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INTERPRETING WAYANG KULIT IN NEW MEDIA PRACTICE: THE SYMBOLS OF

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International Journal of Multidisciplinary Thought,
CD-ROM. ISSN: 2156-6992 :: 06(01):185–194 (2017)

INTERPRETING WAYANG KULIT IN NEW MEDIA PRACTICE:

THE SYMBOLS OF SHADOW

Nurziehan Baharuddin and Mohd Suhaimi Juhan

Universiti Teknologi MARA (UiTM), Malaysia

Wayang Kulit is one of the unique traditional Malay arts and high of aesthetic value. It brings symbolic
meanings of human manifestation. However, the art of Wayang Kulit is almost forgotten by today’s
generation due to urbanization and the rise of the technology. Many attempts were made to preserve this
dying heritage, but the context of preservation should not only on the form and the practice of Wayang
Kulit. The understanding of the essence and symbols of Wayang kulit itself has to be explored. This
research specifically focuses on the symbols of shadow in Wayang Kulit as will be interpreted in a new
media. Readings and interviews with the expertise of Wayang Kulit performance are required in order
to attain the knowledge of symbols in Wayang Kulit. Two prototypes of 2D animation were tested in
obtaining feedbacks from the respondents. The finding indicates that the study of symbols is important
as it is a part of the core method in understanding traditional Wayang Kulit. Through the understanding
of symbols in Wayang Kulit, a new concept can be developed in new media and the completion toward
preserving our traditions can be made. Finally, new media have the potential to express and offer the
unique experience of Wayang Kulit. Through the new media practice, Wayang Kulit will not lose its
function to transfer traditional values to modern society.

Keywords: 2D Animation, New media, Symbols of Shadow, Wayang Kulit.

Introduction

Wayang Kulit is one of the traditional performing arts with very high aesthetic values. Behind the unique
performance, it contains symbolic meanings and philosophy that are unknown to most people. Previously
there were a number of popular Wayang Kulit genres in Malaysia, among them the Wayang Kulit Jawa in
Selangor and Wayang Kulit Melayu in Terengganu. Now there are only two types of Wayang Kulit that
are still practiced by the locals, which are the Wayang Kulit Siam in Kelantan and Wayang Gedek in
Kedah and Perlis. Wayang Kulit is usually performed at special events such as weddings, celebrating
births, circumcision ceremonies and sometimes performed simply for the entertainment of locals.
Traditionally, performances of the Wayang Kulit Siam are based on Hindu epics of Ramayana and
Mahabratha that have been adapted to the Malay tradition and Islamic beliefs. According to Barbara S.
the stories performed are not the complete original (“trunk”) stories of Cerita Maharaja Wana, but only
some parts (“branch”) of it. In Wayang Kulit, the puppets are moved behind cotton linen or linen screen
called ‘kelir’ by a puppeteer also known as ‘Dalang’. The Dalang will tell the story, interpret characters
voices and manipulate characters movement between the lamp and the screen to bring the shadows to life.
Traditional ‘Gamelan’ music by the musician usually will be played during the performance of Wayang
Kulit.

185
186 Interpreting Wayang Kulit in New Media Practice: The Symbols of Shadow

According to Patricia Matusky, city life with technology and urban environment has been identified
as the main cause of neglecting the heritage of Wayang Kulit in Malaysia. The urban social and economy
especially in West Coast of Malaysia that offers a more modern and sophisticated lifestyle have changed
the interest of the community in social interactions and entertainment. Cinemas, televisions, and The
Internet have gained immense popularity hence giving the Wayang Kulit a stiff competition to stand as an
age-old form of entertainment. As been said by Matusky, there were not many attempts of raising this
unique traditional art form in the rural area since 1957. Instead, another form of entertainment such
dancehalls, Boria, theater and modern productions dominated in urban Malaysia which reflect the
influence of non-Malay cultures. There has never been a systematic teaching about traditional
performance or music during that time. As the cause of that, not many city dwellers know about Wayang
Kulit and many of them have never seen or heard the performance.
However, in late 1979 two contemporary Malaysian theater directors showed their enthusiasm in the
shadow puppet theater and performed and abstract version of theater performance called Tok Perak (by
the Malaysian playwright Syed Alwi). The theater was acted out in mime and dance with traditional
music adaptation of shadow play being played. Later the interest in shadow play grew in University Sains
Malaysia in Penang (1970) and Akademi Seni Kebangsaan, Kuala Lumpur where performing art
programme with a formulized curriculum which engaged teaching faculty and students in research and
practical of Wayang Kulit give at least a little space for this form to breath.
In the year of 1990, controversial issues of religious disapproval on Wayang Kulit by conservative
political party, Parti SeIslam Malaysia (PAS) in Kelantan worsen the situation. Wayang Kulit was banned
for the fact that it consists of ritual practice and pronounced Hindu influence in the repertoire. The
Religious Council (Majlis Agama) of Kelantan likewise agonized over the ethical issue that questioned
men and ladies mingling both in the audience and on the screen. The struggles that Wayang Kulit
currently faced, slowly demolish all hopes of getting this unique traditional heritage to rise from the
ashes.
In the Congress of “Sebudaya Serumpun” Togari Yasuka, a researcher from Japan said, during the
banning of the Wayang Kulit accurately since 1991, the number of Dalang kept decreasing from time to
time and almost all the Tok Dalang in Kelantan doesn’t have an apprentice and if this situation continues,
it is afraid there will be no more Dalang left in order to practice and preserve this traditional art form
(Utusan Malaysia, 2007). Togari also stated that there is no hope for Wayang Kulit to survive if one of
these components whether the audience, practitioner or government is a malfunction and don’t have any
initiative to put an effort in preserving this heritage.
Considered both as a rival, two famous Dalang tried their best in order to bring back what is lost.
Hamzah Awang Mat came up with the formalized curriculum of Wayang Kulit in Akademi Seni Budaya
dan Warisan Kebangsaan while late Abdullah bin Ibrahim also known as Pak Dollah Baju Merah who is
more satisfied to change and adapted old epics to modern idioms in his play.
Despite the emergent of media and technology, it is important to decide which method should be
applied and to question whether the Wayang Kulit will lose its traditional value if changed will be made.

Methodology

This research employed a combination of quantitative and qualitative approaches. In order to experience
the performance and understand the structure of Wayang Kulit performance an observation of Wayang
Kulit performance has been made. Unconstructive interviews with the practitioners were conducted
during the performances in order to obtain the information for the study. The results of the explorations
are based on literature review (primary and secondary information). Through the knowledge and
experience in animation, 2 prototypes of 2D animation were developed and tested.193 respondents have
been selected randomly in the test and their understanding on symbols of shadow were measured. A set of
open-ended questionnaire form has been given to the respondents and the animation product has been
viewed in front of the respondents before answering the questions.
 Nurziehan Baharuddin and Mohd Suhaimi Juhan 187

Below is the Data Collection Procedure on how the structure of the data analysis being held during
the research:

Figure 1. Research framework used by the researcher to collect data.

Preserving the Heritage

The rapid new technologies are becoming more complex and more interesting where it is not only
changed the infrastructure, social, economy and education but also the mentality of the societies.
According to Mohammed Ghouse Nasuruddin (2001), technology has changed the society’s interest,
tastes and lifestyles. The conversions of tradition must be made to align with society’s needs and interest.
New technology should not be seen as a threat to this dying heritage, it should be utilized as new medium
to lift up our culture and heritage.

Too many competitors in Changes on the way of living

entertainment industry factor

Causes for Extinction of Wayang Kulit

in Malaysia

Lack of information and Technology changed society’s

promotion interests and attitude

Figure 2. Extinction Causes of Wayang Kulit in Malaysia

Farah Aini Lugiman (2006), in her research stated that the main causes of extinction of Wayang Kulit
in Malaysia and one of the main factors are the emergence of technology that has influenced society’s
interest and attitude towards this heritage (Figure 2). The need for new approaches to gain the interest of
societies is crucial in order to preserve Wayang Kulit heritage and each of the cultural aspects should be
considered as it carries the identity of Wayang Kulit. Perhaps, with better understanding and
reinterpretation of early performances by using today’s technology can help to cultivate the society’s
attention on Wayang Kulit.
188 Interpreting Wayang Kulit in New Media Practice: The Symbols of Shadow

The year 2007 showed a new attempt of preserving Wayang Kulit, where a combination of
contemporary theater and multimedia called “Dua, Tiga Dalang Berlari” was performed at the Central
Market Annexe, Kuala Lumpur. Directed by a young director Mark Teh, the drama was a tribute to two
famous rival dalangs: the late Dollah Baju Merah and Hamzah Awang Mat. The show was performed by
human actors and supported by multimedia projection. A shadow projection of text and symbol was used
to create dramatic effect during the performance. This combination of multimedia and art performance
has opened our eyes that Wayang Kulit can be an interesting subject matter in developing concept and
creativity whether through a live performance or multimedia design. Although only a handful of youths
turned up to watch the performance, it was a good effort in instilling the interest among our younger
generation.
The multimedia executions have not only been used in real live performances but also in multimedia
design. In the context of preserving the Wayang Kulit heritage, many types of research were conducted in
games development, animation, interactive design and even websites to attract an audience of young
viewers towards this wilting art form. Artmedia Sdn.Bhd for an instant took a brave attempt in
commercializing the art of Wayang Kulit using 2D animation as a medium. In order of looking a new
form of this traditional heritage, Artmedia Sdn.Bhd tries to introduce a new version of Wayang Kulit with
a new storytelling and using a normal human character. The element of entertainment and morality were
implemented concurrently with the change of modern era and urbanization.
Another type of exploration set up before at the Faculty of Applied and Creative Arts, Universiti
Malaysia Sarawak in 1996, was an experimental 3D Wayang Virtual spearheaded by Dr Khairul Aidil
Azlin and Dr Hasnizam Abdul Wahid. Wayang “Virtual” inspired the storytelling of Wayang Kulit.
Dissimilar to the conventional Wayang Kulit, the light from a projector was utilized to enlighten the
collaboration of a three-dimensional model with conventional Wayang Kulit. Two Dalangs were used to
adequately control shadows and the three-dimensional model that is enlightened on the screen. The
underlying thought of this experimental artwork was to combine traditional form and 3D visual as well as
the traditional music combining with Musical Instrument Digital Interface (MIDI). The fights and
struggle symbolize the change and the complexity between the new technology and traditional value.
There is the need for new approaches to attract and encourage the younger generation to embrace
performances of Wayang Kulit. Other than that, it also can instill the appreciation of the Malay traditional
theater heritage. However, the use of new technology is not an excuse for the new generation to neglect
the value and aesthetic of Wayang Kulit. The fact that it carries our identity and background is important
for us to respect and consider every single aspect of this traditional art form before any changes are even
made. Mohd Taib Osman explained, (1999 cited by Farah Aini Lugiman, 2006) that the heritage will not
be changed with new convention or understanding. Thus, an artiste should be careful when considering
any alterations toward a traditional art form and it is advisable for one to gauge the principles and
background of Wayang Kulit beforehand. With the great knowledge of the principles and background of
Wayang Kulit, one can modify, alter and merge the conventional structure with the new elements
hormonally. This process is also known as ‘acculturation’.

“..The future of Wayang is uncertain. […] Wayang will change, as it must.” (Krishen Jit, June 1973)

Krishen Jit (1973 cited by Carmen Ng, 2007) concludes that the future of Wayang Kulit is uncertain and
in order to preserve this heritage, changes on Wayang Kulit need to be done. Throughout this 20 year of
hardly breathing, Wayang Kulit has gone through tremendous changes such as in terms of the medium,
structure or storytelling in order to cultivate back the interest from audiences. Technologies and media
revolution have changed the society’s interest towards entertainment and communication which most of it
is controlled by computer technology. As Wayang Kulit has greatly changed, this kind of phenomenon
has been a great concern to the practitioners that in the future Wayang Kulit will erode the traditional
values and aesthetic to which it has been ascribed for centuries. According to an article titled Masa Depan
Tradisi- Dikhususkan Kepada Pengalaman Kuno di Malaysia, 1978, written by Ismail Zain, in this new
technological era, traditions need new symbols, which are relevant to it, and linguistic development to
 Nurziehan Baharuddin and Mohd Suhaimi Juhan 189

support the deliverance of the essence without causing historical problems, which can carry the true
meaning (Zain, 1995).
As Ismail Zain also cited what Clement Greenberg once said, “True artist derive their chief
inspiration from the medium they work in”. He added that, upon the concerned of the future of our
tradition, we need to consider the technology and media exist as the vehicle to uplift and preserving our
traditions. Ismail Zain stressed on how we need to gain the knowledge of new technologies and to create
a new aesthetic, which can be a strong based for our traditions to grow and expand through this Medias
and also the languages that can support its raison d’etre.
Certainly, producing a contemporary piece will be aesthetically more meaningful if the design
reflects the traditions of Malay culture. Symbol is one of the strengths of the Malay traditions that have
rarely been studied. One of our heritages that rich with symbols is Wayang Kulit performance.
Nevertheless, not many are concerned with the symbols behind this traditional art form. Thus, this chapter
will attempt to interpret symbolism of the shadow that lurks behind the Wayang Kulit performance.

The Symbols of Shadow

The usage of symbols is deeply-rooted in Malay art and its establishment can be traced back to many
centuries ago. It is explained by FarishA.Noor (2003), that the Malay civilization had produced countless
artifacts and works of art that are now part of the common inheritance of humanity. Throughout the
centuries, the craftsmen and artists in the Malay community have not only created many works of art with
unsurpassed beauty and aesthetic values, they have also developed an aesthetic canon that is uniquely
theirs. According to Farish;
‘Understanding the principles of Malay art requires knowledge of a specific semiotics, linguistics,
and philology that help us decode the hermeneutics of Malay and culture.’ (FarishA.Noor, 2003)
The author specified that a hermeneutic methodology is needed with a specific end goal to
completely understand the profundity and the importance of symbols found in Malay art. The
advancement of Malay art specifically, since the time of pre-Islamic period has seen an adaptation of
elements, structures, thought, and qualities from a mixture of civilizations and social sources. It ranges
from paganism, animism, the Hindu-Buddhist era, the philosophy and cultural of Islam, as well as
influences from Europe, China, and India. Despite various religious and cultural influences in Malay art,
the elements, and features of its identity remain exclusive and unique. Farish also cited Henry Ling Roth
(1910), who observed some characteristics in Malay art such as ornamentation, which combined
dissimilar patterns that emerge to an outstanding design. These characteristics were specifically confined
and belonged to the Malay community, which was also significant to their culture and societal values.
After the arrival of Islam, Malay art focused more on the relationship between human beings and the
natural world around them. Malay–Muslim art depended intensely on common themed motives and
symbols that were derived from the verdure around them and accordingly dismisses humanism and
animism from the agnostic age. From the fourteenth century onwards, Malay-Muslim artisans started to
move their consideration from human structures to nature.
Malays have developed a great respect for trees, in particular, the pagan Malays who viewed the tree
as a source of life. It is explained that pagan Malays believed that their universe is made by a vast ocean
and in the middle stood a tree called Pauh Janggi. They also believed there was a huge tree which existed
before the existence of men itself (Farish A. Noor, 2003). It was this tree that breathed life into the
universe and eventually led to the creation of human beings. At the start of every performance of Wayang
Kulit, traditionally the audience is shown a static image of the great tree of life, a tree called Pohon Budi.
This tree is an adaptation from the pagan belief of Pauh Janggi. Although pagan beliefs had started to
fade after the arrival of Islam, trees remained important and played a crucial role in shaping the aesthetics
and philosophy of Malay art. There are many recurrent motifs and symbols that are still in circulation in
the Malay world that could testify to the importance of trees to the Malay. This is further proven with the
art of woodcarving where the abundance of symbolic meanings has a close relationship with the art of
190 Interpreting Wayang Kulit in New Media Practice: The Symbols of Shadow

shadow puppetry (Wayang Kulit). In the Malay cosmic belief, the world is always seen and proclaimed
as having a duality between Zahir (manifest) and Batin (hidden), a division between the visible and
invisible, the material and metaphysical realms. On the other hand, according to the Islamic belief, Allah
bestows upon men the Zahir and Batin (Farish A. Noor, 2003). Both of these distinctions are reflected
largely in Malay civilization and their understanding of the Malay universe. As the civilization developed
and evolved, Malay understanding of nature gradually evolved too, especially their appreciation of wood
where symbolic meanings and aesthetic values are instilled.
Hasnul Jamal Saidon (2003) in “The Borrower of Light” (BOL) previously has done a symbolism
studies which is an experimental installation that combines 3D animation and computer music
composition. The work was inspired from Wayang Kulit, Sufism and philosophically by Al-Ghazali
which focuses on light as metaphors or distance symbol between traditional wisdom and post-modern
value, which highlight market capitalism, the information revolution, and globalization. (Balai Seni Lukis
Negara, 2004) Derived from the studies of ‘the borrower of light’ Hasnul explains more on the symbolism
of light and shadow. According to Al-Ghazali, there are seventy veils (Hijab) in between light and
darkness, and the highest essence is the Cahaya Hakiki (light of absolute truth) or Alam Ruhani that is
attainable by Ruh (soul). The lowest ring of existence is known as Alam Rendah (the world below) or
Alam Jasmani (the world of form) in which we encounter our own desires and lusts. By recognizing the
ability to direct our soul to the higher stage from Alam Rendah to Alam Ruhani, one will gain
manifestation. Al-Ghazali referred this as a ‘Pendakian’ or a climb where one will face a fierce battle
with desire and lust. The individuals who failed the tests will be trapped in Alam Jasmani and are called
as Kaum Zahir. However, the individuals who figured out to accomplished the climb to Alam Ruhani
without having the capacity to recover or dive themselves back to the variety of Alam Jasmani are alluded
to as Kaum Batin or the profound. A perfect positioning as indicated by Al-Ghazali are individuals who
figured out how to adjust both the demonstration of descending Zahir and climbing Batin in a congruous
stability (Balai Seni Lukis Negara, 2004).
With the understanding and thoughts of the symbolism of light in Wayang Kulit, Hasnul came out
with his concept and developed an aesthetic artwork which is an 11-minute video comprising an
interactive multimedia performance, installation and 3D animation and computer music composition. His
work which featured various combinations of electronic innovations with conventional mediums and
objects to engage the audience with issues of cultural identities shows the importance of gauging the
knowledge of symbolism which is a part of our traditional heritage.
In order to unveil the symbolisms behind the shadow of Wayang Kulit, Sutung Umar RS who used to
facilitate and was involve with various performances of Wayang Kulit shared his experience and
knowledge of philosophy behind the Wayang Kulit through a short unconstructive interview. He
summarized that everything in Wayang Kulit is all about the embodiment of the human essence and the
attributes of God’s existence. He mentioned that it can be defined as the inner and the outer world, as well
as what can be seen or unseen. The puppeteer can be seen as “god”, where the world originated from and
the source of life because he controls the whole setting of the Wayang Kulit performance. On the other
hand, the puppets are essences before human existence while the Kelir (screen) can be considered as the
universe. The choreography of the shadow is the “face” of the Wayang Kulit performance; it represents
the illusionary and life’s nature of transitions. In reality, from a religion’s point of view, God is the one
puppeteering us humans and we are the puppets (in the form of shadow) in this context.
This is closely related to the human existence where Allah made the human from clay and blows
spirit or Ruh (spirit) into the clay and completed with the body by incorporating the soul. This is further
explained by Maszalida Hamzah (2014) where Ibni al-Arabi portrays the structure in soul and spirit which
requires three microcosmos world; Ruh (spirit), Nafs (soul), and Jism (body). Spirit represents the light
whilst body represents the darkness. The space between spirit and body is both light and darkness, which
represents the soul. This explains the concept of the light convention in Wayang Kulit as Ruh whilst the
projected shadow as the body. Meanwhile, the choreography is the soul for the Wayang Kulit. Maszalida
added the significance of the shadow in Wayang Kulit as an illustration for us to notice the signs and
Mithal (resemblance) of how Allah discloses His story in the Al-Quran. The Al-Quran was delivered as a
 Nurziehan Baharuddin and Mohd Suhaimi Juhan 191

narrative in a variety of forms to the whole continents as a reminder to human beings, ‘And Allah speaks
the truth and shows the guidance in the journey’ (Qur’an 33:4). Thus, Wayang Kulit must live and relive
according to times, congruently with the new dimension of shadows such as film, television and Internet
as a reminder of Allah’s manifestation.

Shadow in Western Art and Philosophy

Light is the reason we optically discern everything. The characteristics of light can consummately
transmute the appearance of the things it illuminates. While light and shadow are the two main zones, the
terminator is the edge where the form transitioned from light to shadow. There are two types of shadows,
which are the form shadow, and the cast shadow. Form shadow is a shadow brought about by the planes
moving in the opposite direction of the light source. The cast shadow, however, is the shadow at first
glance that the object lays on and is made by the object itself obstructing the light from the light source. It
has been clarified how the shadow has dependably been indispensable to speculations of arts and
knowledge and explores the complex mental implications we anticipate into shadows (Christopher
Turner, 2007). It is a reflection of studies and philosophies by Plato, Pliny, Leonardo and Piaget.
In Plato’s “The Allegory of Cave”, the flickering images on the wall, which is the shadow, to the
prisoners, are actually authentic, rather than just shadowy representations of what is genuinely authentic.
However, if the prisoners were freed, they would see it from a different perspective. The prisoner would
be able to visually perceive beyond only shadows; he would optically discern dimensions and reflections
in the water (even of himself). Different from Plato, Pliny, an ancient Greek legend, believed shadow
presents itself as the model of the visual art of painting. At first, according to Pliny, (Hagi Kenaan, 2006),
painting began with tracing an outline of the shadow of a man and, therefore, the picture was originally
done this way. However, in the second version, Pliny gives a more solid setting for the unbelievable
conception of painting, one that permits the first demonstration of painting to lose its namelessness.
Consequently, the perception of a man’s shadow and the following of its shape are incorporated into
the identity of an agonizing minute in which a young lady must face her lover’s departure. It is being
said that these shadows are related to realization and un-realisation. According to Victor I. Stoichita
(1999), “This shadow is not ‘the body’, it is by double virtue the other of the body (like a ‘spectre’,
like a ‘head’).
On the other hand, Carl Jung indicated that shadow is the animal side of our personality, just like the
id in Freud – which the conscious ego does not distinguish in itself. It is the source of both our
imaginative and damaging energies. For Jung, a definitive point of each individual is to accomplish a
condition of selfhood (Saul McLeod, 2014). Besides, Jung’s shadow may comprise everything outside the
light as consciousness, and may be positive or negative. As per Jung, the shadow, in being instinctual and
irrational, is inclined to mental projection, in which an apparent individual inadequacy is perceived as an
apparent moral lack in another person. Jung’s explain that to become conscious of the Shadow takes
moral effort and recognized the dark aspect of the personality as present and real.

2D Animation Design

Derived from the knowledge and understanding the symbols of shadow form in Wayang Kulit
performance, a conceptual 2D animation has been developed. The concept of the meaning of “we human
are the shadow” was interpreted in this animation. The work focuses on the theme of shadow whilst
portraying the resulting gap between the space of light as the Ruh (spirit), the projected Shadow as the
Jism (body), and the space between light and darkness as the Nafs (soul). The relationship between these
three elements is as the representation of human manifestation and existence.
Jung’s concepts of the Shadow which explain that to become conscious of the Shadow takes moral
effort and recognized the dark aspect of the personality as present and real, were visualized in this
192 Interpreting Wayang Kulit in New Media Practice: The Symbols of Shadow

animation with philosophical undertone by an odd reflection of the character and his shadow. The true
form of human character will be assigned on the wall while the shadow of the character will be reflected
in the real world as a means of character acknowledged the negative side of his personality.

Prototype 1 – 2D Animation derived from the concept and symbolism of shadow in Wayang Kulit

The second prototype of 2D animation denotes the Shadow Play visual enhancements rather than
using the symbolism as the concept. The visual concept was derived from the concerned of Shadow Play
as the face and main visual of storytelling in Wayang Kulit. The forms of the character design resemble
the traditional form of Wayang Kulit characters and were supported by stylized 2D background to
enhance the visual mood and environment.

Prototype 2 – 2D Wayang Kulit with the shadow enhancements

Both of 2D animation prototypes were projected on Kelir (screen) that can be watched from both
sides of screen. The understanding of symbolism and effectiveness of new media as a method in
preserving Wayang Kulit were tested.

Results

As a result from the survey, more than half of number of the respondents agreed that Wayang Kulit via
new media will not lose its capacity as a method for exchanging conventional qualities. Most of them
agreed that new media would be a good platform of preserving culture. This proves that with a new media
approach; shadow play will not lose its function as a means of transferring traditional values to the
modern society.
Referring to Table 1 and Figure 3 shows the result of the survey that shadow play will not lose its
traditional values via technology and new media which read at 40.0 percent agreed. 25.6 percent of the
respondents are unsure of the answer and 23.1 percent are strongly agreed. Whereas, strongly disagree
and disagree respondent hold a percentage of 6.2 percent 4.1 percent.
 Nurziehan Baharuddin and Mohd Suhaimi Juhan 193

Figure 3. The bar chart shows the frequency of respondents perceived that Shadow play
will not lose its traditional values via technology and new media

Table 1. The table chart shows the frequency of respondents perceived that Shadow play
will not lose its traditional values via technology and new media

Shadow play will not lose its traditional values via technology and new media

Valid Cumulative
Frequency Percent Percent Percent
Valid Strongly
12 6.2 6.2 6.2
disagree

Disagree 8 4.1 4.1 10.4

Unsure 50 25.6 25.9 36.3

Agree 78 40.0 40.4 76.7

Strongly
45 23.1 23.3 100.0
agree

Total 193 99.0 100.0

Missing
System 2 1.0

Total
195 100.0

Discussion

In line with the Western Art history, the shadow has been identified as the most significant form to the
existence of contemporary art during the first century. The shadow was integrated into the area of
complex representations to suggest human existence. The idealism of Plato and Nietzsche’s philosophy
which is based on the concept of self-overcoming or will power both relates to the symbols of the shadow
in Wayang Kulit as part of the human essence, which carries a meaning that every human being has both
positive and negative sides. It takes self-acceptance and recognizing the dark aspects by individuals to
encounter self-knowledge and disambiguation.
 194 Interpreting Wayang Kulit in New Media Practice: The Symbols of Shadow

However, Islamic philosophers touch the deeper context of human existence through the symbolism
of shadow. There are three stages of human existence; one is before the human existence, the second is
the human existence and third is the journey of human manifestation. It describes the light as the Ruh
(spirit), the projected Shadow as the Jism (body), and the space between light and darkness as the Nafs
(soul). These three entities exist in both before and during human existence. The climb from Alam
Jasmani to Alam Ruhani or Cahaya Hakiki is considered as human manifestation. It has been proven that
symbolism in Wayang Kulit and its shadow significantly relate with the nature of human existence and
manifestation, not only in accordance with Islamic views but also in Western perspectives. Apart from
entertaining the audience, it is also rich in aesthetic values and underlying Islamic ideology. Therefore, it
has become the pride of the nation and a heritage worth preserving for many generations to come.
In the context of preserving the culture, Central to the cultural debate about preserving the tradition
has been talking for so long. But then again the preservation that has been made is more into solidifying
the culture and tradition rather understand the essence and form of the culture itself. Preserving that we
are doing today can be seen as a ‘Museum’ of tradition. The rise of technologies should be seen as a
threat nevertheless, should be seen as an advantage in serving the preservation. Thus, the context of
understanding the culture via the symbols in Wayang Kulit has been studied and interprets in new media
practice. More than half of the respondent agreed that Wayang Kulit via new media will not lose its
function as a mean of transferring traditional values and most of them agreed that new media will be a
good method of preserving culture. Furthermore, the Shadow Play in new media can give a great impact
to the new generation compared to the traditional performance and the use of symbolism in new media
practice can change the perception towards traditional shadow play.
This paper would like to suggest the larger and in-depth studies of Wayang Kulit which is not
exclusively special in its execution or visual, but also the symbolism and philosophy behind it.
Symbolism and philosophy too can be interpreted as the soul and essence to the artists in producing an art
piece with high aesthetic value.

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