![]() With strong local characteristics, the shadow puppets are folk handiworks and a wisdom crystallization of Chinese shadow play artists through the ages. These transparent leather puppets become very lively and beautiful under the lantern light. It came into being in the Han Dynasty (206 B.C.-A.D.220) and has more than two thousand years'history.Ĭhinese shadow artists first carve out the lines of the design and then dye them in bright colors. Handmade by the Chinese traditional craftsmen who have been making shadowplay for over 40 yearsĬhinese Shadow,which can also be called "Chinese Shadow Play or Chinese Shadow Puppet play", is one of the most ancient genre of drama in China. Usage: Parades, displays, weddings, special occasions, film props, operas, birthday/holiday celebrations, decorations, competitions. If you require customization of colors/sizes or redesign, please leave us a note in the order or email us. The choice of Hollywood films, American Museum of Natural History, Opera America, Confucius Institutes, Harvard, etc.Īs the #1 largest and best expert & 20 years leader in traditional items, most currencies are accepted:įREE Extra Services: Free Custom-Made ✔️ Free Accelerated ✔️ Free Advanced-Shipping Covered ✔️ The book's audience could include those who study Southeast Asian culture and religion, gender.Traditional Chinese Hand Carved Shadow Play - Woman Hero and Her HusbandĬategory: Chinese Shadow Puppet or Pi Ying Xi Toolsīest Christmas Deal: $88.00 + Free Express Worldwide within 1-17 days (1-5 days if urgent) + Over $110 FREE Valuable Accessories + 365 Days Full Refund Guarantee + Free Customization upon Request Message There are some troubling generations in a few parts, such as the assumption that Sita (Sinta), the wife of Rama, is less alus as determined by a puppet exhibit, although her otherwise flawless discussion of female puppets is insightful and significantly adds to the available literature. The author discusses the subversion of gender norms at the Balinese arts academies, and then describes the resulting performances as entertainment, outside of the rich, transformative traditional performances. Much of the information presented is not entirely new, but the subject is approached differently-largely through experience. Jennifer Goodlander interviewed several major women artists in Bali, including those who became dalang. The exposition on alus (refined) and kasar (coarse) in relation to sex, as well as the authors personal immersion into the world of wayang as a performer and interpreter, enhances the book's value. Fortunately, the author describes the dalang's elevated position to offer social critique via comedic puppet characters, and the exposition of laughter and comedy-particularly the "presence of the comic characters to reinforce the habitus of the Balinese community"-demonstrates a grasp of aesthetic performance elements (57). The author uses wayang kulit to examine gender and social class in history, life, and literature, although she occasionally explicates wayang narrative and puppets without exploring women or gender. The book reads easily and sets a journal-like, conversational tone that, although citing culture theorists, is free of verbiage. The organization is sufficient to present findings, although the book could have benefitted from more subheadings. ![]() After the introduction, the book is divided into "Sekala: The Visible Realm" (training, dalang, puppets) and "Niskala: The Invisible Realm" (ritual processes of becoming dalang, negotiating invisible and visible realms, shadows). The author reveals that her studies with a puppeteer, accompanying him to his performances, and her own performances as dalang were increasingly disruptive. This ethnographic work addresses women performing as dalang (puppeteers) in Balinese wayang kulit (shadow play) performances, an activity that disrupts gender norms. Women in the Shadows: Gender, Puppets, and the Power of Tradition in Bali.
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