Perhaps no other culture has placed so much emphasis on a theatrical form as a medium of transmitting cultural values as the Javanee. Wayang Kulit--the shadow play performed with puppets--provides one of the oldest continuous traditions of storytelling in the region. This is the first account of the subject for the general reader, explaining its importance in the everyday life of the Javanese.

This comprehensive book explores the Malaysian form of shadow puppet theatre, highlighting its unique nature within the context of Southeast Asian and Asian shadow puppet theatre traditions. Intended for a Western audience not familiar with Asian performance and practices, the text serves as a bridge to this highly imaginative form. An in-depth examination of the Malaysian puppet tradition is provided, as well as performance scripts, designs for puppet characters, instructions for creating a shadow screen, and easy directions for performance. Another section then considers the practical, pedagogical, and ethical issues that arise in the teaching of this art.

Indonesianwayang kulit(shadow puppet) performance is one of the oldest and greatest storytelling traditions in the world and lies close to the heart of Javanese culture. These flat puppets, made from water buffalo hide, are elaborately decorated and perforated to cast spectacular shadows when used in performances that are usually based on classical literature with contemporary issues incorporated into particular scenes, and are always accompanied by a gamelon orchestra. An art of and for the people,wayang kulitremains a popular and significant form of cultural expression to this day. This book describes a collection of gold and bronze leaf Surakarta-style wayang kulit including over 200 wayang characters, which are identified by name and briefly introduced, providing a glimpse inside the puppet box. Felicia Katz-Harrisis the curator of Asian and Middle Eastern folk art at the Museum of International Folk Art in Santa Fe, New Mexico.

An effective police force is critical to countering insurgency. In Pakistan, an understaffed and underequipped police force is increasingly called on to manage rising insecurity and militant violence. This report evaluates the obstacles to upgrading the existing police system and recommends traditional and innovative reform options, including major restructuring of the total civilian law enforcement infrastructure, without which the police force cannot be effectively improved. Because Pakistan's police capacity has direct implications for the country's ability to tackle terrorism, the United States and its allies would realize counterterrorism dividends by helping law enforcement efforts through modern training and technical assistance.

This book is divided into three main parts and an epilogue. The first part of the book provides a context for the readers to understand the underlying background of our work. Chapter 1 gives a brief overview about wayang kulit, whereas second chapter introduces the field of digital humanities that has particularly touched the art of wayang kulit. The second part of the book is focused on the engineering design in wayang kulit, particularly related to the methods we developed to display 3D shadow images. The third chapter qualitatively explains the phenomenon of colour-based stereoscopic shadows, which form the basis of 3D shadow images. In the fourth chapter we start to describe quantitatively the optical methods to synthesize the 3D shadow images. In the fifth chapter, we share our experiences from two art exhibitions, i.e. the Jogja ArtWeeks in 2015 and the 'Wayang and New Technology' in Tembi Rumah Budaya in 2016. The sixth chapter explores the quantitative methods to digitally synthesize the 3D shadow images, which opens up new possibilities in art performances, where dhalangs can combine real and virtual 3D shadow images. The third part of the book is focused on the engineering analysis in wayang kulit. In the seventh chapter, we start with the analysis of the puppet shapes. Afterwards, in the eighth chapter we use the 3D shadow images described in Chapters 3–6 to quantitatively measure the pose of the puppets. The same method can also be extended to analyse the puppet movements, which is explained in the ninth chapter. This quantitative analysis of the puppet movements is a continuation of the research pioneered by Prof. Roger A. Long in 1979, on the puppet movements in the Ngayogyakarta wayang kulit. Meanwhile, in the tenth chapter, we analyse the audiovisual patterns in wayang kulit performances. These patterns may become relevant, not only for engineers who are interested in developing interactive artworks, but also for scholars in the field of digital humanities who are interested to investigate the change of wayang kulit performances over space and time. [UGM Press, UGM, Gadjah Mada University Press]

Wayang Kulit is an ancient form performance in Indonesia that is still flourish until this day. Wayang means shadow, and Kulit means leather. Wayang kulit itself means the performance of shadow play using leather puppet. The stories depicted in this performace are from ancient Indian epic, Ramayana and Mahabharata. It was designated as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003 by UNESCO. Kurawa is the main antagonist on the great Mahabharata epics. They are consisted of one hundred brothers that represent evil. Throughout the epic, they fight their cousins, Pandawa (five brother that represent good). This book will introduce and explore the characteristic of Kurawa, complete with detail graphic illustration of each character that will help reader to identify each of the hundred brother.