
In Java and Bali, master dalang puppeteers chant, improvise, and manipulate buffalo‑hide figures against white cloth, guided by oil lamps or bulbs. The audience watches both image and maker, learning ethics, humor, and myth as shadows stretch, collapse, and soar through night‑long epics and communal ceremonies.

Across Ottoman coffeehouses, satirical banter between Karagöz and Hacivat punctured pomposity, mixing slapstick with social critique. Colorful animal‑skin figures, pierced for glowing detail, danced on portable screens, proving that light can expose hypocrisy while uniting strangers in shared delight, gossip, music, and delicious late‑night pastries.

Using paper cutouts, multi‑plane glass, and backlit stages, Lotte Reiniger crafted pioneering feature‑length animation, decades before many mainstream techniques. Her meticulous joints, interchangeable heads, and delicate props created lyrical motion, proving silhouettes could carry nuanced emotion, romantic tension, and playful wit without a single visible facial feature.
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