# data[].attributes.body
1. Danial Ikhwan bin Zaidi (69435)
2. Muhammad Rajaie Firdaus Naim bin Zahari (70631)
3. Karen Chong Ling Jung (70047)
4. Chen Kai Li (69331)
5. Izfa Hanani Binti Jalanis (69910)
6. Jovee Jasipin (70018)

# data[].attributes.body
Puppetry is a form of theatre or performance that involves the manipulation of puppets – inanimate objects, often resembling some type of human or animal figure, that are animated or manipulated by a human called a puppeteer. Such a performance is also known as a puppet production. The script for a puppet production is called a puppet play. Puppeteers use movements from hands and arms to control devices such as rods or strings to move the body, head, limbs, and in some cases the mouth and eyes of the puppet. The puppeteer sometimes speaks in the voice of the character of the puppet, while at other times they perform to a recorded soundtrack. Southeast Asia has a rich tradition of puppetry, a theatre from varying in style whithin the region but, at the same time, demonstrating many similaraties.

# data[].attributes.body
Wayang kulit in Malaysia
4 form of shadow
- wayang kulit siam
(sometimes refer to as wayang kulit kelantan)
- principally found in kelantan, active in kedah and perlis
- wayang kulit melayu associtel in kelantan

Shares element in southeast asian shadow theatre
-Stories : hikayat maharaja waner (malay ramayana)
-Religion elements : Islamic invocation, animistic belief
-Music gongan systems based on gong or basic percussion orchestra
-Religion influences : thai malay, javanes

-Stories : ramakein (thai ramayana)
-Religion elements : Buddhist incantations or animastie beliefs
-Music : phi phai orchestra
-Religion influences : combodian puppet design and music

Puppet design : in terms of iconography and design in Malaysia wayang kulit

Javanese influence : idea are from islam and javanese
-The shape of Pak Dogol, the senior clown in wayang kulit

Thai influences : have a Sri Rama, Laksamana and Sirat Maharaja pupets.
-Sri Rama's bird like costume is devided from that of the lead male devide in the thai menora dance

# data[].attributes.headline
Sudut belakang tabir sebuah persembahan wayang kulit

# data[].attributes.subject
Sudut belakang tabir sebuah persembahan wayang kulit

# data[].attributes.body
Disebalik tabir persembahan wayang kulit di Malaysia. Terdapat beberapa orang yang mempunyai tanggungjawab masing-masing untuk menghidupkan persembahan tersebut antaranya ada yang memainkan alat muzik dan juga ada yang memainkan peranan sebagai latar belakang suara

# data[].attributes.body
Selalunya di permulaan wayang kulit akan menceritakan kisah sri rama. Di mana sri rama ini sebenarnya berasal dari cerita mitos yang ditulis dalam kitab agama hindu. Dalam hikayatnya, Sri rama merupakan anak dewa dan sri rama terkenal dengan kewajaran, setia dan kasih sayangnya

# data[].attributes.body
Persembahan Wayang Kulit
• Diiringi muzik paluan atau gamelan
• Muzik yang paling penting atau muzik utama dalam sesuatu upacara tradisional Kelantan adalah tiupan serunai dan rebab

# data[].attributes.body
Peranan Wayang Kulit

1) Kekal Tradisi
• Kelantan mengekalkan satu adat tradisi dari dulu hingga sekarang iaitu Wayang Kulit
• Wayang Kulit ini digunakan sebagai medium hiburan, pendidikan dan sindiran ( politik )

2) Unsur Ritual
• Sesetengah kepercayaan orang kampung bahawa Wayang Kulit merupakan satu alat penyembuhan daripada gangguan mistik
• Selalunya sewaktu Wayang Kulit sedang berlangsung, kekuatan spiritual dapat menimbulkan bahaya ataupun malapetaka kepada orang ramai

# data[].attributes.body
• Wayang Kulit adalah satu tradisi kuno turun temurun di Malaysia
• Wayang Kulit telah lama wujud pada zaman kuno Thai dan juga Jawa
• Kepercayaan pada zaman kuno, Wayang Kulit bukan hanya sebuah alat hiburan malah terdapat agenda tersendiri seperti penyerapan kerohanian
• Tetapi di Malaysia mereka menganggap Wayang Kulit adalah sebuah unsur hiburan
• Di Kelantan pula, Wayang Kulit adalah sebuah acara yang popular selain daripada dikir barat
• Wayang Kulit selalunya dipersembahkan dalam upacara atau perayaan tertentu

# data[].attributes.headline
Wayang Kulit Siam : The Dalang , his puppets and stories

# data[].attributes.subject
Wayang Kulit Siam : The Dalang , his puppets and stories

# data[].attributes.body
Puppeteering skills and training
-A shadow play performance hinges on the master puppeteer (tok dalang). He manipulates the figures, provides voices to the characters and develops the story through dialogue , narration , commentary and the use of songs, In addition he conducts the orchestra and function as a shaman(bomoh) sometimes extending this role beyond the theatre to serve the village community as a craftsman and musician.
-A trainee puppeteer(dalang muda) enrols with an established puppeteer. The art of the dialogue is rarely handed down in a direct line of descent.

# data[].attributes.headline
Wayang Kulit Siam : The Dalang, his Puppets and stories

# data[].attributes.subject
Wayang Kulit Siam : The Dalang, his Puppets and stories

# data[].attributes.body
The task of the Tok Dalang requires immense skill and endurance , for not only does he control the movements of the puppets , he also has to provide each one with a distinguishable voice, and at times, to sing, all while "conducting" the accompanying traditional music ensemble by tapping a rattle (known as the kechrek) with his feet. During a typical performance , which can last several few hours, the Tok Dalang sits behind a semi-transparent white cloth which acts as a screen. The puppet figures are silhoutted onto the screen with an oil lamp/light bulb as the light source.

# data[].attributes.body
In a shadow puppet theatre,the puppets, Dalang(puppeteer) and Gamelan musicians are located behind a screen. While characters are being crafted , the audiences only sees the shadows only each one as they are manipulated by the Dalang. As fascinating as it is to watch the shadows and follow the story, it is just as interesting to watch the performance as it goes behind the screen. Performances can occur for a variety of reasons; to entertain,educate ,and/or commemorate a special occasion.References to current events, pop culture and even politics are added to performances.

# data[].attributes.body
- Three other forms of shadow theatre performed in Malaysia are Wayang Kulit Gedek, Wayang Kulit Melayu and Wayang  Kulit Purwa.
- Derived from either Thai or Java styles of shadow play, they have absorbed local cultural nuances and developed distinct styles.

# data[].attributes.body
> is derived from the Thai shadow play Nang Talung.
> It was initially performed within Thai communities of northern Malays states of Kedah and Perlis.
> A stylistically distinct version of Nang Talung became consolidated locally in the 1930s. The new form which is Wayang Kulit Gedek, used similar puppets, musical instruments and common repertoire. They also discarded some of the Buddhist ritual elements of Nang Talung.
> The puppeteers (dalang) use local dialects but prefer the southern Thai dialect in invocation, incantations and songs.
> Dramatic repertoire
-Ramakien (Thai version of the Ramayana)
-About 20 stories adapted from Thai and Malay folk tales and romances.
-newly invented stories used as a vehicle for social comment.
>Musical repertoire
-pieces for walking
-pieces for war
-pieces for bathing relaxing or courtship
-a wide range of non-wayang tunes derived from local folk music, malay and north India films.
>  A Wayang Kulit Gedek performance commences with theatre opening rituals. The offerings are made, the theatre opening is blessed (buka panggung or buka balai). The musical instruments are consecrated (buka alat-alat muzik), and the dalang undergoes ritual preparation for the performance (permujaan diri dalang sendiri). Also, performance end with a simple theatre closing (tutup panggung) ceremony.

# data[].attributes.headline
i) Musical Instruments of Wayang Kulit Gedek

# data[].attributes.subject
i) Musical Instruments of Wayang Kulit Gedek

# data[].attributes.body
> inverted gongs (canang)
> stick drum (geduk)
> hourglass shaped drum (gedumbak)
> hand cymbals (kesi or cing)
> reed oboe (serunai)
> suspended gongs (tetawak)
> wooden clappers

# data[].attributes.body
> the oldest form of Southeast Asian shadow play.
> This Elegy and refined shadow theatre florished in Java during the the Hindu Majapahit empire.
> Wayang Kulit Purwa is believed to have had some impact on the Malay Peninsula, influencing the Kelantanse form of shadow play called Wayang Kulit Siam.
> Modified Javanese entered the Malay Peninsula in the 19th century, imported by Javanese immigrants into the Southern state of Johor.
> Changes have taken place in the Malaysian style of Wayang Kulit Purwa, resulting in a genre with its own unique characteristics although it still remains the essential Javanese style.
> Dramatic repertoire is extensive and  is derived from Kawi (old Javanese) version of the Mahabharata.
> Performances are conducted in Javanese dialect, but Malay has recently begun to be used. However, the incantations continue to be recited in Javanese.
> Music is provided by a gamelan orchestra and the range of tunes is embellished by songs sung by the dalang.

# data[].attributes.headline
ii) Musical Instruments of Wayang Kulit Purwa

# data[].attributes.subject
ii) Musical Instruments of Wayang Kulit Purwa

# data[].attributes.body
> Gong besar (gong Agong)

> Gong suwukan

> Gambang

> Kempul

> Kenong

> Gender

> Slentem

> Demung

> Saron

> Peking (saron penerus)

> Ketok / kompang

> Rebab

> Gendang (drum)

# data[].attributes.headline
ii) Wayang Kulit Purwa- Gamelan orchestra (video)

# data[].attributes.subject
ii) Wayang Kulit Purwa- Gamelan orchestra (video)

# data[].attributes.attachment_link.title
Gending SRAMPAT - Javanese Gamelan Music Jawa - Wayang Kulit Purwa [HD]

# data[].attributes.body
> Derived from highly refined Javanese Wayang Gedog  which uses the Javanese Panji romances as its principal story.
> it only performed in Kelantan
>  It is an example of a rare instance in tradisional Malaysian performing art culture where an art form flourised under court support in the 1920s.
> Puppeteers were sent to Java to learn this shadow play.
> Wayang Kulit Melayu was restaged for a folk audience, rather than as royal entertainment during the time of national independence in the late 1950s.
> The characteristic and out look for the puppets are differences, for example
- kind character- the size of the puppet is smaller, head bow down
-bad character- size of puppet is bigger, nose is big too, head look up

# data[].attributes.headline
iii) Music Instruments of Wayang Kulit Melayu

# data[].attributes.subject
iii) Music Instruments of Wayang Kulit Melayu

# data[].attributes.body
> Canang
> Gong
> Rebab
> Mong
> Kesi

# data[].attributes.body
- Chinese puppet theatre was brought to Malaysia by Chinese migrants in the 19th century.
- There were several forms of puppet theater in China.
- Come in 4 forms: marionettes on strings or wires performed in Hokkien, rod puppets performed in Teochew , shadow plays and hand manipulated glove-type puppets performed in Hokkien.
- The puppet theatre is similar to Chinese opera in style and content, but with more realism.
- Performances are conducted on makeshift stages in temples or open areas, usually during religious festivals and to celebrate the birthdays of deities.
- Chinese puppet theatre is urban-based and performances are usually held in towns and cities with a significant Chinese population.

# data[].attributes.body
- Usually carved from pieces of wood and the assembled parts are hung on strings. Chinese marionette plays are mostly performed in the open air without a curtain to conceal the puppeteers.
-Marionette performances or other types of puppet theatre were often outside of temples or shrines and used for instruction of religion.

# data[].attributes.body
- Rod puppets are dolls that are operated by three wooden rods.
The puppets may be small or even life-size.
- The puppeteer holds a central rod to which the puppet's head is attached with one hand and manipulates the other two rods that are joined to the wrist of the puppet's arms with the other hand. The legs are left without rods.
- The head of the puppet is usually hollow and is carved from wood.
- The hand rods may be attached to the performer’s wrists or elbows.

# data[].attributes.body
- Was very popular during the Tang (618 - 907) and Song (960 - 1279) dynasties in many parts of China.
- Shadow puppet theater was mainly an evening entertainment. People staged dramas on screens and added musical entertainment and sound effects.
- The stage for the play is a white cloth screen on which the shadows of flat puppets are projected.

- Shadow puppet looks similar to paper-cut except that their joints are connected by thread so that they can be operated freely. The scene is simple and primitive.
- Shadow puppet theater was a popular entertainment in China for at least a thousand years, and it is still performed for entertainment.

# data[].attributes.body
- The glove puppet is a cloth bag fitted over the hand. It consists of a head, hands, feet and a costume shaped like a three-fingered glove.
- Is a type of opera using cloth puppets that originated during the 17th century in Quanzhou or Zhangzhou of China's Fujian province.
- The puppet's head uses wood carved into the shape of a hollow human head, but aside from the head, palms, and feet, which are made of wood.
- At the time of the performance, a gloved hand enters the puppet's costume and makes it perform. In previous years the puppets used in this type of performance strongly resembled "cloth sacks," hence the name, which literally means "cloth bag opera."

# data[].attributes.attachment_link.title
Shadow Puppetry | A Chinese folk art (Hello China #83)

# data[].attributes.body
The instruments of chinese puppets such as:

1. clappers

2. cymbals

3. flute

4. erhu (two-stringed bowed instrument)

5. suona (double-reeded horn

# data[].attributes.headline
Alat muzik yang digunakan dalam wayang kulit

# data[].attributes.subject
Alat muzik yang digunakan dalam wayang kulit

# data[].attributes.body
Alat muzik ini sering digunakan dalam persembahan wayang kulit dan ianya dimainkan dalam tempo yang perlahan dan juga dimainkan dalam yang laju mengikut jalan cerita di dalam persembahan wayang kulit

# data[].attributes.body
Ini merupakan cara untuk membuat karaktor dalam persembahan wayang kulit. Kaedah yang digunakan untuk menghasilkannya dengan menggunakan kulit lembu atau kulit kerbau yang telah dikeringkan

# data[].attributes.body
in conclusion, puppet theater have a lot of story and they have many instruments for play in the puppet. it's not just in one state , it is also have in another states like kedah, terengganu, Kelantan, and also derived from Thai, China, Java style of shadow play.