Boundaries of the Text (2024)

Nalanda-Sriwijaya Centre Working Paper No 24, 2017

AbstractFrom the late 14th century, Malay literati made use of musical references and imageries to illustrate the music of their time. These attestations of musical terms may be interpreted as either having been known for a period of time in musical circle or in elite courtly/literary culture, or as having been newly introduced into the literary language. This study highlights five linguistic sources of these musical terms: 1) Austronesian; 2) Indic- or Sanskrit-derived, appearing later than in Old Javanese, Old Balinese, Khmer and Cham; 3) Middle-Eastern; 4) Javanese (as a product of a long-term contact between Majapahit, Samudra-Pasai and Melaka); and 5) Austroasiatic (via the Orang Asli of the Malay Peninsula). Here I present and discuss various lists of musical terms mined from a pool of Classical Malay and Javanese sources, as well as European and Malay-Indonesian dictionaries. The lists are intended to provide new materials for the study of the musical history of the Malays and, in general, of Southeast Asia.This study combines two methodologies that defined the conduct of research from the 1990s to the present. The first study in 1989-1991 was a text based research; reading and scanning published texts of more than 50 Malay literary classics and dictionaries available at the library of IBKKM-UKM. During the past decade, the appearance of digitized texts in online databases allowed for greater access and cross-referencing. This study primarily relied on the Malay Concordance Project at the National University of Australia, the sealang.net, and the Austronesian Comparative Dictionary which areregularly updated.

Wayang kulit Kelantan, a form of traditional shadow puppet theatre in Malaysia, is threatened with imminent extinction yet no significant attempts were made to preserve this cultural heritage. It is clear that with the current situation in Malaysia and the level of official support, wayang kulit Kelantan is unlikely to last long. Several researchers have suggested that traditional wayang kulit Kelantan to be digitalised into digital media so that it could be watched on the media screen in order to provide greater accessibility and flexibility. The digital puppetry of traditional wayang kulit Kelantan is very helpful in promoting this art form and also indirectly by preserving it via alternative media. This study aims to examine the possibilities and probe potentials of using Computer Graphics (CG) and modern technology to preserve the visual aesthetics of traditional wayang kulit Kelantan. The coverage of the study consists of three major aspects, namely: (i) the visual aesthetics o...

Entangled Religions, 2023

Wayang Kulit, the shadow theatre tradition on the island of Java, combines ancient Javanese and Indian myths in a Muslim context and therefore poses as a wonderful example of how religious traditions intertwine with works of art. This article explores the religious appropriation and acculturation at work in the history of Javanese shadow theatre. It also grants a behind-the-scenes look at the curatorial challenges involved in preparing a Wayang Kulit exhibition at the Museum Rietberg in Zurich, in particular how to convey the complex intermingling of cultures and religions so that audiences can understand it. Finally, we call into question some narratives and concepts traditionally used in Western museums to tell the story of Southeast Asian art.

The purpose of this project is to analyze storytelling traditions across Asia, how they've developed as well as the ways they function, and the power those stories and methods of telling them exert within a community or society. It will primarily be a research paper composed of comparative analyses between countries and case studies of each country regarding storytelling techniques and types of stories. The countries that will be focused on for this project are Japan, Mongolia, Indonesia, and Nepal. Other countries may come into play due to shared traditions in genres of puppetry and types of folklore. An emphasis will be made in comparing the significance in communication of stories cross-culturally, as ideas tend to diffuse from Southeast Asia to East Asia. This may end up playing an important role as some communities will have stronger storytelling traditions than others or use methods which translate better to use in other cultures. A more flexible or adaptive form of storytelling may have a better chance at becoming a lasting tradition both within the source culture and in spreading to exist outside of it.

Southeast Asian languages and literatures: a bibliographical guide to [...], 1996

Malaysian Journal of Performing and Visual Arts , 2019

In Indonesia, Java specifically, wayang holds a significant cultural role. More than a story-telling technique, wayang is embedded deeply in the magico-spiritual beliefs and mysticism of the Javanese sphere. During prehistoric times, wayang was used as a tool to narrate both the Ramayana and the Mahabharata epics in Indonesia as well as the Southeast Asian region. In its primary form, Wayang Kulit Purwa dates back to the 10 th century in the Southeast Asian region. Over the years, wayang transcended its primary form to transform into more creative and expressive forms such as oral literature, bas reliefs, dance dramas, stage performances, fine arts and visual paintings-as such the essence of wayang persists in other fields. Although over centuries, the technicality and performance of wayang kulit have evolved and transformed into a multitude of creative art forms, the essence of wayang has continued its presence in modern features and contemporary context based on the persistence of symbolism and its mysticism that could be traced and highlighted in these works. This article examines the works of modern Indonesian artists Nasirun and Heri Dono by discussing the essence of wayang, through its symbolism and mysticism in particular, as this paper will argue, present in their works.

The Kakawin Ramayana, arguably the oldest Old Javanese epic text in Indic metres (circa 9th century AD), holds a unique position in the literary heritage of Indonesia. The poem has retained a remarkable vitality through the centuries in the Archipelago, inspiring many forms of artistic expression not only in the domain of literature but also in the visual and performing arts, from the reliefs of the majestic Central Javanese temples to modern puppet-show performances. Displaying a virtuoso array of metrical patterns, the Kakawin Ramayana is among the very few Old Javanese texts for which a specific Sanskrit prototype has been identified, namely the difficult poem Bhattikavya (circa 7th century AD), itself a version of the great Ramayana epic ascribed to Valmiki (circa 6th–1st century BC). The Old Javanese poem is an original and skillful work of re-elaboration that documents a fascinating interaction between cultural elements of the Sanskritic tradition with those indigenous to the Javanese setting. The studies included in this volume, written by experts in a wide range of disciplines, focus on disparate aspects of the Kakawin Ramayana and the constellation of cultural phenomena revolving around it, providing the reader with a key to the understanding of the rich Old Javanese textual heritage and the transcultural intellectual dynamics that contributed to shaping the cultural heritage of Indonesia up to the present. With contributions from Andrea Acri, Helen Creese, Arlo Griffiths, Thomas Hunter, Roy Jordaan, Lydia Kieven, Cecelia Levin, Wesley Michel, Stuart Robson and Adrian Vickers, this book is the result of a workshop held at the KITLV branch in Jakarta on May 26th–28th 2009 and supported by the Australia-Netherlands Research Collaboration, the École française d’Extrême-Orient, and the Stichting J. Gonda Fonds. http://www.kitlv.nl/book/show/1314

From Laṅkā Eastwards, 2011

Тихоокеанское обозрение, 2006-2007 / [под ред.: в.м. Мазырин, о.в. новакова, п.ю. цветов]. м.: ключ-с (The Asia Pacific Outlook 2006-2007), стр. 106-120, 2007

Southeast Asia:Towards a New Stage of Cultural DialogueDr. Victor PogadaevFrom old times, SEA due to natural - geographical and environmental similarities appeared as a united economic and cultural - ideological complex. That allowed ancient Chinese to speak about a common cultural entity of the region and to designate it with the word "Kun Lun".In sphere of manufacture this entity was characterized by cultivation of rice on irrigated fields, domestication of bulls and buffaloes, use of metals, development of sea navigation; in the field of social order – by the important role of women, by the social organization of communal type, typical for irrigation economy; in art and culture by distribution of various kinds of puppet theater, gong orchestras, special methods of fabric painting (batik, ikat), by building houses on piles, occurrence of various types of games with rotan balls.The most advanced of all civilizations of the region was the Dong-Son culture. A great impulse for culture of the region was Indian and Chinese. Arts of this period, in particular, in Cambodia (Angkor), Myanmar (Pagan), and Indonesia (Central Java) has reached the heights comparable to the best samples of European arts. At the same time it was not a mere imitation of the Indian and Chinese canons. External influence was transformed by local societies as the culture of Ancient Greece by European peoples, harmonized with local ideas and customs. Moreover, it is possible to speak about a return influence of SEA culture. In particular, in the sphere of navigation, Indians and Chinese have got acquainted with boats with the balance weight from Malays and till now use old Malay names of measures and weights.SEA cultural identity was determined not only by primordial similarity, but also by expansion of cultural connections between various territories of the region. The important stage of development of culture in SEA is connected with the penetration of Islam (Indonesia, Malaysia, Brunei, partly Philippines, Vietnam, Cambodia, Thailand, and Singapore). In these countries and territories, Islam has penetrated into system of beliefs, language, literature, music, common law (adat), rendered the big influence on the fine arts having strengthened its decorative nature.The spreading of Christianity accompanied colonial captures by the Western powers (from XVI century) had essential influence only on Philippines and on East Timor. Certainly, colonialism promoted involvement of the SEA countries into global historical process and acquaintance of the people of the region with Western culture, but at the same time it had negative impact on the region by breaking cultural dialogue between the nations.But the cultural dialogue was revived with the crash of colonial system. As a result of active policy of the governments of the region there are objective preconditions for a new stage of cultural dialogue on the basis of synthesis of the traditional values which still exist despite of all external influence and cultural relations by upholding simultaneously national identity in each country. This is promoted also by integration processes, in particular in the frame of ASEAN which unites all countries of the region.

Indira Gandhi National Centre for the Arts

Proceedings of the 5th Symposium for the International Council for Traditional Music Study Group for Performing Arts of Southeast Asia, 2019

The Sultan of Lingga’s Brass Band, also known as Korps Musik, was formed by Viceroy, Yang Dipertuan Muda Riau VI, Raja Jaafar in the late 19th Century in what is now Indonesia’s Riau Province. Raja Jaafar sent a group of local men to Melaka to learn European music, receiving instruction in a range of instruments including military drums, flute, trumpet and violin. Upon completion of their studies they returned to Riau, forming a military band at the palace of their patron, Viceroy Raja Jaafar on the island of Penyengat. Although ostensibly under the employ of the Sultan of Lingga, in reality the band played an important part in the power struggle between Sultan Mahmud and his Viceroy who, with the help of Dutch influence, gradually sought to become de facto ruler of the kingdom. While most Europeans are instantly familiar with the political power denoted by a fully-uniformed military band, the Sultanate had its own musical ensembles to confer power, known as Nobat. Nobat were not only vital in the process of installing a ruler, but the dynamics of their performances was seen to denote the extent of a Sultan’s rule. In this context, the introduction of an even louder ensemble, and one that was a recognised symbol of Dutch power, had the ability to profoundly impact the balance of power in the area. This paper will explore the formation and history of the Sultan of Lingga’s Brass Band, concentrating on how its use impacted upon the power struggle between the Sultan, the Viceroy and the Dutch Colonial Government, eventually leading to Sultan Mahmud’s deposition by the Dutch, before being replaced, first by a more docile relative and eventually, in 1886, by the son of the Viceroy.

The circulation of Panji stories throughout Southeast Asia has been studied as a textual phenomenon. These same texts, however, provide evidence of how theatrical forms were important as a source for the dispersal of Panji stories. The textual evidence demonstrates that dance-dramas presenting Panji stories were performed in Majapahit times. These dance-dramas, known as raket are continued in the gambuh of Bali as well as in Javanese topeng . They were also widely known in the Malay world, and were connected to Thai and Cambodian theatrical forms.

International Peer Reviewed E Journal of English Language & Literature Studies, 2023

Intertextuality and Spirotextuality are used in literature to enrich the reader's understandingand to create a sense of depth and complexity in the work. However, while Intertextualitycreates a connection to the broader literary tradition, Spirotextuality creates a more intricateand cyclical relationship between multiple works. The Ramayana and The Mahabharata areone of the most important texts in Hinduism, have been retold and reinterpreted over time.The paper discusses how the Intertextuality in the Mahabharata and the Ramayana serves toconnect these epics to a larger literary and cultural tradition and reinforce important moraland ethical values. The study of Intertextuality and Spirotextuality in Sanatan (Hindu) texts issignificant because it reveals the complex and layered nature of these texts, and sheds light onthe diverse cultural and intellectual influences that have shaped them over time

Summary of the B.A. thesis of Sarah Schneider, submitted to the Department of Southeast Asian Studies, Johann Wolfgang Goethe-University Frankfurt am Main in May 2015 / Ringkasan skripsi B.A. oleh Sarah Sarah Schneider, Jurusan Kajian Asia Tenggara, Johann Wolfgang Goethe-University Frankfurt, Mei 2015Summary (English):The object of my thesis is ‘Budaya Panji’ - ‘Panji-culture’ in the context of intangible cultural heritage of Indonesia. This thesis aims to investigate the potential of this indigenous culture by outlining its competence and to question whether it fulfills the criteria for being inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. The research method I used to collect my information is primarily based on academic literature and accessed through the OPAC system of the university library in Frankfurt. In addition, I made use of sources such as academic papers, popular literature, local newspapers, and internet websites.This thesis has three major purposes: (1) to outline the potential of this indigenous culture by providing a historical background of the Panji stories, their representations in literature, fine arts, performing arts in Indonesia, as well as in Mainland Southeast Asia.; furthermore to outline the symbolic meaning of the Panji stories which comprise simplicity, harmony and fertility; (2) discussing the implementation of the Panji-culture nowadays which is reflected in the media, in art activities, and in scholarly activities; (3) to demonstrate that it is worth being nominated on the Representative List and to outline the conditions of inscribing Panji-culture on the Representative List. In conclusion, the thesis aims to prove that Panji-culture is high in potentiality and is regarded as an intangible cultural heritage of Indonesia regardless of the inscription on the Representative List. However, before Panji-culture can fully be inscribed, it must be included in the Intangible Cultural Heritage National Inventory of Indonesia first, which is carried out by the Ministry of Culture and Tourism in collaboration with the UNESCO Office, in Jakarta. This thesis hopes to raise awareness of Panji-culture, and thus make a contribution to the academic discourse and diversity of Indonesia’s culture. In particular it intends to enhance the safeguarding of the intangible cultural heritage of Indonesia.IntroductionIndonesia is an archipelago located in Southeast Asia and is, through its broad variety of ethnic groups, rich in tangible as well as intangible cultural forms. This thesis is dealing with the intangible cultural heritage of Indonesia. The United Nations Educational, Scientific and Cultural Organization referred to as UNESCO, was founded in 1945 in order to establish networks among the different nations in the world. By promoting education, protecting freedom of expression, pursuing scientific cooperation and building intercultural understanding, UNESCO strives to enable solidarity among the nations. In order to protect heritage and support cultural diversity, UNESCO created the idea of World Heritage to help preserve endangered heritages. Germany has currently 40 cultural properties inscribed on the World Heritage List. The most recent nomination is the Hamburg Speicherstadt, nominated in 2015. This nomination has a huge impact on Hamburg and Germany, as it can be seen in various media articles (Frankfurter Allgemeine Zeitung). The most famous cultural properties in Indonesia, which have been inscribed on the World Heritage List by UNESCO, are the Buddhist Temple Compound Borobudur (8th century) and the Hindu Temple Compound of Prambanan (9th century) which are both located in Central Java. These historic places are examples of tangible/material heritage and represent outstanding universal values, which are considered worthy of preservation for the future. UNESCO is also concerned with the preservation of cultural expressions, such as maintaining social customs, oral traditions, music, rituals, festivals, arts and crafts skills. These expressions are called intangible cultural heritage. Well-known intangible cultural forms of Indonesia are wayang puppet theatre, kris, batik and the angklung musical instruments. In this work I investigate the case of Panji-culture which represents a cultural identity of East Java that needs to be preserved as a cultural heritage (Nurcahyo 2009:30). It is based on the unique Panji stories which became popular during the Majapahit kingdom in East Java in the late fourteenth and early fifteenth centuries (Vickers 2013).The Panji stories were first orally transmitted as myths and legends, then written down on palm leaves. Throughout the years, Panji stories have been visually presented and depicted through fine arts, such as in temple reliefs and sculptures, as well as through performing arts, such as various wayang and topeng performances. As the Panji stories spread in Mainland Southeast Asia, there evolved different versions of the stories which contributed to the diversity and potential of the Panji-culture today. Thailand, Myanmar, Cambodia and Laos have their own interpretation of the stories. The submission of the Panji stories as documentary heritage to the UNESCO Memory of the World programme by the National Library of Indonesia in 2014 is still in process.In chapter I, a brief introduction to the figure Panji will be given. The first part of chapter II defines the terms ‘heritage’ and ‘cultural heritage’. Subsequently, the distinction between ‘tangible’ and ‘intangible’ heritage will be explained. The Convention for the Safeguarding of the Intangible Cultural Heritage will be introduced with its major articles which are relevant for further discussion of this thesis. The second part of chapter II deals with heritage of Indonesia. The third part outlines the criteria for an intangible cultural heritage to be inscribed. Chapter III gives a description of the historical background of the Panji stories. Chapter IV includes background information, contents and characteristics, the representations in literary forms, fine arts, performing arts, and the Balinese and Thai versions of the Panji stories. Chapter V deals with the symbolic meaning of the Panji stories and comprises the sections simplicity, harmony and fertility. Chapter VI introduces the term ‘Budaya Panji’ — ‘Panji-culture’ which comprises the implementation of the Panji-culture nowadays: the ways of its academical representation, the relevant art activities and the ways of its manifestation through press and social media, such as Facebook. Panji-culture has drawn huge attention throughout the last years, with an immense increase in seminars and festivals throughout Indonesia and Southeast Asia, in 2014. The penultimate chapter discusses the conditions of inscribing Panji-culture on the Representative List with its potential and perspectives. By examining the Panji-culture, the final chapter rounds up the findings and concludes that Panji-culture is worth being nominated on the Representative List. Panji-culture represents a cultural pillar not only for Indonesia but for other Southeast Asian countries, as well.

Indonesia is culturally rich. Indonesian art and culture are intertwined with religion and age-old traditions from the time of early migrants with Western thoughts brought by Portuguese traders and Dutch colonists.The culture of Indonesia has been shaped by long interaction between original indigenous customs and multiple foreign influences.In addition to these basic cultural sensitivities, religion plays a large role in Indonesian life and values. Over eighty-five percent of the people in Indonesia consider themselves Muslims, though their practices differ considerably from Islam as it's practiced in the Middle East. This is because of the rich texture of different religious traditions in the archipelago, from Buddhism and Hinduism to Chinese Confucianism to European Christianity to indigenous animist and ancestor worship practices. For many, the name of Islam is only the sheet that covers the shape of their ancestors' and communities' eclectic spiritual practices. The ...

रामो विग्रहवान् धर्मः Rama personifiedf dharma Evidences for abiding memory across space and time of Ramayana on sculptures, inscriptions Angkor Wat. Rma and Hanuman launching an attack on Ravana. Plaster realized from a stamped clay moyuld.Guimet Museum. Linteau Ramayana Musee Guimet. Arto Reliefo, Marica Angkor, Tuant Marica, Museum Guimet, Rama Tuant Rama and Sita worship theShiva Lingam at Rameswaram, as his companions Vibhishana (right) looks on with Lakshamana,Tumburu and Narada along with the Vanar Sena. Ahalya offering fruits and flowers to Rama - her saviour, a 5th-century AD Stone sculpture from Deogah, currently in theNational Museum, New Delhi. Terracotta Panel ca. 5th century, from Bhitargaon Showing a Ramayana Scene (Now in Brooklyn Museum, USA) The panel, n my opinion, represents the story of Vishnu’s fight with the Rakshasas led by Malyavan, Mali and Sumali as narrated in the Uttarkanda of the Ramayana (Cantoes VI-VIII). http://ignca.nic.in/pb0020.htm Malabar Bowen map (1747) drawn by Netherlands shows Ramarcoil I (that is, Rama temple) The map shows SETUBANDHA http://dsal. uchicago.edu/reference/ schwartzberg/ A historical atlas of South Asia edited by Joseph E. Schwartzberg, Univ. of Chicago, 2006 Map drawn by Joseph Parks, Australian Botanical explorer (1788) shows Ramar Bridge (Map in Sarasvati Mahal Lib., Thanjavur), The log defines Bharata Rashtram: Asetu Himachalam. Fading pigments of a human epic Scene from a Kerala temple mural, Rama holding court http://www.outlookindia.com/public/uploads/gallery/20140326/battle_monkeys20140325_350_630.jpghttp://www.outlookindia.com/public/uploads/gallery/20140326/bharat_shoes20140326_350_630.jpg Two scenes from a Balinese palm leaf manuscript of the Ramayana, written and illustrated by Ida Bagus Adnyana of Geriya Gunung Sari, Pliatan, Bali, c. 1975 Ramayana Preah Ko, Angkor Temples, Cambodia Linteau Khmer, Guimet. Battambang, Cambodia. Ramayana scenes.https://www.youtube.com/watch?v=dSDkDQFn4fg Published on Sep 8, 2015Ramayana ballet played in open-air theatre near Prambanan temple Compounds, Java, Indonesia. This video was recorded in May 13, 1994 with Super-VHS camcorder.*First Episode "THE ABDUCTION OF SHINTA"Rama's experience in voluntary exile, wanders in the forest with his beautiful wife Shinta, escorted by his faithful brother Leksmana. While they_are comforting each other in their misery, a golden deer is intact a transfor- mation of Flahwana's envoy Marica, who has been or- dered to tempt Shinta.Shinta is spellboud by this golden deer and begs Rama to catch it. Rama tells Leksmana to guard Shinta, not to leave her under any circ*mstances and goes to capture the golden deer. While waiting they hear a scream of Rama calling for help. But in fact is only Marica imitating Rama's voice in order to draw away Shinta's attention. Shinta whose apprehension grows into frenzy urges Leksmana to rescue his brother. When Leksmana re- fuses she accused him of having mischievous intention. Unwillingy Leskarnana leaves Shinta as soon as he leaves Rahwana shows up and persuades Shinta to become his wife. Failing in his loathful intention Rahwana carries her away by force. On the way the helplers Shinta drops her omaments, one by one hoping they might give her clue to Rama to trace out.The giant eagle Jatayu, a loyal friend of Rama's father soaring throught the air sees what happens to Shinta and hurries to rescue her. In their bloody fight, Jatayu is seriously wonded and drops to earth. He was found dying by Rama and Leksmana and yet still can give information before rassing out. With this new hope they hurry on and meet and army of apes led by Sugriwa, the ape prince. There were also the white ape warrior Hanuman, the blue ape Hanila and the venerale ape Jembawan. Sugriwa tels Rama about his bothers Subali who had wronged him and entreats Rama to help him, in retum of which Sugriwa is ready to help Flama in his quest for his Shinta. While Sugriwa and Subali are fight- ing, Rama shoots his fatal arrow at Subali who does not survive it.*Ramayana ballet consisted of the total 4 episodes below:1. The Abduction of Shinta (This video shows part.)2. Hanoman Duto (I've never seen.)3. Kumbokarno Leno https://youtu.be/3eghk6ioVLg4. The Holy Fire https://youtu.be/cXzJIWSGu58 Mewar Ramayana Urdu copy of Ramacharitamanas, 1910 उर्दू भाषा के जानकार शिवभारत लाल ने सन 1900 में लिखी थी ये प्राचीन रामचरितमानस। फोटो- सैयद फ़ैज हसनैन Setubandha (Original Text in Prakrit Accompanied with Sanskrit Rendering) Meeting of Rama and Parasurama. Sages. RFuins of Temple, Ayodhya. Ruins from Ayodhya temple at Babri Mosque. Pillar bases found at the site of the 'mosque' Ruis of Dwarapalaka, Ayodhya temple found at Babri Mosque 12th cent. Hari-Vishnu inscription." It clearly describes the temple construction, and the beautiful temple of Vishnu-Hari, built with heaps of stones and beautified with a golden spire, unparalleled by any other temple built by earlier kings. This wonderful temple was built in the city of Ayodhya at Saketamandala. The plaque also describes Vishnu destroying King Bali, and the ten headed personage (Ravana).".http://www.harekrsna.com/sun/features/05-10/features1730.htmAjay Mitra Shastri, Chairman of the Epigraphical Society of India and a specialist in epigraphy and numismatics, examined the Vishnu-Hari inscription and stated:"The inscription is composed in high-flown Sanskrit verse, except for a small portion in prose, and is engraved in the chaste and classical Nagari script of the eleventh-twelfth century AD. It was evidently put up on the wall of the temple, the construction of which is recorded in the text inscribed on it. Line 15 of this inscription, for example, clearly tells us that a beautiful temple of Vishnu-Hari, built with heaps of stone (sila-samhati-grahais) and beautified with a golden spire (hiranya-kalasa-srisundaram) unparalleled by any other temple built by earlier kings (purvvair-apy-akrtam krtam nrpatibhir) was constructed. This wonderful temple (aty-adbhutam) was built in the temple-city (vibudh-alaayni) of Ayodhya situated in the Saketamandala (district, line 17) (...). Line 19 describes god Vishnu as destroying king Bali(apparently in the Vamana manifestation) and the ten-headed personage (Dasanana, i.e., Ravana)." (Puratattva, No. 23 (1992-3), pp. 35 ff.) Another 12th century inscription found at the 'mosque' site Vishnu as Trivikrama. Mahabalipuram. Vamana, Rani ki Wav, Patan, Gujarat. Bronze Vishnu statue. Vamana Avatar. Halebidu. Beluru. Vamana avatar of Lord Vishnu, with one stride on earth, one on the heavens and the the Asura king Bali prostrating and offering his head for the last stride.Vamana Avatar of Vishnu begging for 3 paces of land from Asura King Bali. Perhaps such a representation existed in the ancient Ayodhya temple. Ramayana scenes. Durga Temple,. Aihole. Bagalkot, Karnataka Parambanan, Indonesia. Ramayana scenes.. Scenes from Ramayana on Cambodia temples Temple Preah Khan at Angkor: a pediment depicting the battle of Lanka. Hanuman finds Sita. Charcoal rubbing from a carved stone relief at the Cambodian temple known as Angkor Wat. It is from one of Angkor Wat’s many sequential stone wall carvings that depict key scenes from the Ramayana epic. Brooklyn Museum - Rama and Lakshmana Confer with Sugriva about the Search for Sita Page from a Dispersed Ramayana Series tympanum from the Khmer temple of Banteay Srei depicts Sugriva fighting with his brother Bali. To the right, Rama is poised to shoot an arrow at Vali. Sri Sita Ramachandra Swamy, Bhadrachalam, Andhra Pradesh..Sri Rama (moolavar) is in the padmasana possture with four hands, (Chaturbuja Rama) holding the bow and arrow in the front two hands. Sankha and Chakra in the rear hands. He is holding the Sankha in the right hand and Chakra in the left, indicating that having completed the destruction of the "rakshasas" with the Chakra confirming the Lord is assuring the world of peace and protection. To the left of Sri Rama is Sita and Lakshmana is on her left. But in the utsava deity, Sita and Lakshmana are on either side of Rama. Pattabhirama temple, Hampi.

Southeast Asian performance has long been wedded to ritual efficacy and auspicious occasions. Malaysian theatre forms have been influenced by a diversity of cultures, including: Islamic cultures originating from China, India, the Middle East, andVietnam; Hindu-Buddhist cultures originating from China, India, Indonesia, and Thailand; and the indigenous animistic culture. These cultural influences have uniquely combinedto create distinctive Malay art forms. Although seemingly incompatible, Southeast Asian culture is traditionally very comfortable with layering of influences and creating syncreticimages and narratives. Malay theatre has often enjoyed tolerance fromthe wider society and also demonstrated influences fromIslamic as well as local mysticism. Through the display of puppets, video, photographs, costumes, and instruments, the viewer not only gains insight into these complex theatre forms,but also explores the paradoxical issues currently facing traditionalMalaysian arts.

Journal of Urban Culture Research, 2015

Since 2004 antagonism between the Malay-Muslim population in the South of Thailand and ethnic Thai-Buddhist groups has escalated. The effect has been increasing acts of violence, rebellions and state of emergency. The antagonism between the two ethnic groups has been most pronounced in the Pattani region where Islam is identified as a non-Thai culture. Throughout centuries this region has been populated with peoples holding diverse religions, customs and cultural traditions who until modern times have coexisted relatively peacefully, inspired and enriched each other. In this area, arts and culture among Malays and Thais have shared roots with artistic forms and expressions that are very much alike. The author will focus upon the cultural similarities of the two ethnic groups on the border of Malaysia and Thailand. Will mobilizing the common local culture act as a vehicle for increased understanding and reconciliation between the two ethnic groups?

Asian Theatre Journal, 2017

Rupkatha Journal on Interdisciplinary Studies in Humanities, 2020

The purpose of this research is to examine the deconstruction of the myths of wayang in the novels of KitabOmong Kosong and Perang. Those myths including satriya myths, the myth of warfare and desacralizationof puppets. Discussion conducted using a typical perspective of deconstruction; first, deconstruction offers away to identify contradictions in text politics or ideological tendencies that appear in good text consciouslyor unconsciously. Second, literary texts and traditions are treated which are able to open up new possibilitiesto conceive and open a new possibility of change that was considered impossible. Third, through adeconstruction point of view, ideology that has frozen in language and mind can be liquidated. The resultsof the discussion show the novel KitabOmongKosong, and Perang, a critical view of the satriya myth (RamaLaksmana and Pandawa). Rama, Laksamana and Pandawa voiced in the novel is no longer fit with the mythof perfect satriya in wayang play (satriyapinandita) who representing truth, just and powerful, but reckless.Yet they are depicted as evil, and ridiculous. The war that was carried out by Rama and the Baratayuda(Pandawa versus Kurawa) which is written in puppet as a holy war between evil and goodness is only the warthat arises because of power ambitions. The research results shows that the myths in wayang have beendismantled and reconstructed by Seno Gumira and PutuWijaya to express and the authors express their viewsand appreciation of the problems of present socio-cultural life.

Religion and the Arts, 2016

The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller.The first part of this paper explores the archetypal and psychological meanings of shadow in Indian culture and religion, as well as its relationship with the origins of painting. The main issues include archetypal references to the shadow of Hindu gods described in Vedic, epic, and Purāņic sources, the use of prototypes to transmit knowledge to humankind, and the analysis of shadow puppets as moving pictures. Secondly, the paper analyzes the materiality of puppets and their consistency with Indian aesthetics and art criticism in the form of theoretical principles found in classical texts and art treatises such as the Nāțyaśāstra, the Viṣṇudhārmottāra, and the Śilpaśāstra.

SPAFA Journal

In search of the roots of Panji, the paper raises the question to what extent the spread of the Panji theme in Southeast Asia is a manifestation of the political and cultural influence of Majapahit within the region. The East Javanese Majapahit kingdom (circa 1300 to 1500 CE) extended its power to most parts of what today is Indonesia, and to Mainland Southeast Asia, implementing specific traits of its rich culture. Did the Panji stories, being a popular literary genre of the time, make part of cultural export?The paper then focuses on the Panji theme in Majapahit Java itself, particularly in the visual presentations in narrative temple reliefs. The significance of the depictions of Panji stories at Candi Panataran (14th to 15th centuries), the State Temple of Majapahit, allows an interesting understanding of the symbolic religious meaning of Panji. The essence of this symbolism is also manifest in the mountain sanctuary Candi Kendalisodo and in the Panji sculpture from Selokelir (m...

Following the Cap-Figure in Majapahit Temple Reliefs, 2013

From: Ding Choo Ming and Willem van der Molen (eds.), Traces of the Ramayana and Mahabharata in Javanese and Malay literature, pp. 58–98. Singapore: ISEAS-Yusof Ishak Institute, 2018

The presence of elements explicitly identified as "Javanese" or "from Java" in traditional Malay literature and performance — settings, characters, objects, idioms, stories, texts, even entire genres like the renditions of Mahabharata story-matter — has mostly been ascribed to the putative prestige of the historical civilization of Java. Here I explore another point of view. Focusing on religiosity and ethics in a hikayat with Mahabharata stories, I propose the notion of javanaiserie, the creation of texts, performances, and other cultural artefacts designed to be considered Javanese. Javanaiserie has proven alluring in Malay contexts. Rather than as a matter of influence I suggest regarding javanaiserie as an active process of worldmaking, the creation of a reality that is culturally at once close to and distinct from an audience's everyday lifeworld, a reality that can be both elegant and evil, appealing as well as appalling.

Mak yong is a Malay dramatic art performed in the region of the former Pattani Sultanate, anarea that includes the northern Malaysian states of Kedah, Terengganu, and Kelantan and the southernThai provinces of Pattani, Yala, and Narathiwat. In 1991, Parti Islam Se-Malaysia, or PAS, the Islamicparty that rules Kelantan, issued an official ban on mak yong performances under a clause prohibitingacts of vice (Khoo, Tikamdas, & Wong, 2003). PAS officials claim that mak yong performancesincorporate pre-Islamic belief systems and encourage the worship of deities and supernatural beingsother than Allah. PAS officials also take issue with the prominent role of women as mak yongactresses, arguing that the appearance of women in such performances encourages male audiencemembers to view them as sexual objects.The longstanding PAS ban on Kelantanese mak yong has altered its performance, but has notsucceeded in its obliteration. Kelantanese performers may no longer be granted permits to perform makyong as a secular form of folk entertainment, however, mak yong continues to be an important part ofvillage life through its incorporation into main puteri ritual healing performances. Mak yong-mainputeri healing performances treat social and psychological illnesses that western medical techniquescannot address. In this paper I will examine how contemporary mak yong-main puteri practitionersenvision the human body and how they engage traditional Kelantanese concepts of personhood whenperforming in a healing context. I will also investigate how the physical and metaphysical selves of apatient are united during mak yong-main puteri performances through the use of metaphor.

Proceedings of the 4th Symposium of the ICTM Study Group on Performing Arts of Southeast Asia , 2017

Proceedings of the International Conference on Language, Literature, and Education (ICLLE 2018), 2018