visualising peran in makyung as 3d animated … · makyung can be categorized as a type of...

Proceeding of the Social Sciences Research ICSSR 2014 (e-ISBN 978-967-11768-7-0). 9-10 June 2014, Kota Kinabalu, Sabah, MALAYSIA. Organized by http://WorldConferences.net 465

VISUALISING PERAN IN MAKYUNG AS 3D ANIMATED CHARACTER

Mohammad Dzulsyafiq Mohammad Yusoff Faculty of Animation and Multimedia

National Academy of Arts, Culture & Heritage (ASWARA) [email protected]

ABSTRACT

The purpose of this study is to explore on bringing up one of the key characters in Makyung into 3D digital form. Makyung, a traditonal theatre that used to be famous in the 60s is on the verge of extinction. Due to the emergence of new digital medium such as animation, film and video, Makyung is having a difficulty to be sustained. Thus this research aim to expand Makyung influences into a digital form by visualise ‘Peran’ into 3D animated character. This inturn is hoped will enhance the presentation and commercial value of Makyung. The research will be focussing on obtaining the key characteristic of Peran. The new character design will be develop by exploring both on the characteristic of Peran and theory in designing character in animation.

Field of Research: character design, peran, animation.

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1. What is Makyung

Theatre and drama exists in multiple forms in almost every community. It used to be one of the most successful medium for conveying message and entertainment before the advent of moving pictures and the cinema. Makyung is one of the Malaysian traditional theatres that used to be popular in Kelantan. Makyung can be categorized as a type of performing art that combine music, singing and acting in a single show. According to Dr. Ghulam-Sarwar Yousof (2010), one of Malaysia’s experts on the subject, Makyung may be defined as a Malay dance theatre form incorporating elements of ritual, stylized dance, vocal and instrument music, song, story, improvised and formal spoken text as well as stylized acting.

As for the history and growth of the Makyung, there are also several version and theories. According to Zahari & Umar (2011), there are two version of the history of Makyung. The first version is that it began around 1211-1218. During this time, Makyung is said to have come from a Mon-khmer tribe that used to hold dance performances for Raja Jayavarman VII, Raja Angkor (1211-1218) in Thailand. It is believed that Makyung then moved down from Thailand, to the east coast states of Malaysia namely Kelantan and Terengganu. Then in around 1585-1680, cultural assimilation in the form of Makyung performances was said to have given it form, which is still in use from the time Pattani was ruled by Queens. In 1612, one of said queens was married to Sultan Abdul Jalil III from Johor, while another was married to Sultan Abdul Ghafur of Pahang.

The second version of the origins of Makyung began around 1320. It is believed that Che Siti Wan Kembang or Dewi Durga created Makyung in 1320 in Kota Kuala Krai when she was the queen of Ulu Kelantan. In 1886, during the reign of Sultan Ahmad ibn Sultan Muhammad II, there was an obvious growth of Makyung in Kelantan. However due to an incident where his daughter eloped with one of the Perans, Sultan Ahmad banned Makyung for a year. After being persuaded by the nobility, Sultan Ahmad then appointed several Arts guardians. By 1879, Makyung had reached its peak. This was under the patronage of a member of the Kelantan royal family, Tengku Temenggung or Long Abdul Ghaffar ibn Sultan Muhammad II. During this era, Makyung steadily grew more & more popular.

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Besides being well trained in the performance itself, most of the Makyung practitioners were required to strengthen their religious knowledge.

2. Peran as Integral Character

Peran can be considered a very important character in the Makyung performances.

“Some experts even believe that his role surpasses even the importance of the Pakyung. Without the Peran, the King or Pakyung does not have much of a role as the flow of the story is conveyed through the Peran’s performance” (Zahari & Umar, 2011)

According to Zahari & Umar (2011), there have been changes to the role of Peran from the pre-islamic era to present. During the Pre-Islamic era, Peran adopted the role of “Bomoh” or Shaman to invoke the goodwill of the spirits through incantations. However presently, since the understanding and knowledge of Islam has become stronger, the Peran leads the audience in an opening and closing Islamic prayer.

According to the literature review, Peran plays multiple roles in the performance itself and outside the performance. As for the roles of Peran in the Makyung performance, firstly is to leads the audience in an opening and closing prayer at each performance (Zahari & Umar, 2011). As the performance progresses, Peran functions in controlling the flow of the performance.

During the Makyung performance, Peran’s main role is to serve, protect and secure the safety of the Pakyung (Zahari & Umar, 2011). Based from the interview with Rime Nazren (2013), he mentions that Peran could be considered as the closest person to the King or Pakyung. He has the power to influence the King’s decision and also help him solving problems.

“The senior peran plays the role of the advisor, negotiator and personal aide to the king in many areas ranging from his love life to administrative duties as well as pertaining to politics and his reign” (Tahir, 2011).

The person playing the role of Peran has to be a versatile actor as he is also responsible for ensuring the smoothness and flow of the performance. Therefore, the actor must also be able to improvise whenever necessary during the performance.

“He is a consummate performer and adept at dancing, singing and acting often in a comedic manner that is highly entertaining.” (Tahir, 2011).

The characteristics of the Peran are normally funny and comedic. Peran is charged with entertaining the audience jokes. Peran is one of the main attractions in every Makyung performances as Peran represents the aura of the exquisite performing art of Makyung (Zahari & Umar, 2011). According Che Mohd Nasir Yusoff (2013), during a recent interview, he said that the word Peran itself in modern language could be defined as being one of comedy.

3. Visual Representation of Peran

It can be summarized that Peran has a very significant role in Makyung. As far as visualising Peran into a 3D digital character is concerned, visual representation of it is one of the vital elements that will help in visualising it into a 3D digital character.

Based on the literature reviews gathered, there are several similarities on the visual representation of Peran.

“In the early days, these two characters wore white round-necked, short-sleeved shirts, a cotton sarong and a pair of cotton pants. They also wrapped their head with a piece of



multi-purpose cloth (semutar), usually made of cotton in either red or blue” (Zahari & Umar, 2011).

Zahari & Umar (2011) also added that Peran always wears a sampin made of songket cloth and pre-cut sarong but worn longer at mid-calves, with either floral or tandik knots and held together by a wide belt. They also wear a plain white round-necked shirt topped with a vest. According to them also, the Peran’s costume can be identified by features such as the short sleeved top with a pair of baggy pants to facilitate movements, a semutar to cover his head, a songkok to protect from the sun, a sash to keep weapons and a kain peran to wipe away sweat. He is usually bare-footed to facilitate faster movement and a smoother gait.

Most importantly, the costume of Peran should look comedic and funny. According to Che Mohd Nasir Yusoff (2013), Peran make up nowadays looks more to alike to the clown in order to bring in funny elements. Ultimately, all aspects of the Peran’s costume and make-up are to create a funny appearance in order to give a comedic effect (Zahari & Umar, 2011).

4. Character Design

Designing a character is an essential process in an animation. The final character design has to be able to visually represent the characteristic of the character itself. In order to create a good and believeable character design, one has to undergo a process of gathering information and ideas.

There are several types of character design. According to Yuen, Sultana & Ang (2013), the two most common categories of character are living and non-living characters. Living characters are like human, animals and anthropomorphic living objects such as creatures and plant. The other type, which is non-living, includes anthropomorphised inanimate objects, natural element, mythical and mystical entities.

Nonetheless the character categories, it is vital to design a character that manage to catch the audience interest and tells the story (Mattesi,2008). Thus, this research will focus on designing the character based on the real intepretation of Peran in the Makyung performances. The outcome of the design is hoped to be able to potray the visual representation of real Peran in Makyung.

The method and formula of designing a character may be vary as each character has different characteristic. Thus, there are no definite formula in designing the character (Mounsey,2010). However there are some guidelines and tips leave by a good artist and character design their personal blog or websites. The character design has to manage to nicely present the genre that that it serves. According to Lioi(2009), some of the constraints that need to be consider in designing a character are genre, target audience and length of the animation.

5. Theoritrical framework

Figure 1: Theoretical framework



The framework was developed based on the “Character Design Process Model” by Lioi (2009). The design process model was simplified to cater the needs of the research on developing a character design based on Peran in Makyung. Based on the framework, four main elements of character design were identified. Those elements are personality, shape, costume (physical attributes) and colour.

6. Methodology

This research will be using both qualitative and quantitative method in gathering information needed for the character design. The research will be focusing on four elements needed in designing the character which are personality, shape, costume and color.

Element Method

Personality Face-to-face interview

Shape Visual literature

Costume Visual literature

Color Visual Literature

Figure 2: Methodology

6.1 Personality

The face-to-face interviews will be held with five Makyung experts in order to gather information on Peran. The the information gathered is then inputted into a matrix form called the “Personality Matrix”. Personality Matrix is an instrument developed by Hiroyoshi Tsukamoto (2006), in order to develop a manga character. It divides personality into six necessary classifications. The classifications consist of special attributes, weakness, status/profession/position, biological environment, desire and behaviour.

6.2 Shape

Visual analysis has been done to the selected character that share the same personality of Peran to identify the common patterns or the semiotic shape and proportion.

6.3 Costume

Visual analysis will be used to identify the necessary costume of Peran. A total of fifty-one images of Peran during Makyung performances were taken. The images were analyzed in the form of a table and the data was then put into an instrument called the “Costume Matrix” The Costume Matrix is a matrix system developed by Tsukamoto (2006). This Matrix system classifies the costume of a character into six different classifications. These classifications are bodywear, covering/footwear, ornament, makeup, wrap/tie & carry-on items.

6.4 Colour

Visual analysis will be conducted using the same images of Peran for the costume. The data collected then was analyzed to identify the semiotic colour and pattern of Peran.



7. Finding & Discussion

7.1 Personality

Figure 3: Personality Matrix

The feedback from all the respondents were is then summarized in order to obtain a more accurate data on the character’s personality (figure 3). The result shows that as for the behaviour of Peran, 5/5 of the respondents said funny, 3/5 of the respondents said smart and 2/5 of the respondents said obedient. Special attributes, 3/5 of the respondents said special machete. Weakness, 3/5 of the respondents said the king. Status and profession, 5/5 of the respondents said King’s confidante. Biological environment, 2/5 of the respondents said palace, 2/5 of the respondents said jungle. Desire, 2/5 of the respondents said to solve king’s problem or mission. This result was then lead to the creation of the Character Profile (also referred to as Character Briefing or Character

Biography)(figure 4).

Figure 4: Character Profile 7.2 Shape

Based on the personality of Peran, we can conclude that Peran’s characteristics are funny and smart. Other characters that share same the same personality as Peran, have been listed below (figure 5).

CHARACTER PROFILE

Peran is one of the key characters in a Makyung performance. Peran serves as a confidant to the King. His close relationship to the king makes him the King’s most trusted person. His priority is to assist the King in solving problems. Apart from that, Peran is also a funny and smart character. He is loyal and obedient to the King. He lives in the palace and will normally travel by crossing forests and jungles whenever necessary. He always carries a special machete or ‘golok’ as a weapon. The machete can also function as other objects that will help him in his quest.



Figure 5: Visual analysis of shape & proportion of multiple characters

Based on the visual analysis, 4/7 of the characters are based on circular shape, 2/7 of the characters

are based on rectangular shape and 1/7 of the characters are based triangular shape. As for the body

features, 4/7 of the characters are distended, 2/7 of the characters are thin and 1/7 of the

characters is muscular. 4/7 of the characters have short legs and 2/7 of the characters have long

legs. The data gathered on the visual analysis was put into sketches where the process of exploration

of the shape and proportion begin (figure 6)

Figure 6: Silhouette studies

7.3 Costume

Visual analysis was used to identify the necessary costume of Peran. A total of fifty-one images of Peran during Makyung performances were taken (figure 7). The images were analyzed in the form of a table (figure 8) and the data was then put into an instrument called the “Costume Matrix” (figure 9).



Figure 7: Some images of Peran taken during performances

Figure 8: Visual Analysis of Peran’s Images



Figure 9 : Costume Matrix

According to analysis done, for the bodywear, 71% of perans wear white shirts, 73% wear vests and 86% wear long pants. Covering & footwear shows that 59% wear songkok and 80% of Peran perform barefoot. As for the make-up, the result shows no prominent make-up used. The highest result shows that 37% of Peran applied white powder make-up, 29% have rounded shapes on their cheeks, 19% have cartoon tears on their cheeks, 33% have goatees and 29% have sharp and slanted eyebrow. In the wrap & tie section, 94% of Peran wear sampin and 29% wear scarves on their necks. 53% of Peran also carry a machete as a carry-on item.

7.4 Colour

Another visual analysis was conducted using the same images of Peran (figure 7) for the costume. The data collected then was analyzed to identify the semiotic colour and pattern of Peran (figure 10).

Figure 10 : Visual Analysis on colour and pattern

The analysis indicates that 71% of Peran wear plain white shirts. As for the vest colour of Peran, 40% of Peran wear yellow-based colour vests, where as 32% wear green-based colours and 28% wear



blue-based colours. Vest patterns show that 43% of Peran wear checkered-patterned vests while 26% wear striped-patterns and 31% wear plain vest. The results for long pants show that 28% wear blue, 27% wear green, 30% wear yellow and 15% wear red. In term of patterns, 35% wear plain pants and 40% wear checkered-patterned pants. Finally, the sampin results shows that 20% wear purple, 15% wear blue, 33% wear yellow and 32% wear brown. Pattern of sampin shows that 78% were checkered and 12% had a floral motive.

7.5 The design

Based from the data gathered, the character design of Peran was developed (figure 11). The final design was then developed into 3D Digital Character (figure 12).

Figure 11 : Character Development

Figure 12 : Final Design



8. Conclusion and Future Recommendation

Along the process of ascertaining the key characteristics of Peran, it can be concluded that there is no real definite guideline or rules in defining Peran. However, the semiotic personality of Peran is that he is funny and smart. Therefore, the best way of ascertaining the key characteristic of Peran is by using a semiotic approach to create a character design that will still be recognizeable by Makyung enthusiasts even in a digital form. Perhaps with its adaptation into different forms, its influences can be further enhanced. This research has also discovered the process of identifying information in designing a digital character. It shows that with proper framework and guidelines in developing a character, it can hasten the design process and contribute in obtaining the right design for a character. Main elements such as a character’s personality, shape, proportion, colour and costume are essential to be obtained first. These kinds of information will later on act as guidelines for a designer in designing a character. A proper framework on the preparative stage will avoid problems that may be encountered during a characters development into a 3D digital form.

The character design for Peran itself can be done in multiple ways. In this stage, the researcher adapts the framework from the Character Design Process Model (Lioi, 2009). Different character design framework may lead to different looks and feels of the character. Future research may explore on multiple framework and methodology in developing a character design.

This research only focused on the visual representation of Peran. Most of the research conducted was aimed to achieve the information on how Peran looks visually. This information was all used to create the design of Peran, which is basically a static object. Future researchers can explore how to animate of Peran. More research can be conducted in order to study the movement and action of Peran and how it can be enhanced if transformed into an animated character.

References

Bancroft, T. (2006). Creating characters with personality. New York: Watson-Guptill Publications.

Cohen, S. (2011). Character design. California: Walter Foster Publishing.

Lioi, L. (2009). Framework for development of schemata in character design for computer animation. (Master's thesis).

Mat Omar, M. A. (2011). Understanding culture through animation : From the world to malaysia. Jurnal Pengajian Media Malaysia, 13(2), 1-9.

Tsukamoto, H. (2006). Manga matrix : Create unique characters using japanese matrix system. New York: Collins Design.

Yuen , M. C., Sultana, N., & Ang, K. Y. (2013, June). Understanding the technicalities of character design for creating non-cliche characters for storytelling. 3rd international conference on performing arts as creative industries in asia, Kota Kinabalu.

Zahari. R. & Umar, S. (Comps.). (2011). Makyung: The Mystical Heritage Of Malaysia, KL: Institut Terjemahan Negara Malaysia Berhad.


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