Proposal

Gender & Art

concpept subject matter Wayang Kulit is a traditional form of puppetry from Indonesia, espe- For this project, I plan to explore the traditional art of shadow puppetry, cially popular in Java and Bali. It involves the use of intricately carved, or wayang kulit, and its historical and cultural significance in Indonesian flat leather puppets or ‘wayang’ which are held up against a backlit society. And further reinventing the wayang kulit tradition by reimagin- white cloth screen and manipulated by a puppeteer or ‘dalang’. The ing its stories and characters in a modern context, exploring gender. The puppets depict characters from ancient epics such as the Ramayana Ramayana Wayang Kulit is a classic epic tale from Indonesia that tells the and Mahabharata, as well as local legends and stories. The dalang tells story of the virtuous prince Rama and his quest to rescue his wife Sita the story through a combination of dialogue, narration, song, and from the clutches of the evil demon king Ravana. I intend to create a pic- music, often accompanied by a gamelan orchestra. ture book portraying a retelling of the story. This retelling will challenge traditional gender roles and stereotypes to present a contemporary twist on the epic. examples: The origins of Wayang Kulit can be traced back to the 1st century, when it is believed to have been brought to Indonesia from India. Over the centuries, it has evolved and adapted to local culture, be- coming an important part of Javanese and Balinese traditions. It is not only a form of entertainment but also a spiritual and cultural practice, with deep connections to Hinduism and Islam.

The origins of Wayang Kulit can be traced Gender plays a significant role back to the 1st century, when it is believed in Wayang Kulit. Traditional- to have been brought to Indonesia from ly, all roles in the puppet play India. Over the centuries, it has evolved are performed by male pup- and adapted to local culture, becoming an peteers (dalangs). However, important part of Javanese and Balinese some contemporary perfor- traditions. It is not only a form of enter- mances have female dalangs tainment but also a spiritual and cultural who have broken through the practice, with deep connections to Hindu- gender barrier. In terms of ism and Islam. the characters portrayed in Wayang Kulit, they are also In addition to its use in storytelling, gendered. The main char- Wayang Kulit is also an important part acters in the stories, such as of religious rituals, such as weddings and Rama and Sita from the Ra- funerals, as well as a tool for spiritual and mayana, are male and female, moral instruction. respectively, and the plot often The stories and characters portrayed in Wayang Kulit often embody centers around their romantic cultural values and beliefs, such as the importance of family, bravery, relationships. and loyalty. The puppetry also serves as a way of preserving cultural However, the gendered roles in Wayang Kulit extend beyond just the heritage, as stories and techniques are passed down from generation characters. The dalang also uses different voices and inflections to to generation through master-apprentice relationships. differentiate between male and female characters. The physical appear- ance of the puppets also plays a role in representing gender. For exam- In recent times, Wayang Kulit has faced challenges in maintaining its ple, female characters are often depicted with more delicate features popularity, as newer forms of entertainment have become more pop- and more ornate costumes.The gender roles in Wayang Kulit are deep- ular among younger generations. However, efforts have been made ly rooted in Javanese culture and tradition, and they reflect the societal to preserve and promote this ancient art form, such as through the norms and values of the time. establishment of puppetry museums and educational programs.

story Our story begins with Rama, a brave and intelligent prince, who is deeply in love with his wife Sita. However, instead of portraying Sita as a helpless victim waiting to be rescued, we will present her as a strong and capable woman who is more than capable of fighting her own battles. When Ravana kidnaps Sita and takes her to his palace in the under- world, Sita does not wait for Rama to rescue her. Instead, she uses her intelligence and cunning to escape from Ravana’s clutches and make her way back to the surface. Along the way, she meets a group of female warriors who help her fight off Ravana’s minions and pro- tect her on her journey home. Meanwhile, Rama is not content to sit back and wait for Sita to re- turn. Instead, he rallies his troops and sets out to defeat Ravana once and for all. However, in this retelling, Rama’s army is not just made up of men. He also enlists the help of a group of female warriors, who fight alongside him and prove themselves to be just as skilled and courageous as their male counterparts. In the final battle between Rama and Ravana, Sita joins the fray and fights alongside her husband, showing that she is not just a damsel in distress, but a warrior in her own right. With the help of their com- bined forces, Rama and Sita are able to defeat Ravana and restore peace to the land.

content plan: illustration moodboard Title: Sita’s Journey - A Wayang Kulit Epic Page 1: Introduction Open with a shot of Sita, a young and strong-willed woman who is deeply in love with her husband Rama. Sita’s appearance is modern and empowered, with long, flowing hair and a determined look in her eyes. Sita (text): “I was living a happy life with my husband, Rama, until the evil demon king, Ravana, kid- napped me and took me to his palace in the underworld. But I was not one to wait for rescue. I used my intelligence and fighting skills to escape from Ravana’s clutches, and made my way back to the surface.” Page 2: Escape We see Sita’s escape from Ravana’s palace through a series of dynamic action sequences that showcase her fighting skills and bravery. Sita uses her quick wit and cunning to outsmart Ravana’s guards, and her martial arts prowess to fight off anyone who tries to stop her. Sita (text): “I knew that Rama would come to my rescue, but I couldn’t wait for him. I had to take mat- ters into my own hands and escape from Ravana’s clutches.” Page 3: Reunion Sita eventually makes her way back to the surface, where she is reunited with Rama and his troops. Sita joins the fray and fights alongside her husband and the other soldiers. Her appearance is designed to reflect her modern and empowered personality, with form-fitting armor and a sharp sword. Page (text): “I fought alongside Rama and his troops, determined to help defeat Ravana and restore peace to the land. I was not just a damsel in distress, but a fierce warrior in my own right.” Page 4: Battle The final battle between Rama and Ravana takes place, with Sita playing a critical role in the fight. Sita uses her intelligence and quick thinking to help Rama defeat Ravana, ultimately leading to the demon king’s defeat. The scene ends with Sita and Rama celebrating their victory and restoring peace to the land. Sita (text): “We emerged victorious, defeating Ravana and restoring peace to the land. It was a long and difficult journey, but I knew that I could count on Rama and his troops, and that I could always rely on my own strength and courage.”