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Influence of Visual Framing Code in Sundanese Golek Performance on Television

Irfansyah Irfansyah

Abstract


ABSTRACT: The art of wayang golek or golekis indigenous to Sundanese people. As a Sundanese traditional art, golek has been developed within generations of Sundanese people up to these days, based on a convention called pakem or tetekon. Golek is a variety of wayang (Indonesian shadow puppet) made of wood, similar to a doll and can be moved freely. Wayang golek is usually performed in an open space, throughout the night. Sundanese people commonly hold a golek performance for a ritual such as ruwatan and sekatenan that commemorates Maulid Nabi Muhammad SAW. However, since time has passed, marked by the existence of mass media in the form of television (TV) among Sundanese people, golek performance started to be broadcasted on TV. Since the performance of golek on TV has been possible, it represents a significant difference compared to traditional golek performance, which is marked by the visual language of television or “visual framing”, such as zoom in/out, panning, tilt up/down, close up, medium close, etc. The change in visual representation of golek on TV becomes sensational and entertaining, compared to traditional golek performances which are symbolic and ritual.

KEY WORDS: Change, code, visual framing, “wayang golek, Sundanese society, television, and entertainment.

About the Author: Irfansyah is a Leturer at the Study Program of Visual Communication Design, Faculty of Fine Art and Design ITB (Bandung Institute of Technology), Jalan Ganesha No.10 Tamansari, Bandung 40132, West Java, Indonesia. E-mail address: fandkv@yahoo.co.id

How to cite this article? Irfansyah. (2013). “Influence of Visual Framing Code in Sundanese Golek Performance on Television” in TAWARIKH: International Journal for Historical Studies, Vol.4(2) April, pp.245-262. Bandung, Indonesia: ASPENSI [Asosiasi Sarjana Pendidikan Sejarah Indonesia] and UVRI [Universitas Veteran Republik Indonesia], ISSN 2085-0980.

Chronicle of the article: Accepted (February 10, 2013); Revised (March 14, 2013); and Published (April 28, 2013).


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