Reviving Javanese Picture Scroll Theatre

Wayang Beber is a puppet art that appeared in pre-Islamic times and is still developing in certain areas of Java. One of which is Wayang Beber in an area of Pacitan. Wayang Beber Pacitan is played by five people, four people play the instruments such as rebab, kendang, kenong laras slendro and gong while one person act as puppeteer. Wayang beber show begins with a small ritual using scattered flowers, incense, and a few other offerings which are used as a symbol of invoke the salvation from the Almighty God. The way to play Wayang Beber is by rolling the image of the puppet (wayang) one by one until it finishes, then follows the next roll until the story is complete. By the time of its development, Wayang Beber of Pacitan has experienced obstacles due to the lack of public knowledge about what wayang beber is, making it one of the biggest reason why it rarely performed. In order to introduce these puppets (wayang) to be known to the wider community, an interesting way is needed so public are interested. The first step to introduce this puppet(wayang) is by making a video in the form of interactive motion graphic which includes three principal, such as explanation of wayang beber, figures in wayang beber and wayang beber stories. The purpose of making interactive motion graphics is to introduce Wayang Beber of Pacitan to the younger generation through media that are often seen by young people. The final results of this design produced three motion graphic videos, namely an introduction of Wayang Beber of Pacitan, motion graphic of Wayang Beber of Pacitan figures, and motion graphic of Wayang Beber of Pacitan stories. Three of these videos will be disseminated through a video streaming site on the internet, Youtube, with the keyword ‘Interactive Motion Graphic – WayangBeberPacitan’ or also can be accesed by this link https://youtu.be/niWdK1if09k. With an interactive motion graphic about wayang beber primarily aimed at the younger generation, it is expected to be able to make the youngsters become interested in both local culture and content. Through these motion graphics, besides being able to introduce Wayang Beber of Pacitan to the youngster, it is also possible to create other creative content such as films or games adapted from Wayang Beber of Pacitan.

: This paper is a study of the potential of “w ayang ” (puppet show) in Sundanese culture of Priangan subcultures, especially in the art of dance. Initially , the word “w ayang ” was interpreted to refer to dolls made of wood which are played by a puppeteer in a puppetry art show or to appoint the plot which is delivered by the puppeteer in a puppetry art show, and also can be directly identified with the performance of puppetry art of “w ayang g olek ” (wooden puppet show) . Furthermore, the potential of “w ayang ” has a strong influence or contribution to some aspects of life with some kinds of belief and also of art, including the growth of “w ayang ” in Sundanese dance of Priangan style. Because “w ayang ” implicitly contains religious meaning in the contents of the plot, so “w ayang ” in Sundanese dance of Priangan style cannot be separated from the mission or moral value towards the guidance of life. The origin of “w ayang w ong ” (men/women puppet show) of Priangan was revealed as a form of dance drama show with the dialogue delivering puppet stories , either completely or partially , in which the scenes are composed in phases and there are always battles or conflicts between the evil characters and the eradicators of the evil. In addition, it was also revealed the richness of the performance forms that only describes a single moment of the puppet story, called a free dance, in the forms of single dance, dance in pairs, and dance in groups or mass dance. KEY WORDS : Wayang ; Sundanese C ulture ; Priangan Subculture; Wayang D ance ; Priangan S tyle . About the Author: Prof. Dr. Iyus Rusliana is a Lecturer at the Department of Dance ISBI ( Institut Seni dan Budaya Indonesia or Indonesia Institute of Art and Culture) Bandung, Jalan Buahbatu No.212 Bandung, West Java, Indonesia. For academic interests, the author is able to be contacted via e-mail at: iyus_rusliana@isbi.ac.id Recommended Citation: Rusliana, Iyus. (2017). “ W ayang in Sundanese Dance of Priangan Style” in TAWARIKH: International Journal for Historical Studies , Vol.9(1), October, pp.59-70. Bandung, Indonesia: Minda Masagi Press and UIN SGD Bandung, ISSN 2085-0980. Article Timeline: Accepted (March 9, 2017); Revised (July 3, 2017); and Published (October 28, 2017).

Wayang Beber Pacitan as a myth can be seen as a text, which contains signifier and signified. The characters in the puppet is an intermediary for people to interpret the content in Java and basic human traits. Structural analysis Wayang Beber Pacitan bring the following conclusions: First, that the structure of the three are often found in the Java community. Second, that the ideal marriage expected in Pacitan beber wayang stories are cousins once between the two kingdoms (Kediri and Jenggala), although in the Java community does not explicitly recognize their ideal mate. Third, the story Wayang Beber Pacitan is a political story that serves to legitimize the power of the kingdom of Kediri and Janggala. Fourth, that behind the story is that there is a notion of Java: “sopo kang nandur bakal ngundhuh”. Keywords: Wayang Beber Pacitan, structural analysis

The objective in this research is to examine the production and performance of theatrical activities aiming at bringing about social change in both development and political intervention. My investigation began with Aarohan Theatre Group, a Kathmandu-based professional company and subsequently extended to Maoist cultural troupes. I have taken a critical perspective considering theatre as a mode of socio-cultural practice embedded in the wider socio-political reality. Thus, I present an account of what it means to do theatre and live by theatre in contemporary Nepal, from 2005 to 2006, through the artists' perspective. Co-performance, that is participation in some performances, complemented participant observation as a methodology. Theatre provides an outstanding context for both social reflection and symbolic action. In a manner similar to ritual, theatrical performances can become deliberate means for both constructing and de-constructing power and symbolically legitimizing or de-legitimizing authority. In Nepal, modern artistic and political theatre developed side by side. First, an historical overview of its development will set the scene for understanding the role played by theatrical performances in the years 2005-2006. In fact, during my fieldwork, history repeated itself. The restrictions on civil rights imposed by the king through the 2005 Emergency affected both street and proscenium theatre activities. Subsequently, ethnographic descriptions will illustrate the theatrical apparatus that the king employed to legitimize his power and how autocracy was similarly resisted and fought against in the streets through theatrical forms of protest and street theatre, loktantrik natak. I will then narrow my focus to a specific form of participatory street performance, kachahari natak, to describe how it was adopted and adapted in Nepal and how the theatre group developed as an organization. In conclusion, 1 will draw comparisons between different forms of 'theatre for social change', kachahari natak, loktantrik natak and Maoist cultural programmes.

Resumo No campo da pedagogia, é recorrente tratar a lição como uma ferramenta para o ensino e a aprendizagem. Neste artigo, argumentamos que, para além desse aspecto, traduz-se em um dos rituais mais significativos do processo educacional por seu caráter performativo. Sob o pressuposto de que é no campo do discurso pedagógico que se dá a estabilização do ritual da lição, desenvolvemos uma investigação na qual analisamos essa prática educativa em seu aspecto ritualístico, ou seja, como ritual e um caminho investigativo que observa a importância de se compreenderem práticas discursivas escolares atuais com foco em práticas discursivas, produzidas no contexto da modernidade. Elegemos um corpus de análise advindo de duas discursividades: a pedagogia jesuítica e a pedagogia moderna, de grande impacto no discurso educacional do século XX, em seus textos Ratio Studiorum, da Companhia de Jesus (1599-2009), e Primeiras lições de coisas, de N. Calkins, adaptação de Rui Barbosa (1861-1886). Nesses textos, analisados como discursos, deu-se visibilidade ao ritual da lição em seu aspecto performativo, ou seja, naquilo que marca posições, gestos e comportamentos. A análise indica uma regularidade que se mantém no que se refere aos enunciados reitores desses aspectos ritualísticos, um dos primeiros aspectos sagrados oriundos do discurso religioso cristão. Outro aspecto nessas discursividades é a função ritualística na produção do discurso da verdade.

From the widespread mineral exploitation of the past to the protected territory of the Sounion National Park in the present, the region of Lavreotiki has diachronically been at the centre of human activities and experiences. Nowadays, the landscape of the region, as defined by hills, valleys and the coastline at the SE of Attica, includes a variety of land uses, such as settlements (with prevailing traditional or contemporary styles), isolated properties (legal or illegal, inland or by the coast), agricultural lands (mainly vineyards and olive groves), uninhabited areas, roads, pathways and other transport routes, industrial units, tourist complexes, geological formations, archaeological and historical sites and landmarks, protected forest and shrub areas. However, the connecting element between them all has always been the large multi-metallic ore deposits found underground - their exploitation has shaped the landscape diachronically in a multitude of ways. This paper aims to explore the multiple facets of the landscape, interpret its characteristics as part of the diachronic heritage of the region and discuss its potential as an ‘off the beaten track’ place to visit.

Numerous human and natural resources, as well as a rich cultural heritage, exist in Indonesia. But many of us forget our identity, so we don’t realize that we are slowly forgetting our culture. Therefore, Locus. Artifex wants to raise the locality issue through architectural design to revive Indonesian culture and wealth. Planning a botanical garden in Denpasar with an in-depth sense of place, aims to create a green space that not only functions as a place for flora conservation but also as a centre for education, recreation, and the preservation of local culture. The design concept in this design combines traditional Balinese style with contemporary style by highlighting local conventional elements as the building’s characteristic. The design of the Denpasar Botanical Garden is inspired by the shape and layout of traditional Balinese house architecture by applying zoning from the Tri-Mandala, Sanga mandala, Natah, tropical building forms, and Bale. The zoning concept applied is the tri-mandala concept, broadly divided into 3 areas: utama, madya, and nista. The design method used in this design is to use design icons. This approach is used to highlight a traditional theme in a modern way, utilizing literature and traditional forms as the foundation for a design that combines contemporary forms to create something truly unique.

This paper looks at how investors like to put their money into gold investments, focusing on CaratLane, which is one of India's best omni-channel jewelry stores. As long as people continue to view gold as a trustworthy and culturally significant item, jewelry designers, whether they work in the traditional or contemporary style, will need to adjust to shifting consumer preferences. Some of the most essential factors that the study considers when making financial decisions are: internet accessibility, brand trustworthiness, perceived security, liquidity, quality assurance, innovative design, and brand liquidity. The study examines Carat Lane's products—digital gold options, buyback and exchange policies, and lightweight gold jewelry—to see how contemporary investors juggle the two competing priorities of aesthetics and financial success. The findings demonstrate that individuals, particularly the younger generation, are showing a growing preference for more affordable investments as well as simpler, more technologically advanced purchasing experiences. According to the research, Carat Lane's clever combination of cheap costs, transparency, and digital interaction positions it to satisfy the changing demands of users in the gold investing business.

Playback Theatre (PT) was created in New York State (USA) in 1975. As a particular form of interactive theatre, PT strives to encourage dialogue and create connections among people. In his article, the author introduces the method’s basic forms and practical implementations as employed in his teaching at the J.W. Goethe University in Frankfurt/Main (Germany). A brief historical overview highlights the paths of his own practice-based research. The aim of his innovative courses is to methodologically integrate theatre, psychodrama, sociodrama, supervision, coaching, and bibliographical work. The article shows how, through action methods, active self-reflection can encourage autonomy and self-determination in post-secondary education. Moreover, the author investigates how PT can be useful both for mediation and for sensitization in multicultural situations. Further examples show how these innovative forms can be implemented in teacher training and EU projects in order to foster the development of democratic participation in linguistic, cultural, and aesthetic education. Playback Theatre (PT) was created in New York State (USA) in 1975. As a particular form of interactive theatre, PT strives to encourage dialogue and create connections among people. In his article, the author introduces the method’s basic forms and practical implementations as employed in his teaching at the J.W. Goethe University in Frankfurt/Main (Germany). A brief historical overview highlights the paths of his own practice-based research. The aim of his innovative courses is to methodologically integrate theatre, psychodrama, sociodrama, supervision, coaching, and bibliographical work. The article shows how, through action methods, active self-reflection can encourage autonomy and self-determination in post-secondary education. Moreover, the author investigates how PT can be useful both for mediation and for sensitization in multicultural situations. Further examples show how these innovative forms can be implemented in teacher training and EU projects in order to foster the development of democratic participation in linguistic, cultural, and aesthetic education.

People with a computer science background would certainly agree that the purpose of programming is to solve problems. Thus, a learner who tries to master programming has to develop not only basic programming skills such as programming language constructs, data structures, but also the ability to develop and implement (correctly) algorithms that solve problems. Many new teaching methods and teaching materials has been developed and applied to Computer Science Education. There are for example, Cooperative Learning, Visual Programming Interfaces, Project-Based Learning, WebQuest-based learning and Software Engineering-based Training of various kinds. Each of these methods can promote the effect of learning in a different aspect. In this thesis, we try to develop and use a methodology that would significantly improve the learning effects of an introductory programming course. We applied ATDE-Styled Teaching and Learning methodology in a first experiment, teaching C. Then, we applied Web Surfing in a second experiment, teaching Java. These two educational experiments were made consecutively during the fall semester of 2005 and the spring semester of 2006. 102 freshman students participated in the experiment. Their performance was contrasted with a group of 83 junior students. The juniors accepted the training in the traditional style during their early years in college. The results of the two experiments were quite encouraging. In the ATDE experiment, the freshman group didn’t outperform the control group (in exam scores). However, the freshman group was almost as good as their junior counterparts in during C programming. In the Web Surfing experiment, the freshman group outperformed their junior counterparts.

Some aspects of the 15th‑18th century native American texts translation The artistic verbal expression of the native inhabitants of the pre‑Hispanic Mesoamerica presented great variety of forms, among which there could be distinguished, for example, solemn speeches, ritual songs and even very complex performances, that could be compared to some forms of the European theatre. Most of these pieces were destroyed with the conquest and colonization of America. Some of them, however, survived, mainly thanks to the effort that some missionaries and their indigenous students made to register parts of the native oral tradition in the alphabetic writing. The present article presents chosen problems related with the translation of this kind of texts, one of the most important difficulties being a huge distance in time and space that separates the source and the target cultures.

Why do churches fight Worship Wars? Why do discussions about how to conduct worship often split into two vitriolic polarities over traditional versus contemporary styles or into two opposing camps, such as organists/ guitarists, baby boomers/elders, returnees/loyalists or clergy/musicians? These worship wars prevent us from being the Church. In Reaching Out Without Dumbing Down, Marva Dawn writes to help local parishes and denominations think more thoroughly about worship and culture so that they can function effectively in contemporary society. She roots her discussion of worship issues in a careful assessment of significant aspects of the present technological, boomer, post-modern society and names criteria by which to judge the various cultural influences. She then sketches essential attributes of worship. Dawn recognizes that the vitality and faithfulness of our personal and corporate Christian lives and the effectiveness of our outreach to the world depend on the character that is formed in individuals and communities. How can churches best reach out to society without dumbing down this essential character formation? Dawn discusses music, preaching, and all the accouterments of worship and offers practical suggestions for choosing the best tools and forms to deepen worship life, nurture faith development, and increase believers outreach throughout the universal church and to the world.

Abstract: The purpose of this article is to explore how nihilism, as a philosophical trend of thought, profoundly affects the stage design of modern drama. Nihilism emphasizes the lack of inherent meaning in the world and the absurdity of human existence. Based on this, this article puts forward the argument that nihilism has had a significant impact on the modern drama. Through simplification, abstraction and subversive stage design, the audience is prompted to re-examine the relationship between drama and reality at the visual and psychological levels. The article will explore the concept, generation and artistic expression of nihilism, compare the traditional Western and Chinese theatrical stage set styles, and demonstrate the unique influence of nihilism on theatrical stage sets from the four aspects of stage design, expression techniques, space use and subversion of traditional theatrical forms. Through the analysis of the works of dramatists, such as Pinter, it shows how nihilism is embodied in the specific design of the stage set to support the argument.

<i>Instrumental Music in Late Eighteenth-Century Naples: Politics, Patronage and Artistic Culture</i>, by Anthony R. DelDonna

This article presents observations on grinding-stone implements and their uses in Elgeyo-Marakwet County, northwest Kenya. Tool use in Marakwet is contextualized with a select overview of literature on grinding-stones in Africa. Grinding-stones in Marakwet are incorporated not only into quotidian but also into more performative and ritual aspects of life. These tools have distinct local traditions laden with social as well as functional importance. It is argued that regionally and temporally specific studies of grinding-stone tool assemblages can be informative on the processing of various substances. Despite being common occurrences, grinding-stone tools are an under-discussed component of many African archaeological assemblages. Yet the significance of grinding-stones must be reevaluated, as they hold the potential to inform on landscapes of past food and material processing.