3DCGアニメーション技術を利用したインドネシアの伝統的な演劇芸術の保存

There are various types of traditional theater art called Wayang in Indonesia. One of them is Wayang Beber of Pacitan, which originated in the 17th century and has a long history of over 400 years. Despite the precious value of these art works as cultural, historical, and religious heritage of Indonesia, their preservation is currently in a critical condition. Because of the humid climate of Indonesia it is hard to keep pictures in a good condition, and in addition, the country is experiencing a dramatic decrease in the number of artists to draw them, lack of budget for preservation, and lack of overall national interest in the preservation of Wayang Beber of Pacitan. It is feared that without a quick action, Wayang Beber of Pacitan could be lost in the near future. The purpose of this research is to preserve the Wayang Beber of Pacitan in a reasonable manner, so that Indonesian cultural heritage survives eternally. In order to solve the problems, the author proposes an application of 3-Dimensional Computer Graphics (3DCG) technology as a tool to reproduce and save the art digitally. The author then develops a 3DCG system specifically to generate Wayang Beber of Pacitan art works. As an example, some digital art reproduction works of Wayang Beber of Pacitan are generated using the proposed system. This thesis consists of 6 chapters: Chapter 1 describes background, scope, and objectives of the research. This chapter also provides literature survey related to digital preservation of cultural heritage, and specific nonphotorealistic CG techniques such as silhouette rendering, pattern generation. Chapter 2 discusses the research to compile archives of Wayang Beber of Pacitan. This research is performed by surveying related research works, observing the actual artwork and gathering data from interviews. The results of this survey are used as a basis for analyzing the visual style of Wayang Beber. After the identification of characteristics of the visual style, details of the required method for converting the pictures into 3DCG animation are determined. The original Wayang Beber is composed of many parts. It is difficult to create parts one by one in 3DCG, therefore a method that can generate the picture semi-automatically is considered to be used. Chapter 3 discusses the development of an outline shader. This shader is used to simulate outlines of Wayang Beber pictures on a 3DCG model. Outlines of Wayang Beber have some typical characteristics, such as expressive brushstrokes and variations in thicknesses. To produce an outline with these characteristics, a shader that incorporates object-based silhouette detection and a non-uniform point displacement algorithm is proposed. Chapter 4 discusses the development of the shader to generate ornamentation for rendering Wayang Beber characters’ textiles patterns. The characters of Wayang Beber have many characteristic patterns on their textiles. These patterns would require plenty of hard work during the 3DCG animation production of Wayang Beber. This research proposes a semi-automatic system utilizing a shader that uses procedural pattern generation based on shape grammars. Using this system, artists can easily create and modify details of the pattern including shape, size, quantity, color, and arrangement. Chapter 5 discusses key pose extraction and interpolation of in-between frames for animating CG characters made from Wayang Beber of Pacitan paintings. A Wayang Beber painting is a still image that does not have motion from it. Therefore, it appears that it would be very difficult to make a cartoon movie. However, P. Tabrani showed in his study that the essence of motion does exist in these historical paintings. In this research, a new technique was established using the theory developed in Tabrani’s study and the author have succeeded in extracting key poses from Wayang Beber of Pacitan works. Next, in-between frames are needed for the purpose of making a cartoon movie from the extracted key poses. The interpolation in this research is based on the principles of Wayang motion. The principles are derived from movements in other types of Wayang performances, such as Wayang Orang and Wayang Kulit. Using the method proposed in this research, the key frames and in-between frames for animating the characters are able to be provided adequately. Chapter 6 contains the conclusion and the summary of this research. The quality of digital eproductions of traditional drawings using this 3DCG system and the usability of this system are checked and evaluated. Using the methods proposed in this research, it is possible to create 3DCG animations from other types of Wayang Beber. The author intends to propose this 3DCG system to the Indonesian government as a tool for the preservation of traditional theater art in order that this research can contribute to the survival of cultural heritages in Indonesia.首都大学東京, 2015-09-30, 博士(芸術工学）首都大学東

Wayang Authoring: A Web-based Authoring Tool for Visual Storytelling for Children

This research focuses on the development of the Wayang Authoring tool as it aims to assist children in creating and performing stories, developing an appreciation for cultural artifacts, and enhancing intercultural empathy while building a young storyteller community in a virtual world. This study seeks a framework of interaction design of an authoring media which is appropriate to support children s narrative development. The concept of the tool is based on the narrative element of the ancient Indonesian art form wayang, a traditional two dimensional shadow puppet theater. To understand the user s requirements and the cultural dimension, children and professional story performers who use wayang have been involved in the design process. In order to evaluate the tool, several workshops have been conducted with children from different cultural backgrounds as well as with their teachers. Wayang Authoring is composed of three elements: the imagination-building element, the creative acting element and the social interaction element. Children take existing materials as an inspiration tool, imagine what they themselves want to tell, create a story based on their own ideas, play with their creations, share their stories and creations with others, and reflect on their experiences at the end. This virtual creative production tool is expected to provide a space for young people to change their role from a simple user to a (co-)creator in the virtual and narrative worlds. The core contributions are in the field of web technology for storytelling. The uses of web-based authoring media enable children to put themselves into the process of developing stories. When they are connecting stories, they are connected and immersed with other children as well. They have to act and play by themselves or with others within the stories in order to experience the narratives. They train to have the skills to interact, to share their ideas and to collaborate constructively. This makes it possible for them to participate in today s media-driven culture. This research found that a better understanding of how stories are crafted and brought to life in a performance tradition offers a better design of interaction of an authoring media. The handling of cultural artifacts supports the ability to understand different cultural codes and to pursue the learning process surrounding the original culture behind these artifacts

Immaterial Remains: the (im)possibilities of preserving China's shadow puppet tradition

Chinese shadow puppetry is a performance form that dates back over a millennium ago. As one of the most widespread puppet forms in China, shadow puppetry lineages became literal archives of their community's stories with just a few practitioners from each generation charged with retaining the cumulative repository of shared experiences. As modern China and increasingly globalizing forces puts pressure on the circumstances that cultivated this long tradition of shadow puppetry, questions of continuance have been on the minds of the practitioners and their audiences since the early 1900s. If the transmission of shadow puppetry ends, unable to engage apprentices to inherit or find audiences to receive, where will those thousands of years of stories and their ghostly lineage go? This thesis utilizes an apprenticeship research method to follow two main lines of inquiry: (1) what are the particular ways in which Chinese shadow puppetry, a traditional vernacular puppetry form, is resistant to current methods of preservation (2) how can new preservation theories and practices be approached to better support traditional vernacular puppet forms? Ancillary to this, can creative artists outside the lineage of Chinese shadow puppetry contribute to this endeavor? The research shows that while current methods for preservation and safeguarding intangible cultural forms, especially puppetry, are enacting some change, the results are mixed and often detrimental to the form they are designed to protect. The goal for this dissertation is to catalyze a re-examination of safeguarding policies and current theories on the (im)possibilities of preserving traditional vernacular puppetry forms in order to posit a new approach to safeguarding that prioritizes (1) apprenticeship, (2) practitioner-driven creativity and (3) performance as the central mode of dissemination. Considering these three tenets is not intended to replace the roster of safeguarding methods currently in place, but adds to them to include necessary elements that have so far not been adequately considered. This thesis hopes to shift the current focus of preservation methods, which prioritizes objects and products, back unto practitioners as central to any method of preservation

Puppetry in Museum Interpretation and Communication

Although there is a growing practice of puppetry in education, there has been no academic research to date on the range of puppet theatre styles and techniques in the museum context. This interdisciplinary thesis seeks to investigate what I call ‘museum puppetry’, e.g. puppetry used for pedagogical purposes in museum studies’ with a focus on the exchanges, compromises and tensions among museum staff and puppet theatre practitioners. Although the research is conducted mainly from the puppeteers’ perspective, the voice of museum experts is also present throughout. The thesis examines puppetry’s theoretical and practical frames for creation and how these can be used to conceptualize the applied form of this marginalized medium in the contentious territory of museums today. It also investigates what benefits, challenges and limitations are faced by the two distinct communities of practice (puppeteers and museum staff) in the pre- and post-production of museum puppetry projects. This multiple case-study, qualitative research examines the current work of practitioners who present and perform in museums, mainly in the United Kingdom, United States, Greece and Israel. The data analysis, based on interviews and field work, also aims to investigate the projects’ preproduction processes. Furthermore, it explores the negotiations between puppeteers and museum staff around the visual and performance aspects of museum puppetry projects from a technical and aesthetic point of view (construction, narrative, manipulation techniques). The research also suggests that although museum puppetry is currently a marginalized museum practice, its distinct sign system renders it rich in meaningful and soulfull associations, strongly visitor-oriented and remarkably flexible. Commissioning long term museum puppetry projects remains —with a few exceptions— a missed opportunity, due to prejudices and low expectations. Overall, the thesis reclaims the pedagogical, aesthetic value of puppets as ultimate metaphors. It advocates the holistic, eco-friendly aspect of the practice and favours the empathy and thought-provoking gaps it traces. Finally, it attempts to balance constructive, unpredictable learning with significance and fun

No tree is untouched by the wind: Aspects of composition and improvisation in Balinese gender wayang.

This thesis is an examination of the music of the Balinese gender wayang, the quartet of metallophones (gender) that accompanies the Balinese shadow puppet play (wayang kulit). The research focuses on processes of musical variation, the main means of creating new music in this genre, and the implications of these processes for the social and historical study of Balinese music, musical aesthetics, concepts of creativity and compositional methods. Firstly, it studies the processes of composition and variation-making in this unnotated tradition. Secondly, it examines the relationship between precomposition and spontaneous variation-making. Thirdly, it explores concepts of musical composition, variation, improvisation and creativity in gender wayang, which shed light on attitudes to these processes in Bali in general. These processes are examined in two main geographical areas: Sukawati in South Bali and, secondly, the contrasting area of East Bali, particularly the villages of Budakeling and Tenganan. Part 1 (chapters 1 to 3) describes the context of gender wayang within Balinese musical and ritual life and gives an overview of improvisation and composition in Balinese music. It also contains a review of existing literature on gender wayang (chapter 2) and an overview of relevant ethnomusicological theories of improvisation and composition (chapter 3). In part 2 (chapters 4 to 6), I examine compositional techniques in gender wayang in more depth, as well as aspects of regional variation, before analysing the processes at work in a spectrum from the more improvised to the more pre-composed, illuminated by players' comments (chapter 6). Finally, in part 3 (chapters 7 and 8), I draw out and bring into focus certain themes raised by the processes described in the previous chapters, particularly those that relate to changing social contexts for the music

Kompang :an organological and ethnomusicological study of a Malay frame drum

PhD ThesisThis study explores how the kompang (single-headed frame drum), which was adapted from the Arab/Islamic culture, plays a significant role in augmenting the Malay culture. Using a combination of musicological and ethnographic approaches, the author reveals the historical facts as well as analyzing the organological aspects of the instrument. The uniqueness of kompang music is disclosed through the musicological analysis of its repertoire, according to the three types of kompang ensemble performed throughout Peninsular Malaysia. Combining observations and interviews with his own experiences of learning how to play the kompang, the author presents a detailed account of traditional, aural learning processes as well as the performance practices of the instrument as presented in the ethnomusicological literature. In addition, the study of kompang music traces the stylistic changes in its traditional form and functions and links these changes to the socio-cultural transformations prevalent in Malaysian society. This work - complete with four compact discs (audio and video) of musical examples - contributes not only to ethnomusicological theory and method, but also to a deeper understanding of Malay musical culture

The Film title sequence as an influence on the design of print promotion

Graphic design solutions for promotional purposes pose a special challenge for designers who must not only make certain that the design is conceptually strong and engaging in itself, but also that it is successful in conveying the worth of a product, a brand, an organization or company to a diverse audience. Promotional design is all about presenting its subject in the most attractive manner possible in order to draw viewer attention to that which is being promoted. Such design solutions aim at creating a need or demand for a specific type of goods or services offered by a client. Alternatively they may be used as vehicles for self promotion in which case their aim is to showcase the capabilities and services of a firm or organization, or even an individual, as in the case of a artist\u27s portfolio. Promotional design therefore requires careful planning and execution. It is imperative that the designer research a client\u27s business, prevailing market trends, and the cultural background of target audiences before embarking on the task of creating a worthwhile design solution. Designers are also bound by the constraints of topicality, changing viewer needs and perceptions, and having to address a diversified audience. At the same time there is an abiding need for invention and innovation in the use of design materials, for design work is often developed amidst intense competition from rival firms. Hence designers are frequently required to think out of the box and look to unusual sources of inspiration in order to produce novel, eye-catching and memorable designs. In this exercise it becomes fruitful to explore design strategies from across mediums in order to come up with something new and exciting which might translate into a good and effective design solution. Print is a popular medium for promotional design. Graphic designers using the print format choose from amongst a wide variety of modes such as posters, fliers, brochures, packaging, stationary, magazines, catalogs or other publications. This thesis is an attempt to explore the possibilities of translating the design techniques of motion graphics into print in order to come up with a new idea for promotional design that incorporates an element of drama, and movement into a print artifact to make it more dynamic and captivating. It focuses upon Film Title Sequence design as a specific source of inspiration and seeks to trace lines of influence from title design that can be fruitfully incorporated into static print design

Cultural Responses to volcanic hazards on Mt Merapi, Indonesia

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