DOCSLIB.ORG

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

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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 ...........................................................................
Recommended publications
  • Proceedings of the International Symposium on Glocal Perspectives on Intangible Cultural Heritage: Local Communities, Researchers, States and UNESCO

    Proceedings of the International Symposium on Glocal Perspectives on Intangible Cultural Heritage: Local Communities, Researchers, States and UNESCO

    Proceedings of the International Symposium on Glocal Perspectives on Intangible Cultural Heritage: Local Communities, Researchers, States and UNESCO 7 -9 July 2017 Tokyo, Japan Center for Glocal Studies (CGS), Seijo University and International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) Proceedings of the International Symposium on Glocal Perspectives on Intangible Cultural Heritage: Local Communities, Researchers, States and UNESCO 7 -9 July 2017 Tokyo, Japan Center for Glocal Studies (CGS), Seijo University and International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) Published by Center for Glocal Studies, Seijo University (CGS) Seijo 6-1-20, Setagaya-ku, Tokyo 157-8511, Japan E-mail: [email protected] website: http://www.seijo.ac.jp/research/glocal-center/ and International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) c/o Sakai City Museum, 2 Cho Mozusekiun-cho, Sakai-ku, Sakai City, Osaka 590-0802 Japan E-mail: [email protected] website: http://www.irci.jp © Center for Glocal Studies, Seijo University (CGS) © International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) Published on 30 November, 2017 Contents Foreword Wataru IWAMOTO and Tomiyuki UESUGI ………………………………………………………ⅳ Welcome Remarks Junichi TOBE …………………………………………………………………………………… 3 Opening Remarks 1.Tomiyuki UESUGI ……………………………………………………………………………… 4 2 .Wataru IWAMOTO………………………………………………………………………………… 6 3.Tim CURTIS ………………………………………………………………………………………
  • 1 SUMMARY the Shibori, Batik and Ikat Techniques Are Known As Resist

    1 SUMMARY the Shibori, Batik and Ikat Techniques Are Known As Resist

    SIMBOL ŞI TEHNICĂ ARHAICĂ-RAPEL ÎN CREAłIA CONTEMPORANĂ BITAY ECATERINA 1 SUMMARY The Shibori, Batik and Ikat techniques are known as resist dyeing techniques. „Shibori” is actually an old name of the Tie-dye technique, a widespread expression in the hippie communities of the 60’s – 70’s period, when this technique had a great success also among the fashion designers, making a spectacular comeback, after a long period of sporadic isolation in certain areas of the world, especially in Japan, Africa and South America. The first textiles found by archaeologists are so old that we may say that world history could be read in the nations’ textiles. The rise of the civilizations and the fall of the empires are woven and printed on the scarves and the shrouds of the great conquests main characters. Archaeological diggings revealed signs of these traditions of 5000 years old. Religion, traditions, myths, superstitions and rituals are closely related to the textiles belonging to many nations of Eastern Asia, Asia Minor, and of the Pacific Islands, their aesthetic value being, more than once, secondary. CHAPTER 1 THE SHIBORI TECHNIQUE The origin of the word “Shibori” is the verb “shiboru” which means to wring, to twist, to press. Even if “shibori” refers to a particular group of resist dyeings, the word’s origin suggests the cloth manipulation process and it can comprise modern methods of dyeing which involve the same type of cloth treatment, possibly without pigments or treatment with pigments applied by using totally different methods than the ancient ones. Shibori can be divided in many ways: according to the areas where it is used, such as Japan, China, India, Africa, Indonesia, South America or according to the details usesd in the technique.
  • Batik Wax Instructions

    Batik Wax Instructions

    Instructions Batik Wax Batik: A History Although its exact origin is uncertain, the earliest known batiks were discovered in Egyptian tombs dating back to the 4th century BCE. Wax-resist techniques were probably developed independently by disparate cultures throughout the ancient world. By the seventh century AD, patterning fabric using resists such as wax was a widespread practice throughout Asia and Africa and was perhaps most fully developed as an artform in Indonesia, where batik predates written records. By the thirteenth century, it became a highly respected art form and pastime for the women of Java and Bali, as recognizable motifs, patterns and colors became signifiers of one’s family and geographical area. Distinct styles and traditions proliferated and spread with the exchange of cultures through trade and exploration (see the “inland” and “coastal” batiks of Java, for instance — the two traditions couldn’t be more different). In the seventeenth century, as the world grew smaller, batik was introduced in Holland and other parts of Europe, where it became increasingly fashionable. Europeans and Americans traveling and living in the East encountered the ancient process and brought it back to their homelands — and spread it to colonies far away — where new traditions of batik branched out. Today, art schools across the United States and Europe offer batik courses as an essential part of their textile curricula. For more tips and techniques see www.jacquardproducts.com JACQUARD PRODUCTS Manufactured by Rupert, Gibbon & Spider, Inc. Healdsburg, CA 95448 | www.jacquardproducts.com | 800.442.0455 Batik Instructions Preparing and designing your fabric All new fabrics must be washed with hot soapy water, rinsed and dried to remove factory-applied sizings which may inhibit color penetration.
  • Holliday, Christopher. " Toying with Performance: Toy Story, Virtual

    Holliday, Christopher. " Toying with Performance: Toy Story, Virtual

    Holliday, Christopher. " Toying with Performance: Toy Story, Virtual Puppetry and Computer- Animated Film Acting." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 87–104. Bloomsbury Collections. Web. 1 Oct. 2021. <http://dx.doi.org/10.5040/9781501324949.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 07:14 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 87 Chapter 6 T OYING WITH PERFORMANCE: TOY STORY , VIRTUAL PUPPETRY AND COMPUTER-A NIMATED FILM ACTING C h r i s t o p h e r H o l l i d a y In the early 1990s, during the emergence of the global fast food industry boom, the Walt Disney studio abruptly ended its successful alliance with restaurant chain McDonald’s – which, since 1982, had held the monopoly on Disney’s tie- in promotional merchandise – and instead announced a lucrative ten- fi lm licensing contract with rival outlet, Burger King. Under the terms of this agree- ment, the Florida- based restaurant would now hold exclusivity over Disney’s array of animated characters, and working alongside US toy manufacturers could license collectible toys as part of its meal packages based on characters from the studio’s animated features Beauty and the Beast (Gary Trousdale and Kirk Wise, 1991), Aladdin (Ron Clements and John Musker, 1992), Th e Lion King (Roger Allers and Rob Minkoff , 1994), Pocahontas (Mike Gabriel and Eric Goldberg, 1995) and Th e Hunchback of Notre Dame (Gary Trousdale and Kirk Wise, 1996).1 Produced by Pixar Animation Studio as its fi rst computer- animated feature fi lm but distributed by Disney, Toy Story (John Lasseter, 1995) was likewise subject to this new commercial deal and made commensu- rate with Hollywood’s increasingly synergistic relationship with the fast food market.
  • Probabilistic Travel Model of Gangtok City, Sikkim, India FINAL.Pdf

    Probabilistic Travel Model of Gangtok City, Sikkim, India FINAL.Pdf

    European Journal of Geography Volume 4, Issue2: 46-54, 2013 © Association of European Geographers ANALYSIS OF TOURISM ATTRACTIVENESS USING PROBABILISTIC TRAVEL MODEL: A STUDY ON GANGTOK AND ITS SURROUNDINGS Suman PAUL Krishnagar Govt. College, Department of Geography Nadia, West Bengal, India. Pin-741101 http://www.krishnagargovtcollege.org/ [email protected] Abstract: Tourism is now one of the largest industries in the world that has developed alongside the fascinating concept of eco-tourism. The concept of tourism could be traced back to ancient times when people travelled with a view to acquiring knowledge of unknown lands and people, for the development of trade and commerce, for religious preaching and also for the sheer adventure of discovery. In fact the system of tourism involves a combination of travel, destination and marketing, which lead to a process of its cultural dimension. Gangtok as a core centre of Sikkim has potential command area over different tourist spots in East Sikkim, which are directly linked by a network of roads centering Gangtok and are perfectly accessible for one-day trips. The tourist attractions of East Sikkim are clustered mostly in and around Gangtok, the state capital. This study shows the tourism infrastructure as well as seasonal arrival of tourists in the Gangtok city and to develop the probabilistic travel model on the basis of tourist perception which will help the tourism department for the further economic development of the area. KeyWords: Eco-tourism, command area, tourist attractions, probabilistic travel model 1. INTRODUCTION Tourism is now one of the largest industries in the world that has developed alongside the fascinating concept of eco-tourism.
  • The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer

    The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer

    UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community.
  • With Israel? Malaysiakini.Com 14 Februari 2018 Has Malaysia

    With Israel? Malaysiakini.Com 14 Februari 2018 Has Malaysia

    Harapan MP: Is Malaysia having ‘an affair’ with Israel? MalaysiaKini.com 14 Februari 2018 Has Malaysia softened its stance on Israel by allowing the latter's high- ranking officials to enter the country, questioned an Amanah lawmaker today. Kuala Terengganu MP Raja Kamarul Bahrin Shah Raja Ahmad in a statement said the government's "unannounced" move had caused shock and sadness amongst many Muslims in the country. "Have we pawned the pride of Muslims in matters concerning Israel just for the sake of money and trade? “Just days after the deputy prime minister sent home 12 Uighur Muslims back to China on the pretext of maintaining "good relations" between the two countries what has become of Muslim dignity and pride in the country?" he asked. Kamarul Bahrin was responding to news reports that a delegation of Israeli diplomats had attended the recent week-long ninth Urban World Forum in Kuala Lumpur. The delegation was reportedly led by David Roet who was formerly Israel's deputy ambassador to the United Nations. Kamarul Bahrin urged Malaysia to state clearly, its current position on Israel. "Is this a product of the wasatiyah concept practised by (Prime Minister) Najib (Abdul Razak) or upon the advice of the 'Global Movement of Moderates' led by Nasaruddin Mat Isa and which had caused the government's change in attitude and policy? The rakyat wants to know. "Or is Najib so eager to follow in the footsteps of the Saudi Arabian government which reportedly has close ties to Israel? Is Malaysia having an 'affair' with Israel'?" he asked.
  • Resume Examples

    Resume Examples

    RÉSUMÉ TEMPLATES The following examples are provided to help you create your first résumé. There are six templates: 1) actor 2) designer/technician 3) stage manager 4) director 5) playwright 6) first-time résumé for someone just out of high school, combined with a general theatre résumé covering multiple areas of experience Length: An actor’s résumé should be a single page in length. When attached to a headshot, it should be trimmed to 8” x 10”. Résumés for other areas do not need to be limited to one page. There are many possible variations in style and format, and each template has a slightly different approach. Look over all of the samples for formatting ideas, even those that do not apply to your specific area of interest. You are also encouraged to contact faculty for advice and feedback on your drafts. Please note, résumés for graduate schools in theatre, professional theatres, and theatre internships are different from your typical business résumés. The sample résumés provided by the Center for Community Engagement and Career Education <http://www.csub.edu/cece/students/who_method.shtml> are useful if you are applying for a position outside of theatre, but their formats should not be used for jobs or graduate school applications within the theatre field. ACTOR TEMPLATE DAVID DRAMA [email protected] Height: 5’ 11” (661) 123-5678 Hair: Brown Tenor Theatre Death of a Salesman Biff Anita DuPratt Bakersfield Community Theatre Lend Me a Tenor Max Zoe Saba CSU Bakersfield Antigone in New York Sasha * Maria-Tania Becerra CSUB Evita Magaldi Mandy Rees CSUB Richard III Hastings Peter Brook Empty Space “Wiley and the Hairy Man” Wiley Kamala Kruszka CSUB and on tour “Unwrapped” (premiere) John Jessica Boles CSUB * Kennedy Center American College Theater Festival Irene Ryan Acting Scholarship nominee Education/Training B.A.
  • Storytelling and Community: Beyond the Origins of the Ancient

    Storytelling and Community: Beyond the Origins of the Ancient

    STORYTELLING AND COMMUNITY: BEYOND THE ORIGINS OF THE ANCIENT THEATRE, GREEK AND ROMAN by Sarah Kellis Jennings Submitted in partial fulfillment of the requirements for Departmental Honors in the Department of Theatre Texas Christian University Fort Worth, Texas May 3, 2013 ii STORYTELLING AND COMMUNITY: BEYOND THE ORIGINS OF THE ANCIENT THEATRE, GREEK AND ROMAN Project Approved: T.J. Walsh, Ph.D. Department of Theatre (Supervising Professor) Harry Parker, Ph.D. Department of Theatre Kindra Santamaria, Ph.D. Department of Modern Language Studies iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................iv INTRODUCTION ...............................................................................................................1 GREEK THEATRE .............................................................................................................1 The Dithyramb ................................................................................................................2 Grecian Tragedy .............................................................................................................4 The Greek Actor ............................................................................................................. 8 The Satyr Play ................................................................................................................9 The Greek Theatre Structure and Technical Flourishes ...............................................10 Grecian
  • The Uses of Animation 1

    The Uses of Animation 1

    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
  • Tema-Tema Lakon Pewayangan Dalang Ki Enthus Susmono Di Kabupaten Tegal Jawa Tengah Tahun 2013-2017

    Tema-Tema Lakon Pewayangan Dalang Ki Enthus Susmono Di Kabupaten Tegal Jawa Tengah Tahun 2013-2017

    TEMA-TEMA LAKON PEWAYANGAN DALANG KI ENTHUS SUSMONO DI KABUPATEN TEGAL JAWA TENGAH TAHUN 2013-2017 Skripsi Diajukan untuk Memenuhi Persyaratan Memperoleh Gelar Sarjana Humaniora (S.Hum.) Oleh Rizka Putri Fauziah NIM. 1113022000081 PROGRAM STUDI SEJARAH DAN PERADABAN ISLAM FAKULTAS ADAB DAN HUMANIORA UNIVERSITAS ISLAM NEGERI SYARIF HIDAYATULLAH JAKARTA 1439 H/2018 M LEMBAR PERNYATAAN Saya yang bertanda tangan di bawah ini: Nama : Rizka Putri Fauziah NIM : 1113022000081 Program Studi : Sejarah dan Peradaban Islam Judul Skripsi : Tema-Tema Lakon Pewayangan Dalang Ki Enthus Susmono di Kabupaten Tegal, Jawa Tengah Tahun 2013-2017 Dengan ini menyatakan bahwa, skripsi ini adalah hasil karya saya sendiri yang merupakan hasil penelitian, pengolahan, dan analisis sendiri serta bukan bentuk plagiarisme maupun replikasi dari hasil penelitian atau karya orang lain. Apabila terbukti bahwa karya ini bukan hasil saya sendiri atau hasil plagiarisme dari karya orang lain, maka saya bersedia menerima sanksi yang berlaku di Universitas Islam Negeri Syarif Hidayatullah Jakarta. Demikian surat ini saya buat, dengan segala akibat yang timbul di kemudian hari menjadi tanggung jawab pribadi. ii TEMA-TEMA LAKON PEWAYANGAN DALANG KI ENTHUS SUSMONO DI KABUPATEN TEGAL JAWA TENGAH TAHUN 2013-2017 Skripsi Diajukan kepada Fakultas Adab dan Humaniora untuk Memenuhi Persyaratan Memperoleh Gelar Sarjana Humaniora (S.Hum.) Oleh Rizka Putri Fauziah NIM. 1113022000081 PROGRAM STUDI SEJARAH DAN PERADABAN ISLAM FAKULTAS ADAB DAN HUMANIORA UNIVERSITAS ISLAM NEGERI SYARIF HIDAYATULLAH JAKARTA 1439 H/2018M iii LEMBAR PENGESAHAN Skripsi berjudul Tema-Tema Lakon Pewayangan Dalang Ki Enthus Susmono di Kabupaten Tegal Jawa Tengah Tahun 2013-2017 ini telah diujikan dalam sidang skripsi Fakultas Adab dan Humaniora UIN Syarif Hidayatullah Jakarta pada 12 Maret 2018.
  • MUSC 2014.04 Sprdanceprog.Pdf (208.0Kb)

    MUSC 2014.04 Sprdanceprog.Pdf (208.0Kb)

    SPRING DANCE CONCERT PRODUCTION TEAM Faculty Director . Jane Slusarski-Harris Associate Faculty Directors . Carol. Roderick, Chung-Fu Chang Student Directors . Maggie . Jung, Melissa Pite, Samantha Purdy Dance Production Assistant . Emma. Kimball Lighting Designer . Jessica Whitehead Assistant Lighting Designer . Trevor. Grattan Dance Costume Coordinator . Taylor. Aguilar Sound Designer . .Price . Johnston Stage Manager . Meaghan Harris Assistant Stage Manager . Keili . Elliott *Unless otherwise noted, costumes have been designed and executed by the choreographers of individual pieces . TECHNICAL CREW SPRING Light Board Operator . Shannon Henderson Sound Board Operator . .Kelsey . Peterson Curtain / Rail Operator . Emily Dewberry Stage Technicians . Katie . McClendon, Hannah Tolson DANCE Wardrobe Mistress . Katie. Rose PRODUCTION STAFF Producing Technical Director . Nathan. “Cory” Seymour CONCERT Assistant Technical Director . Brandon Ingold Lighting Director / Head of Design . Price Johnston Master Electrician . Alex Ostwald Assistant Master Electrician . Andrew . Killion Costume Shop Manager . .Janelle . Sutton Assistant Costume Shop Manager . Maile Speetjens Master Carpenter / Scene Shop Technician . Taylor Webster Paint/Props Shop Manager . Annaleigh Timmerman Paint/Props Shop Technician . Hannah . Baldus Scenic Artist & Production Administrator . Maggie Seymour Administrative Assistant / Program Design . .Linda . Parent Director of Marketing & Publicity . Jennifer . Clary Publicity/Alumni/Friends of the UCA Coordinator . .Carrie