THOLPAVAKOOTHU:A STUDY ON THE PERFORMING ART OF SHADOW PUPPETRY IN KERALA

Tholpavakoothu is a form of shadow puppetry which is the ancient art form found only in Kerala and it is a ritualistic worship for Goddess Devi. The main theme of tholpavakoothu is based on Kamba Ramayan and puppets which are chiseled out beautifully on the animal skin are used for the puppetry. Unlike other puppetry, it is the black shadow of puppets that forms on the white screen in the presence of oil lamps that portrays the tale of Ramayana. The study is for the deeper understanding of the origin, style, forms, and themes of tholpavakoothu and also to find out the different influences of applied puppetry in tholpvakoothu. This study uses a qualitative approach using interviews with the artists and performances. It has given a deeper understanding of the uniqueness of tholpavakoothu compared to other puppetry forms. This form basically emphasizes the concepts of mythology and how the form has taken a transition to contemporary issues to cater to all types of audiences.

In the Beginning There Were Dragon(cillo)s: Using Shadow Puppetry to Engage Young Audiences

Dragoncillo Puppet Troupe was established in 2018 by Esther Fernández, Jonathan Wade, Jared White, and Jason Yancey. The troupe grew out of a staging of The Fabulous Johnny Frog at the 2018 Association for Hispanic and Classical Theater’s (AHCT) yearly symposium. This work, adapted by Yancey, focuses on the controversial Juan Rana protagonist and was designed as an outreach initiative to bring early modern Spanish theater to schools using shadow puppetry. In 2019, Yancey created a new performance based on two entremeses written by Francisco de Quevedo, Siglo de Oro Drama Festival and their community partners This essay illustrates how the Dragoncillo Puppet Troupe was conceived and developed over the span of two years with the goal of introducing early modern Hispanic literature and culture to diverse audiences across the United States while at the same time reaffirming that played a significant role in the cultural, social, and religious life of sixteenth- and seventeenth-century Spain.

Kepekaan Filologis untuk Pengkajian Budaya

The author argues for the importance of a scholarly attitude and competence he terms philological sensitivity. Philology is usually associated with the study of manuscripts, where it is a sophisticated approach for making sense of texts. It entails a specific focus and mode of understanding. But the significance and utility of philology are not restricted to texts or manuscripts. Its scope is wider. Its approach is grounded in a cultural tendency that lives in society, namely the tendency to experience and try to understand five aspects of a cultural process or object: its artefactuality, apprehensibility, compositionality, contextuality, and historicity. If cultivated to meet the requirements of academic scholarship, this philological sensibility may form a perspective for understanding other kinds of artefacts too – especially if selectively enriched with elements from philological traditions worldwide. The author discusses examples from his own research: a manuscript with the narrative of Amir Hamza in Javanese, religious sermons in Osing on Youtube, and oral critique regarding shadow puppetry. --- Penulis mengemukakan pentingnya sebuah sikap dan keterampilan ilmiah yang disebutnya kepekaan filologis. Filologi lazim dihubungkan dengan studi naskah tulisan tangan, di mana filologi merupakan pendekatan canggih untuk mengapresiasi teks. Pendekatan tersebut membawa fokus dan cara pemahaman yang khas. Tetapi makna dan guna filologi tidak terbatas pada teks, apalagi naskah. Jangkauannya lebih luas. Pendekatan yang telah dikembangkan dalam rangka filologi teks itu berdasarkan kecenderungan kultural yang hidup di masyarakat, yaitu kecenderungan untuk menghayati dan memahami lima aspek dari sebuah proses atau benda budaya: keterbuatan, ketercerapan, ketersusunan, kontekstualitas dan kesejarahannya. Jika dipupuk sehingga memenuhi syarat ilmu pengetahuan, sensibilitas filologis tersebut bisa menjadi wawasan yang andal untuk pemahaman artefak budaya lain pula – apalagi kalau wawasan tersebut diperkaya dengan menyerap unsur-unsur terpilih dari tradisi filologi seantero dunia. Penulis mengutip contoh dari penelitiannya sendiri: naskah berisi ceritera Amir Hamzah berbahasa Jawa, ceramah agama Islam berbahasa Osing di Youtube, dan kritik lisan atas pertunjukan wayang.

Menanamkan Pendidikan Karakter Melalui Media Augmented Reality Animasi Dua Dimensi Lakon Dewa Ruci kepada Remaja

Implanting Character Education Values through the Augmented Reality of Two-Dimensional Animation of Dewa Ruci to Teenagers. Teenagers are the next generation for the nation and country. However, teenagers tend to have bad behaviors and act out of control that can threat the nation and the country, such as being involved in a fight, violence, drug abuse, alcohol addict, and even free sex. It is very important to instill the values of character education to the teenagers such as honesty, mutual respect, courtesy, and perseverance. Character education is often related to culture with regards to the mind and common senses. This is because human's life cannot be separated from culture and the traditions. One of the cultural things is wayang (shadow puppetry). Shadow puppetry is a symbol of human beings and the shadow of their humanity. Lakon Dewa Ruci (Dewa Ruci play) tells a story of a student who is obedient to his teacher. As implied in the story, a student is supposed to be obedient to his teacher, while the teacher must be discipline yet patient in dealing with the students. A teacher with his responsibility in education is demanded to enhance his quality and his expertise. In the effort to educate the life of a nation, the role of technology is needed in order to make the teenagers have a broader knowledge as well as to have an interest and a passion to keep learning. Nowadays animated videos are often preferred by the teenagers in general, not to mention in the field of education. Animation has become media or instruments to deliver the most updated information. Evaluation conducted in this research had used a questioner and the result showed 98% for the media quality from the material aspects and for the post test obtained 63%. Therefore, the results could define whether this product of animation is eligible, or in other words, no revision is needed. ABSTRAK Remaja merupakan generasi penerus bagi bangsa dan negara. Namun, remaja juga berpotensi mempunyai perilaku buruk dan di luar kendali yang dapat mengancam bangsa dan negara, seperti perkelahian, kekerasan, penyalahgunaan narkoba, minuman keras, dan seks bebas. Sangat penting untuk menanamkan nilai-nilai pendidikan karakter kepada remaja seperti kejujuran, saling menghormati, sopan santun, dan pantang menyerah. Pendidikan karakter sering dikaitkan dengan kebudayaan yang berhubungan dengan budi dan akal manusia. Hidup manusia tidak lepas dari kebudayaan dan adat istiadat. Salah satu contoh kebudayaan adalah wayang. Wayang merupakan simbol manusia dan bayangan dari kemanusiaan itu sendiri. Lakon Dewa Ruci bercerita tentang murid yang patuh kepada gurunya. Sebagai murid hendaknya menghormati gurunya, sedangkan guru hendaknya tegas dan sabar dalam menghadapi muridnya. Guru dalam dunia pendidikan dituntut untuk meningkatkan kualitas dan mutunya. Dalam upaya mencerdaskan kehidupan bangsa, peranan teknologi sangat diperlukan supaya remaja memiliki wawasan yang luas serta dapat memiliki minat dan ketertarikan untuk terus tetap belajar. Saat ini video animasi seringkali digemari oleh remaja umumnya apalagi dalam dunia pendidikan. Animasi digunakan sebagai media atau alat untuk menyampaikan informasi yang lebih terkini. Evaluasi yang dilakukan dalam animasi ini menggunakan angket dan diperoleh hasil uji kualitas media aspek materi mendapatkan hasil 98% dan pada post test mendapatkan hasil 63%. Dari data angket tersebut dapat dikatakan produk ini layak dan tidak perlu direvisi.

AKULTURASI NILAI-NILAI PENDIDIKAN ISLAM MULTIKULTURAL DALAM BUDAYA WAYANG TOPENG MALANGAN

Dalang memiliki peran sentral sebagai penguasa, sutradara dan penutur cerita dalam pagelaran wayang topeng malangan. Dalang sebagai pelestari akulturasi nilai, nilai-nilai pendidikan Islam multikultural dalam budaya yang diekspresikan pada pementasan wayang topeng malangan. Akulturasi nilai-nilai pendidikan Islam multikultural dalam ritual wayang topeng malangan berupa nilai religi (nilai kedamaian, humanis) dan budaya (nilai pribadi, kekeluargaan). Model akulturasi nilai dalam tuturan bahasa dalang secara dekulturasi, bangunan model akulturasi dibangun dengan cara rekonstruksi, model akulturasi nilai dalam ritual secara sinkretisme, bangunan model akulturasi dibangun dengan cara rekonstruksi.Kata kunci: akulturasi nilai, pendidikan Islam multikultural, wayang topeng malangan. The mastermind has a central role as the ruler, director and storyteller in the shadow puppet show performance. The mastermind as the preserver of acculturation in values, the values of multicultural Islamic education in culture are expressed in the performance of wayang topeng malangan. There is an acculturation in the values of multicultural Islamic education in wayang topeng malangan rituals in the form of religious values (peace, humanism) and culture (personal values, family values). Acculturation model values in puppeter language speech in deculturation, building acculturation model was built by means of reconstruction, acculturation value models in rituals in syncretism, building acculturation models built by reconstruction.Keywords: acculturation of values, multicultural Islamic education, shadow puppetry of malangan.