adaptation of virtual digital technology as a learning medium to be dalang of shadow puppets

Arte-Polis 4 International Conference - Creative Connectivity and the Making of Place 589

Toto HARYADI, Intan R. MUTIAZ

Adaptation of Virtual Digital Technology as a Learning Mediumto be Dalang of Shadow Puppets Toto HARYADI Post-Graduate Student - Faculty of Art and Design, Institut Teknologi Bandung INDONESIA [email protected] Dr. Intan R. MUTIAZ Lecturer - Faculty of Art and Design, Institut Teknologi Bandung INDONESIA [email protected] ABSTRACT The cultures of Indonesia will be inherited for generationsso that they are remain stable and known by several generations to come. One culture that still survives today is the art of Javanese ShadowPuppets. In order to bequeath the art of shadow puppets to the younger generation, dalang have a very important role. Dalangtransfer their knowledges to the youth in order to continue the struggle to preserve the art of shadow puppets. However, the smaller and smaller number of dalang in these days becoming the very obstacle intransfering their knowledge to the younger generations. Moreover, the conventional methods used to learn to be adalangare not so attractive to the younger generation who are now livingin the digital era. The phenomenon which said that if a father is a dalang, then is so their children, now is something that is not always true. Everyone has the ability to learn to be adalang, not only from pedalangfamily, a student in puppetry, and so forth. This is due to the presence of technology which has changed the way of the cultural inheritance from the conventional methods to the digital ones. The usage of virtual digital technology as a medium to learnto be a puppet dalang has advantages over the conventional ones since it is more interactive, easier, and lesstedious. These advantages make the younger generation are willing and eager to learn to be adalang in the art puppets. This research uses cultural studies as the methodology or approach. Conversion from the conventional ways to the modern ones (i.e. virtual digital media) has changed the experiences and some important values exist in the art of shadow puppet. The phenomenon of the function shifting of the shadow puppets which initially only as a medium of a ritual or a special celebration ceremony now also as a medium of entertainment. Keywords: technology, digital, virtual, dalang, shadow puppets, cultural studies



INTRODUCTION The cultures of Indonesia will be inherited for generationsso that they are remain stableand known by several generations to come. One culture that still survives today is the art of Javanese ShadowPuppets. In order to bequeath the art of shadow puppets to the younger generation, dalang have a very important role. Dalangtransfer their knowledges to the youth in order to continue the struggle to preserve the art of shadow puppets. However, the smaller and smaller number of dalang in these days becoming the very obstacle intransfering their knowledge to the younger generations. Moreover, the conventional methods used to learn to be adalangare not so attractive to the younger generation who are now livingin the digital era. The science studied and owned by dalang is so comprehensive, complex, and interrelated with each other. This can be known from the requirements for becoming a dalang. A Dalang is not merely a profession, since a dalang must have comprehensive knowledge and special skills. Seno Sastroamidjojo(1946) said that, a Dalang who has good requirements is follow five things:

1. Gendhing; master lelagoninggendhing 2. Gendheng; there are two means 1) capable gerong or choir in accompany of

Gendhing and 2) Capable Nuturing. 3. Gandhung; Confident 4. Gendheng (crazy); thinks himself the most right 5. Gandhang; (chetalanseru, wijang, wijiling, wicara); clear and good voice.

Before the development of technology in Indonesia,shadow puppets show only in rural areas. Dalang have very important role in the life of society. It relates to the function of shadow puppets shows as a rite, such as ruwatan media, ruwahan, and rural cleaning (bersih desa) (Sukino : 2009). The show is not merely spectacle, but also demand. Dalang to be a leader of ritual.Dalang not only as a teacher or teacher of society but also considered ‘wongsepuh’ (who should be reliable in the field of ‘ngelmutuwa’ and teach to broad society. Therefore the Dalang very honored and glorified and by society(Susetya, 2007 : 17-18). While technology is spreading to all facets of life of the society, especially cultural, directly impacts toward the function of shadow puppets shows and the role of a dalang. Packaging into mass media create shadow puppets were no longer only as a traditional culture, but also a mass culture. At first, this puppet developed in societies with traditional characters. When this art is packaged in the mass media, then touches of popular dominates traditional art, such as story, background, and so on are no longer the consumption rural society but massively into the consumption of rural society as well as urban (Burhan Bungin, 2006: 77-78).This shift led to the function of the shadow puppets show is no longer a ritual, but rather refers to the art of entertainment that are implemented for prenatal khitanan, weddings, and anniversary of the city. The role of dalang also shifted. The Dalang is more likely as entertainment leader rather thanritual leader, even sometimes out of ‘pakem’ (shadow puppets performance guidelines) for the sake of following the development of society who theritual and or religionhad begun tofade. Conveyed to the public through a lesson in shadow puppets shows, dalang not only tells the story, but also leads the cast of gamelan music that accompanied the show (pengrawit) as well as reading the suluk (literary or poetic puppet show). The essence of the show which was performed by a dalang that lies in the technique of playing the puppet (puppets movement). It is dalang who walks, talks, and shows the puppets (Ir. Sri mulyono, 1979: 129). In this research we will discuss about the puppets movement. This is because the puppets story and suluk are within the scope of the study of philology and language, whereas the puppets movement related to the discipline of design and visual.



Puppets movement derived from a ‘sabet’ word, which means ‘pengembat’. ‘Nyabet’ means dropping a card, playing shadow puppets (Prawiroatmojo, 1981: 155). The definition of puppets movements are move, run, and play the puppets. The motion of a puppet show regard on the speech, behavior, and action of the figure in conjunction with another character. In a puppets movement technique occurred displacement of puppet position on the body or a small part of a puppet body. Puppets movement contains ‘udanegara’ term, that is attitudes and behaviors of a figure in a puppet show, which is a form of movement or displacement of these figures from one place to another; or at least of the limb that can be moved. Related to the inheritance ofpuppets movement knowledgefrom dalang to young generation, the presence of technology gives a great influence. Indonesiais knownas a country thatupholds theculture ofspeech(oral) in preservingitscultures. Shadow puppets passed on orally from the dalang to their disciples. But with theadvancedinventions, especially in the field ofcomputerization, it is possible that digital media will be used in teaching puppets movement technique.The objective of this research is to give a brief overview about the usage of oral culture, written culture, and adaptation of digital technology to teach puppets movement.It also reviews the impact on aspects of the social, cultural, or perhaps local economy with respect to the cultural inheritance of shadow puppets itself. Usage of Oral Culture Within Inheritance of Shadow Puppets Movement At first, dalangbequeathedpuppetry technique totheir disciplesthrough theoral culture. Shadow puppets is an art performance that is spatially nuncupative, which born, maintained and developed by the oral tradition (Faruk, 1996: 252). Sincethere has been notranslation ofpuppetrytechniques(especially the puppetsmovement)into written form at that time, dalang should have good memory. Walter J. Ong in his book entitled Orality and Literacy: The Technologizing of The Word, he explained that the inheritance of shadow puppets technique orally have some unique features, those are the existence of formulaic phrases, stereotypes, same words meaning repetitions, forms of acronyms, as well as a variety of nicknames.All these features are useful to maintain and preserve the memory of dalang. The difference of oral technique from every dalang in teaching puppets movement turned out gave some impact that significant enough. Shadow puppets tended to be heterogeneous, each region has its own style. In Java appeared four major styles of the most influential i.e. Cirebon, Surakarta, Yogyakarta, and East Java style. From each style there are more substyles such as Malang, Jombang, and Mojokerto substyle as East Java style form. Klaten as a substyle of Surakarta style. Whereas Yogyakarta does not have substyle. Some of the substyles appeared, every village in that area also has its own dalang. The oral tradition from dalang indirectly establisheda paradigm that the characteristic of shadow puppets in past dayswas the art of storytelling,so it required good ability of oration and narration.Shadow puppets became an art which was not only contain elements of aesthetic, but also full of guidance. The essence of shadow puppets isthe values of human life that is so great. This is a feature of social system that actually hold the tradition of the ancestors. Shadow puppets also became ritual medium. Dalang were considered as “saman” (ritual leader) who could communicate with ancestors’ spirit. During the show, besides teaching their disciples to play the puppets, they also giving life guidance to the public in form of religious values. Social relationship between dalang with society occursharmoniously, solid, and need each other. Society needs



dalang, and likewise. Dalang are appreciated by public and have a high position,thus create social stratification because of their role.The role of dalang in teaching puppets art is selfless action, with full of sincerity, or in Javanese term called “sepi ing pamrih, rame ing gawe”.This is an overview how dalang teach theirdisciples.Dalang are not only equip their discipleswith skills of puppets playing, but also values of life that great. Although the oral culture above can create a harmonious social relationhip between dalang and their disciples, there are still also some disadvantages.For them who want to learn about playing shadow puppets, each other must be studied to a dalang. Usually a dalang only teach one or two disciple(s)in a way they serve and actively participate(s)in the show which played by their (his) teacher. The disciples learn what dalang have done when performing. This case certainly closesopportunity for others considering each region in Java does not necessarily have dalang, so lessonof playing puppets could not be done in bulk through theoral culture.Besides, those processeswere carried out for years until they were able to deploy their performancesas they often refer to the performances of the teacher.1 Usage of WrittenCulture Within Inheritance of Shadow Puppets Movement Since the year 1817 to 1984shadow puppets of Java widely studied and reviewed by the foreign orientalists. Late nineteenth and early twentieth century there were a lot of study of ancient Javanese shadow puppets and then taught it to the nobles and poets of Java, especially those around the palace of Surakarta and Mangkunegara, including Ranggawarsita (Prawirahardja 1933: Sastrasoewignja 1934). From that process, papers about puppetry guidelines were made. The impact of thetransformation fromoral towritten formarethepuppet showhasstandardizationandhomogenization. From that idea, preciselyin 1924,aformaleducationalinstitutionof thepuppet was established (Groenendael 1987). Usage of the guide book in the inheritance puppets movement technique apparently used by dalang in a long time, even to present days. Since the mid 1970s, Moeljana Sastranarjatma (one of the puppet observers) is an author of the first discourse text about shadow puppets show in puppetry community. His works were widely used in Anom Soeroto’s performances.2 Although in that era many papers about puppets movement technique had sprung up, like those made by Tristuti Rahmadi Suryasaputra, some senior dalang did not depend on those papers, but relied on the ability of mind when performing shadow. In a puppet show, a dalang should tells puppets story, sings some ‘gending’ (songs in shadow puppets show), and moves the puppets. Papers or books are only tools if dalang had forgotten. But for dalang candidates, the guidebookshould also be studiedeven thoughtheyhad memorizedandmastered the puppets movement technique. When they were playing shadow puppets, they may used guidebook. This is what differentiate withtheirprevious experience,whichrelied only onoralability. Publication of books about shadow puppets learning changes some characteristics of oral culture early.The way to educate dalang candidates was also changed.They are not required to serve their teacher anymore.They can learn on their own using puppetry guidebooks.Nevertheless, they have to keep in touch with their teacher, considering guidebooks do not replace the role of dalang as the teacher absolutely.Transformation from oral to written culture also reduces the task of a dalang in teaching his disciples.Advantageof usage written culture in books form is more and more people who have chances to learn, although they are not ancestry of



dalang, palace, or kingdom. The important thingsarethat they love puppets, have an interest, as well as strong efforts. Besides guidebooks, replacement media for oral culture is institution.The presence of institutions puppetry art major, suchas ISI (Surakarta, Jogjakarta, and Denpasar), Habirandha (Jogjakarta), and othersparticipate ingivingchances for public to learn about puppetry, especially puppets movements technique.For them who are interested, they will be taught by teachers who are proficient in the field of puppetry, or by dalang directly.Institutions also give some support facilities, one of them is puppets doll.In institutions, they can learn to play puppets which first guided by the teacher, then allowed to practice alone. The presence of guidebooks causes relationship between dalang with their disciples and society tends to be more tenuous, due todecrease ofinteraction that occurs between them.The essence of the ritual was also tended to fade, because shadow puppets on the written cultural era have had good visualization so that the puppets art is not only as a guide to values of life (religion), but also as a show to entertain the public.Dalang’s role also changed, originally as “saman” (ritual leader), now also as an entertainer.Written cultures above (guidebook and institution)generally change some aspects that exists when oral culture was used.If previouslydalang candidates took a long time to learn shadow puppets movement because of devotion, now they might learn in a shorter time. Usage of written culture also creates a new value system that had never been existed before,namely economic value. When oral culture is still used, dalang taught puppetry techniques sincerely (selfless), because they did not think about commercial values at that time.Dalang truly carriedmission to bequeathshadow puppets to the next generations.Now some dalang are not only bequeath shadow puppets merely, but also try to earn profitsfrom it eventhough just a little.Involvement of economic value in the inheritance of puppets movement technique indirectly decrease the essence of shadow puppets itself. Previously shadow puppets isa cultural art which hasgreat value, now it also become an economic tool.The impacts of transformation oral to written culture to learn playing puppets in more details can be seen in the table below:

Table 1. The Changes of Transformation Oral Culture to Written ones within Inheritance of Puppets Movement Technique

Source : Haryadi (2012) Aspects Oral Culture Written Culture Role of Dalang Very central Central elemen is reduced Education Characteristic nonformal Formal and nonformal

Appears Dominance Heterogeneous (many styles and

substyles) Homogeneous (dominated by

Surakarta styleand Yogyakartastyle) Economic Motive There is no any motive There is a motive Function of Shadow Puppets

Guidance and ritual media Guidance, show, and entertainment

media

Influence on public’s life Oral character in shadow puppets

as a mean of associaton and collectivity affirmation

Intencity of social interaction and collectivity are decreased

Adaptation of Digital Virtual Technology Within Inheritance of Puppets Movement Technique Modernizationhas broughtenormouschangesto manyaspectsof human life, especially thecultural life. Modernization in terms of cultural concerns the formation of systems of knowledge, values, and aesthetic norms which also different from those previous



norms. Modernizationisa process thatcandisplacea variety ofethniccultures, notonlymaterially, in terms of outwardexistence, butalso ideologically, the innercontent (Faruk: 1996). The presence of modernization marked by the birth of technologies that are already inherent in every day life. Current Worldis aworldconstructedespeciallyby technology. Sometimestechnologymakeshumanlifegets better. However, at the other times technology makes life more difficult. IhdeinLim(2008)explainedthat technologyforms andchanges thecultureand the environment. Technology as amediatorbetween manandhis worldturned out changes thehuman experienceabout theworld. Culturewerealsochangeddue tothe application of technology. One ofthe most influentialtechnologiesin life isvirtualdigitaltechnology. The emergence of nationalism in Indonesia, to uphold culture lately, made a virtual digital technology has a very important role in it, one of which is the inheritance of shadow puppets. Lifestylein urban environment,which is toosophisticated, practical, effective,andefficient,encouragesthedalangto be morecreative in the teaching of puppetsmovementtechnique. Oral and writtenmediahardly enthused byyounger generation whobecamethe targetof inheritanceshadow puppet showtechniques. Ki Manteb Sudarsono (1991) stated,

“It is reasonable ifyoung people todaydo not likepuppetsorother traditionalarts. Because, in general the artists especially dalang has not been able to bridge the traditional artistry with the willingness of youth. Technicallythe presentation ofshadow puppetsgenerallymonotonous, poorimprovisation.”

If young people do not want to see the show of puppets, then certainly they do not want to learn about shadow puppet, especially the technique of puppet movement. Althoughdalangare notfamiliarwithsuchadvancedtechnology, theycan learn, try, improvise, andadapt itinto alesson aboutpuppetsmovementtechnique. This isanewbreakthroughin theworld ofpuppetry, without losing the cultural elements of oral and written culture. Adaptation ofvirtualdigitaltechnologyof usingmotion sensor chipsforlearningthe puppetsmovementtechniqueoffers several advantages. They are more interactive, makes it easier for youth to understand the techniques of puppets movement, minimize the need for manual devices, and so on. The intensityof commonmistakesmadewhile using theoraland writtenmediacan also be reduced. Ihde’sstatementinLim(2008)explainedthat the useof technologyby humanshas led toenormoustechnologicalrevolutionthat isviewedfrom theaspectof time, spaceandlanguage. Similarly, whenthe transformationofconventionalculture(oral and written) into avirtualdigitalculture(sensor chip).Aspects of timewillchange overthatadvanced technologyusedto teachpuppets movementtechnique. Time willbeeliminated. Previously, it takes too long time for the dalang in teach puppets movement, now there is no need to take a lot of time to teach theirdisciples. The disciples alsoable tocut offnormaltimeused,sincetheycanexerciseat any timewithout having tofollow the rules ofthe dayin atraditionalpuppet. The aspect of the space will also be changed as well as the time ones. Space will be narrowed implicity and explicity. Implicitly, the narrowing of spaces occur in the scope of interaction. Virtualdigitaltechnologyin the form ofsensor chipwilllimit the communicationbetween dalang candidates to other people because theyneed only to stare atthemedia. This condition makes the other interactions are not possible. Explicitly,the narrowingof space occuredin the real sense.If theconventionalmedia(oral and written) allowsdalangto interactwiththeir disciplesin



the roomthat isspaciousandpublicly, digitalmedialimit it instead.Theycan practicedespitea smallandprivate room. The last aspect is language. Conventionalmediashows the nature ofa clear, transparent, andreal. The use ofconventionalmediahas giventhe role ofdalangtoteachpuppetsmovementtechniquethroughoral and written. It is alreadyclearthat thelanguage usedishuman language, whichcan be understood bythem(dalang and disciples). Communication that occuredislinear. In this case,human natureis still appreciated. The existence of conflicts resulting from the communication is reasonable, because both dalang and his disciples understand each other language. Differentexperienceswillbe occuredwhenusingdigitalmedia. The use ofdigitalmediain the formof virtualmotionsensor chipwill createcommunicationsthat are notlinear, between real lifewithvirtualones. Language of communication used by the media with the dalang candidates is a programming language (machine). This language istranslatedonlyin the form ofbinarynumbers 1and0, which is verydifferent fromhuman language. Humansdo not understandthe nature ofmachine language, as well as technology that does not understandhuman language. The presence of digital technology (sensor chip) in general can create both positive and negative consequences for puppetry art which still exist until now.When a dalang taught his disciples about puppetry, especially playing puppets usingoral culture, there was only one or two disciple(s) who could learn to him directly.In term of time, it takes many years devotion so they could learn from dalang.Wherever and whenever dalang went to show, they would follow and accompany him.This case will change when sensor chiptechnology is used. Disciples are not required to serve dalang. They can learn to play shadow puppets wherever and whenever they want.Even everyone can learn puppets movement technique because this media can be produced massively.The required timeto practice also become shorter. Essentially, the use of sensor chip digital can shorten the bureucratic process in learning puppets movement technique. On the other hand, negative consequenses cannot be avoided. The wayto teach dalang candidates are also change. In social term, interaction between dalang withtheir disciples can be replaced by the interaction between disciples with digital media.Their orientation is no longer to the dalang, but to the digital media of sensor chipwhich they faced.Collectivity and relationship that were built by dalang with their disciples and publicbefore, also be eroded. The more severe possibilityis that the disciples no longer need the role of a dalang, so the relationship between s dalang and his disciples will be broken. Usage of digital media (sensor chip)also changesthe essence of shadow puppets. When dalang using oral culture, shadow puppets is still very thick with guidance and ritual. Whenthe written culture is used in puppetry learning, shadow puppets not only as guidance and ritual, but also as entertainment.In digital era, guidance and ritual elements of shadow puppets more eroded andmore severe than before.The art of shadow puppets tend to be dominant as an entertainment media, although it become famous not only in Java, but also in Indonesia and even the world. In other words, more modern this life, more eroded the essence of shadow puppets. APPLICATIVE IMAGE OF PUPPETS MOVEMENT TECHNIQUE FROM CONVENTIONAL MEDIUM TO DIGITAL MEDIUM



A little flashbackofexplainingabove, fromtime to time learning about puppetsmovementtechniquehad been developed. Starting froman oralcultureandtransformed to writtenculture and last maybe in digitalones. Adaptation ofdigitalvirtualtechnology which is motionsensorin applicationas a form ofmassive changesin the learningpuppets movementtechnique.Real puppetsareused when oral and or written culture still be priority every dalang, nowis transformedinto amachine languageusingasoftware, so become puppets modeling in digitalversion. In this casewillbe describedbriefly howthe process oftransformationpuppetsmovementtechniquesfromthe conventionalmediatodigitalones.

Figure 3. Nintendo Wii Remote Source :

http://images.amazon.com/images/G/01/ videogames/detail-page/WiiRemote1.jpg

Figure 4. Notebook Source : http://basobasri.files.wordpress.com/

2010/08/notebook.jpg

Figure 5. Projector Source : http://www.iklanjos.com/

media/2011/11/09/671ad_Electric-Projection-Screen-SML120-.jpg

Figure 2. Sample of puppets Source : http://wayanggatotkacalair.

blogspot.com

Figure 1. Learning Puppets Movement Technique Use Traditional Media (touch puppets directly) Source : http://kangmartho.files.wordpress.com/

2011/12/bermain-shadow puppets.jpg



The application which will be made use digital virtual technology such as sensor chip. In this case, tools such Nintendo Wii remote or similar things, notebook’s webcam, and projector are needed. Remote is used to rotate and move the body or limbs of virtual puppets that have been made in computer before. Webcam is used to capture hand motion or movement that will move the body or limbs of puppets in computer or notebook. And projector is used to project picture which captured by webcam on the screen or wall. For more detail, the figure below shows plan of application will be made to teach puppets movement technique:

ENDNOTES

[1] V.M. Clara Van Groenendael. 1987. Dalang Di Balik Wayang. Jakarta: PT. Pustaka Utama Grafiti, p. 42-44

[2] Sugeng Nugroho. 2000. Pengaruh Teks Wacana PuppetryTerhadap Aspek Estetik Sajian Pakeliran. Laporan Penelitian kepada Masyarakat Seni Pertunjukan Indonesia, p. 46

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Figure 6. Application Plan Source : Haryadi – photo editing (2012)



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