Transmitting the Ramayana Epic to Southeast Asia and the West through Shadow Puppetry and Visual Art

Siew Lian Lim

Introduction
The Ramayana can free us from our own stupidity Larry Reed
Shadow Light Productions San Francisco The Ramayana: One of two major epics of Hindu mythology that have been performed by traditional Southeast Asian (SEA) puppet plays. The other is The Mahabharata. Best known of many versions: Written by the Sanskrit poet Valmiki 300-500 BC.

Puppets by Contemporary Indonesian Dhalang Enthus Susmono

Southeast Asian Studies Student Conference, 2011

Thai Nang Talung Puppets

Department of Visual Art - Sculpture, School of Art, Northern Illinois University

Indonesia

In Indonesia, particularly Java and Bali, Shadow Puppetry developed and flourished under the name Wayang Kulit.
A multimedia art form
Drama, Painting, Carving, Literature, Voice, Instrumental music, Mimicry
Javanese Wayang Kulit Puppets
Phra Ram (Rama) Nang Sida (Sita) Thosakan (Ravana) Hanuman

George W. Bush

Self - portrait

Batman

SEA Shadow Puppetry in the West

Three major producers Larry Reed, Shadow Lights Production, San Francisco. Maria Bodman, Bali and Beyond, Los Angeles. Tamara Fielding, Tamara and the Shadow Theatre of Java, Northport, NY - The ONLY one who performs The Ramayana.

The Ramakien
The Thai version of The Ramayana Highly honored in Thailand Rama is an earlier incarnation of the Buddha The basis of most Nang Talung and Nang Yai performances

The basic Ramayana story Prince Ramas wife, Sita, is kidnapped by evil King Ravana. Rama journeys to rescue her with Hanuman, a monkey and his monkey army. Rama rescues Sita after a series of battles, and Rama kills Ravana.

Malaysia
Tree of Life Sita and Rama Hanhsuma Ravana

The Dhalang the puppet-master

The mastermind behind the performance

Between Java and Thailand Several imported forms of Shadow Puppetry from Java and Thailand. .Wayang Siam: indigenous Malay form
Malaysian Wayang Siam Puppets

10-Faced Ravana (collection)

Sita

Four research questions

1. How has traditional shadow puppetry been used to transmit The Ramayana in Southeast Asia? 2. What is the contemporary status of shadow puppetry in Southeast Asia? 3. How has shadow puppetry been used to present The Ramayana to Western audiences? 4. How have shadow puppet forms from The Ramayana been used in visual art?
Method Examine traditional SEA shadow puppetry, particularly relating to The Ramayana. Examine shadow puppetry in contemporary SEA. Examine & interview Western shadow performers. Apply shadow theatre and Ramayana in researchers visual artwork.

Shadow Puppetry and The Ramayana in Visual Art Work by Siew Lian Lim
Repurposed plastic and refuse

Sets the tone of the drama Speaks the lines of all the characters Tells the story Directs the gamelon (orchestra) and singers Manipulates the puppets Makes comments on the story and its meaning Can improvise A one-person multimedia performer.

Siti Dewi (Sita)

Seri Rama (Rama) Mahraja Wana (Ravana) Hanuman and Hanuman Ikan

Raja Seri Rama

The Malaysian version of The Ramayana Significant part of Malaysian culture and Wayang Siam stories.
Rama and Sita, Malaysian style Rama and Sita, Indonesian style

Shadow Theater in Contemporary Southeast Asia

Changes in Politics & Culture
Indonesia: Wayang Kulit used for propaganda

Wayang Purwa: Four cycles of stories

Three from The Mahabharata One from The Ramayana. The Mahabharata - more popular and common in Indonesia.

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Sita, Rama, and Hanuman - Indonesian style Shadow

Shadow Puppetry in Southeast Asia

Theories and legends about origins of Shadow Puppetry Indigenous animist rituals in Java 3000 years ago (Indonesia). Leather to craft the sandstone Ramayana reliefs at Angkor Wat in 12th Century AD (Cambodia). Indian chitra katha scroll paintings in Sukhothai in 13th Century AD (Thailand). Chinese invented it in 2nd Century BC, and imported it to SEA (China).

Thailand/Cambodia
Two styles of Shadow Puppetry 1. Nang Yai (Sbaek Thom - Cambodia)
Big puppets held by dancers for royal courts and ceremonies
Thailand Cambodia

Conclusions
Cambodia: Being revived by Sovanna Phum Arts Association after being banned by the Khmer Rouge

Common features of SEA Shadow Puppetry Carved leather puppets cast shadows on a screen. Stories - Mahabharata/Ramayana myths. Clown puppets - not myths - for entertainment. The puppet master- center of performance. A form of popular entertainment.

Malaysia: Wayang Kulit Seri Asun survives after Wayang Siam is banned in Kelantan.

1. Shadow Puppetry has transmitted The Ramayana throughout SEA. 2. Contemporary Shadow Puppetry adapts to contemporary politics and popular culture Ramayana secondary. 3. Shadow Puppetry performed by Western artists. Only Tamara Fielding presents The Ramayana. 4. Shadow Puppetry as visual art: shadow puppetry and The Ramayana as inspiration for contemporary visual art, including work by the researcher. Works Cited Conclusions
Broman, Sven. Shadows of Life: Nang Talung. Bangkok, Thailand: White Orchid Press, 1996. Fielding, Tamara. Ancient Arts in Modern Times. Tamara and The Shadow Theatre of Java, 2000. 31 May 2010 < http://www.indonesianshadowplay.com/artist.html >. Irvine, David. Leather Gods & Wooden Heroes: Javas Classical Wayang. Singapore: Times Editions, 1996. zek, Jan. Phenomenology of a Puppet Theatre : Contemplations on the Art of Javanese Wayang Kulit. Leiden, Neth: KITLV Press, 2005. Mulyano, Ir. Sri. Human Character in the Wayang. Trans. M. M. Madeiros. Jakarta: Pustaka Wayang, 1977. Reed, Larry. Personal Interview. 29 May 2010. Sweeney, Amin. Malay Shadow Puppets. London: British Museum Publications, 1972.

2. Nang Talung (Sbaek Touch - Cambodia)

Popular small puppet controlled by a single puppeteer Like Wayang Kulit but more naturalistic style