Hana Caraka Storyboard and Script
Methods of Motion Assignment 1: Stop-Motion Frame by Frame Animation
Hana Caraka
Synopsis: The Javanese alphabet, also known as the Hanacaraka, is a holoalphabetic poem which translates to:
Hana caraka There (were) two messengers
data sawala (They) had animosity (among each other)
padha jayanya (They were) equally powerful (in fight)
maga bathanga Here are the corpses.
I plan to depict the Javanese script and the Latin alphabet as the two messengers in conflict. Throughout the animation, the story will be written out on screen in both Javanese and Western script. The first stanza of letters will transform into two silhouette puppets from their appropriate font: a Javanese shadow puppet (Wayang Kulit) and an 18th century European Silhouette portrait. The setting is also created in this manner. For instance, the Javanese letters may turn into palm trees and the Roman letters may turn into a tea cup. Most of the animation will be done in the style of Lotte Reiniger’s silhouette stop-motion films. But the climactic fight scene will be shot in the style of a Wayang Kulit battle, by attaching rods to move the puppets and their limbs in real-time.
Script:
Fade in
(1) Title Screen: Hana Caraka
Two elaborate gunungan (traditional Javanese leaf shaped shadow puppet) and a European 19th century lady’s hand fan cover the screen. The gunungan are removed, revealing Hana Caraka in Javanese script. Then the fan unfurls, revealing Hana Caraka in the Roman alphabet.
(2) Character faces formed
The letters move around on screen. The Javanese script morphs into a traditional female Wayang Kulit puppet, and the Western script group together in the shape of a 19th century lady’s silhouette.
(3) Zoom out to show the full characters
The puppets bow to each other.
(4) Setting: Data Sawala
More letters appear on the screen. They turn into the background and objects. Some form into teacups for the puppets. They drink.
(5) A Cultural Faux-pas. Zoom in on European Silhouette.
Conflict begins. The European silhouette is offended by the Javanese puppet’s bare feet and points at them disgustedly.
(6) Pan down to Javanese puppet’s feet, then pan up to Javanese puppet’s head.
Pointing is impolite in Javanese culture. The Javanese puppet takes this as a sign of hostility. The Javanese puppet throws her tea at the European silhouette.
(7) Back to scene as in (4)
They are visually angry at each other.
(8) Weapons: Pada Jayanya
Empty screen. Pada Jayanya appears in both Javanese and Western script. The European silhouette takes the Western script, and the Javanese puppet takes the Javanese script. The words turn into a Kris and a dagger.
(9) Wide pan as in (7) and (4)
Fight scene in the style of a Wayang Kulit battle. This goes on for some time until the puppets get really close and stab each other.
(10) Zoom in on puppets. Death: Maga Batanya
The puppets bleed out the letters Maga Batanya. They enact an elaborate and dramatic death scene.
(11) Wide Pan as in (4, 7 and 9)
Their bodies collapse into two piles of letters. Out of the piles, the letters Habis in Javanese and Roman alphabet float up to the middle of the screen.
(12) Habis - translates roughly to “It’s over.” Not really “The End.” (I will probably change this ending)
Fade Out
Slideshow:
