for
and made at
also can view it at
Sunday, October 3, 2010
Wednesday, September 22, 2010
Thursday, May 14, 2009
Thursday, April 23, 2009
2 NEW SONGS FROM PSYCLO eTHNICa
I added 2 more songs here from PSYCLO eTHNICa. This songs is a mp3 raw file format only, no mixing yet. Hopefully enjoy....!
Tuesday, April 21, 2009
Sunday, April 19, 2009
New Song From PSYCLO eTHNICa
Three new songs from PSYCLO eTHNICa composed by saniismail aka djtupaq. There more to come. Various song genre mostly rock + world ethnic. All this song were created using PSYCLE and live instruments from band members, they are Aim on bass and percussions ( leader band ), Arifah aka sikembangcina on classical guitar, singer and percussions and Abdul Hakeem aka akeemo on classical guitar, singer ( rap tune ) and percussions. All their song can be found at last.fm
Sunday, September 7, 2008
DIARI DARI DALAM DIRI
DIARI DARI DALAM DIRI
Asal mulanya dari titik ke titik
Permulaanya dari akal
Samada panjang atau pendek ia
Dasarnya tetap pada gerak dan rasa hati
Lalu bergumpal - gumpal
Membentuk kata - kata
Yang geraknya
Pasti atas dasar putih kertas
Memutar, melingkar dan melangkau masa
Lalu dikenalnya ia dalam diari dari catatan hujung malam
Dengan kalimat dan baris tersusun
Yang juga datangnya dari dalam diri
Ditilik
Dan
Dinilai
Hari - hari yang telah pergi
Antara
Suka
Dan
Duka
Geraknya pastikan mengundang
Dan
Memungut
Rasa
Dihitung hari buat mengenal diri
Di celahan kata - kata keramat sang pujangga
saniismail
Saturday, August 16, 2008
THE SHORT BRIEF OF KUDA KEPANG
Kuda Kepang
The Kuda Kepang is a very interesting dance from Johor.
It was once a form of totemic worship.
The dance had strong links with spirit possession and often dancers went into a trance-like state.
However with the Islamisation of Malay Peninsula, this dance now generally renders the tale of nine Javanese men who spread the Islamic faith in the interior of Java.
The nine Muslim evangelists rode on horseback and dramatized stories of the battles waged and won for the cause of Islam to draw and hold the attention of the congregation.
Kuda Kepang is performed by nine dancers who are seated astride a two dimensional 'horse' made of hide or pleated rattan.
The dancers re-enact the early Islamic battles in enthusiastic gestures and vigorous action. Naturally as time as moved this dance is seen very much more for its entertainment value.
This dance is performed in accompaniment to a rich and exotic rendition of traditional music played with indigenous instruments such as gongs, tambourines and angklungs.
Wednesday, August 13, 2008
BUNRAKU
The Short History of Bunraku
The Japanese puppet theater, bunraku, flourished, like kabuki, during the Tokugawa Period (1603-1868), and appealed most to the people of the newly rising merchant class and other commoners. Its plays either concerned the conflicts in the daily lives of townspeople or presented the most exciting aspects of samurai life in historical dramas. Unlike Noh, with its subtle literary allusions and somber Buddhist undertones, bunraku expressed the Confucian values which were fundamental to the daily lives of its audience.
These three traditional dramatic forms, however, all share one major characteristic: their final form in performance represents a fusion of several different arts. The three main components of bunraku are the narrative, the music, and the puppets, and it takes a group of artists to bring them to life: the narrators, the musicians (who play the guitar-like shamisen), and the puppet manipulators. In addition, there are the craftsmen who create the actual puppets. The beauty of a bunraku performance depends on the absolute coordination of its component parts.
Exercises
1) The puppets as we see them in the theater today are two-thirds life-size, and require three men to manipulate them properly. The puppeteers, in the black outfits, are considered invisible, even though they do not hide themselves as in Western puppet-plays. They are said to represent "the living spirit" of the dolls. (In fact, if a puppeteer operates without wearing the black hood, it indicates his special skill and is a mark of respect for his artistry.) Why don't the Japanese think that hiding the puppeteers - making the puppets appear to be moving as if by magic - is very important? Do you think that the presence of men in black in the background makes the dolls seem any less "realistic"?
2) A disadvantage of puppets is that their faces, of course, do not have the mobility or expressive qualities of a human face. How do the design of the puppets and the manipulations of the puppeteers serve to make bunraku puppets more "realistic" and expressive than puppets used in other dramatic traditions?
3) The narrator of a bunraku play recites the lines of all the characters - changing his voice as he reads different parts- as well as all the descriptive portions of the play. List the various jobs in a Western play, such as director, actor, and so on. What functions does the narrator in Bunraku share with each? How do you think this influences the performance?
4) In the West, puppet plays, like "Punch and Judy," are usually comedies; a puppet play about a tragedy would be considered rather strange. Why do you think the Japanese had little difficulty in imagining puppet-plays as serious drama?
Taken from = Contemporary Japan: A Teaching Workbook | © Columbia University, East Asian Curriculum Project
I take this writing as an educational purpose only, thank you.
The Japanese puppet theater, bunraku, flourished, like kabuki, during the Tokugawa Period (1603-1868), and appealed most to the people of the newly rising merchant class and other commoners. Its plays either concerned the conflicts in the daily lives of townspeople or presented the most exciting aspects of samurai life in historical dramas. Unlike Noh, with its subtle literary allusions and somber Buddhist undertones, bunraku expressed the Confucian values which were fundamental to the daily lives of its audience.
These three traditional dramatic forms, however, all share one major characteristic: their final form in performance represents a fusion of several different arts. The three main components of bunraku are the narrative, the music, and the puppets, and it takes a group of artists to bring them to life: the narrators, the musicians (who play the guitar-like shamisen), and the puppet manipulators. In addition, there are the craftsmen who create the actual puppets. The beauty of a bunraku performance depends on the absolute coordination of its component parts.
Exercises
1) The puppets as we see them in the theater today are two-thirds life-size, and require three men to manipulate them properly. The puppeteers, in the black outfits, are considered invisible, even though they do not hide themselves as in Western puppet-plays. They are said to represent "the living spirit" of the dolls. (In fact, if a puppeteer operates without wearing the black hood, it indicates his special skill and is a mark of respect for his artistry.) Why don't the Japanese think that hiding the puppeteers - making the puppets appear to be moving as if by magic - is very important? Do you think that the presence of men in black in the background makes the dolls seem any less "realistic"?
2) A disadvantage of puppets is that their faces, of course, do not have the mobility or expressive qualities of a human face. How do the design of the puppets and the manipulations of the puppeteers serve to make bunraku puppets more "realistic" and expressive than puppets used in other dramatic traditions?
3) The narrator of a bunraku play recites the lines of all the characters - changing his voice as he reads different parts- as well as all the descriptive portions of the play. List the various jobs in a Western play, such as director, actor, and so on. What functions does the narrator in Bunraku share with each? How do you think this influences the performance?
4) In the West, puppet plays, like "Punch and Judy," are usually comedies; a puppet play about a tragedy would be considered rather strange. Why do you think the Japanese had little difficulty in imagining puppet-plays as serious drama?
Taken from = Contemporary Japan: A Teaching Workbook | © Columbia University, East Asian Curriculum Project
I take this writing as an educational purpose only, thank you.
Sunday, August 10, 2008
Friday, July 25, 2008
Thursday, July 24, 2008
Tuesday, July 22, 2008
Tuesday, July 15, 2008
PAMERAN TERBUKA GALERI SHAH ALAM
MAKLUMAN ;
PAMERAN TERBUKA GALERI SHAH ALAM AKAN BERAKHIR PADA 31hb JULAI 2008.
JIKA ADA YANG BELUM MENUNTUT KATALOG PAMERAN SILA DATANG SEGERA.
ANDA BOLEH MENUNTUT KATALOG PAMERAN SETIAP HARI DARI JAM 8.30 pagi - 5.3o petang.
Thursday, July 10, 2008
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