Knowledge Management International Conference (KMICe) 2012, Johor Bahru, Malaysia, 4 – 6 July 2012 678 Modeling Digital Wayang Kulit Based on Traditional Wayang Kulit Characteristics A. Jasni 1 and J. Zulikha 2 1 Universiti Utara Malaysia, Malaysia, jasni@uum.edu.my 2 Universiti Utara Malaysia, Malaysia, zulie@uum.edu.my ABSTRACT Threatened with imminent extinction, Wayang Kulit (WK) or shadow play has been designated as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 th November 2003 by UNESCO. In an attempt to further preserve and safeguard this unique heritage of WK, this study proposes a model of a digital version of WK (DWK). We believe, by doing so, it could help in preserving the traditional WK since it can be used in other domain (such as education) apart from leisure purposes. The model takes into account the evolution and revolution of the traditional WK. Also, for each WK figure, its characteristics and functions are compared and analysed to determine its dominance in the play. This paper also proposes a feature- characteristic matrix as a part of the component of the DWK’s model. Keywords: Wayang Kulit, Digital Wayang Kulit, Wayang Kulit modelling, feature-characteristic matrix, 2D animation I INTRODUCTION Shadow Play is called ‘Wayang Kulit’ in Malaysia. Puppets, elaborately carved from cow hide (see Figure 1) and colourfully decorated are projected on a white screen. The Tok Dalang (TD) also known as the shadow puppeteer and narrator skillfully manipulate the puppets while weaving his tale on the srceen (see Figure 2). Dialogues recited by TD do not have any established texts. Instead, the TD recites stories which have been orally handed down from generations with his own improvisation. WK is well-known performing arts. It is a symbol and heritage to the Malay society in Malaysia. It was once fairly widespread, that the WK served not merely as an entertainment but more importantly it functioned as a vehicle for the transmission of norms and values and as an intermediary between the real and the nether worlds. Moral values are easier to absorb in the form of parables, which is why WK flourished in the villages (kampungs). Figure 2. Pak Majid (TD) Staging Wayang Kulit Ghouse (2009) clearly stated in his book “that traditional theatre (refers to WK) has been neglected and a few have succumbed to this neglect and died a natural death”. One of the fall-off factors of this traditional culture is the process of modernization. Cinemas, CDs, videotape recorders have conquered the space that was once used for WK. Futhermore, actions taken by a state in Malaysia that bans several traditional performances like performing arts of WK (as in Figure 2), Menora, and Mak Yong, has worsened the situation. WK performances were prohibited on the grounds that the storylines and some rituals are non-Islamic. It is clear that with the current situation and the level of support in Malaysia, WK Malaysia is unlikely to last long without some kind of strong Belulang Tetulang characterizing 7 colouring 6 Figure 1. The Process of Carving a WK Actor drawing 3 punching 4 soaking 1 grapping 5 streching 2