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Seri Rama and Maharaja Wana in Wayang Kulit Kelantan: Visual Analysis of Their Puppets

Wayang Kulit Kelantan, currently one of the two remaining shadow play forms in Malaysia, remains active in the northern part of peninsular Malaysia in particular the state of Kelantan, up till southern part of Thailand. It performs mainly a localized Malay folk version Hikayat Maharaja Wana derived...

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Main Author: Wong, Fiona E Chiong
Other Authors: Moussa, Pourya Asl
Format: Book Section
Language:English
Published: Pusat Pengajian Ilmu Kemanusiaan 2019
Subjects:
H Social Sciences (General)
H1-99 Social sciences (General)
Online Access:http://eprints.usm.my/45582/1/ART2.pdf
http://eprints.usm.my/45582/
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spelling my.usm.eprints.45582 http://eprints.usm.my/45582/ Seri Rama and Maharaja Wana in Wayang Kulit Kelantan: Visual Analysis of Their Puppets Wong, Fiona E Chiong H Social Sciences (General) H1-99 Social sciences (General) Wayang Kulit Kelantan, currently one of the two remaining shadow play forms in Malaysia, remains active in the northern part of peninsular Malaysia in particular the state of Kelantan, up till southern part of Thailand. It performs mainly a localized Malay folk version Hikayat Maharaja Wana derived from the famous Indian epic Ramayana, in contrast to the other literary version Hikayat Seri Rama. The origin of Wayang Kulit Kelantan, although much has been debated, could have possibly derived from the pre-Islamic or archetypal prototype of Wayang Kulit Purwa of Java, following the Majapahit Empire’s collapse and the spread of Islam on that island in the 16th century (Ghulam-Sarwar, 2004, pp. 61-62). The introduction of the legendary nine saints (wali Songo) in Java (Ghulam-Sarwar, 1994, pp. 274-275) led to the migration of this proto shadow play from Java to Bali and other Indonesian islands as well as the Malay Peninsula. Strong influences of animism, Hinduism, traditional Javanese beliefs and Islam are evident in Wayang Kulit Kelantan performances (Ghulam-Sarwar, 1993, pp. 4-5), as well as in the conception of the epic’s characters and their visualization on leather puppets.; Pusat Pengajian Ilmu Kemanusiaan Moussa, Pourya Asl Kumaran, Rajandran Azam, Yazir 2019 Book Section PeerReviewed application/pdf en http://eprints.usm.my/45582/1/ART2.pdf Wong, Fiona E Chiong (2019) Seri Rama and Maharaja Wana in Wayang Kulit Kelantan: Visual Analysis of Their Puppets. In: The 5Th International Conference on Linguistics, Literature and Culture. Pusat Pengajian Ilmu Kemanusiaan, Pulau Pinang, Malaysia, pp. 9-14. ISBN 9789674614362
institution Universiti Sains Malaysia
building Hamzah Sendut Library
collection Institutional Repository
continent Asia
country Malaysia
content_provider Universiti Sains Malaysia
content_source USM Institutional Repository
url_provider http://eprints.usm.my/
language English
topic H Social Sciences (General)
H1-99 Social sciences (General)
spellingShingle H Social Sciences (General)
H1-99 Social sciences (General)
Wong, Fiona E Chiong
Seri Rama and Maharaja Wana in Wayang Kulit Kelantan: Visual Analysis of Their Puppets
description Wayang Kulit Kelantan, currently one of the two remaining shadow play forms in Malaysia, remains active in the northern part of peninsular Malaysia in particular the state of Kelantan, up till southern part of Thailand. It performs mainly a localized Malay folk version Hikayat Maharaja Wana derived from the famous Indian epic Ramayana, in contrast to the other literary version Hikayat Seri Rama. The origin of Wayang Kulit Kelantan, although much has been debated, could have possibly derived from the pre-Islamic or archetypal prototype of Wayang Kulit Purwa of Java, following the Majapahit Empire’s collapse and the spread of Islam on that island in the 16th century (Ghulam-Sarwar, 2004, pp. 61-62). The introduction of the legendary nine saints (wali Songo) in Java (Ghulam-Sarwar, 1994, pp. 274-275) led to the migration of this proto shadow play from Java to Bali and other Indonesian islands as well as the Malay Peninsula. Strong influences of animism, Hinduism, traditional Javanese beliefs and Islam are evident in Wayang Kulit Kelantan performances (Ghulam-Sarwar, 1993, pp. 4-5), as well as in the conception of the epic’s characters and their visualization on leather puppets.;
author2 Moussa, Pourya Asl
author_facet Moussa, Pourya Asl
Wong, Fiona E Chiong
format Book Section
author Wong, Fiona E Chiong
author_sort Wong, Fiona E Chiong
title Seri Rama and Maharaja Wana in Wayang Kulit Kelantan: Visual Analysis of Their Puppets
title_short Seri Rama and Maharaja Wana in Wayang Kulit Kelantan: Visual Analysis of Their Puppets
title_full Seri Rama and Maharaja Wana in Wayang Kulit Kelantan: Visual Analysis of Their Puppets
title_fullStr Seri Rama and Maharaja Wana in Wayang Kulit Kelantan: Visual Analysis of Their Puppets
title_full_unstemmed Seri Rama and Maharaja Wana in Wayang Kulit Kelantan: Visual Analysis of Their Puppets
title_sort seri rama and maharaja wana in wayang kulit kelantan: visual analysis of their puppets
publisher Pusat Pengajian Ilmu Kemanusiaan
publishDate 2019
url http://eprints.usm.my/45582/1/ART2.pdf
http://eprints.usm.my/45582/
_version_ 1648738906191953920
score 13.211869

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