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Author: Clara Van Groenendael
Publisher: BRILL
ISBN: 9004658270
Category : History
Languages : en
Pages : 229
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Book Description
Author: Clara Van Groenendael
Publisher: BRILL
ISBN: 9004658270
Category : History
Languages : en
Pages : 229
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Book Description
Author: R.M. Soedarsono
Publisher: UGM PRESS
ISBN: 979420174X
Category : Performing Arts
Languages : en
Pages : 483
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Book Description
Preface I have been teaching the history of performing arts and Javanese dance, Yogyakarta style, for twenty years, and there have always been two features of this history that made me think and rethink: (1) wayang wong was never performed outside the palace’s walls until the first quarter of the twentieth century, becase it was considered a pusaka (sacred heiloom): and (2) wayang wong performances were always put on the Tratag Bangsal Kĕncana stage and started at dawn. Numerous ex-wayang wong dancers of the Yogyakarta court gave me the same answers to my questions about hese facts. They said that: (1) wayang wong was a pusaka because it was created by Sultan Hamĕngkubuwana I; and (2) wayang wong performances we put on stage at the dawn of the day because it was karsa-Dalĕm, the Sultan’s will. In my opinion, there must be something particularly significant behind the creation of wayang wong, because the Surakarta court never performed this dance genre, and I realized that to obtain satisfactory answers to these questions I would have to do extensive research on this subject. In August, 1977, when I participated in the World Music Congress at Berkeley, I met Professor Judith Becker. On onve occasion I taled with her concerning the possibility of my pursuin a Ph.D. degree at the University of Michigan with a dissertation topic, “Wayang Wong”. She responded wholeheartedly and, without any delay, made a long distance call to her husband, Professor Alton L. Becker. Both of them became my teachers, advisors and co-chairmen. After my return from Berkeley I started to do research on some aspects of wayang wong. In 1980 I began my course work in Southeast Asian Studies at the University of Michigan emphasizing three areas of study: (1) Southeast Asian Performance Traditions; (2) Southeast Asian History; and (3) Southeast Asian Literature. With the assistance of the Asian Cultural Council I continued my research at the Asia Society and the Library of Performing Arts in New York. There I scrutinized wayang wong films, especially the one of the lakon Mintaraga made by Mr. Tassilo Adam in 1926. Although the film is very choppy, it gave me priceless information about he magnificent production and also about the large audience of kawula-Dalĕm, the Sultan’s subjects. Who witnessed the perfor-mance. With the assistance of the Asian Cultural Council, the Ford Foundation and the University of Michigan I returned to Java during the summer of 1981 to continue by research at the Yogya-karta court libraries. The Sanabudaya Museum, and to interview numerous ex-wayang wong dancers. From these activities the first evidence for my hypothesis emerged, i.e., that wayang wong was a state ritual and not just a mere entertainment in the Yogyakarta court. By reading numerous wayang wong texts –Sĕrat Kandha and Sĕrat Pocapan, all in Javanese handwriting--, manuscripts about he Yogyakarta’s pusakas, and by analysing the conception of kingship of Mataram, I obtainded enough data to confirm my hypothesis further. It became apparent to me that wayang wong was created by Sultan Hamĕngkubuwana I in the late 1970’s as a revival of the Old javanese wayang wang. Photographs play a significant role in this work, since visual information about this dance drama gives us a clear image of numerous scenes. With the exception of figures nos. 1317, 69 and 84 all the photographs and pictures are from my own collection and drawing. Photographs are, nevertheless, motionless shots of dance movement and, therefore, cannot distinguish the movements of one character from another. Hence I have felt it necessary to put the basic movements of the twenty-one wayang wong types of character in Labanotation.
Author: H.I.R. Hinzler
Publisher: BRILL
ISBN: 9004287213
Category : Art
Languages : en
Pages : 404
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Book Description
The aim of the author's research was to study 1) the thematic elements and the composition of the plays (lelampahan wayang), and 2) their religious and cultural background. She concentrates on one particular play: the story of Bima Swarga. The study is based mainly on fieldwork carried out in Bali over the period 1972- 1976, when materials were collected from oral and written sources.
Author: Nicholas Gray
Publisher: Routledge
ISBN: 1351928309
Category : Music
Languages : en
Pages : 263
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Book Description
This book is an examination of the music of the Balinese gendér wayang, the quartet of metallophones - gendér - that accompanies the Balinese shadow puppet play - wayang kulit. The book focuses on processes of musical variation, the main means of creating new music in this genre, and the implications of these processes for the social and historical study of Balinese music, musical aesthetics, concepts of creativity and compositional methods. Dr Nick Gray tackles a number of core ethnomusicological concerns in a new way, including the relationship between composition and improvisation, and also highlights issues specific to Balinese music, including the importance of flexibility in performance, an aspect that has been largely ignored by scholars. Gray thus breaks new ground both in the study of issues relating to improvisation and composition and in Balinese music studies.
Author: Bapak I Wayan Loceng
Publisher: A-R Editions, Inc.
ISBN: 0895798123
Category : Music
Languages : en
Pages : 185
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Book Description
This critical edition is at once a memorial to Bapak I Wayan Loceng following his passing in October, 2006, and a tribute to his great musical genius. This edition documents nine compositions from the esteemed Balinese gender wayang or shadow play repertoire. The music documented derives from the musical mastery of Bapak I Wayan Loceng (1926–2006), arguably the most renowned gender wayang expert in Bali, who lived in the village of Sukawati. This edition places the music within a historical, cultural, and biographical context and introduces a broad theoretical framework that contains a new definition for the discipline of ethnomusicology, and substantial discussion of the genres of musical biography, musical ethnography, and ethnomusicology of the individual. This edition will introduce the reader to pertinent scholarly perspectives, offer biographical information pertaining to Bapak I Wayan Loceng, delineate the cultural concepts and contexts for performance and background of the shadow play tradition in Bali, and clarify key aspects of the music itself.
Author: Gea O.F Parikesit
Publisher: UGM PRESS
ISBN: 6023862675
Category : Art
Languages : en
Pages : 179
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Book Description
This book is divided into three main parts and an epilogue. The first part of the book provides a context for the readers to understand the underlying background of our work. Chapter 1 gives a brief overview about wayang kulit, whereas second chapter introduces the field of digital humanities that has particularly touched the art of wayang kulit. The second part of the book is focused on the engineering design in wayang kulit, particularly related to the methods we developed to display 3D shadow images. The third chapter qualitatively explains the phenomenon of colour-based stereoscopic shadows, which form the basis of 3D shadow images. In the fourth chapter we start to describe quantitatively the optical methods to synthesize the 3D shadow images. In the fifth chapter, we share our experiences from two art exhibitions, i.e. the Jogja ArtWeeks in 2015 and the 'Wayang and New Technology' in Tembi Rumah Budaya in 2016. The sixth chapter explores the quantitative methods to digitally synthesize the 3D shadow images, which opens up new possibilities in art performances, where dhalangs can combine real and virtual 3D shadow images. The third part of the book is focused on the engineering analysis in wayang kulit. In the seventh chapter, we start with the analysis of the puppet shapes. Afterwards, in the eighth chapter we use the 3D shadow images described in Chapters 3–6 to quantitatively measure the pose of the puppets. The same method can also be extended to analyse the puppet movements, which is explained in the ninth chapter. This quantitative analysis of the puppet movements is a continuation of the research pioneered by Prof. Roger A. Long in 1979, on the puppet movements in the Ngayogyakarta wayang kulit. Meanwhile, in the tenth chapter, we analyse the audiovisual patterns in wayang kulit performances. These patterns may become relevant, not only for engineers who are interested in developing interactive artworks, but also for scholars in the field of digital humanities who are interested to investigate the change of wayang kulit performances over space and time. [UGM Press, UGM, Gadjah Mada University Press]
Author: Antonius Herujiyanto
Publisher: Sanata Dharma University Press
ISBN: 6026369074
Category : Biography & Autobiography
Languages : en
Pages : 207
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Book Description
This (research) book highlights the unavoidable conversation engaging readers about the meaning and significance of Indonesian plays from the flights of Wayang and Brechtian strategy. The goal is, thus, to provide those willing to understand Indonesian plays with the necessary steps to go through. Not only are they invited to pay a visit to (world) literature, but they are also to deal with cultural studies, the dramatictext, and a critical vocabulary common to play analysis. Offering a response to such a compact goal, there are important things that need pointing out, namely, the elaboration of Wayang strategy and its application. This also suggests highlighting Brechtian strategy, the world of literature, Indonesian literature, Bahasa Indonesia (Indonesian language) and its roles within the national political affairs. This book is, thus, organized to discuss methods of play analysis which primarily means to find the meaning of the very plays, in this case the work of Arifin C. Noer.
Author:
Publisher: GRIN Verlag
ISBN: 3346725898
Category : Performing Arts
Languages : en
Pages : 38
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Book Description
Pre-University Paper from the year 2013 in the subject Theater Studies, Dance, grade: 1,3, , language: English, abstract: At first sight it seems obvious that movements and shapes are important for characterizing the personality of a Wayang Kulit puppet in shadow theatre, in the further development of the essay it turned out to an even more complex and detailed arrangement. There is a deeper meaning behind the performance, created in specified details in the movements and shapes of Arjuna. So, in what way do the shadow puppets` shapes and movements support the characterization of the Wayang Kulit character “Arjuna” in the play “Lakon Makutha Rama - The perang”? The essay shows in which way it is possible to understand the characters of Wayang Kulit figures from an Indonesian view. Indonesians learn about the traditional meanings of the puppets’ features from the beginning of their childhood on people in the western world, however, often do not even notice the small details and what they mean, such as the shape of the puppets’ eyes and the extraordinary hairstyle. Arjuna’s features regarding his outward appearance as well as his behavior represent perfection. In order to reflect on his specific abilities, attitudes as a fighter and royal figure, it is sensible to take a closer look at the play “Lakon Makutha Rama - The perang”. In the further development, it turned out to make most sense to analyze a battle scene in which Arjuna focuses on his enemy and where the precision of his movements play an essential role for the understanding of the personality of the characters on the one side and the meaning of the entire play on the other side. Thereby, Arjuna’s refined strategy becomes evident and a lot of movements are needed to finally win the fight, which highlight his characteristics as well as the shapes of his shadow.
Author: Beth Osnes
Publisher: McFarland
ISBN: 0786457929
Category : Performing Arts
Languages : en
Pages : 205
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Book Description
This comprehensive book explores the Malaysian form of shadow puppet theatre, highlighting its unique nature within the context of Southeast Asian and Asian shadow puppet theatre traditions. Intended for a Western audience not familiar with Asian performance and practices, the text serves as a bridge to this highly imaginative form. An in-depth examination of the Malaysian puppet tradition is provided, as well as performance scripts, designs for puppet characters, instructions for creating a shadow screen, and easy directions for performance. Another section then considers the practical, pedagogical, and ethical issues that arise in the teaching of this art.
Author: Jan Mrázek
Publisher: National University of Singapore Press
ISBN:
Category : Crafts & Hobbies
Languages : en
Pages : 372
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Book Description
Much has been said about how Javanese puppet theatre, Wayang Kulit, richly reflects the Javanese world, and how changes and tensions in performance practice mirror those in culture and society. 0For decades, television has been as intensely part of the Javanese world as Wayang. This book explores the ways two complex media and modes of being, seeing and fantasising, with their different cultures, coexist and meet, and haunt or invade each other. It is what what a Javanese commentator calls a 'difficult marriage' - intimate on the one hand, deeply alienating on the other, institutionalised yet at the same time mercurial and shifting.0This encounter is explored on many levels including performance aesthetics, the technicalities of television production, issues of time, space, light, place, and movement, audience experience of live and televised performances, and the collaboration and struggle between performers and television producers. Central to the book are personal perspectives and experiences, as well as Javanese discussions surrounding the interaction between Wayang and television and their cultures.0They are brought into a conversation with reflections on media and technology by writers such as Karl Marx, Martin Heidegger, Maurice Merleau-Ponty, Jacques Derrida, Paul Virilio, and James Siegel. Wayang's relationship with television is considered in the context of the theatre's intercourse with older and newer media, including electricity, radio, audio- and video-recording, the internet and social media.
