![]() In the hope that this research could contribute to the revitalizing and sustaining the continuity of this ancient Chinese folk art. The findings from this research offer optimization strategies for disseminating shadow puppetry via Tik Tok, which fills up the existing research gaps. This research analysed: 1) the features of shadow puppetry short video creators 2) the characteristics of popular shadow puppetry short videos 3) the plight of shadow puppetry dissemination via Tik Tok. Through data analysis, this research gains a better understanding of user behaviour and engagement about shadow puppetry. Motivated by the potential of Tik Tok as an effective media for the dissemination of shadow puppetry, this research used the data mining method to collect the 47 shadow puppetry creators’ public data on Tik Tok and selected highly ranked 60 videos tagged with “shadow puppetry” as research samples. As the most downloaded short video mobile application (APP) in China, Tik Tok provides traditional culture an opportunity to re-express in a young and fashionable way. The loss of audiences and inheritors makes this ancient art fall into a problematic inheritance and development situation. The carving and performance skills of shadow puppetry are time-consuming and laborious, fewer young apprentices are willing to learn it. ![]() However, due to the influence of popular culture and western art forms, shadow puppetry cannot meet modern audiences’ aesthetic and entertainment needs anymore. Tickets at S$35 from SISTIC.Shadow puppetry (Piyingxi), the artistic form of “shadow” and “light”, has more than two thousand years of history in China. The Finger Players Season 2016: The Collectors runs until April 10 (except April 4). It is a lesson that perhaps we all can note. “They believe in the importance of continuing and promoting traditional art forms so that the future generation of academics or practitioners will always have a reference point.” “Both have very different resources to work with but they share the same passion and ideology. ![]() “Zhuang Lie is trained by a state-owned company while Master Li Yi Hsin inherited traditional hand puppetry passed down from his great-great grandfather,” explained Tan. Zhuang will even be fusing the ancient art of calligraphy into her string puppetry, a feat she managed to achieve after years researching and experimenting. The production is further strengthened with performances of traditional hand and string puppetry by 68-year-old Li Yi Hsin from Hong Kong and 41-year-old Zhuang Lie from China, respectively. In addition, the lobby of the centre has been converted to house the collectibles belonging to the artists involved in the production, which are exhibited to show audiences a part of their personal lives. Other stops include the carpark, where the past merges with present as the two late arts practitioners, puppet master Li Bo Fen and Christian Sergeant, appear in video installation as well as the rehearsal studio, where sound artist Bani Hakyal focuses on the tradition of oral delivery. It proceeds to discuss topics of migration and memories of the past under the mango tree as audience members sit on low, red plastic stools - a throwback to the days when communities gathered for outdoor shows. ![]() For instance, the show kicks off with Tan playing tour guide, entering Centre 42 in a truck - a reference to how Chinese puppeteers used to serve as travelling entertainers in the old villages. The duo created different zones in Centre 42 to touch on these themes. In prolonging, modifications are made to the form to stay with time.” It probably will stay untouched in a display case, in a repository or in a digital form living eternally in the cyberworld. “In preserving, the art form ceases to continue. “The agenda of this show is to view and explore traditional art forms from various angles, such as the concepts of preserving versus prolonging,” explained Tan. Jointly helmed by Finger Puppets’ co-founder Tan Beng Tian, and Lim Chin Huat, the former artistic director of defunct dance troupe Ecnad, the show invites the audience to “tour” Centre 42 at Waterloo Street, an old bungalow that has been turned into the backdrop of the production, which ponders on whether traditions and memories ought to be remembered and preserved. And it is apt for a company dealing with the art of puppetry that the first of the trio is a site-specific production called The Collectors. SINGAPORE - Theatre company Finger Players kicks off its season this year with not one or two but a triple bill of plays this month. ![]()
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