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Digital Puppetry of Wayang Kulit Kelantan: a Study of Its Visual Aesthetics

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Digital Puppetry of Wayang Kulit Kelantan: a Study of Its Visual Aesthetics DIGITAL PUPPETRY OF WAYANG KULIT KELANTAN: A STUDY OF ITS VISUAL AESTHETICS KHOR KHENG KIA THESIS SUBMITTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR 2014 ABSTRACT Wayang kulit Kelantan, a form of traditional shadow puppet theatre in Malaysia, is threatened with imminent extinction yet no significant attempts were made to preserve this cultural heritage. It is clear that with the current situation in Malaysia and the level of official support, wayang kulit Kelantan is unlikely to last long. Several researchers have suggested that traditional wayang kulit Kelantan to be digitalised into digital media so that it could be watched on the media screen in order to provide greater accessibility and flexibility. The digital puppetry of traditional wayang kulit Kelantan is very helpful in promoting this art form and also indirectly by preserving it via alternative media. This study aims to examine the possibilities and probe potentials of using Computer Graphics (CG) and modern technology to preserve the visual aesthetics of traditional wayang kulit Kelantan. The coverage of the study consists of three major aspects, namely: (i) the visual aesthetics of traditional wayang kulit Kelantan, (ii) Computer Graphics (CG)/ motion capture and (iii) digital puppetry. This study provides in-depth information and explanations on two major aspects. The first aspect is the identification and description of the facets of the visual aesthetics of traditional wayang kulit Kelantan; emphasizing its principal puppet designs and shadow images. The second aspect is the use of modern technology and CG to capture these facets into digital media. Three computer experiments have been carried out in this study. Both key-frame animation techniques and motion capture facilities have been employed in these experiments. This study serves as a contribution to preserve and revitalize traditional wayang kulit Kelantan through the use of digital technology and modern media. It presents and i provides solutions on issues that have to be addressed in the production of digital puppetry of traditional wayang kulit Kelantan. ii ABSTRAK (BAHASA MALAYSIA VERSION OF THE ABSTRACT) Wayang kulit Kelantan merupakan sejenis wayang kulit tradisional di Malaysia yang kian pupus, namun buat masa terdekat, tiada usaha yang ketara yang diambil untuk memelihara warisan budaya ini. Memandangkan situasi keadaan semasa dan sokongan pihak-pihak tertentu yang diberikan di Malaysia, adalah nyata bahawa wayang kulit Kelantan mengalami kesukaran untuk terus kekal. Beberapa orang penyelidik telah mencadangkan agar wayang kulit Kelantan tradisional didigitasikan ke dalam media digital supaya kesinambungan warisan ini dapat ditonton dalam skrin media demi memberi lebih kemudahan dan fleksibiliti. Wayang kulit Kelantan digital sememangnya membantu dalam usaha mempromosikan bentuk kesenian ini dan secara tidak langsung dapat memelihara dan memantapkannya dalam bentuk media alternatif. Kajian ini bertujuan untuk menyelidik tentang kemungkinan dan potensi penggunaan Komputer Grafik (Computer Graphics, CG) serta teknologi moden dalam memelihara estetika visual wayang kulit Kelantan tradisional. Kajian ini meliputi tiga aspek utama iaitu : (i) Estetika visual wayang kulit Kelantan tradisional, (ii) Komputer Grafik dan motion capture (tangkapan gerakan) , (iii) wayang kulit digital. Kajian ini juga memberi maklumat terperinci dan penjelasan dalam dua aspek utama. Pertamanya, pengenalan kepada dan penerangan lanjut mengenai estetika visual tradisional wayang kulit Kelantan. Penegasan turut diberi kepada reka bentuk dan bayangan imej boneka utama. Keduanya pula meliputi penggunaan teknologi moden dan Komputer Grafik untuk menangkap pelbagai aspek dalam estetika visual wayang kulit Kelantan tradisional untuk dimuatkan ke dalam media digital. Tiga eksperimen komputer telah dijalankan dalam kajian ini. Dua teknik animasi yang dipanggil key- frame dan fasiliti motion capture (tangkapan gerakan) telah digunakan dalam eksperimen ini. iii Kajian ini bertujuan untuk menyumbang ke arah pemeliharaan dan penggiatan wayang kulit Kelantan tradisional melalui penggunaan teknologi digital dan media moden. Kajian ini juga membentangkan lnagkah-langkah penyelesaian kepada isu-isu yang perlu ditangani dalam usaha penghasilan digital wayang kulit Kelantan tradisional. iv ACKNOWLEDGEMENTS I am grateful to my beloved Holy Trinity and Rev. Joshua Jung. Where it is impossible for man, it is possible with Them. The birth of this thesis would have never been possible without the support of many people. First, I would like to express my heartfelt gratitude and special thanks to Dato’ Professor Dr. Ghulam-Sarwar Yousof, my supervisor of this study for his unrelenting support and professional guidance. I would also like to thank Emily Wong and Emma Ng, my wife and mother-in-law, who gave me full support through this journey with their unconditional love and prayers. Last, I thank all the wayang kulit practitioners who shared with me their profound knowledge during interviews: Mr. Che Mohd. Nasir Yussof (Pak Nasir), Pak Majid of Wayang Kulit Seri Asun, Pak Soh of Wayang Kulit Seri Cahaya Kelantan, Pak Dain of Wayang Kulit Melayu Traditional Kelantan and Mr. Mohd. Kamrulbahri Hussin (Kamrul). Thanks also to Professor John A. Lent and Mdm. Duratul Ain Dorothy for providing valuable resources which have been used in the preparation of this thesis. v TABLE OF CONTENTS ABSTRACT i ABSTRAK (BAHASA MALAYSIA VERSION OF THE ABSTRACT) iii ACKNOWLEDGEMENT v LIST OF TABLES x LIST OF FIGURES xi CHAPTER ONE 1 1.1 OVERVIEW ................................................................................................................... 1 1.2 PURPOSE OF THE RESEARCH .................................................................................. 7 1.3 SIGNIFICANCE OF THE RESEARCH ........................................................................ 7 1.4 STATEMENT OF PROBLEM ...................................................................................... 7 1.5 RESEARCH QUESTIONS ............................................................................................ 8 1.6 LIMITATION OF THE RESEARCH ............................................................................ 9 1.7 METHODOLOGY OF THE RESEARCH .................................................................. 10 1.8 CONCEPTUAL FRAMEWORK AND RESEARCH DESIGN .................................. 13 1.9 DEFINITION OF TERMS ........................................................................................... 14 1.10 ORGANISATION OF DISSERTATION .................................................................... 16 CHAPTER TWO 19 2.1 OVERVIEW ................................................................................................................. 19 2.2 SHADOW PUPPET THEATRE OF SOUTHEAST ASIA ......................................... 19 2.3 MALAYSIAN SHADOW PUPPET THEATRE ......................................................... 22 2.4 THE ORIGIN AND HISTORICAL BACKGROUND OF WAYANG KULIT KELANTAN ................................................................................................................ 28 2.5 THE REPERTOIRE OF WAYANG KULIT KELANTAN ........................................ 30 2.6 THE THEATRE SETTING OF WAYANG KULIT KELANTAN ............................. 32 2.7 THE PUPPETS OF WAYANG KULIT KELANTAN ................................................ 38 2.8 THE PERFORMANCE STANDARD OF WAYANG KULIT KELANTAN ............ 41 2.9 THE SITUATION OF WAYANG KULIT KELANTAN IN MALAYSIA ................ 46 2.10 THE NEW FORMS OF WAYANG KULIT IN MALAYSIA .................................... 49 2.11 THE CONTEXT OF WAYANG KULIT KELANTAN IN OTHER MEDIA ............ 54 2.12 SUMMARY ................................................................................................................. 64 vi CHAPTER THREE 66 3.1 OVERVIEW ................................................................................................................. 66 3.2 THE VISUAL AESTHETICS OF TRADITIONAL WAYANG KULIT KELANTAN ................................................................................................................ 67 3.3 THE PUPPET CRAFTSMANSHIP OF TRADITIONAL WAYANG KULIT KELANTAN ................................................................................................................ 69 3.4 THE PUPPET DESIGN OF TRADITIONAL WAYANG KULIT KELANTAN ...... 72 3.4.1 SCENIC PUPPET 76 3.4.2 REFINED ROYAL MALE 80 3.4.3 COARSE ROYAL MALE 85 3.4.4 REFINED ROYAL FEMALE 88 3.4.5 COARSE ROYAL FEMALE 89 3.4.6 HANUMAN KERA PUTIH AND HIS LINEAGE 91 3.4.7 COARSE OFFICERS/ MINISTERS 99 3.4.8 REFINED OFFICERS/ MINISTERS 100 3.4.9 HEAVENLY BEINGS FROM UPPER-WORLD 105 3.4.10 HUMAN-ANIMAL HYBRID CREATURES 106 3.4.11 HERMIT 108 3.4.12 THE DEMIGODS OF BOWS 110 3.4.13 CLOWNS 112 3.4.14 OGRES 116 3.4.15 ANIMAL, BIRD AND SEA CREATURES 116 3.5 THE SHADOW IMAGES OF WAYANG KULIT KELANTAN ............................. 118 3.6 SUMMARY ............................................................................................................... 122 CHAPTER FOUR 124 4.1 OVERVIEW ............................................................................................................... 124 4.2 DIGITAL PUPPETRY ............................................................................................... 124 4.3 PUPPETRY IN DIGITAL MEDIA ...........................................................................
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