed until a show is over. The concept of the show 'The Fabulous Fable Show; Circus and Theater 'is a concept that was initiated as a form of love for the local culture of the archipelago, collaborated with circus performances as one of the main branches of the performing arts. Circus shows generally feature attractions such as juggling, spinning, acrobatics, or attractions that use animals such as lions, tigers, elephants, and others. To make this show even more interesting, the concept maker included a theatrical element by bringing up the fable story from Indonesia. The fable story was chosen because the characters used were taken from animals and made children interested in the play that was performed. From there, children can recognize emotional expressions, such as joy or sadness that arise from a dance movement or song that is played.

scholarly journals RASINAH: MAESTRO TARI TOPENG INDRAMAYU

2013 ◽  
Vol 5 (3) ◽  
pp. 475
Author(s):  
Lasmiyati .
Keyword(s):  
Historical Method ◽  
Foreign Countries ◽  
Lifetime Achievement ◽  
Shadow Play ◽  
The 1960S ◽  
Traditional Arts ◽  
Wayang Kulit

AbstrakRasinah adalah maestro yang peduli pada kesenian tradisional Topeng Indramayu. Ia lahir dari keluarga seniman, ayahnya seorang dalang wayang kulit dan ibunya seniman ronggeng. Ia penari topeng yang handal. Kiprahnya di dunia topeng dikenal ke mancanegara. Penelitian ini dilakukan untuk mengetahui siapakah Rasinah dan bagaimana kiprahnya sebagai penari topeng di Indramayu. Metode yang digunakan adalah metode sejarah yang meliputi heuristik, kritik, interpretasi, dan historiografi. Dari hasil penelitian yang dilakukan, diperoleh informasi bahwa Rasinah lahir di Pamayahan Lohbener Indramayu tanggal 5 Januari 1929. Ia dalang topeng turunan dari neneknya. Ayahnya merupakan dalang wayang kulit dan dalang topeng, ibunya seniman ronggeng. Ia belajar menari topeng sejak usia tiga tahun. Tahun 1960-an Rasinah mengalami masa kejayaan, namun tahun 1970-an, ia mengalami masa surut seiring penggemar tari topeng beralih ke jenis kesenian organ tunggal dan tarling. Tahun 1994 ia bertemu Endo Suanda, kiprahnya sebagai penari topeng kembali bangkit. Ia dipromosikan tampil di beberapa negara. Sabtu 15 Maret 2008 Rasinah mewariskan Topengnya kepada cucunya, Aerli Rasinah. Tanggal 7 Agustus 2010 Rasinah meninggal dunia. Ia mendapat penghargaan sebagai penari dan pelestari Topeng Indramayu, di antaranya Lifetime Achievement dalam Festival Topeng Nusantara 2010. AbstractRasinah was a maestro who has great concern about Indramayu traditional arts of Tari Topeng or the Mask Dance. She was born into an artist family. Her father was a puppets shadow play master and her mother was a Ronggeng dancer. She is a brilliant Topeng dancer. Her role in Tari Topeng known in foreign countries. This research was conducted to find out who Rasinah is, and what her role in the development of Topeng dance of Indramayu. This research used historical method, which consist of four phases: heuristics, critics, interpretation, and historiography. Rasinah was born in Pamayahan Lohbener Indramayu, January 5, 1929. Her mastery of Topeng dance she inherited from her grandmother. Rasinah has learned dance since 3 years old. The 1960s witnessed the heyday of her performance. However, one decade later her reception declined. People more interested in Tarling and organ tunggal instead of Topeng dance. After Rasinah met Endo Suanda in 1994, her role in Topeng dance started again. She promoted by Endo Suanda to perform in the couple of countries. Rasinah officially bequeath her role in Topeng dance to her granddaughter, Aerli Rasinah on March 15, 2008. On August 7, 2008, Rasinah passed away. She received an award as a dancer and conservationist of Topeng Indramayu in Topeng Festival Nusantara 2010. 

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