Ramayana theater in contemporary Southeast Asia

Cover
Half Title
Title Page
Copyright Page
Table of Contents
Preface
Chapter 1: Introduction: Multiple Meanings of Ramayana Theater in Contemporary Southeast Asia
	1.1: Purpose of the Study
	1.2: Focusing on Ramayana as a Subject Matter in Art Forms
		1.2.1: Basic Story and Main Protagonists
		1.2.2: Norms and Ideologies Represented in Theatrical Art Forms Based on Ramayana
		1.2.3: Ramayana as Subject Matter for Theatrical Performance
	1.3: Positioning Ramayana Theater in Contemporary Southeast Asia
		1.3.1: Cultural Dimensions of Contemporary Southeast Asia
		1.3.2: Cultural Dimensions of Globalization in Southeast Asia
		1.3.3: Ramayana in the Cultural Scenes of Contemporary Southeast Asia
	1.4: Multiple Positions of Art Forms Based on Ramayana in Contemporary Southeast Asia
		1.4.1: Dissemination of Ramayana through a Popular Cultural Form: The Indonesian Comic Artist R. A. Kosasih’s Reinterpretation of the Story
		1.4.2: Representations of the Cultural Elements among a Diaspora Community: A Theatrical Performance of Ramayana in the Malay Community in Singapore
		1.4.3: Searching for the Image of the Ideal Leader in Contemporary Southeast Asia: A Collaborative Project since 1997
	1.5: Outline of Chapters
	Appendix: Outline of Valmiki’s Seven-Volume Version of Ramayana
		A.1.1: Introduction
		A.1.2: Main Protagonists and Summary of Each Volume
		A.1.3: Some Bibliographical Notes and the Scenes Featured in Theatrical Works
		A.1.4: Images of Main Protagonists in Indonesian Shadow Play
Part I: Multiple Interpretations of Ramayana
	Chapter 2: The Modern Development of Ramakian, the Thai Ramayana, as Seen in Films by Chaiyo Studio
		2.1: Introduction
		2.2: Reception of Ramayana in Thailand
		2.3: Hanuman vs. 7: Ultraman (1974)
			2.3.1: Sompote Saengduenchai
			2.3.2: The Story of Hanuman vs. 7: Ultraman
			2.3.3: The Aims of Creator
		2.4: Suek Kumphakan (The Battle with Kumbhakarna) (1984)
			2.4.1: Tokusatsu Effects and Comical Developments
			2.4.2: The Story of Suek Kumphakan
		2.5: Conclusion
	Chapter 3: Death of Kumbhakarna: Interpretation of the Story by Dalang of Balinese Wayang
		3.1: Introduction
		3.2: Kakawin Ramayana
			3.2.1: Sarga 1–Sarga 5
			3.2.2: Sarga 6–Sarga 11
			3.2.3: Sarga 12–Sarga 18
			3.2.4: Sarga 19–Sarga 23
			3.2.5: Sarga 24–Sarga 26
		3.3: Balinese Wayang Performances of Ramayana
		3.4: The “Death of Kumbhakarna” as Seen in the Kakawin Ramayana
			3.4.1: Sarga 22, Stanzas 1–12
			3.4.2: Sarga 22, Stanzas 13–48
			3.4.3: Sarga 22, Stanzas 49–89
			3.4.4: Sarga 23, Stanzas 1–8
		3.5: The Composition of Scenes in the “Death of Kumbhakarna” as Wayang Performance
			3.5.1: Pattern I
			3.5.2: Pattern II
		3.6: Interpretation of the Performances of Balinese Dalang Based on Real Dialogues (1)
		3.7: Interpretation of the Performances of Balinese Dalang Based on Real Dialogues (2)
		3.8: Conclusion
	Chapter 4: Ramayana Theater in Cambodia
		4.1: Introduction
		4.2: Historical Dimension: Indian Ramayana
		4.3: Ramayana (Reamker) Theater in Cambodia
			4.3.1: Content and Representation of Culture
				4.3.1.1: Preah Ream or Prince Rama
			4.3.2: Culture of the Diaspora
				4.3.2.1: The Khmer Rouge (1975–79)
				4.3.2.2: Refugee Movement
				4.3.2.3: Challenges of the New Life on the New Land
			4.3.3: Transmission
			4.3.4: Designation of Tangible Cultural Heritage (TCH) and Intangible Cultural Heritage (ICH)
			4.3.5: Contemporary Cambodia in the Globalized Era
			4.3.6: Popular Culture
			4.3.7: Tourism Culture
		4.4: Significance of Reamker in Khmer Life
			4.4.1: Reamker in Khmer Court Dance
			4.4.2: Reamker in Khmer Masked Play
			4.4.3: Reamker in Khmer Shadow Play
			4.4.4: Reamker in Khmer Sculpture
			4.4.5: Reamker in Khmer Painting
			4.4.6: Reamker in Khmer Astrology
			4.4.7: Reamker in Khmer Storytelling
		4.5: Conclusion
Part II: Diversified Performance Contexts
	Chapter 5: Ramayana in the Performing Arts: Connection with the Government and Local/National/Global Indian Identity in Singapore
		5.1: Introduction: Ramayana and Indian Diaspora
		5.2: Arts Management and the Ramayana Events in Singapore
			5.2.1: Cultural Policy in Singapore
			5.2.2: Cultural Events and Ramayana
			5.2.3: Ramayana and Indian Dance in Singapore
		5.3: Performing the Ramayana and Its Representation among the Indian Diaspora Community
			5.3.1: The Indian Performing Arts Scene in Singapore
			5.3.2: Rukumini Devi Arundale and the Ramayana Drama
			5.3.3: Apsaras Arts and Inheritance of Kalakshetra Style
		5.4: Ramayana Production as a Representation of Global Indianness
		5.5: Conclusion
	Chapter 6: Ramayana Theater in Tourism Culture: The Story Presented in the Javanese Dance Drama Form, Sendratari
		6.1: Introduction
		6.2: Repertoire of the Stories in Shadow Puppet Plays and Sendratari
			6.2.1: Ramayana Stories in Shadow Puppet Plays
			6.2.2: Repertoire of the Stories in Sendratari
		6.3: Creation of Sendratari Ramayana in Java
			6.3.1: Creation
			6.3.2: Stories
		6.4: Sendratari Ramayana as a Onetime Performance
		6.5: Presentation of the Story in Sendratari Ramayana in Prambanan
			6.5.1: Characteristics of the Story in Sendratari
			6.5.2: Rejection of Local Cultural Elements
		6.6: Presentation of Ramayana Story in Sendratari Directed for Tourism Context
Part III: Represented Ramayana
	Chapter 7: A History of Thai Intellectuals’ Perceptions of Khon, the Masked Dance of Ramayana, on the Modern World Stage
		7.1: Whose Culture?
		7.2: Royal Perception during the Absolute Monarchy
		7.3: Nationalist Discourses after the 1932 Revolution
		7.4: From a Japanese Perspective
		7.5: Summary
	Chapter 8: Exhibiting Ramayana in a Japanese Museum: Activities of National Museum of Ethnology, Japan
		8.1: Reception of Ramayana in Japan
		8.2: Ramayana in the Southeast Asian Gallery at National Museum of Ethnology
			8.2.1: Historical Background of the Exhibition on Southeast Asian Culture in Minpaku
			8.2.2: Changes in Southeast Asia Gallery in Minpaku
		8.3: Visual Representation of Characters from Ramayana as Seen from the Exhibit
			8.3.1: Hanuman
			8.3.2: Ravana
			8.3.3: Rama
		8.4: Visual Recordings of Sbaek Thomm, the Large-Scale Shadow Theater of Cambodia
Part IV: Commissioned Art Works
	Chapter 9: Art Works
		9.1: Introduction
		9.2: Dance Drama Created by Didik Nini Thowok: Urang Rayung and Anoman Vs. Rekatha Rumpung
		9.3: Animation Work by Nanang Ananto Wicaksono: Ramayana: The Last Mission
		9.4: Choral Music Work by Ken Steven: Sinta Obong
Index