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SHADOW PUPPETS PDF

Tuesday, May 28, 2019


Shadow Puppets. Orson Scott Card. CONTENTS. 1. GROWN. 2. SURIYAWONG'S KNIFE. 3. MOMMIES AND DADDIES. 4. CHOPIN. 5. STONES IN THE ROAD. Shadow Saga 3 Shadow Puppets. Home · Shadow Card, Orson Scott - Ender's Saga 07 - Shadow Puppets Orson Scott Card - Ender 7 - Shadow Puppets. Shadow puppets. Puppet templates. Card. Scissors. Glue. Pens. Tissue paper. Doweling rods. Sequins. Split pins. These puppets can be made as individual.


Shadow Puppets Pdf

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This set includes four pdf files with five uniquely designed shadow puppets: Little Red Riding Hood, her Grandma, Grandma's house, Hunter and Big Bad Wolf. Shadow puppetry is a very, very old art. It has probably been around for as long as people have been making shadows. Shadow theatre has thrived in Turkey. Shadow puppets are flat, cut-out figures that are held by a rod or wire against a translucent screen whilst some form of light is shone on to them. As the puppets.

Koch discusses the political conflicts in Indonesia between the military and the Indonesian Communist Party PKI which he describes as constant conflicts like the ones between the Pandawa and Kurawa.

In Indonesian shadow puppets, the constant conflicts between the Pandawa and Kurawa are solved in the ultimate war, Baratayuda, in which all of one hundred Kurawa brothers die. Koch constructed the novel like the dramatic structure of a shadow puppet performance: Koch also discusses some major shadow puppet characters in this novel.

Reading this novel along with watching its film version with the same title, released in starring Mel Gibson and Sigourney Weaver , students will be introduced to shadow puppets in some ways.

Therefore, I devote one session to discussing this novel. All required articles, except one, are written by foreign scholars who not only know well about shadow puppet stories but who also have watched shadow puppet performances many times. Sears , Mrazek ; and Cohen tell us that they watch hundreds of shadow puppet performances during their stay in Java.

I chose most articles by foreign scholars because I want to introduce students to those scholars who really love shadow puppets to some degree, I could say that they love shadow puppets more than common Javanese do.

By choosing their writings, as a Javanese I want to appreciate what they have done to disseminate shadow puppets in particular and Javanese culture in general to the international public. No doubt that from the scholarly perspective, what they have done deserves more than just an appreciation.

Their writings are valuable sources of Javanese shadow puppets and culture.

In the Shadow of Ender’s Game

Campbell and Habel are helpful in understanding how Koch uses puppets as an important element in his novel. Reading these two articles will allow students to more easily understand the novel because they provide important information about social and cultural background.

The additional reading for this topic is MacBean While Campbell and Habel discuss the novel, MacBean discusses the film. These pieces will be useful for students to compare the novel and the film. Brown , gives emphasis to what Hadisoeseno analyzes in his book that shadow puppet can be used as a way to teach ethics or moral values. In particular she suggests that teachers of kindergarten through second grade use a short version of shadow puppet stories to teach character education traits.

Shadow puppets which are particularly Indonesian can be used to teach character education traits in American schools. This article will give very valuable information for those who want to become teachers. These two pieces, together with a chapter from Keeler show the importance of shadow puppet performances in ritual celebration in Indonesian culture.

In particular Basuki focuses on how the New Order regime under Soeharto manipulated shadow puppets to promote Soeharto as Semar, a wise, god-like character. He also analyzes the parallel between feudalism in shadow puppets and feudalism in the New Order regime. Likewise, Buruma analyzes the similar theme in his short piece.

He emphasizes how shadow puppets are identical with Javanese lives and therefore are easy to use as a political propaganda. Clark analyzes Indonesian literature during the New Order regime.

He found that many writers rewrote the Ramayana stories in their novels, short stories and plays and poetry. The writings are a kind of critique of the regime. Soeharto, the president for more than thirty years, were seen by many Indonesian artists as a king like in shadow puppet stories.

He repressed critical performing artists and writers.

Shadow puppets

Together with Basuki and Buruma, Clark will provide good ideas and resources for the class discussion. The additional reading for this topic is Pausacker She analyzes how the New Order regime manipulates shadow puppet to strengthen its power by creating an image that the president Soeharto functioned as the servant for his people just like punakawan or clown servants to their master. He liked to be portrayed as Semar.

She discusses the development of shadow puppet performances from traditional to modern. This article is important in looking at how shadow puppet performances have been changing from traditional to modern.

In the discussion of the modern performance, Sears focuses on padat compressed performances which could only last for about one to one and a half hour.

In this article we gain much information about what factors cause the changes. His article lays out how shadow puppets develop from an Indonesian traditional performing art to a modern performing art which spreads globally. A puppeteer himself, he has a pivotal role in spreading shadow puppet theatre internationally Indonesian performance, n. Reading this, students will have much information about the place of Indonesian shadow puppets in international communities.

The additional readings for this topic are Mrazek , These two pieces are very informative in terms of the contemporary shadow puppet performances. Mrazek discusses many issues such as how modern western music comes to shadow puppet performances, how audience and the puppeteers communicate directly and freely in a performance, and how the puppeteers have more freedom in addressing social issues in their performances.

They analyze whether one influences the other. The characters and stories in Wayang Wahyu are taken from the Bible stories. Together with Hadisoeseno this article will give students important information about the relation between shadow puppet and education, including religious education.

Some videos will be played in the beginning of the class. Students can watch them first at any time because I provide the links of all videos. The additional videos and the videos to consider for the final paper will not be played in class. All videos, except the film, are extracts from performances of certain plays, or lakon. For non-Javanese, this makes it difficult to tell the differences; unless the language is in English. I do a lot of research to find videos in English.

I am lucky because I find some videos in English, including performances by Cohen. For the videos in Javanese, I need to explain them to students whenever possible I will provide some translations so that students can make the most of them.

At the basic level, my expectation is that students will have general understanding of the major topics such as shadow puppet characters and stories, shadow puppet performances, and shadow puppets and social and cultural issues. Regarding the shadow puppet characters, I expect that at the end of the course students understand the major characters from both the Ramayana and Mahabharata and their role in the stories.

In particular, I expect them to know at least one character very well. I also expect them to know some stories of shadow puppets, both from the Ramayana and Mahabharata. In regard of shadow puppet performances, I expect that students will know the key components of the performance and the differences between traditional and contemporary performances. In terms of shadow puppets and social and cultural issues, I expect that students know how shadow puppets play significant roles in ritual celebrations, education, propaganda, and also know the place of shadow puppets in global context.

At the deeper level, I expect that students will have broader visions and perspectives about other cultures.

In this course, my expectation is that through shadow puppets, students will know better about Indonesian cultural values. For those who later want to work in educational field or become teachers especially, I expect that they can use shadow puppets as a way to teach their students about other cultures. In essence, as I have mentioned above, I expect that this course— through the readings, videos, assignments, and discussions—can help students become global citizens by understanding other cultures.

Imagined communities: Reflections on the origin and spread of nationalism.

Anderson, B. Mythology and the tolerance of the Javanese. Basuki, R.

Shadow Saga 3 Shadow Puppets

From traditional perspective to new historicism. Kata, 8 1 , pp. Blackham, O. Shadow puppets. Barrie and Rockliff. Brandon, J. Theatre in Southeast Asia. Cambridge, Mass.: Harvard University Press. On thrones of gold; three Javanese shadow plays. Brown, S. Building character through shadow puppetry. Art Education, 57 6 , pp. Buck, W. University of California Press. Buruma, I. Political propaganda and the power of the puppets.

Far Eastern Economic Review, pp. Campbell, F. Silver screen, shadow play: The tradition of wayang kulit in The Year of Living Dangerously. The Journal of Popular Culture, 28 1 , pp. Cohen, M. Contemporary wayang in global context. Asian Theatre Journal, 24 2 , pp. The dalang behind the wayang: The role of the Surakarta and the Yogyakarta dalang in Indonesian-Javanese society. Dordrecht, The Netherlands: Clark, M. Shadow boxing: Indonesian writers and the Ramayana in the New Order. Indonesia, 72, pp.

Cushner, K. The value of learning to teach in another culture. Cushner and S. Brennan Eds. A bridge to global competence. Lanham, MD.: The death of Karna: Two sides of a story. Asian Theatre Journal, 9 1 , pp. Fadiman, A. The spirit catches you and you fall down: A Hmong child, her American doctors, and the collision of two cultures.

New York: Farrar, Straus, and Giroux. Habel, C. Shadow on screen: The wayang kulit in the Year of Living Dangerously.

Journal of the Association for the Study of Australian Literature, 7, pp. Wayang and education. Ministry of Education and Culture of the Republic of Indonesia. Hatley, B. Wayang and Ludruk: Polarities in Java. The unmanned shuttle sent as a decoy is shot down over Brazil the location of the former compound of the Hegemon, now occupied by Achilles. In the previous novel , China had conquered India and Indochina.

Alai plans to liberate them by invading first China in a feint , and then India once China has withdrawn its armies to defend the homeland. His invasion is successful, and in the midst of realizing their danger, the Chinese government disavows Achilles, providing evidence that he stole the missile launcher that destroyed the decoy space shuttle. Left with nowhere to turn, Achilles contacts Bean and offers the embryos in exchange for safe passage.

Bean and Peter return to the Hegemon's compound. Achilles expects Bean to be so besotted with the idea of retrieving his children that he can be killed with a bomb in the transport container for them. When Bean sees through that trap, Achilles offers up fake embryos in petri dishes , expecting to lure Bean into a vulnerable position where Bean can be killed.

However, Bean has already decided that Achilles was faking and refuses to fall for any of his traps. Toys were bought from the damaged rack for next to nothing and dad fixed them like new we still have most of them today and they have been passed down to our children and have standed the test of time as we were taught to respect what we were given and this has been passed on to our children.

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And thank you for your brilliant ideas for some simple inexpensive fun this also played a huge part as we were growing up dad was a fantastic artist and drew pictures for us to colour in as there were no printers back then. Nichole H says For me, it's seeing their love of art and creating things grow as they do.

It warms my heart. Jason D says My Dad's stories. I can't wait until my son is old enough to hear the stories I grew up listening to. Maree says Being totally immersed in a favourite book. We read every night but I can't wait to see them absorbed in their own book worlds.Koch constructed the novel like the dramatic structure of a shadow puppet performance: These kinds of aspects of life created challenges for me in choosing topics: Accepting a tip from inside China, where Achilles is held prisoner, Peter had planned for Bean to operate the mission, but at the last minute because he doubted Bean would cooperate assigns Suriyawong, a Battle School student from Thailand, to rescue Achilles in transport, believing that he can spy on Achilles, take over his network, and then turn Achilles over to some country for trial at the time of this story, Achilles has betrayed Russia, Pakistan, and India.

Yosep Margono. This is important to give students an overview of the performance. Make and colour. Watch our video to learn more about the shadow puppets, how to make puppets for your very own shadow puppet display.