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This comprehensive book explores the Malaysian form of shadow puppet theatre, highlighting its unique nature within the context of Southeast Asian and Asian shadow puppet theatre traditions. Intended for a Western audience not familiar with Asian performance and practices, the text serves as a bridge to this highly imaginative form. An in-depth examination of the Malaysian puppet tradition is provided, as well as performance scripts, designs for puppet characters, instructions for creating a shadow screen, and easy directions for performance. Another section then considers the practical, pedagogical, and ethical issues that arise in the teaching of this art.
The ancient, time-honoured art form known as wayang kulit (literally, 'leather puppet theatre' or 'shadow puppet play') is found in many parts of South-East Asia, including the Malay Peninsula. The present book, an ethnomusicological study focusing on the musical sound and its role in the drama, explores an aspect of wayang kulit hitherto neglected by scholars. Based on interviews and recordings conducted by the author in the villages of Kelantan, as well as on her experience as a student performer in one of the finest and most skilled wayang kulit troupes in Malaysia, the book begins with a useful overview of the various types of wayang kulit in Malaysia. It then goes on to discuss the main theatrical conventions, puppet design, performance structure, musical repertoire, orchestral instruments, and characteristic features of the music of wayang kulit Siam, the most popular type of Malaysian shadow puppet theatre. Written in a pleasing, easily digestible style, this book will be of value to ethnomusicologists, sociologists, students and practitioners of the performing arts, theatre enthusiasts, and general readers interested in the arts and culture of South-East Asia.
Local renderings of the two Indian epics Ramayana and Mahabharata in Malay and Javanese literature have existed since around the ninth and tenth centuries. In the following centuries new versions were created alongside the old ones, and these opened up interesting new directions. They questioned the views of previous versions and laid different accents, in a continuous process of modernization and adaptation, successfully satisfying the curiosity of their audiences for more than a thousand years. Much of this history is still unclear. For a long time, scholarly research made little progress, due to its preoccupation with problems of origin. The present volume, going beyond identifying sources, analyses the socio-literary contexts and ideological foundations of seemingly similar contents and concepts in different periods; it examines the literary functions of borrowing and intertextual referencing, and calls upon the visual arts to illustrate the independent character of the epic tradition in Southeast Asia.
Javanese shadow puppetry is a sophisticated dramatic form, often felt to be at the heart of Javanese culture, drawing on classic texts but with important contemporary resonance in fields like religion and politics. How to make sense of the shadow-play as a form of world-making? In Tall Tree, Nest of the Wind, Bernard Arps explores this question by considering an all-night performance of Dewa Ruci, a key play in the repertoire. Thrilling and profound, Dewa Ruci describes the mighty Bratasena’s quest for the ultimate mystical insight. The book presents Dewa Ruci as rendered by the distinguished master puppeteer Ki Anom Soeroto in Amsterdam in 1987. The book’s unusual design presents the performance texts together with descriptions of the sounds and images that would remain obscure in conventional formats of presentation. Copious annotations probe beneath the surface and provide an understanding of the performance's cultural complexity. These annotations explain the meanings of puppet action, music, and shifts in language; how the puppeteer wove together into the drama the circumstances of the performance in Amsterdam, Islamic and other religious ideas, and references to contemporary Indonesian political ideology. Also revealed is the performance’s historical multilayering and the picture it paints of the Javanese past. Tall Tree, Nest of the Wind not only presents an unrivalled insight into the artistic depth of wayang kulit, it exemplifies a new field of study, the philology of performance.
This publication brings together current scholarship that focuses on the significance of performing arts heritage of royal courts in Southeast Asia. Royal courts have long been sites for the creation, exchange, maintenance, and development of myriad forms of performing arts and other distinctive cultural expressions. The first volume, Pusaka as Documented Heritage, consists of historical case studies, contexts and developments of royal court traditions, particularly in the nineteenth and twentieth centuries.
Puppetry Originated In India And Travelled Across The Seven Seas To The Eastern And Western World As Vouched By Many Scholars. Puppets Dated Back To A Period Well Before Bharata S Natya Shastra And Have Continued Unabated Throughout The Centuries In Almost All Indian States. Puppetry Is One Enduring Form, Which Has Entertained Masses And Educated People. The Famous Puppeteers Of Rajasthan Are Really Acrobats, Who Only Put On Puppet Shows When They Move Out Of Villages. These And A Thousand Other Scintillating Facts Come Out Of This Exciting Book For The Reader S Entertainment And Elucidation. Puppets Are By No Means For Only Children, -- As The Puppeteers Of Orissa Sing And Dance About The Romantic Love Of Radha And Krishna, And Keralan Puppets Narrate Kathakali Stories In The Same Make-Up And Costumes.The Book Aims At Giving A Connected Account Of The Indian Puppets: Their Variety, Their Multiple Functions, Their Craft, Their Animation And Their Connections With Other Related Arts In Five Separate Parts. The Book Also Contains For The First Time In Any Book On Puppetry -- Four Important Appendices: Museums In India Containing Puppets, Directory Of Indian Puppeteers, Global Bibliography On Puppets And A Relevant Glossary. The World Of Indian Puppets Is Seen In Vivid Colours With Scores Of Coloured Photographs And Many Line-Drawings And Half-Tone Pictures --- In Their Many-Sided Splendour: Variety Of The Glove, Rod, String, Shadow, And Human Puppets And A Myriad Background Stories Of The Puppet-Masters And Their Imaginative Landscape Of Free Creativity.
Medical systems need to be understood from within, as experienced by healers, patients, and others whose minds and hearts have both become involved in this important human undertaking. Exploring how the performance of healing transforms illness to health, initiate to ritual specialist, the authors show that performance does not merely refer to, but actually does something in the world. These essays on the performance of healing in societies ranging from rainforest horticulturalists to dwellers in the American megalopolis will touch readers' senses as well as their intellects.