The application will consist on all about wayang kulit.The history of wayang kulit,the characters,the gamelan music, the storyline, the process of making a wayang kulit,the dalang and all about wayang kulit itself.

The content that I will put on my application is not only the fact and general knowledge about wayang kulit,but I want to put an interactive slot that can let user play with the character of wayang kulit.An interaction that will let user enjoy with wayang kulit.

But I’m still thinking want to do an interactive installation.I research on software that provide motion detection.I found many software but I’m not decide yet which one that can fix my idea on my application.

Will look on it later.soon.Keep update.Keep update.dont stuck in the middle.

celcom broadband please be good,i’m doing my research now…;)

]]> http://atiyyahnatasya.wordpress.com/2009/11/24/an-interactive-installation-or-an-informative-cd/feed/ 0 atiyyahnatasya http://atiyyahnatasya.wordpress.com/2009/11/22/research-on-motion-detection-software/ http://atiyyahnatasya.wordpress.com/2009/11/22/research-on-motion-detection-software/#comments Sun, 22 Nov 2009 06:21:09 +0000 atiyyahnatasya http://atiyyahnatasya.wordpress.com/?p=116 ]]>

http://www.video-surveillance-guide.com/webcam-motion-detection-software.htm

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http://www.filesland.com/free/motion-detection.html

(a)Wayang Kulit Siam,
(b) Wayang Kulit Gedek,
(c) Wayang Kulit Purwa and
(d) Wayang Kulit Melayu.

Wayang Kulit Siam is the most indigenous of these styles. It is principally performed in the state of Kelantan on the east coast of the Malay peninsula. Wayang kulit siam makes use of a local version of the Indian epic, Ramayana. Existing only in the oral tradition, this version is known as Hikayat Maharaja Wana. The Hikayat Seri Rama provides material for the principal story (cerita pokok). Local extensions of and accresions to the epic have resulted in the creation of a large number of Ramayana branch stories (cerita ranting). These have traditionally been more popular than the pokok story.

The wayang kulit siam orchestra consists of a pair of double- headed drums(gendang), a pair of single-headed goblet-shaped drums known as gedumbak, a pair or vertically standing drums (gedug) hit with beaters, a pair of hand small cymbals, (kesi) and a pair of inverted gongs canang), also beaten with sticks. and, finally, a pair of hanging knobbed gongs(tetawak).
Wayang kulit siam peformances are done in two varieties:
(a) those done purely for entertainment and
(b) those intended for ritual purposes such as the salutation of teachers (sembah guru).
Ritual performances,known as wayang kulit berjamu,are extremely rare.They incorporate a host of ritual acitivities as well as trance.

Further information regarding traditional Malay theatre genres may be obtained from:
The Asian Centre, Penang

Recent Materials related to the Kelantan Malay Shadow Play:

Matusky, Patricia. Malaysian Shadow Play and Music: Continuity of an Oral Tradition. Penang: The Asian Centre, 1997(Reprint).

Ghulam-Sarwar Yousof. The Malay Shadow Play: An Introduction. Penang: The Asian Centre, 1998.

http://www.angelfire.com/ga/Jannat/Shadow.html

http://www.demotix.com/news/wayang-kulit-kelantan

Wayang Kulit in Central Java is probably one of the oldest continuous traditions of storytelling in the world, and certainly among the most highly developed.

The wayang is a flat or round puppets used for shows in Java.The wayang kulit is the flat one and it is made with buffalo leather. They are maipulated behind a white screen with a back light, so the attendance can see them as shadow puppets.
Wayang is well integrated in Javanese society, and it is considered to be a highlight of Javanese culture.
Wayang Kulit was already established in the East Javanese kingdoms one thousand years ago.

The Performance

In the darkness the insects have already begun to fly around unsteady flame of the oil lamp, which casts its dazzling light on the large white screen of the stage. at the lower part of the cloth-screen, the beautiful leather puppets (wayang kulit) are neatly arranged, their body-sticks firmly planted in banana-stems, placed beneath the screen itself.

On the right hand side are the good characters, on the left hand side the bad. The open space between them, about two meters wide, represents the stage.

Here the puppets will come to life and, like human beings, will each in his own way pursue the endless path to human happiness.”

The time is now nine o’clock. The evening wind brings coolness and everyone is in place for the show. The Dalang lifts the chempala (rod) with his left hand and simultaneously we hear the soulful and haunting sound of the rebab (two string violin). Now every one is listening. The Dalang quickly glances up at the lamp above his head, and after removing the ‘gunungan’, the mountain, from the center of the stage, he then begins….

Now every one is listening. The Dalang quickly glances up at the lamp above his head, and after removing the ‘gunungan’, the mountain, from the center of the stage, he then begins…..

In Java, shadow plays are performed in villages and towns on public holidays, religious festivals, weddings, birth celebrations and the traditional muslim event of the transition from childhood to teenage. In Bali, they are also staged at cremations.

The Dalang

The puppets are stored in line, in a banana tree trunk, behind the screen and in front of the puppeter. The puppeter is called the dalang.

The dalang manipulates the puppets, sings and taps out signals to the orchestra. He also speaks the parts for all characters; he must be able to render the shy sweetness in the voice of a princess, the spiteful whine of a lackey and the righteous but controlled anger of a noble hero.

Not everyone can be a dalang. A Dalang is a most extraordinary man. First of all, he is a public entertainer. To amuse a great number of people is not an easy matter. He must be physically strong and healthy, otherwise he would not be able to stand the strain. Just imagine, he is seated cross-legged for nine successive hours. He cannot even have a wink of sleep. He cannot get up from his seat until six o’clock the next morning. He also has to strike the kechrek (rattle) with his right foot almost incessantly. He handles the puppets with both hands, imitates their different voices, tell jokes at the right times, and even sings every now and then. In addition, he controls the musicians without anyone among the audience ever noticing it.

Epic & Drama

The two great Indian epics,Ramayana and Mahabarata, captured the imagination of nearly every culture in Southeast Asia which had contact with Indians. Both of these epics have been with the Javanese since the influence of India was first felt during the first century A.D.

Coming centuries ago from the snowcapped Himalayas to the warm plains and snowfree mountains of Indonesia, the original epic has of necessity undergone many drastic changes, affecting not only geographical and personal names, but also the story itself.

Both epics are the basis of the most importantwayang kulitstories, now called wayang purwa. These akon or stories number as many as two hundred. In the process of Javanese oral tradition, the stories serve as a bare outline and have been transformed into entirely Javanese versions. Now one often refer to these as Rama cycle for the Ramayana and Pendawa cycle for the Mahabarata

Bima (or Bhima) is the second of the five Pndawa’s brothers. he is recognized by his great stature and strength. They are among the main characters of the Mahabharata.

Ramayana: the most famous

The most frequently performed narratives derives from the Hindu epics. The story is actually the Indonesian version of the famed Indian Classic “Ramayana” . It has gone through drastic changes, affecting not only geographical and characters names, but also the story itself.

The epic is now deeply rooted in the in the Indonesian national heritage and forms part of the national life. The Arjuna Sasra Bahu and Ramayana cycles concern the affairs of the noble Rama himself and his ancestors.

Favourite stories tell about Rama’s marriage to Sinta; their banishment to the forest together with his brother, Laksmana ; Sinta abduction by the monster king Rahwana : and her rescue, with the help of the monkey king, Hanoman , after numerous battles, from the kingdom of Sri Lanka. The Ramayana contains many episodes from the lives of these characters.

Hanoman, or Hanuman , known also as ‘Anjaneya’ (son of Anjana), is one of the most popular concepts of servants of God in Hinduism and one of the most important personalities in the epic, the Ramayana. His most famous feat, was leading a monkey army to fight the demon King Ravana to free his prisoner Sinta.

Mahabharata: the Pandawa’s saga

Gatotkaca, the Flying Knight of Pringgadani, son of Bimasena

The central story of the epic deals with the conflict between two branches of a family descended from the suprem Gods of Hinduism. One branch of the family, the Korawa, usurps the throne from the rightful heirs, the Pandawa.

They admire the scholarly wisdom and honesty of the eldest of Pandawa, Yudhistira, and the great physical strength and moral will-power of the second eldest, Bimasena.

Arjuna

The Indonesians have their favourite characters, like Arjuna, the famous Pandawa warrior-lover who is also the essence of the Javanese concept of nobility. Indeed, the Javanese kings sought to enhance their legitimacy by claiming direct descent from Arjuna, and through him back to the Gods of Hinduism.

Hinduism arrived in Indonesia from India even before the Christian era, and was slowly adopted as the local belief system. Sanskrit became the literary and court language of Java and later of Bali. The Hindus changed the Wayang (as did the Muslims, later) to spread their religion, mostly by stories from the Mahabharata or the Ramayana. Later this mixture of religion and wayang play was praised as harmony between Hinduism and traditional Indonesian culture. On Java, the western part of Sumatra and some smaller islands traditionalists continued to play the old stories for some time, but the influence of Hinduism prevailed and the traditional stories either fell into oblivion or were integrated into the Hinduistic plays.

The figures of the wayang are also present in the paintings of that time, for example, the roof murals of the courtroom in Klungkung, Bali. They are still present in traditional Balinese painting today.

When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited, and thus this style of painting and shadow play was suppressed. King Raden Patah of Demak, Java, wanted to see the wayang in its traditional form, but failed to obtain permission from the Muslim religious leaders. As an alternative, the religious leaders converted the wayang golek into wayang purwa made from leather, and displayed only the shadow instead of the figures itself.[citation needed] Instead of the forbidden figures only their shadow picture was displayed, the birth of the wayang kulit.[citation needed]

The figures are painted, flat woodcarvings (a maximum of 5 to 15 mm thick — barely half an inch) with movable arms. The head is solidly attached to the body. Wayang klitik can be used to perform puppet plays either during the day or at night. This type of wayang is relatively rare.

Wayang today is both the most ancient and most popular form of puppet theatre in the world. Hundreds of people will stay up all night long to watch the superstar performers, dalang, who command extravagant fees and are international celebrities. Some of the most famous dalang in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunarya, Ki Sugino, and Ki Manteb Sudarsono.

http://senikelantan.blogspot.com/2009/04/history-of-wayang-kulit.html

http://wayang-kulit.com/

4.1 Pengenalan

Seni ini masyhur 1,000 tahun dahulu di kawasan negara Timur Tengah dan juga Asia Tenggara. Di Malaysia terdapat beberapa jenis wayang kulit. Wayang Kulit Melayu Kelantan dikatakan berasal dari Kemboja dan dibawa masuk melalui Patani, Selatan Thailand. Ceritanya berdasarkan Hikayat Ramayana dan penglipur lara tempatan. Watak-watak wayang kulit ini menggunakan loghat Kelantan. Antara watak penting ialah Hanuman, Sri Rama, Sita Dewi, Maharaja Rawana dan Laksamana.

Wayang Kulit Jawa dikatakan berasal dari Wayang Kulit Purwa Jawa, Pulau Jawa, Indonesia. Patung-patungnya membawa watak dari cerita Mahabratha dan cerita-cerita Panji. Wayang kulit ini diperkenalkan ke negeri Kelantan pada 1834 oleh seorang tok dalang Melayu selepas mempelajari teknik-teknik Tok Dalang di Pulau Jawa. Watak wayang kulit ini ialah Sang Kula, Raden Galoh Cendera Kirana, Arjuna, Sang Dewa dan Raden Inu Kartapati. Kemudiannya wayang kulit jenis ini mendapat perhatian ramai di Terengganu.

Wayang Kulit Purwa terkenal di kawasan selatan Semenanjung Malaysia. Ia menggunakan loghat Jawa. Wayang Gedek terkenal di Kedah dan Perlis. Ia menggunakan loghat utara (kedah-Perlis). Dua watak utama ialah Etong dan Ekau. Wayang jenis ini menggunakan patung yang berpakaian moden seperti kebaya pendek.

4.2 Alat Muzik

Persembahan wayang kulit diiringi oleh alat muzik Serunai, Gendang (ibu dan anak), Gedombak (ibu dan anak), Geduk (ibu dan anak) kesi, canang dan gong.

4.3 Persembahan Wayang Kulit

Tok Dalang merupakan orang terpenting dalam persembahan wayang kulit. Ia mengambil tempat duduk di belakang tabir pentas. Beliau akan menggerakkan patung-patung watak dan memberi suara dengan corak suara berbeza mengikut watak-watak yang dimainkan. Tok Dalang dibantu oleh Tukang Unjuk yang menyediakan patung-patung watak berdasarkan jalan cerita yang hendak disampaikan oleh Tok Dalang. Kayu Kasah ialah sejenis alat muzik yang digunakan untuk menghasilkan kesan bunyi semasa adegan pergaduhan.

Patung-patung dicucuk di atas batang pisang. Bayang watak akan terhasil daripada cahaya daripada pelita minyak kelapa atau mentol elektrik
.
Cerita wayang kulit biasanya mengambil masa yang panjang. Pada zaman dahulu ada kalanya satu cerita dihabiskan dalam masa 7 malam. Persembahan hari ini diringkaskan sehingga 1 atau 2 jam sahaja.

Sebelum persembahan bermula, Tok Dalang akan membuat upacara ritual. Kemudian upacara membuka pentas pun dimulakan bertujuan memperkenalkan kumpulan wayang kulit dan watak-watak yang akan memainkan cerita yang hendak dipersembahkan.

4.4 Membuat Patung Watak Wayang Kulit

Watak asas wayang kulit dibuat daripada belulang lembu. Terlebih dahulu belulang direndam dalam air sebelum diregang supaya kulitnya rata. Watak dilukis terlebih dahulu kemudian ia dipahat supaya lubang-lubang terbentuk untuk menghasilkan corak bayang di atas kelir (skrin) kelak.

Patung belulang kemudian dikepit pada tetulang yang daripada buluh atau kayu, Bahagian atasnya dikepit menggunakan rotan yang dibelah. Tali tangsi digunakan untuk mengikat tetulang pada belulang.

Warna khusus menunjukkan watak tertentu. Hitam untuk watak lucu seperti Pak Dogol dan Wak Long, merah untuk watak bengis dan jahat. Warna hijau bagi pahlawan yang mulia (Sri Rama). Kuning untuk watak puteri.

Rujukan : Mastor Jarkaseh(2007), ASAS PENDIDIKAN MUZIK 1, Tabuh Emas Productions, Teluk Intan

http://musicedumy.edublogs.org/2008/08/12/wayang-kulit-di-malaysia/

Perhaps there is instinct not want to see this phenomenon cuff, however, want to or not, like it or not shy, this is the fact that the actual spread.

As progress and modern entertainment and official attention, wayang kulit  faced with an uncertain future.

What is the problem public, players or the authorities?

The answer, it does not revolve around only to one but each must play a positive role to enliven the art so that people failed meniti period. If one part fails to function play, arts tradition is still difficult to find a way and also it is not surprising berkubur. This is revealed by a researcher from Japan, Togari Yasuka on Sebudaya Serumpun Congress held in Kuala Lumpur, recently. So what are lovers of art, culture and heritage should fear of negative trend of continued until there is no hope left? If animals can be saved from extinction by breeding in the habitat and helped the zoo, the game enough as leather exhibition in the museum? Penyudah This is sad, but greatness Tok Dalang Baju Merah as told by Rahimidin Zahari Palace of Culture in the paper iringannya, Dollah Baju Merah: Dalang Wayang Kulit Kelantan should not be construed as a story of nostalgia that money skin, tok mastermind and his team never turn on arts this presentation. In this atmosphere of depression, certainly ketokohan owned by Dollah Baju Merah be utilized. Unfortunately, as stated, very difficult and perhaps impossible to get a tok mastermind like ability that can be said to have perdalangan perfect. Pemuliharaan traditional art often emphasized not only in Malaysia but everywhere in the world of late. But not much debate about why we should preserve the traditional performing arts, to whom, and by the way how, he said when presenting a working paper on current developments Wayang Kulit Kelantan. G Sebudaya Serumpun Congress organized by the National Association of Writers (PENA), Ministry of Culture, Arts and Heritage (KEKKWA) and Dewan Bahasa dan Pustaka (DBP). According Togari, leather ever popular as a first in Kelantan has begun to face the decline in the 1970s and the situation is getting worse. Based on the number of tok manipulator, there is too large when the fall in the late 1960s when studies by academics, Amin Sweeney, find there are more than 300 people manipulator. However, the declining number of decades to a decade to 37 people in 1982, down to 25 people in 1988 and 11 people in 1999. But what causes the art that once had over the film’s popularity in Kelantan finally living like shy, do not want to die? In fact, the medium of entertainment such as film has earned a spot as a source of entertainment and added with the emergence of television that offers a variety of programs for all levels of audiences. At the same time, the same leather as other traditional art that brings the word â € œtradisionalâ €? as if the virus infected. Œtradisonalâ word â € €? cause it was considered something neglected in the mainstream of life now, something that is boring and not worth more than something that is tradition and nostalgik. This condition is exacerbated by the increasing awareness about Islam Kelantan state government actions including the banned performances, and the need to obtain a license to conduct performances. Certainly the situation like this is not conducive to art that has been facing difficulties and dilemmas. Situation to see whether these efforts have been truly convinced by this view of art returned to an era when kegemilangannya first? ban If the reason for the ban it is presented to the audience that elements opposed to Islam, then appropriate changes were made. Similarly, the plot revolves the story of Sri Rama and Sita Dewi or Hanuman Kera Putih influence of Hindu heritage which is not possible it could attract the attention of audience. Hence, it is fairness that find new stories and storytelling in accordance with the current situation and audience needs to be done. Of course, Pas-led state government should play a proactive role in finding â € œbentuk and rupaâ €? new desired parallel with the claim that religion. â € œPersembahan leather in Kelantan until this day, basically not allowed in open areas, except in presentation at the Tennis Art (organized by the Tourist Information Center) in Kota Bharu, â €? Togari clear. Explanation that shows the difficulties faced and dealt with during this never ends. Problem needs to find new forms in the entertainment aspect of this tradition, endeavors Rabbit introduced new leather version with storylines featuring characters of ordinary people. It is necessary when adapting the concept of entertainment as denr continue to get places in Kelantan as the art of entertainment for its ability perform various songs by contemporary music genre. This is a challenge to tok manipulator because most of them continue to be bound by the old style of storytelling and story. But this art by continuity, renewal and change drastically and dared to do. DBP and the efforts to introduce a new version of wayang kulit be successful? Difficult to expect this effort will produce the expected results. This experiment also impossible not remain a documentation that exists to save art business at a time. â € œDi leather under the ban since 1991 in fact, almost all tok mastermind in Kelantan have no children murid.â €? â € œTok mastermind now refuse to play a new leather version of the new version and no tok mastermind young to play with the new version of wayang kulit leather puppet old version is still not allowed to play, â €? he said. Leather art as a tradition, especially in Kelantan, now has only 23 tok mastermind. It is the lowest level and it is sure to provoke a young generation because there is not the heritage of this art. the study says leather increasingly isolated. If not the central government, state governments need to do something that can brighten the tradition of this art, not just regulations that do not help development.

references:

http://www.dikirbarat.net/forum/wayang-kulit/wayang-kulit-semakin-tersisih/?wap2

article 2

BOTH a leather presentation held at the Academy of Cultural Heritage and National Heritage (ASWARA), Kuala Lumpur, recently.

MEREMPAT the page itself, and sorted in ketepi and seems unnecessary. Is it possible that such phenomena can be used to describe the fate of leather?
Perhaps there is instinct not want to see this phenomenon cuff, however, want to or not, like it or not shy, this is the fact that the actual spread.
As progress and modern entertainment and official attention, leather faced with an uncertain future.
What is the problem public, players or the authorities?
The answer, it does not revolve around only to one but each must play a positive role to enliven the art so that people failed meniti period.
If one part fails to function play, arts tradition is still difficult to find a way and also it is not surprising berkubur.
This is revealed by a researcher from Japan, Togari Yasuka on Sebudaya Serumpun Congress held in Kuala Lumpur, recently.
So what are lovers of art, culture and heritage should fear of negative trend of continued until there is no hope left?
If animals can be saved from extinction by breeding in the habitat and helped the zoo, the game enough as leather exhibition in the museum?
Penyudah This is sad, but greatness Tok Dalang Baju Merah as told by Rahimidin Zahari Palace of Culture in the paper iringannya, Dollah Baju Merah: Dalang Wayang Kulit Kelantan should not be construed as a story of nostalgia that money skin, tok mastermind and his team never turn on arts this presentation.
In this atmosphere of depression, certainly ketokohan owned by Dollah Baju Merah be utilized.
Unfortunately, as stated, very difficult and perhaps impossible to get a tok mastermind like ability that can be said to have perdalangan perfect.
“Conservation of traditional art often emphasized not only in Malaysia but everywhere in the world of late.
“But not much debate about why we should preserve the traditional performing arts, to whom, and by the way how,” he said when presenting a working paper on current developments Wayang Kulit Kelantan.
G Sebudaya Serumpun Congress organized by the National Association of Writers (PENA), Ministry of Culture, Arts and Heritage (KEKKWA) and Dewan Bahasa dan Pustaka (DBP).
According Togari, leather ever popular as a first in Kelantan has begun to face the decline in the 1970s and the situation is getting worse.
Based on the number of tok manipulator, there is too large when the fall in the late 1960s when studies by academics, Amin Sweeney, find there are more than 300 people manipulator.
However, the declining number of decades to a decade to 37 people in 1982, down to 25 people in 1988 and 11 people in 1999.
But what causes the art that once had over the film’s popularity in Kelantan finally living like shy, do not want to die?
In fact, the medium of entertainment such as film has earned a spot as a source of entertainment and added with the emergence of television that offers a variety of programs for all levels of audiences.
At the same time, the same leather as other traditional art that brings the word “traditional” as if the virus infected.
The word “traditional” cause it was considered something neglected in the mainstream of life now, something that is boring and not worth more than something that is tradition and nostalgik.
This condition is exacerbated by the increasing awareness about Islam Kelantan state government actions including the banned performances, and the need to obtain a license to conduct performances.
Certainly the situation like this is not conducive to art that has been facing difficulties and dilemmas.
Situation to see whether these efforts have been truly convinced by this view of art returned to an era when kegemilangannya first?
ban
If the reason for the ban it is presented to the audience that elements opposed to Islam, then appropriate changes were made.
Similarly, the plot revolves the story of Sri Rama and Sita Dewi or Hanuman Kera Putih influence of Hindu heritage which is not possible it could attract the attention of audience.
Hence, it is fairness that find new stories and storytelling in accordance with the current situation and audience needs to be done.
Of course, Pas-led state government should play a proactive role in the search for “shape” the desired new order line with the claims of religion.
“Presentation leather in Kelantan until this day, basically not allowed in open areas, except in presentation at the Tennis Art (organized by the Tourist Information Center) in Kota Bharu,” said Togari.
Explanation that shows the difficulties faced and dealt with during this never ends.
Problem needs to find new forms in the entertainment aspect of this tradition, endeavors Rabbit introduced new leather version with storylines featuring characters of ordinary people.
It is necessary when adapting the concept of entertainment as denr continue to get places in Kelantan as the art of entertainment for its ability perform various songs by contemporary music genre.
This is a challenge to tok manipulator because most of them continue to be bound by the old style of storytelling and story.
But this art by continuity, renewal and change drastically and dared to do.
DBP and the efforts to introduce a new version of wayang kulit be successful? Difficult to expect this effort will produce the expected results.
This experiment also impossible not remain a documentation that exists to save art business at a time.
“Under the ban on leather in fact since 1991, almost all tok mastermind in Kelantan have no disciples.”
“Tok mastermind now refuse to play a new leather version of the new version and no tok mastermind young to play with the new version of wayang kulit leather puppet old version is still not allowed to play,” he said.
Leather art as a tradition, especially in Kelantan, now has only 23 tok mastermind.
It is the lowest level and it is sure to provoke a young generation because there is not the heritage of this art.
If not the central government, state governments need to do something that can brighten the tradition of this art, not just regulations that do not help development.

(Source: Utusan Malaysia (03/12/2007))

http://dbp.gov.my/lamandbp/main.php?Content=articles&ArticleID=1400

Wayang Virtual

Topic:

Wayang Kulit.

Background:

Shadow play or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images.

In Malaysia (Kelantan), shadow puppet plays are known as wayang kulit. In Malay, Wayang means shadow or imagination, while Kulit means skin and refers to the leather that puppets are made from. Stories presented are usually mythical & morality tales. There is an educational moral to the plays which usually portray a battle between Malay shadow plays are sometimes considered one of the earliest examples of animation.

Wayang “Virtual” was inspired by the tradition of storytelling using pictures in the Southeast Asian art form originally known as the shadow play.

The idea of the research project was an experimental attempt at combining traditional Wayang Kulit together media technology.

Problem Identification:

Lack of interest  to watch wayang kulit.( traditional entertainment) because of influence of new media technology ( televison , media player, karaoke set, cinema )

Forgotten about their culture, only people who do research on culture will appreciate it.

Aim and objective:

To research new approaches on interactive design.

To ensure the cultural ancestors of our era is not swallowed

To promote the shadow play for young generation.

To approach design principal in this concept.

Rerefences

http://mndl.hu/works/reverse_shadow_theatre

http://www.symbiosisonline.com/aug05_art.htm

http://www.mndl.hu/works

video

[http://vimeo.com/706938]