인도네시아 족자카르타 그림자극(Wayang Kulit)의 현대적 변용
Contemporary Shadows: Symbol, Space and Agent in Wayang Kulit Gaya YogyaKarta
0
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
In contrast to most of the shadow theaters in Southeast Asia, which show mainly just the aspect of entertainment, Indonesia’s Wayang contains a mythical order and a symbolic social relationship. As Wayang is closely associated with life through its stories and symbols, it has played the pivotal role of conveying philosophies and morality to the people. In this thesis, the onstage performance that is examined is not limited only to Wayang. Focusing on the dalang as an agent who connects and weaves the story/image of Wayang, an attempt was made to describe and analyze the aesthetic features that comprise Wayang’s artistic grammar in a cultural context as well as in the cultural industry of painting. In the process of Wayang performance, the openness of the text and the improvisation of the dalang make room for variations on Wayang’s aesthetic grammar. They also shed light on the contested field in which the dalang shows its identity and unique style. As for the way that the dalang performs Wayang, Pakem and Carangan play certain variations in the context of Alus and Kasar. The destruction of the Mimesis and the rise of the clown character show the most dramatic elements of Wayang’s transformation in a modernized flow. Gunungan, which serves as a core symbol that leads the Wayang sequence, takes off its veil and reveals its real character. Punakawan, which has assumed a peripheral role, comes into the scene as a major character, with the people’s voices. Wayang has assumed a contemporary form and style due to the decline of the traditional systems of patronage and training. PEPADI and SENAWANGI stimulate the formation of modern professional associations at the local, national, and international levels. The UNESCO proclamation of Wayang as a ‘Masterpiece of the Oral and Intangible Heritage of Humanity’ constitutes an international recognition of the cultural value of traditional puppetry. With the emergence of new forms of media and technology, Wayang crosses the border of Java and Indonesia. Instead of becoming marginalized in the process of modernization, it has become an object of cultural exchange and an iconic symbol. Wayang, which incorporates a way of thinking and a system of morality in the form of magical representation and as an iconic symbol, has been transformed and is currently being performed under ‘contemporary shadows’.
Abstract
In contrast to most of the shadow theaters in Southeast Asia, which show mainly just the aspect of entertainment, Indonesia’s Wayang contains a mythical order and a symbolic social relationship. As Wayang is closely associated with life through its stories and symbols, it has played the pivotal role of conveying philosophies and morality to the people. In this thesis, the onstage performance that is examined is not limited only to Wayang. Focusing on the dalang as an agent who connects and weaves the story/image of Wayang, an attempt was made to describe and analyze the aesthetic features that comprise Wayang’s artistic grammar in a cultural context as well as in the cultural industry of painting. In the process of Wayang performance, the openness of the text and the improvisation of the dalang make room for variations on Wayang’s aesthetic grammar. They also shed light on the contested field in which the dalang shows its identity and unique style. As for the way that the dalang performs Wayang, Pakem and Carangan play certain variations in the context of Alus and Kasar. The destruction of the Mimesis and the rise of the clown character show the most dramatic elements of Wayang’s transformation in a modernized flow. Gunungan, which serves as a core symbol that leads the Wayang sequence, takes off its veil and reveals its real character. Punakawan, which has assumed a peripheral role, comes into the scene as a major character, with the people’s voices. Wayang has assumed a contemporary form and style due to the decline of the traditional systems of patronage and training. PEPADI and SENAWANGI stimulate the formation of modern professional associations at the local, national, and international levels. The UNESCO proclamation of Wayang as a ‘Masterpiece of the Oral and Intangible Heritage of Humanity’ constitutes an international recognition of the cultural value of traditional puppetry. With the emergence of new forms of media and technology, Wayang crosses the border of Java and Indonesia. Instead of becoming marginalized in the process of modernization, it has become an object of cultural exchange and an iconic symbol. Wayang, which incorporates a way of thinking and a system of morality in the form of magical representation and as an iconic symbol, has been transformed and is currently being performed under ‘contemporary shadows’.
참고문헌 (48)
- 강윤희, "주변화에 따른 전통구술장르의 변화와 언어이데올로기: 인도네시아 쁘딸랑안 부족의 사례", 한국문화인류학, 37(2), pp.37~78 (2004), 한국문화인류학회
- 기어츠(Geertz, Clifford), "문화의 해석" (1998), 까치
- 김이선, "관광 발달에 따른 타이 수공예품의 생산과 의미체계 의 변화: 치앙마이의 목공예 생산지 반타와이를 중심으로", 박사, 인류학과, pp.2003
- 김형준, "자바 이슬람과 크리포드 기어츠, 그리고 그 후 40년", 동남아시아연구, 6, pp.3~31 (1998)
- 김형준, "전통의례의 이슬람화: 개혁주의 이슬람과 자바의 전통종교", 국제지역연구, 3(1), pp.9~28 (1999)
- 더글라스(Douglas, Mary), "순수와 위험" (1997), 현대미학사
- 뒤랑(Durand, Gilbert), "신화비평과 신화분석 : 심층사회학을 위하여" (1998), 살림
- 쉐크너(Schechner, Richard), "민족연극학: 연극과인류학사이" (2004), 한국문화사
- 터너(Turner, Victor), "제의에서 연극으로" (1996), 현대미학사
- 앤더슨(Anderson, Benedict), "상상의 공동체: 민족주의의 기원과 전파에 대한 성찰, 제2판" (2002), 나남출판
- 이창규, "인도네시아 족자카르타 그림자극(Wayang Kulit)의 의미와 현대적 변용", 석사, 인류학과, pp.2009
- 자크 랑시에르(Jacques Ranciere), "감성의 분할: 미학과 정치" (2008), 도서출판b
- 홍석준, "전통의례에서 관광이벤트로: 와양꿀릿을 중심으로", 한국문화인류학, 31(2), pp.418~517 (1998)
- Acciaioli, Greg, "Culture as art: From Practice to Spectacle in Indonesia", Canberra Anthropology, 8, pp.148~172 (1985)
- Adams, Kathleen M., "Art as Politics: Re-crafting Identities, Tourism, And Power in Tana Toraja" (2006), University of Hawail Press
- Anderson, Benedict, "Mythology and Tolerance of the Javanese, Ithaca, NY, Cornell Modern Indonesia Project", ~ (1965)
- Anderson, Benedict, "Language and Power: Exploring political cultures in Indonesia", Cornell University Press
- Bauman Richard, "Poetics and Performance as Critical Perspective on Language and Social Life", Annual Review of Anthropology, 19, pp.59~88 (1990)
- Brandon, James R., "On Thrones of Gold : Three Javanese Shadow Plays" (1970), University of Hawaii Press
- Becker, A. L., "Text-Buliding, Epistemology, and Aesthetics in Javanese Shadow Theatre, in: The Imagination of Reality: Essays in Southeast Asian Coherence System", pp.211~243 (1979), Ablex
- Bruner, Edward M., "Art, Ritual and Society in Indonesia" (1979), Ohio University Center for International Studies
- Cynthia Chou, "Southeast Asian Studies: Debates and New Direction" (2006), ISEAS
- Geertz, Clifford, "The Religion of Java" (1960), The University of Chicago Press
- Geertz, Clifford, "Local Knowledge : Further Essays in Interpretive Anthropology" (1983), Basic
- Errington, Joseph, "Shifting Languages : Interaction and Identity in Javanese Indonesia" (1998), Cambridge University Press
- Hobsbawm, E., "The Invention of Tradition" (1983), Cambridge University Press
- Keeler, Ward, "Javanese shadow plays, Javanese selves" (1987), Princeton University
- King, V., "Introduction to The Modern Anthropology of Southeast Asia" (2003), Routledge
- Marcus, George E., "The Traffic in Culture: Refiguring Art and Anthropology" (1995), University of California Press
- Mckean, Philip, "Towards a Theoretical Analysis of Tourism: Economic Dualism and Cultural Involution in Bali, in: Host and Guest: The anthropology of tourism", pp.93~108 (1989), University of Pennsylvania Press
- Morphy, Howard, "The Anthropology of Art: A Reader" (2006), Blackwell Publishing
- Mrazek, Jan, "Puppet Theater in Contemporary Indonesia: New Approaches to Performance-Events, Ann Arbor: Centers for South and Southeast Asian Studies" (2002), The University of Michigan
- Mrazek, Jan, "Phenomenology of a Puppet Theatre: Contemplations on the Art of Javanese Wayang Kulit" (2006), Kitlv Press
- Pausacker, Helen, "Behind the Shadows: Understanding a Wayang Performance" (1996), Indonesian Art Society
- Philis, Ruth B., "Unpacking Culture: Art and commodity in the Colonial and Postcolonial Worlds" (1999), University of California Press
- Price, Sally, "Primitive Art in Civilizes Places" (2002), University of Chicago Press
- Schechner, Richad, "By means of performance" (1990), Cambridge University Press
- Sears, Laurie J., "Shadows of Empire" (1996), Duke University Press
- Scott, James C., "Weapons of the weak: everyday forms of peasant resistance" (1985), Yale University Press
- Turner, Victor, "The Forest of symbols: Aspects of Ndembu Ritual" (1967), Cornell University Press
- Turner, Victor, "From Ritual to Theatre: The Human Seriousness of Play" (1982), PAJ Publication
- Weintraub, Andrew N., "Power Plays: Wayang Golek Puppet Theater of West Java" (2004), Center for International Studies Ohio University
- Weiss, Sarah, "Listening to an earlier Java: Aesthetics, Gender, and the Music of Wayang in Central Java" (2007), KITLV Press
- Wessing, Robert, "Framing Indonesia Realities" (2003), KITLV Press
- Zurbuchen, Mary S., "The Language of Balinese Shadow Theater" (1987), Princeton University Press
- "인도네시아 전국 달랑 연합회(PEPADI) 홈페이지"[URL]
- "인도네시아 국가 와양 사무국(SENA WANGI) 홈페이지"[URL]
- "와양 화가 헤르자까의 개인 블로그"[URL]