DECLARATION
I hereby declare that this thesis is my own work and effort and that it has not been
submitted anywhere for any award. Where other sources of information have been used,
they have been acknowledged.
17 APRIL 2015
DAHLAN BIN ABDUL GHANI
AHA100033
ii
ACKNOWLEDGEMENT
Alhamdulillah, Praise be to Allah (Subhanahu Wa-Ta'ala) for his blessings and
guidance in order for this research to be completed.
I would like to express my utmost gratitude to my supervisor, Prof Dr Md Sidin Ahmad
Ishak, for his tremendous support in guiding me from the beginning until the completion
of this research.
Special thanks to Nazrul, Syaiful, Amirul, Les Copaque animation team members, En
Nizam (AnimonStar), Hassan Muthalib, SyaifulNizam , Han Loque and Shamuga, Prof
Ghulam, my Wayang Kulit respected mentor (Adiguru Pak Nasir), Dalang Seri Neng
Buah, Dalang Eyo, Pak Nik, Dak Wan, Tharwan, Ikhwan, Faiz, and Shahrul for their
contributions directly and indirectly in helping to complete this paper. May Allah
(Subhanahu Wa-Ta'ala) Bless All of You, In syaa Allah (Barakallah Hu Fiq).
Lastly, I would like to thank my Mother, Faezah binti Abdullah, my loving wife
Norashkin Rosli, my precious sons Muhammad Hasif Naufal and Muhammad Firas
Uwais for their loving support, patience and understanding.
iii
ABSTRAK
Seni Wayang Kulit merupakan salah satu keunikan dalam seni persembahan teater di
Malaysia. Dalam usaha untuk memelihara dan mengekalkan keunikan khazanah warisan
Wayang Kulit, UNESCO telah menetapkan Wayang Kulit sebagai nilai khazanah
warisan seni kemanusiaan pada 7hb Oktober 2003. Namun, realitinya Wayang Kulit
pada hari ini berada dalam keadaan kritikal dan semakin dilupakan khususnya di
Malaysia. Justeru, kajian ini memperkenalkan satu kaedah animasi komputer 3D bagi
menghasilkan Wayang Kulit khususnya Wayang Kulit Kelantan. Objektif kajian ini
adalah bagi menerokai seni asas tradisional Wayang Kulit serta kaedah penggabungan
menerusi teknik ‘Key frame’ komputer menerusi sejarah dan fakta Wayang Kulit.
Selain itu, objektif kajian ini juga turut menilai tahap ‘expressitivity’ iaitu ciri-ciri atau
permerhatian seni berdasarkan penghasilan Wayang Kulit animasi komputer 3D
khususnya pada kumpulan sasar yang dibahagikan kepada dua iaitu pakar dan
sebaliknya. Terdapat beberapa elemen utama yang akan dikaji dalam penyelidikan ini
termasuklah rekabentuk patung, cahaya dan bayang, pergerakan atau animasi dan
penceritaan (audio). Kajian ini menerusi pembangunan Wayang Kulit animasi 3D ini
telah berjaya menemui beberapa aspek penting termasuklah peranan animasi 3D sebagai
teknik serta media alternatif bagi memberi satu dimensi baru dalam dunia seni Wayang
Kulit, penemuan ciri-ciri seni estetika atau “expressitivity” terutama pada rekabentuk
patung serta pergerakan animasi Wayang Kulit 3D, serta penemuan secara “hypothesis”
berkenaan hubungan 12 prinsip animasi Walt Disney didalam seni Wayang Kulit.
iv
THE ART OF SHADOW PLAY: KEY FRAME ANIMATION FOR WAYANG
KULIT KELANTAN
ABSTRACT
The art of shadow play or puppetry has evolved as a unique form of theatre in Malaysia.
In an effort to preserve and safeguard the unique heritage of Wayang Kulit (Shadow
Play), UNESCO has designated it as a Masterpiece of Oral and Intangible Heritage of
Humanity on 7th November 2003. The reality is, Wayang Kulit is currently threatened
with imminent extinction in Malaysia. This research describes a method of 3D computer
animation technique to develop Wayang Kulit mainly focusing on Wayang Kulit
Kelantan. The research objectives comprise of exploring traditional visual arts in
Wayang Kulit and emerging computer technologies related to key frame animation
through historical and theoretical inquiries as well as focus groups. Also, the objective
of the research is to evaluate the expressitivity of a 3D animation prototype by using
expert and non-expert focus groups. There are several main components between
traditional and computer animation of Wayang Kulit studies that this research will focus
on the research objectives including puppet design, light and shadow, animation
narrative and audio . Moreover, the prototype versions of 3D Wayang Kulit animation
are also being developed. This research through the development of Wayang Kulit 3D
animation were able to contribute several aspects including describing the role of 3D
animation as a technique and alternative media, as well as new dimension arts for
Wayang Kulit. Subsequently, discovering several aetshethics or expressitivity related to
design and movement of the puppets and finally, a hyphothesis finding related to the
relationship of Disney's twelve principles of animation in Wayang Kulit visual arts.
v
TABLE OF CONTENT
Page No.
DECLARATION PAGE
ii
ACKNOWLEDGEMENT
iii
ABSTRACT
v
CONTENT
vi
LIST OF TABLE
xii
LIST OF FIGURES
xiii
CHAPTER I: INTRODUCTION
1
1.1
1.2
1.3
1.4
1.5
1.6
1
6
13
13
15
16
Background
Problem Statement
Research Objectives
Research Questions
Research Scope
Thesis Organisation
CHAPTER II: LITERATURE REVIEW: THE ART OF PUPPETRY
19
2.1
Introduction
19
2.2
Shadow Play Puppet (The Begining)
20
2.2.1
2.2.2
2.2.3
2.2.4
2.2.5
2.2.6
2.2.7
21
22
25
26
28
29
33
2.3
Background on Shadow Play Puppet
China
India
Indonesia
Thailand
Malaysia
Europe
Types of Puppet Entertainment
2.3.1 Hand Puppet
2.3.2 Rod Puppet
2.3.3 Shadow Play Technique
2.3.4 Body Puppet
2.3.5 String (Marionette) Puppet
36
37
41
44
45
46
vi
2.4
The Art of Malaysian Shadow Play
2.4.1 The Dalang (Puppeteer)
2.4.2 Puppet Design
2.4.3 Repertoire / Story Type
2.4.4 Ritual Practices in Shadow Play Puppet
2.4.5 Music
2.4.6 Light Source & Kelir
49
50
59
64
67
71
74
2.5
The Art of Animation
2.5.1 Introduction of History Animation
2.5.2 Types Of Animation Techniques
2.5.3 3D Computer Animation
2.5.4 The Advantages Of 3D Animation
75
76
78
87
93
2.6
Digital Pupperty
2.6.1 Background
2.6.2 Related Work On Digital Puppetry
2.6.3 The Impact Of Digital Pupperty
96
96
97
106
2.7
Discussion
107
CHAPTER III: RESEARCH METHODOLOGY
110
3.1
Introduction
110
3.2
Research Approach
111
3.3
Theoretical Framework Research
117
3.4
Rationale Of Method
3.4.1 Samples
3.4.2 Preliminary Data for Prototype Development
3.4.3 The Design Questions
3.4.4 Data Compilation Process
3.4.5 Data Analysis
122
125
128
129
132
134
vii
3.5
3D Animation Pipeline Model
3.5 1 Animation Pre- Production
3.5.2 Animation Production
3.5.3 Animation Post Production
135
135
136
136
3.6
Animation Prototype Demo
137
3.7
Evaluation
138
3.8
Summary
139
CHAPTER IV: BEHIND THE SCENES
141
4.1
Introduction
141
4.2
Pre-Production
142
4.3
Production & Post Production Process
4.3.1 3D Modeling
4.3.2 Texturing & Lighting
4.3.3 Character Rigging & Animation
4.3.4 Post Production
148
149
153
159
166
4.4
Summary
168
CHAPTER V:
ACUITY ON WAYANG KULIT VISUAL
ART DOMAIN
169
5.1
Introduction
169
5.2
Visualization of Tree Model
170
5.3
Design
172
5.4
5.4.1
5.4.2
5.4.3
Pattern Studies Related to 3D & Traditional Wayang Kulit
Pattern Visual Style
Artistic and Visual Composition
Design Simplicity and Audience Attraction
172
173
177
182
viii
5.5 Structure Concept in 3D and Traditional Wayang Kulit
5.5.1 Variable Shapes and Sizes
5.5.2 Stylistic and Personifications
5.5.3 Versatile Pattern Visual
188
188
192
196
5.6 Puppet Character Archetypes
5.6.1 Puppet Aesthetics and Functionality
5.6.2 Stylizing and Visual Culture
5.6.3 Preserving The Puppets Identity
200
200
203
205
5.7 Visual Light & Shadow Significance
5.7.1 Mood and Realistic
5.7.2 Variety of Features
5.7.3 Nobility and Originality
208
208
211
214
5.8 Puppet Characters in 3D Animation Wayang Kulit
5.8.1 Key Frame and Disney 12 Principals
5.8.2 Dimension and Flexibility
5.8.3 Cinematography
5.8.4 Artistic Shadow Movement
5.8.5 Shadow Qualities and Characteristic
217
217
220
223
226
229
5.9 Storytelling
5.9.1 Genre and Functionality
5.9.2 Local Content
5.9.3 Epic and Local Folklore Style
233
234
237
240
5.10 Audio “Live Performance” and “Digital Recorded” styles
5.10.1 Original Voice and Dubbing Voice Over
5.10.2 Innovative and Preserving Originality
243
243
247
5.11
250
Summary
CHAPTER VI: DISCUSSION: THE ART OF CONVERGENCE
251
6.1
Introduction
251
6.2
The Convergence of Visualization Shadow Puppetry
6.2.1
Tangible and Non Tangible or Virtual
6.2.2
Puppet Identity, Form and Personas
6.2.3
Hardware and Software Limitation
6.2.4
Puppet Visual Expression
251
252
253
260
262
ix
6.3
Art of Cinematography
6.3.1 The Significance of Light source
6.3.2 Shadows and Silhouettes
6.3.3 Camera Angle
265
265
268
272
6.4
Animation “Expresitivity” Factor
6.4.1 Puppet Design (model)
6.4.2 Key Frame Animation
6.4.3 Stylized Version of Wayang Kulit
6.4.4 Disney Twelve Principles in Wayang Kulit
274
274
277
280
284
6.5 The Art of Storytelling (Imaginative and Reality)
6.5.1
6.5.2
6.5.3
6.5.4
Modern and Conventional Narrative
Audio (Between Computer & Puppeteer)
Audio (Voice Over)
Audio Challenges
6.6 The Challenges Between Traditional & Modernization
6.6.1
6.6.2
6.6.3
6.7
Puppeteer and Animator
Essence in Wayang Kulit
Realism and Aesthethics
Summary
288
288
293
295
297
298
298
301
306
310
CHAPTER VII: CONCLUSION
312
7.1
Introduction
312
7.2
Research Contribution
7.2.1
Visual Qualities
7.2.2
Stylized and Replicate (Key Frame animation)
7.2.3
The Future of Malaysian Wayang Kulit
7.2.4
The Realm of ‘Expressitivity’
313
313
314
317
318
7.3
The Existence of Disney’s Twevle Principles
322
7.4
Limitation of Research
324
7.5
Recommendations
325
x
REFERENCES
327
APPENDICES
A
Sample Qualitative interview with (Animation Expert Interviewee)
346
B
Sample Qualitative interview with (Animation Expert Interviewee)
353
C
Sample Qualitative interview with (Tok Dalang Interviewee)
366
D
Sample Qualitative interview with (Tok Dalang Expert Interviewee)
373
E
Sample Qualitative interview with (Wayang Kulit Fan Interviewee)
380
F
Sample Qualitative interview with (Wayang Kulit Fan Interviewee)
387
G
Sample of Replicate 3D Wayang Kulit (Pak Dogol)
393
H
Sample of Replicate 3D Wayang Kulit (Wak Long)
394
I
Sample of Replicate 3D Wayang Kulit (Rigging Process)
395
J
Research Theoretical Framework Model
396
K
Picture of Hassan Muthalib (Animation Expert)
397
L
Collection of Gallery Artwork from (Animon Star BoboBoi )
398
En Nizam - Animation Director/ Expert)
M
Collection of Gallery Interview and Artwork from Usamah Zaid
401
(Les Copaque Animation Director/Expert)
N
Picture of Prof Ghulam Sarwar Yousof (Academic Expert
in Wayang Kulit studies with the researcher )
404
O
Gallery Pictures of Dalang Eyo Hock Seng
405
P
Gallery Pictures Kan Boon Han (Tok Dalang from Kelantan)
407
Q
Gallery Pictures of Dalang Pak Nik Mat (Kelantan)
410
R
Gallery Pictures of Dalang Pak Nasir
412
S
List of Publication
415
xi
LIST OF TABLE
No. Table
1.1
Sample list of Registered and Unregistered Dalangs
(Troupes) between year 2009 to 2011, Kelantan
(Source : Jabatan Kebudayaan Kesenian Negeri Kelantan
(JKNNK) in 2011)
Page
51
xii
LIST OF FIGURES
No. Figure
2.1
Page
The Spread of Shadow Play Puppet From Asia to Europe
(Fan Pen Chen,1999)
21
The Opening scene of The Temple of Guanyin
(Fan Pen Chen,1999)
23
Costumes of human and animal’s iconography in
Chinese puppetry. (Jayadeva Tilakasari, 1999)
24
Large puppet figure known as 10 heads Ravana (Tanjore) in
Maharashtra, India, (Jayadeva Tilakasari, 1999)
26
Famous Nang Talung Puppet show in Thailand.
(Nualmorakot Taweethong, 2010).
29
2.6
Types of Popular Malaysian Shadow Play Theatre in Malaysia
31
2.7
The Javanese Puppet Style with two moveable arms
(Jayadeva Tilakasari, 1999)
32
The Traditional Turkish Theatre 199 of Hacivat and Karagöz
(Ozcan.O. 2002)
35
2.9
Types of Puppet Entertainment Techniques
37
2.10
Darren Brown from the Brewery Puppet Troupe operates hand,
rod and string puppets techniques (Philip Roth,1995)
38
The famous 1900 Punch & Judy show uses glove puppet
or hand puppet (Luveina George, 2008)
39
Sergei Obraztsov manipulates hand puppet “Attitude to a Lady”
(Kenneth Gross, 2011)
40
Thailand Hobby Hut Rod Puppet Troupe (source Online :
http://www.rachamankha.com/news/4 )
42
Buranku Puppet played by Bay Puppet Troupe in United States
(Martin Holfman, 2007)
43
2.2
2.3
2.4
2.5
2.8
2.11
2.12
2.13
2.14
xiii
2.15
Dalang Pak Nasir is controlling shadow puppet using rod(stick)
at Dewan Panggung Bandaraya shadow puppet show
(copyright@dahlan 2011)
44
2.16
The famous Snuffleeupagus (right) & Big Bird (left) from
Sesame Street Children show using body puppet technique
2.17
The original character of Pinocchio was played using
Marionette Technique. (Hugo Bélanger, 2009)
47
Thang Long Water Puppet Troupes performing at Sydney
(Source: Le Trang, 2008)
47
2.18
2.19
2.20
2.21
2.22
2.23
2.24
2.25
2.26
2.27
2.28
2.29
46
Pak Dogol Puppet character combines gruff and husky voice
(Ameen Sweeney, p. 45, 1976)
50
Hamzah Awang Mat performed Wayang Kulit at international
Level (Source : Patricia Matusky,1997)
55
Dalang Eyo Hock Seng @ Pak Chu
(Noor Adila Ali, 2009)
57
Prof Hashim mesmerized the audience with 'Sir Isaac Newton
and The Fallen Apple' shadow puppet show in Kuala Lumpur
2010 (Source: Keats Markandu,2011)
58
Seri Rama is colored in green for shadow play entertainment
(Source: Amin Sweeney, 1992)
61
Sita Dewi is colored in red wife to King Seri Rama
(Source: Amin Sweeney, 1992)
62
Wayang Kulit Kelantan(Siam) characters have a single
articulated arm except Pak Dogol and Wak Long which have
both articulated arms. (Source : Ghulam Sarwar,2008)
63
Film “Wayang” the first Malaysian film that manifest the
challenges and survival of Wayang Kulit Kelantan
(Source: Dahri Zakaria, 2006)
69
List of Wayang Kulit Kelantan Music Instruments
(Source: Mary Beth Osnes, 1982)
73
Stuart Blackton Humorous Phases of Funny Faces (1907)
stop‐motion shots of drawings on a blackboard
(Source: Ryan Ball, 2004)
76
Zoetrope as the innovation pioneers in defining
animation concept (Source : Nate & Ryan Eckerson, 2006)
78
xiv
2.30
2.31
2.32
2.33
2.34
2.35
2.36
2.37
2.38
2.39
2.40
2.41
2.42
2.43
Flintstones cartoon by William Hana and Jospeh Barbera
uses cel animation
(Source: Lena Petrovic & Brian Fujito, 1997)
80
“Tales of Tales” by Youri Norshteyn used cut-out animation
(Source: Ryan Ball, 2004)
81
Lotte Reineger’s film The Adventures of Prince Achmed”
(Source: Ryan Ball, 2004)
82
Jiri Trnka, the puppet animator describe as
“Walt Disney of the East” (Source: Ryan Ball, 2004)
83
Gothic style(concept) used by Tim Burton Stop Motion Film
The Nightmare Before Christmas
(Source: Niamh Coghlan, 2009).
85
Kseniya Simonova World War II using sand animation technique
(Source: Rubaiat & Kien, 2011)
86
Gary R. Bertoline and Cary Laxer explains 3D Animation in
The world of computer graphics involves overlapping of
Technology, arts and humanities
(Source: Gary R. Bertoline and Cary Laxer,2002)
87
The Adventures of Andre and Wally B. the first experimental short
film using 3D computer animation . (Copyright Pixar, 1995)
89
Toy Story (1994) the first full 3D animated film produced by Pixar
animation studio in 1994 (Copyright Pixar, 1995)
90
Silat Legenda (1998) the first Malaysian feature animation film
using 2D visual styles (Source : Hassan Muthalib,2007)
91
Upin & Ipin: Geng Pengembaraan (Journey of Adventure),
Malaysia First successful Full animated 3D feature film
in year 2009 (Copyright@Lescopaque, 2012)
93
Javanese influence using 2D computer animation puppet for
TV Commercial ‘Cap Ibu Dan Anak’ (Source: YouTube.com)
98
Jala Emas Jala Perak, Malaysia first 2D animated series
on Wayang Kulit Kelantan visual arts
(Copyright@ArtMedia Studio, 2009)
99
First 2D feature Film (“Sita Sing the Blues”) base on Shadow
Play epic of Ramayana & Mahabharata in Wayang Kulit
(Source: Sita Sing The Blues.com, 2011)
100
xv
Screen shot from Lotte Reiniger’s (1926), The Adventures of
Prince Achmed, in Ian Grant’s experiment
(Source: Ian Grant, 2007)
101
Puppet Design Nang Talung used for Multimedia video for seventh
grade students in Thailand
(Source: Mareeya Binmalee & Sunchanee, 2010)
103
i-Theater system uses hand puppet character with RFID
(Source: Oscar et al., 2009)
104
TinToy Chou showing two Wayang Kulit Star
Wars puppets: black (Dark Vader-left) and Perantau Langit
(Luke –Right) (Source Michael Cheang, 2012)
105
3.1
Five (5) components used in the Research approach
111
3.2
Animation pipeline design for the development of wayang
kulit animation
114
Five(5) research approaches used to develop wayang kulit
animation
117
3.4
Theoretical Research Framework
121
3.5
Experimental Data sampling Process
127
3.6
Process of gathering data
133
3.7
Animation prototype and evaluation method
138
4.1
The Three Act Structure process
143
4.2
Concept art for stylized Pak Seman character 3D puppet model
144
4.3
Concept art for stylized Mak Dara character 3D puppet model
145
4.4
Illustrations of Mak Dara’s Facial Expressions in 3D
146
4.5
Storyboard illustrations from “Cintailah Sungai Kita”
147
4.6
3D puppet models using NURBS and Polygon
150
4.7
Wireframe 3D puppet model view with shade
151
4.8
3D Puppet model of Pohon Beringin using NURBS in 3D Software
152
4.9
Mak Dara 3D puppet model using UV texture Map in 3D
154
4.10
Birn’s 3D Concept Lighting System Setup in 3D Studio Max
157
2.44
2.45
2.46
2.47
3.3
xvi
Birn’s 3D key light ratio (Fill, Key and Back Light)
used in Cintailah Sungai Kita
158
4.12
3D puppet character animation model and rigging process
161
4.13
3D Characters Rigging in 3D Wayang Kulit Component Setup
162
4.14
Morph function to describe 3D puppets’ face expression using
3D Studio Max software
165
Tree Model Nvivo Data Analysis on Traditional and
Computer Animation Puppetry
170
5.2
Matrix Query Design chart on 3D animation Wayang Kulit
172
5.3
Pattern result 3D animation Wayang Kulit based on animation
expert
173
Pattern result Traditional Wayang Kulit styles based
on Animation Experts
175
Pattern result from Wayang Kulit traditional based
on Tok Dalangs and Academic expert
176
Artistic and Visual Composition result 3D animation
Wayang Kulit based on Tok Dalangs and Academic expert
177
Artistic and Visual Composition result Traditional Wayang
Kulit based on Tok Dalangs and Academic expert
181
Design Simplicity & Audience Attraction result 3D
animation Wayang Kulit based on Wayang Kulit Fans
182
Design Simplicity & Audience Attraction result Traditional
Wayang Kulit based on Wayang Kulit Fans
184
Structure of Variable Shapes and Sizes 3D animation
Wayang Kulit based on Animation Experts
188
Structure Shape and Sizes perception related to
Traditional Wayang Kulit based on Animation Experts
190
Stylistic and Personifications result 3D animation
Wayang Kulit based on Tok Dalangs and academic expert
192
Stylistic and Personifications result Traditional Wayang Kulit
based on Tok Dalangs and academic expert
194
4.11
5.1
5.4
5.5
5.6
5.7
5.8
5.9
5.10
5.11
5.12
5.13
5.14
Versatile Visual Pattern result 3D computer animation
Wayang Kulit based Wayang Kulit Fans
196
xvii
5.15
5.16
5.17
5.18
5.19
5.20
5.21
5.22
5.23
5.24
5.25
5.26
5.27
5.28
5.29
5.30
5.31
Versatile Pattern Visual result Traditional Wayang
Kulit based Wayang Kulit Fans
198
Puppet Aesthetics and Functionality 3D Animation
Wayang Kulit result based on Animation Expert
200
Puppet Aesthetics and Functionality Traditional Wayang
Kulit result based on Animation Expert
202
Stylizing and Visual Culture perception on 3D animation
Wayang Kulit result based on Tok Dalangs and Academic Expert
203
Preserving Puppets Identity 3D animation Wayang Kulit
result based on Wayang Kulit Fans
205
Preserving Puppets Identity on Traditional Wayang Kulit
result based on Wayang Kulit Fans
206
Mood & Realistic perception 3D Animation Wayang Kulit
result based on Animation Expert
208
Mood & Realistic perception Traditional Wayang Kulit
result based on Animation Expert
211
Variety of features with 3D lighting 3D Animation
Wayang Kulit result based on Tok Dalangs & Academic Expert
212
Variety of features with 3D lighting Traditional Wayang Kulit
result based on Tok Dalang & Academic Expert
213
Nobility and Originality 3D lighting
3D animation Wayang Kulit result based on Wayang Kulit Fans
214
Nobility and Originality 3D lighting
Traditional Wayang Kulit result based on Wayang Kulit Fans
215
Key frame and Disney’s 12 Principals perceptions
3D Animation Wayang Kulit result based on Animation Expert
217
Key frame and Disney’s 12 Principals perceptions
Traditional Wayang Kulit result based on Animation Expert
219
Dimension and Flexibility perceptions 3D Animation Wayang
Kulit result based on Tok Dalangs and Academic Expert
220
Dimension and Flexibility 3D Animation Wayang Kulit
result based on Tok Dalangs and Academic Expert
222
Cinematography 3D Animation Wayang Kulit result
based on Wayang Kulit Fans
223
xviii
5.32
5.33
5.34
5.35
5.36
5.37
5.38
5.39
5.40
5.41
5.42
5.43
5.44
5.45
5.46
5.47
5.48
Cinematography Traditional Wayang Kulit result based
on Wayang Kulit Fans
225
Artistic Shadow 3D Animation Wayang Kulit perception
result from Animation Experts
226
Artistic Shadow Traditional Wayang Kulit perceptions
result from Animation Experts
227
Shadow Qualities and Characteristic 3D Animation Wayang Kulit
category result from Tok Dalangs and Academic Experts
229
Shadow Qualities and Characteristic Traditional Wayang Kulit
category result from Tok Dalangs and Academic Experts
230
Shadow Qualities and Characteristic 3D Animation Wayang Kulit
result from Wayang Kulit Fans
231
Shadow Qualities and Characteristic Traditional Wayang Kulit
result from Wayang Kulit Fans
232
Genre & Functionality Storytelling 3D Wayang Kulit
Animation from Animation Expert
234
Genre & Functionality Storytelling Traditional
Wayang Kulit from Animation Expert
235
Local Content Storytelling 3D Animation Wayang Kulit
from Tok Dalangs & Academic Expert
237
Local Content Storytelling Traditional Wayang Kulit
from Tok Dalangs & Academic Expert
239
Epic and Local Folklore Style 3D Animation Wayang Kulit
from Wayang Kulit Fans
240
Epic and Local Folklore Style Traditional Wayang Kulit
from Wayang Kulit Fans
241
Original Voice and Dubbing Process 3D Animation
Wayang Kulit result from Animation Experts
243
Original Voice and Dubbing Process 3D Animation
Wayang Kulit result from Tok Dalangs and Academic Expert
245
Original Voice and Dubbing Process Traditional
Wayang Kulit result from Animation Experts
246
Audio Innovative and Preserving Originality 3D Animation
Wayang Kulit result from Wayang Kulit Fans
247
xix
5.49
Audio Innovative and Preserving Originality Traditional
Wayang Kulit result from Wayang Kulit Fans
249
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