Artistic Transformation of the Motion of the Shadow Puppet Scene

“Perang Kembang” into Digital Silhouette Animation

Arik Kurnianto

, Frans Santoso

Animation Program, Visual Communication Design Department, School of Design, Bina Nusantara University, Jakarta,

Indonesia

Keywords: artistic, transformation, shadow play, wayang, digital, silhouette, animation.

Abstract: “Perang Kembang” is a battle scene between the knights against the giant in wayang performance. A knight

who has soft and gentle movement is in stark contrast to the giant who has a rugged and attractive

movement. The two contrasting characters can represent a very interesting and beautiful war scene, so this

war scene becomes a scene awaiting by the audience, as well as a scene capable of showing the skill of the

Puppeteer in the art of puppet movement. This study aims to transform the beauty of wayang movement in

the “Perang Kembang” scene into digital silhouette animation. The results of the artistic identification of

different movement patterns found in the wayang movement of the "Perang Kembang" scene became the

basis for digitally exploring the silhouette animation. The problem studied is how to transform the beauty of

the wayang movement in the “Perang Kembang” scene into the digital silhouette animation. This research

was conducted using art-based research methods, by experimenting with the motion of digital animation

based on the pattern of movement of the shadow of the “Perang Kembang” scenes. The results of motion

experiments show that the artistic transformation of the "Perang Kembang” scene can be digitally performed

with two-dimensional puppet-based animation techniques.

1 INTRODUCTION

Wayang kulit (shadow puppet) have long been an

inspiration in making animated films. Wayang itself

is included as one of the forerunners of animation

before the film era. This was confirmed by Dwi

Koendoro who looked at wayang as the precursor of

modern animation (Koendoro, 1998). Many figures

in the history of animation inspired by wayang,

including Walter Elias Disney, founder of Disney

Studio, were inspired by wayang kulit in their

animated careers (Khia K.K, 2009). Wayang

animation or better known as shadow or silhouette

animation has long developed and become one of

the important genres in animation.

Lotte Reiniger (1899-1981) was an animated

artist from Germany who became one of the

pioneers in silhouette animation. Lotte Reiniger is a

female animator who has made more than 38

animated silhouette films throughout her life

(Furniss, 2017). Like Walt Disney, an interesting

fact is that Lotte Reiniger was inspired to make a

silhouette animation as soon as she saw a puppet

show from China. But he was more fascinated by the

performances of Javanese shadow puppets which

were performed at the International Exhibition of

Modern Decorative and Industrial Arts in Paris in

the Dutch Pavilion in 1925 (Prakosa, 2004). One of

the famous animations made by Lotte Reiniger is an

animated silhouette titled "Adventures of Prince

Achmed" in 1926. In the present era, one of the

award-winning silhouette animation works is titled

"Invention of Love" by Andrey Shushkov of Russia

in 2010 (Shushkov, 2010). Like the wayang which a

shadow performance is, which is the power of this

type of animation is in the game of shadows or

silhouettes that give the impression of "mystical"

and "sacred". The difference is that in the shadow

puppet show, shadows are generated from behind

the screen (kelir) through the play of puppets

highlighted by lights (blencong). Whereas in

silhouette animation, the shadow impression is

captured by frame by frame through stop motion

techniques or made virtually if using digital

animation techniques. But in artistic principles, both

are classified as the art of shadow play.

In the puppet show, the scene of "Perang

Kembang" (Flower War) is a scene of war between

Kurnianto, A. and Santoso, F.

Artistic Transformation of the Motion of the Shadow Puppet Scene “Perang Kembang” into Digital Silhouette Animation.

DOI: 10.5220/0008764703510358

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 351-358

ISBN: 978-989-758-450-3

351

the knights (Bambangan) against the giant

(Buto/Cakil). The knight who has the character of

graceful soft movements that contrasts with the giant

character who has a character that is rough and very

attractive. However, the two contrasts of the

characters are actually able to display a very

interesting and beautiful war scene, so that this war

scene in the puppet show in the past became a

priceless scene and awaited by the puppet audience

as well as a scene that was able to show the

puppeteers expertise in wayang movements

(sabetan). Whereas in the human wayang show

(wayang wong), the scene of the "Perang Kembang"

in the wayang kulit was successfully transformed

into the form of the Bambangan-Cakil dance which

was also one of the headliners in wayang wong.

Wayang kulit (shadow puppet) and wayang wong

are two different types of performing arts, in which

wayang kulit uses wayang puppets with the

puppeteer (dalang) as the driver and director, at the

wayang wong, it is precisely the people who become

"puppets" and no puppeteer or dalang who controls

the puppets. If viewed from the aspect of motion,

puppet dolls made of leather certainly have

differences in movement when compared to wayang

wong by real people. But the movement of

Bambangan-Cakil dance can transform the beauty of

motion or "sabet" in the scene of "Perang Kembang"

which is the reference. Of course, the process of

transformation of this movement requires the

sensitivity and expertise of the artists to be able to

produce a transformation of puppet movements into

the movements of wayang wong dance who are

different medium but still artistic and beautiful. The

successful transformation of the wayang kulit

movement in the "Perang Kembang" scene into the

Bambangan-Cakil dance inspired the writer to carry

out the artistic transformation of the wayang scene

"Perang Kembang" movement to a more cinematic

animation medium.

With the background above, this study focuses

on how the shadow motion of the puppet scene

"Perang Kembang" is transformed into an animated

silhouette motion. The results of this study were in

the form of experimentation on the motion of

animation based on shadow motion of wayang in the

scene of "Perang Kembang" in the form of animated

two-dimensional silhouettes with digital techniques.

2 LITERATURE REVIEW

2.1 Wayang Motion Scene "Perang

Kembang"

One of the attractions in shadow puppet shows is the

movement or "sabet" wayang. What is meant by

puppet motion includes, among others: worship,

walking, running, dancing, flying, and war. The

wayang movement is principled on social status,

age, classification, and "wanda" puppet characters

(Darmoko, 2004). Among the various forms of

wayang movement, the most popular of wayang

movement is a war scene. And among various types

of war, the most popular is the "sabet" wayang scene

"Perang Kembang". Because of its popularity, this

scene was used as a reference in the Bambangan-

Cakil dance in wayang wong performances. Almost

all of the movements in the Bambangan-Cakil dance

were developed or created based on the scene of the

"Perang Kembang".

"Perang Kembang" is one scene as part of a

puppet show (pakeliran). In the eyes of past

Javanese people, puppet shows are loaded with

cultural symbols. As one of the spectacles, the scene

of "Perang Kembang" has extraordinary charm.

Because, in this scene there has been a physical

conflict between two very contrasting camps,

namely a fight between subtle, graceful figures

against dynamic and attractive figures. (Isharyanto,

2016). The "Perang Kembang" scene is usually

presented in the middle of an all-night show, when

the audience has begun to get bored, tired and

sleepy. In the past, this war scene could be said to be

a flagship scene, which was almost always awaited

by most shadow puppet viewers. Perhaps because

this war scene is very interesting, where in the

tradition of the performance of the Surakarta style is

then called the scene of "Perang Kembang". In the

context of spectacle, the term "Perang Kembang"

can be interpreted as a "èdèn-èdèn" (decoration)

war, superior war, or prima donna war from an intact

puppet show (Isharyanto, 2016).

Wayang movements in war scenes require "big

space" (walking, running, kicking, rolling, hitting,

entering the earth and into the water, and flying).

Puppet movements at the time of war are based on

wewaton (norm). There are several types of war,

namely: "ampyak war", a war of a group of soldiers

or ampyak (together) jointly clearing obstacles or

damaged roads; Perang gagal or "Failed war", war

of two groups of soldiers, one of them strayed;

"Perang Kembang", a war between bambangan or

ksatria with Butho Cakil or giant which requires

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

352

developmental techniques or variations in motion;

and "brubuh war", a battle between two groups that

went berserk. The norms of motion used in each war

are different (Darmoko, 2004). The composition of

the war is based on the sequence of events, namely

the beginning (“Perang Ampyak” and “Perang

gagal”), middle (Perang Kembang) and the end

(brubuh war).

In the "Perang Kembang", a knight figure who

bowed his head (a bambangan figure), refined to

fight against Cakil, he was calm when he did

"gendiran" (beating). Before the knight carried out

the beating, did "prapatan", "jeblos" and "ngantem".

On the motion "prapatan", finally Cakil held his

head and hair and slammed it to the ground.

Gendiran is the knocking of a knight against Cakil

using a hood, a handle to move the hand made of

horn or bamboo). The Cakil movement is "nggero"

(scary, frightening), "nyawur" (throwing sand) and

turning upside down (rolling). Whereas the position

of knight when facing Cakil is on standby

(Isharyanto, 2016).

2.2 Aesthetics of Puppet Motion and

the Principles of Motion in

Animation

The art of motion or aesthetic motion in a puppet

show is often referred to as "sabetan". In the art of

wayang movement there are rules, norms or

“wewaton” which are conventions that are adopted

and referred to by mastermind artists when moving

puppets. One of the conventions of the art of motion

in puppet shows is "Udanagara". Udanegara is a

way of speaking, behaving, and behaving in a

character in a puppet show, which contains ethics and

aesthetics. What is meant by puppet motion includes,

among others: worship, walking, running, dancing,

flying, and war. Wayang movements are principled

or guided by social status, young people (age),

classification, and the character of puppet figures. In

the art of wayang motion also pay attention to the

principle "wiraga" (true and precisely action in

motion), "wirasa" (true and precisely appreciation in

motion), and "wirama" (true and precisely rhythm in

motion) (Darmoko, 2004).

Ismurdyahwati (2007) has carried out research

specifically related to "sabet" or motion in purwa

shadow puppets using the visual language approach.

He divided the motion into three different types of

motion. Where the various types of puppet

movements determine the character type and

personality of the puppet characters. Grouped in

three important parts: gesture (body language),

transition (one movement to the next movement) and

war (war scene). Furthermore, specifically for the

war scene, based on the scenario made by the

pedhalangan Habirandha school, there were thirty-

two Yogyakarta puppet-style war movements. Body

movements include movements, attacks, throws,

stabbing, killing and falling movements, which are

common in wars. Movements are grouped in general

groupings, namely attacking movements, dodging

movements and falling movements, and this applies

to all characters or all individuals (Ismurdyahwati,

2007). Her research comprehensively also succeeded

in finding 40 types of 'motion language' of shadow

puppets, namely the wayang kulit visual language in

a 'silent' position or embedded in 'the universe of

wayang' and found the visual language of wayang

kulit in a moving position or in the form of “sabetan".

Whereas in the research conducted by Darmoko

(2004) concluded that puppet motion consists of two

senses, "broad" (totality of movement of characters)

and "narrow" (war); puppet movements are limited

by conventions (norms) agreed upon by puppeteer

(udanegara); the principle of puppet motion refers to

social status, age (young-old), classification, and

wanda of puppet figures; the movement of puppets

today has a lot of cultivation, dynamic. The

development of the puppet motion is in line with the

mindset of an increasingly advanced, critical and

dynamic society.

More specifically, the so-called "sabetan" (puppet

motion) comes from the word "sabet", which means a

messenger, sebat; disabet means embellished,

insulated, framed; ‘Disabeti’ means to be broken;

"Nyabet" means dropping a card, "doing" shadow

puppets; and "sabet" in krama inggil means sword.

Understanding "sabetan", nyabet that is referred to is

"doing" the shadow puppets moving, running,

playing the puppet puppets. Puppet movements

involve how characters speak, behave, and act in

their relationships with other characters. In a puppet

movement there is a change or change in the body or

a small part of the body of puppets.

Whereas in animation, motion aesthetics in many

animations refer to twelve principles of animation

developed by Walt Disney Studios in the 1930s. The

principles were outlined in detail in the book The

Illusion of Life: Disney Animation (1981). The

twelve principles also helped to transform animation

from a novelty into an art form and become the

artictis standart for traditional animation. By

applying them to their work, these pioneering

animators produced many of the earliest animated

feature films that are now considered timeless

classics such as Snow White (1937), Pinocchio and

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353

Fantasia (1940), Dumbo (1941) and Bambi (Ghani &

Ishak, 2012). Although the principles were developed

for traditional hand-drawn animation, they also apply

to both two-dimensional (2D) and three dimensional

(3D) computer-based animation. John Lasseter

(1995) still uses twelve traditional Disney animation

principles when making the first feature length 3D

computer animation "Toy Story" in 1995 (Lasseter,

1987).

In conjunction with wayang, Ghani and Ishak

(2012) in their study concluded that there was a very

close relationship between the 12 animated principles

of Disney and wayang kulit. Even stated that "it is

strongly believed that Walt Disney studied and

adapted the 12 principles of animation from wayang

kulit” (Ghani & Ishak, 2012). The twelve principles

of animation are: squash and stretch, anticipation,

staging, straight ahead action and pose to pose,

follow through and overlapping action, Slow in and

slow out, arc, secondary action, timing, exaggeration,

solid drawing, and appeal (Frank Thomas, 1981).

3 RESEARCH METHODS

This study will use an experimental art approach or

art-based research. In the context of art research, art-

based research or practice-based research requires

the involvement of researchers directly with the

object under study (the researcher is involved

intensely with the artwork that he is about to create).

Intense involvement in the process of creating

artwork requires artistic ability and experience as the

creator of the work. This position in the view of

Carole Gray and Julian Malins (2004) places artists /

designers as reflective researchers. (Gray & Malins,

2004). The stages to be carried out in this study

include: puppet motion observation of the "Perang

Kembang" scene to classify the pattern of puppet

motion, followed by exploration and

experimentation of digitally animated puppet

movements, then applying the results of

experimental motion into 2D digital animation.

4 RESULTS AND DISCUSSION

4.1 Classification of Character

Movements and Puppet Motion

Scenes "Perang Kembang"

The character of the puppet figure (body shape)

greatly determines the main movement and character

of the character. Apart from body shape also: eye

gaze, how to stand, nose shape, hair style, and

equipment attributes that are worn. The types of

puppet characters are classified into seven main

characters that determine the personal identity of

each character (Heru S Sudjarwo, 2010).

 Alus or alusan (refined, courteous, courteous),

who has a whole character (has a personality

with a careful and polite attitude) with a

marked on the body shape of a standing

position with a downward gaze. Examples of

these characters are Arjuna, Pandu, Rama, etc.

 Lanyap, having a person like loneliness is only

more aggressive, with a marked on the body

shape of the standing position with the eyes

gazing forward. Examples of these characters

are Krishna and Karna.

 Gagah, or Stout, has a muscular body shape

with round eyes (thelengan) Examples of such

characters include Bima, Gatotkaca, Baladewa,

etc.

 Gusen, has a muscular body shape and visible

gums on its molars. This character is more

aggressive and inconsistent. Examples of these

characters include Cakil, Durmogati, etc.

 Danawa, giants with large and fat bodies, for

example Dasamuka, Rahwana, etc.

 Wanara, monkeys like Hanoman, Subali,

Anila, etc.

 Dhagelan or comedian, including Semar,

Gareng, Petruk, Bagong, Cangik, Limbuk, etc.

In the wayang both wayang kulit and wayang

wong, the embodiment of the figure of the mosaic is

usually "luruh" meaning that it is bent (not looking

up) with a slim and small body (mbambang).

Bambangan is a symbol of a handsome-looking

knight figure who is all-smooth in everything,

including: behaviour, ways of speaking, content of

speech, and mindfulness of his character. Knight

figures that included mining included Sumantri,

Rama, Laksmana, Palasara, Pandu, Arjuna,

Abimanyu, Irawan, and Priyambada. Gagah

(gagahan) puppet figures such as: Gandamana,

Salya, Bima, Gathutkaca, Antareja, Kakrasana, and

the like are not commonly referred to as bambangan,

even though they are classified as knights. Apart

from gagahan figures, related to the "Perang

Kembang" or Bambangan-Cakil, handsome figures

who are small and slim but look up (lanyapan) are

also not commonly referred to as bambangan. So

that the warrior figures such as: Karna, Nakula,

Sadewa, Truthajumena, Narasoma, Kresna,

Wisanggeni, and Samba, for example, are not

included in the figures of Bambangan because their

face features look up.

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354

The figure of bambangan in the "Perang

Kembang" in this study is Arjuna who has the

character "alusan" or "luruh" who opposes Cakil

who is classified as a "gusen" character whose

behavior is very attractive. The contrast between the

two characters eventually became an attraction in the

"Perang Kembang" scene which was adopted into

the Bambangan-Cakil dance.

Figure 1. The Arjuna figure (left) which is classified as an

alus/luruh and Cakil character (right) is classified as a

"gusen" character.

Motion analysis in this study was carried out

based on the category or classification of motion

carried out by Ismoerdijahwati based on the results

of his dissertation entitled "The shadow performance

of wayang kulit purwa in the study of "motion"

visual language (Yogyakarta Style Parta Krama)" in

2007. Ismurdyahwati (2007) classifies the types of

puppets in three important parts: gesture (body

language), transition (one movement to the next) and

war (war scene). Ismoerdijahwati describes the

classification of puppet movements in descriptive

form. In order to facilitate the analysis of the motion

of the "Perang Kembang" scene and the Cambangan

Bambangan dance, the classification of motion is

shown in the table below.

Table 1: Classification of shadow puppet movements.

Movement

Name of movement

Silence is

stuck

(Gesture)

Angapurancang, Methenteng, Malang

kadhak, Malangkerik, Makidhupuh,

Kinkin

Sembah or

worship

(Gesture)

Sembah ratu, Sembah karna, Sembah

jaya, Sembah suwunan, Sembah biasa

Dialogue

(Gesture)

Hands moving slowly, hands moving

medium, hands moving high and fast

Walk

(transition

movement)

Lampahan dhodokh, walk

slowly/smoothly, walk medium, walk

fast/rough

Dancing

(Transition

Movement)

Turn around, up and down

Flying

(transition

movement)

Fly high, fly low

Attack and

resist

attacks

(War)

Nyepeng (hold hand), Hold the head, or

hands, body (nyikep), Njunjung (lift

your opponent into the air), Mbanting

(drop hard on the ground), Mbucal

(throwing), Mbanting binanting

(charging many times), Cangklet

cengkah (loud jolt), Nglarak (smashing

face into the ground / knee), Ngantem

(hitting up hard), Nyaut (freeing the

forearm), Clapping (freeing both arms),

Nubruk (bumping into opponents),

Jeblosan (storming together), Binten

(kick with knees), Nendhang (kick

melee), Ndugang (kicking high),

Accusation war, Nempiling (slapping

face),

apu

(slapping face for woman)

Evade

(War)

Nangkis (parrying), Endho aside

(dodging sideways), Endho backing

(dodging backwards), Endho advancing

(

dod

forward

)

olot

Fall (War) Jungkir (forward salto), Koprol (back to

back), Jlungup (fall to face), Nggeblag

(falling backwards)

4.2 Wayang Motion Scene "Perang

Kembang"

The analysis of the puppet motion in the war scene

begins with analysing the puppet motion, which is

divided into three main parts, among others;

1) The meeting between Arjuna and the Cakil in

the middle of the forest or road, where the

Cakil intends to block the road or the goal of

the knight, followed by a scene of dialogue

mutually challenging between the two.

2) The occurrence of a war that began with

scenes of gendiran or dance to attack each

other. This round of war can be divided into

three main parts, namely; early war, tuding

war, and weapons war.

3) Climax scene where the Cakil is killed by his

own weapon. By using the puppet motion

classification as described previously, an

analysis of the puppet motion from the

beginning to the end is carried out. To clarify

the analysis of the motion of the "Perang

Kembang", the data from the analysis are

tabulated based on the table in the following.

Artistic Transformation of the Motion of the Shadow Puppet Scene “Perang Kembang” into Digital Silhouette Animation

355

Table 2: Tabulation of puppet movements "Perang

Kembang"

Motion of Arjuna Motion of Cakil

- Plugged in, hands

danced slowly.

- Hands move slowly

- Dance, move right and left,

up and down with medium

to fast tempo movements.

- Silence is stuck with

an honest hand

position.

- Fend off by hitting

(ngantem) with one

hand.

- Arjuna shot off the

screen chasing

Cakil.

- The body turns back

in an unfortunate

position of the

pebble.

- Holds Cakil's head,

turns back and is

knocked into

gunungan (njeblos).

- Catch the head from

behind and bang it

on the ground

(

eblos

)

- Shot off the screen.

- Return to the screen with

the sad position of Kadhak

and attack Arjuna with a

crash.

- After that fall backward

(nggeblag) at Arjuna.

- Move to attack by biting

Arjuna's head, kicking

(ndugang) hard and

ngantem.

- Biting Arjuna's neck and

back.

- Back to bite Arjuna's head

and thighs.

- Attack with a prophecy

- The head fell and the body

fell down

- Shot off the screen.

- Hit with a cover

from the front and

back with the body

position like

floating.

- Njeblos with

accusations

- Mbanting right and

left

- Ndugang hard

- Attacking from the front and

back with variations of

nubruk, ngantem, nendang

and ndugang.

- Falling Salto because at

Arjuna.

- Crawl fast after falling and

return to the poor position

of the kadhak.

- Attacking from the front and

back with variations of

nubruk, ngantem, nendang

and ndugang.

- Fallin

and crawlin

ain

- Standing with the

poor position of the

kadhak.

- Avoiding aside from

the attack of the

Cakil keris.

- Hold the dagger by

hand and push it

forward.

- Silence is stuck

- Pulling the keris and

swiping it in your hand

- Turn the keris around

- Throw the keris up and be

held with the head.

- Dancing while walking

away from the screen.

- Enter the screen quickly

while stabbing Arjuna with

the keris in the hand.

- Repeatedly attack with a

dagger with fast

movements.

- Falling behind (nggeblag)

because of Arjuna's

encouragement.

- Detain and hold - Do a final stab or attack.

Cakil's hand.

- Stab the keris to the

Cakil body.

- Silence is stuck with

an honest position

- Fall with the keris piercing

the stomach / chest.

- Dying to embrace Arjuna's

body

- Slowly backward.

- Cakil was kille

4.3 Puppet Motion Experimentation

The experimentation of motion was carried out using

adobe animate 2018 software. The step of the

motion experiment began with:

Create a silhouette model of Arjuna's character

and Cakil character. To get detailed silhouette

character modelling is done in Adobe

Illustrator. In Adobe Illustrator the parts of the

model are also separated.

Gives bone to character. This process is quite

complex, and the researcher must make several

attempts to determine the appropriate

connection so that when the character is moved

it is easy to control while being based on the

motion of the puppet which is more dependent

on hand movements. However, in this study

bone or armature/rigging vector is not only in

the hands of puppets. To produce more

animatic motion, joints are also carried out on

the head, waist and legs.

Conduct experiments on various puppet scenes

in the "Perang Kembang". This stage is based

on observing the video of the scene of the

"Perang Kembang" puppeteer by Ki Bayu Aji

Pamungkas.

Make an animation per scene "Perang

Kembang" based on a predetermined

classification of motion.

The following are pictures that explain the

experimental process of transforming the shadow

motion of the "Perang Kembang" scene into

silhouette animation.

Figure 2. Arjuna and Cakil puppet modeling (source:

personal document)

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

356

Figure 3. Cutting for puppet joints (source: personal

document)

Figure 4. Arjuna and Cakil puppet armature processes

(source: personal document)

The following is an example of silhouette

animated sequence images based on the shadow

motion of the puppet scene "Perang Kembang".

Figure 5. Pre-war dialogue scene (source: personal

document)

Figure 6. War scene, Arjuna "Njeblos" head of Cakil

(source: personal document)

Figure 7. Animated wayang scenes using weapons

(source: personal document)

Figure 8. The climax scene, Cakil was killed by his own

weapon (source: personal document)

5 CONCLUSION

Based on the experimentation of the animated

motion of the "Perang Kembang" scene, it can be

concluded that the transformation of motion is very

possible in animation even though it is different in

medium. The aesthetics of puppet motion must be

understood by animators before carrying out motion

transformation so that the beauty of puppet motion

can be transformed into animation. But animators

must also be sensitive to artistic language in

animation (12 principles of animation) which is also

different from the language of puppet movements

even though they are interconnected. Thus the

possibility of more animatic movements can be done

in animation because of wider and unlimited motion

control on the animation medium. The silhouette

animation is one of the best choices to be able to

carry out the artistic transformation of the shadow

puppet scene of the "Perang Kembang".

ACKNOWLEDGEMENTS

This research can be realized due to research grant

support from the Ministry of Research, Technology,

and Higher Education, Bina Nusantara University in

2018.

REFERENCES

Darmoko. (2004). Seni Gerak dalam Pertunjukan

Wayang. Makara: Sosial Humaniora, 83-

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