How do Southeast Asian artist help us understand the character traits of their countrymen?
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Southeast Asian arts, the literary, performing, and visual arts of Southeast Asia. Although the cultural development of the area was once dominated by Indian influence, a number of cohesive traits predate the Indian influence.
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Characteristics of drama
Thematic origins and materials
Most traditional plays and dramatic dances are derived from mythological and legendary sources. The tribal epics that relate the origin of the Ifugao and the Bicolano peoples in the Philippines and a number of animistic stories in Indonesian shadow theatre are indigenous myths of great age, while the widely used, romantic Pandji cycle from Java and the Thai King Abhai Mani and Khun Chang Khun Phan are more recent local legends. The most important dramatic sources, however, are borrowed from the Indian Ramayana and Mahabharata epics, from the Jataka Buddhist birth stories, from Chinese novels (such as The Romance of the Three Kingdoms) and Chinese operas, and from a host of Islamic stories, including the Thousand and One Nights and the Amīr Ḥamzah tales. These foreign stories are turned into local legends. For example, the Indian Prince Rama becomes a Thai, a Balinese, or a Javanese prince, embodying the heroic traits admired in each of these countries.
Characteristics of drama
Thematic origins and materials
Most traditional plays and dramatic dances are derived from mythological and legendary sources. The tribal epics that relate the origin of the Ifugao and the Bicolano peoples in the Philippines and a number of animistic stories in Indonesian shadow theatre are indigenous myths of great age, while the widely used, romantic Pandji cycle from Java and the Thai King Abhai Mani and Khun Chang Khun Phan are more recent local legends. The most important dramatic sources, however, are borrowed from the Indian Ramayana and Mahabharata epics, from the Jataka Buddhist birth stories, from Chinese novels (such as The Romance of the Three Kingdoms) and Chinese operas, and from a host of Islamic stories, including the Thousand and One Nights and the Amīr Ḥamzah tales. These foreign stories are turned into local legends. For example, the Indian Prince Rama becomes a Thai, a Balinese, or a Javanese prince, embodying the heroic traits admired in each of these countries.
Plays are invariably extensive and have many scenes. It is not unusual for a play to present action over several generations, an indication of the value placed on cultural continuity. A recurring theme concerns restoration of harmony on earth by a ruler acting in accord with divine law. A kingdom is restored, a prince unjustly exiled returns to assume his throne, a usurper is punished, or the prosperity of the land is assured by consummating a particularly desirable marriage. As in Western drama, the hero gains his ends through struggle. Because he acts as the human representative on earth of the known cosmic will, however, his actions exhibit a natural sweetness and serenity, even in the midst of violence, that is foreign to Western drama. Meditation is often the means whereby the hero gains the power to achieve his goal. In more recent plays based on local history and on contemporary events, the assumption of cosmic harmony has been muted, and emphasis has shifted to depicting human conflicts—nationalist versus Western colonialist, modern daughter versus conservative parents, for example—that may or may not resolve happily.
Characters
Gods, demigods, kings descended from the gods, and princes and princesses are the heroes and heroines of traditional drama and dance. Powerful religious seers advise them, allies and ministers serve them, crude foreign ogres oppose them, and grotesque, slapstick clown-servants are their attendants. The clowns have been the subject of much speculation. Like the vidushaka clown of Indian Sanskrit drama, they are gluttons, practical and even cynical, and confidants to their masters’ passions and weaknesses. Scholars have theorized that the chief Javanese clown figure, Semar, is derived from an ancient Javanese god who was deposed from his supreme position by the introduction into the drama of the later Hindu gods. In the midst of mythological plays, the clowns comment irreverently on political or social issues of the day, seemingly as spokesmen for the common man in an otherwise aristocratic world. Comic and serious scenes alternate.
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