Mondays and Thursdays

One of Botaram's initial points of connection was shadow puppetry, and one of the finest forms of shadow puppetry is Indonesian Wayang Kulit. One of the reasons why the next entry is late is that we attended a four hour Wayang Kulit performance in Manhattan this weekend.

 In the above entry, the reason why my technique and the millenia-old Wayang traditions should not be mixed is painfully elucidated.

1 comment:
Laura Nass (hamachisnt) says:

Awesome! Except for a couple things...

- All characters are operated by the same dalang so if Chax's dalang is drunk, so is Aun's. For that matter, "dalang" means not only the puppeteer, but also the power behind the scenes. In that sense, the dalang is you.

- The puppets are normally painted on both sides, albeit perhaps differently on the two sides. Not that the paint matters in a show; all the audience sees in front of the screen is the shadows. (The audience in the back sees a very different show...)

Good job on those two kayon too!

Nice attention to detail! You even added the rods by which the dalang manipulated the puppets! Even the frenting rod has a rod! :)

Holy crow... you even put other characters all together to make massive shadows on the way left and right, just as the dalang does with lots of extra puppets! You did do your homework, didn't you?

Now if only you could add an audible soundtrack instead of just gamelan notation and onomatopoeia ...


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A Stray To Botaram (C) 2010 Joseph J. Anthony
Joseph Anthony ||    External Homepage · 

A former wallflower and dilettante, I am rearranging things to better effect. Having spent much time with creativity unshackled from the log of unified vision, I now labor to produce things that I will be pleased to have done twenty years from now. ... full profile