Focus on One or More? Cultural Similarities and Differences in How Parents Talk About Social Events to Preschool Children

How parents talk about social events shapes their children’s understanding of the social world and themselves. In this study, we show that parents in a society that more strongly values individualism (the United States) and one that more strongly values collectivism (Japan) differ in how they talk about negative social events, but not positive ones. An animal puppet show presented positive social events (e.g., giving a gift) and negative social events (e.g., knocking over another puppet’s block tower). All shows contained two puppets, an actor and a recipient of the event. We asked parents to talk to their 3- and 4-years old children about these events. A total of 26 parent–child dyads from the United States (M = 41.92 months) and Japan (M = 42.77 months) participated. The principal dependent measure was how much parent talk referred to the actor of each type of social event. There were no cultural differences observed in positive events – both the United States and Japanese parents discussed actors more than recipients. However, there were cultural differences observed in negative events – the United States parents talked mostly about the actor but Japanese parents talked equally about the actor and the recipient of the event. The potential influences of these differences on early cognitive and social development are discussed.

Inovasi dan Pembauran Genre dalam Pertunjukan Keroncong Wayang Gendut

This paper aims to discuss the forms of design and genre-mixing carried out by the Keroncong Wayang Gendut -Congwayndut-group in Surakarta, which tries to offer a state of wayang performance with a more interactive packaging. The universal evolution approach uses the analytical tool in this paper to examine the new elements offered by Congwayndut as a form of innovation in the puppet show. The research method used is qualitative with a descriptive model. The conceptual approach and research methods found that the creation and genre-mixing carried out by Congwayndut were implemented in music, stories, and performance forms. The use of keroncong's music with combos and contemporary bands is the main illustration in the show. They are still based on Ramayana and Mahabharata's epics but actualized in current phenomena in society. Congwayndut's innovative form of performance is packaged in interactive language and builds closeness to the audience. It intended so that the messages and values to be conveyed will be readily accepted and understood by the audience, whose segmentation is the younger generation.

Subversive Children's Literature - a Puppet Play Georgie and the Three Thieves by Alenka Gerlovič in the Context

The article deals with the puppet play by the painter Alenka Gerlovič (1919–2010), entitled Jurček in trije razbojniki (Jurček (George/Georgie) and the Three Thieves). The play premièred at the Partisan Puppet Theater in 1944 and was published in 1950, with pictures from the puppet show. It is an expression of the author‘s ethical attitude towards Fascism and Nazism and the horrors of war. As the analysis shows, Alenka Gerlovič‘s play places her among the world‘s leading youth writers who have commented on the events of the war. Alenka Gerlovič uses Jurček to create an "imaginary screen" that allowed the audience to maintain a distance from the atrocities in the wartime situation and at the same time to be part of the anti-fascist struggle, also as a symbolic weapon and ethical act.

Wayang Gluthek: The Creativity and Innovation of Art Workers in Keeping Traditional Arts

Wayang Gluthek is one of the traditional arts from Malang Regency, East Java. Wayang Gluthek emerged because the conventional puppet show had ups and downs in its development due to advances in science and technology. This research aims to identify the wayang gluthek performance and examine the elements in the show. This type of research is a survey and development research conducted for five years. Research locations are in the Kalipare and Tumpang areas. Methods of data collection using interview methods, participatory observation methods, and methods of documentation. The data that has been obtained is then analyzed descriptively qualitatively. The results showed that Wayang Gluthek was born from various innovations and creative efforts made by art workers and the people’s need for cheap and efficient art without leaving essential points in the tradition of wayang purwa performances. From the Wayang Gluthek performance, we can understand that the intensive interaction between art workers and the community is an ongoing relationship and represents a mutually agreed upon phenomenon.

Portrait of Pesinden Documentary Film: Role of Sinden in Puppet Show

ABSTRAKPotret Posinden merupakan film dokumenter yang berusaha menunjukkan peran dan kedudukan sinden pada pertunjukan wayang kulit. Perubahan yang terjadi pada sinden saat ini membuat pertunjukan wayang kulit menjadi semakin menarik. Hal ini dibuktikan dengan fungsi sinden saat ini, bukan hanya menembang namun menjadi unsur penghibur. Sesekali jadi bahan lelucon pada saat limbukan dan goro-goro. Umumnya, sinden harus tampil dengan dandanan yang tidak biasa, sebab saat ini posisi sinden menghadap ke penonton. Sinden menjadi aspek penting di dalam setiap pertunjukan wayang kulit, dan hal itu tidak bisa dipisahkan. Film dokumenter ini menggunakan gaya expository, yaitu memiliki ciri berbicara langsung kepada penonton melalui on screen. Dokementer ini memanfaatkan penuturan dari narasumber atau subjek utama dalam menyampaikan informasi atau isi pada film.Kata kunci: Film Dokumenter, Sinden, Wayang Kulit. ABSTRACTPortrait of Pesinden is a documentary film that attempts to show Sinden's role and position in shadow puppets performances. The changes that occurred in the current Sinden made shadow puppets performances even more enjoyable. This matter is evidenced by the current function of Sinden singing and being an entertainment element. Occasionally it becomes the material for a joke at the moment when it is “limbukan” and “goro-goro”. The general findings show that the Sinden must appear with unusual make-up because the position of the Sinden is facing the audience. In addition, Sinden is an essential aspect of every shadow puppet show, and it cannot be separated. To sum up, this documentary film uses an expository style characterized by speaking directly to the audience via the on-screen. So, the documentary uses the narrative from the primary source or subject in conveying information or content in the film.Keywords: Documentary Film, Sinden; Shadow Puppets.

Fungsi dan Makna Filosofi Tradisi Ruwatan dalam Ritual Hindu Bali (Persepektif Wayang Kulit Sudhamala dan Sapuhleger)

<p>The ritual of ruwatan in Balinese Hindu society basically removes or cleanses oneself from dirt, which is practiced almost the same in general throughout Bali. In ruwatan using wayang kulit media, there are two types of performing arts which contain the function and meaning of ruwatan, such as; puppet show gedog (weak puppet) and puppet show Peteng. The source of the pangruwatan play presented by the puppeteers refers to the ruwatan standard although in practice it changes according to the situation and conditions of the performance itself. The play taken in the wayang gedog is Sudhamala, while in the shadow puppet show at night it is Sapuhleger. Ruwatan or in Java known as murwakala has a broad meaning not only a literary work and pakeliran but its function and philosophy, it turns out that it refers to the micro and macro essence of humans as being creative, intellect and intention. This research specifically reveals problems regarding; the form of the play, the function and meaning of spiritual philosophy, as well as the role of government in relation to ritual rituals. In revealing this, the researchers used qualitative methods, as well as several theories that complement this research.</p><p> </p><p>Ritual<em> ruwatan</em> pada masyarakat Hindu Bali pada dasarnya membuang atau pembersihan diri dari kotoran, yang pelaksanaannya hampir sama pada umumnya diseluruh Bali. Dalam <em>ruwatan</em> dengan media wayang kulit, ada dua jenis seni pertunjukan yang mengandung fungsi dan makna ruwatan seperti; pertunjukan wayang <em>gedog</em> (wayang lemah) dan pertunjukan wayang <em>Peteng.</em> Sumber lakon <em>pangruwatan</em> yang disajikan oleh para dalang mengacu pada pakem <em>ruwatan</em> walaupun dalam pelaksanaannya berubah menurut situasi dan kondisi pertunjukan itu sendiri. Lakon yang diambil dalam wayang <em>gedog</em> adalah <em>Sudhamala</em> sedangkan, dalam pertunjukan wayang kulit pada malam hari adalah <em>Sapuhleger</em>. <em>Ruwatan</em> atau di Jawa dikenal dengan <em>murwakala </em>mempunyai makna yang luas tidak hanya sebuah karya sastra dan pakeliran akan tetapi fungsi dan filosofinya, ternyata mengacu pada esensi mikro dan makro manusia sebagai insan yang berdaya <em>cipta, budi </em>dan <em>karsa</em>. Penelitian ini khusus mengungkap permasalahan tentang; bentuk lakon, fungsi dan makna filosopi ruatan, serta peranan pemerintah terkait ritual ruatan. Dalam mengungkap hal tersebut peneliti memakai metode kualitatif, serta beberapa teori-teori yang melengkapi penelitian ini.</p>

Entertainment outreach projects without losing scientific content: A Neolithic puppet show by senior citizens and Roma women

In this work, we present the genesis, development, and results of a set of inclusive outreach activities developed through a puppet theatre play about the Neolithic. We present our methodology and techniques for outreach activities, showing the advantages of collaborative work and bottom-up approaches. The text also explains how the initiative was born and how the contacts for its realization consolidated. All the activities were carried out with the utmost care for the scientific content since it is essential that the public comes to understand all the archaeological information and differentiates it from the entertaining and dramatic elements.

Menelusuri Nilai Budaya Yang Terkandung Dalam Pertunjukan Tradisional Wayang

Abstrak Wayang adalah salah satu jenis kebudayaan Indonesia yang sampai saat ini masih eksis karena didalamnya mengandung nilai-nilai positif dan memberikan tambahan wawasan pada setiap pertunjukan dari tokoh yang diperankannya, meskipun dalam rentang waktu dan perkembangan, Masih kurang minat masyarakat utamanya genarasi mudah mempelajari dan menghayati, mendalami seni wayang untuk dipertunjukan ke masyarakat, bahkan seni budaya pertunjukan tradisional wayang ini secara dinamis berkembang mengikuti kemajuan zaman dengan berbagai variasi pertunjukan . Tujuan penelitian untuk mengetahui nilai-nilai apa saja yang terkandung dalam setiap cerita pertunjukkan tradisional wayang. Metode penelitian menggunakan analisis kualitatif dengan pendekatan etnografi. Teknik pengumpulan data dengan wawancara, studi pustaka, pengamatan langsung dan dokumentasi berupa data informan atau nara sumber yaitu Ki Hadi Sutoyo. Hasil penelitian menemukan terdapat nilai-nilai budaya yang terkandung dalam pertunjukkan tradisional wayang yaitu Nilai Religius, Nilai Pendidikan, Nilai Kebangsaan dan Nilai Kepemimpinan. Kata Kunci : Nilai Budaya, Wayang, Pertunjukan Explore Cultural Values Contained In Wayang Traditional Show Abstract Puppet is one of the Indonesian culture which still exists up to present because it reflects positive values and gives additional knowledge from the characters in its stage performances. From time to time, puppet traditional stage art dynamically changes depending on the actual contexts follows within. There is still a lack of interest from the community, especially the generation that is easy to learn and appreciate, deepening the art of wayang to be show to the public, even this traditional cultural art of wayang performance is dynamically developing following the times with various variation of performances. The data collection techniques are by interviews, literature reviews, direct observation, and documentations data the main source Ki Hadi Sutoyo. Result of the research finds out that the cultural values in the puppet traditional arts are religious value, education value, national value, and leadership value. Keywords: Cultural Values, Puppet, Show

Galong dan Pathet Manyura dalam Pedalangan Ngayogyakarta: sebuah Perbandingan “Rasa”

Galong is a unique and interesting phenomenon in the world of paddling. His capacity as a pathet is still a debate today. Some groups say that Galong is its own pathet, while others say Galong is part of the Manyura pathet. The debate arose because his presence in the puppet show was in Manyura's pathet, but he had a distinctive and relatively prominent five tone. As a result, Galong has a different musical feel to Manyura's pathet. On the other hand, tone five is the dominant tone in sanga pathet and becomes a abstinence in Pathet Manyura. Based on the pathet philosophy, I assume that the pathet in pedalangan and karawitan is only divided from three, namely Nem, Sanga, and Manyura. Therefore Galong capacity needs to be reviewed in relation to puppet shows. To that, the question is: 1) how does Playon Galong "rasa"? 2) What is the function of galong in ngayogyakarta pakeliran tradition?Analysis using martapangrawit's "padhang-ulihan" perspective and functionalism came to the conclusion that Galong belonged to the Manyura pathet. Five tones as thin tones are presented as "pancer" or padhang to give reinforcement to ulihan tones. Thus, the taste is more sereng than the taste produced by Playon Manyura which has padhang-ulihan tone is just as strong. Or in other words, that Galong's function is as a transition to the climax or manyura sampak in a puppet show.