Thailand and Cambodia

The shadow theatres of these two countries are very similar. In both instances, the performances involve large shadows, called nang yai in Thailand and nang sbek in Camboida as well as smaller scale performances with jointed shadow puppets and called nang talung on both sides of the border. This theatrical genre probably owes its origins to the former kingdom of Srivijaya, which also occupied part of the Malaysian peninsula and Java. However, we do not now know exactly when even though in the case of Thailand, this date is certainly earlier than 1458 as the genre gets referenced in a law of that date.

Nang Yai and Nang Sbek

These enormous figures generally measure in excess of one and a half metres and are cut out of buffalo skins. Bordered by either floral or geometrical pattered scenarios, they may represent a simple character, usually riding an animal, or a scene containing various characters. In the lateral zones, two large sticks enable the dancers to hold the figures up above their heads. These male dancers advance in line and carry out lateral movements, with their legs apart and doubled and passing either in front of the screen or behind it. In the background, placed on a platform, burning embers illuminate the long screen. This enables the public to see the cut leather panels at the back of the screen as well as the shadows still further behind.

Various types of dance movements are distinguishable and whether representing meditation, marching, battles, parades, walks, meetings, pain and sadness, the metamorphoses, and with each type of movement also differing in accordance with the respective character type, whether princes, princesses, raksasa (giants), or mere men. The design of the panels recalls the frescos of Angkor whilst the dances resemble those of the khon masks in Thailand and the body movements of royal Cambodian ballet. They perform the Thai version of the Ramayana, the Ramakien (Reamker in Camboidan), which contains variations in relation to the Indian epic. The following passage, for example, represents Thai embellishment: Ravana appeals to Maiyarap, his son-in-low and king of the subterranean world, for him to kidnap Rama. Vibisana, Piplick in Tahi, dreams of the approaching danger and warns Hanuman, who then takes on a gigantesque form, as big as a fortress, and hides Rama, Laksmana and Piplick in his mouth and take Rama and make him prisoner in his underground kingdom. Piplick informs Hanuman about what happened and the former sneaks into the kingdom of Maiyarap on the stalk of a lotus. He then has to contront a guard who he is unable to prevail against. After questioning him, he learns that he is the son of the mermaid, daughter of Ravana, who had tried to prevent the monkeys form the crossing the sea, and who Hanuman had conquered prior to marrying Maiyarap. Understanding that the guard is his son and the latter, on discovering his father, decides to help him reach Rama and take him back to earth. Thus, he releases Rama, Hanuman returns to the subterranean kingdom and kills Maiyarap. The musicians sing the epic while the dancers present the shadow panels corresponding to that sung. Between the scenes, two storytellers sing pieces in verses, thereby reproducing the conversations of the characters prior to the arrival of the dances to the sound of the orchestra. Generally, a total of seven nights are required to portray all of the story and the over one hundred shadow panels, some of which are also shared between various different scenes. The orchestra features one or two oboes, one or two xylophones, gongs laid out in a circular patter, a horizontal two faced drum, a pair of cymbals and a pair of large vertical drums.

Prior to beginning a performance and lighting the fires, while the orchestra plays the prelude, the group’s head invokes the Master of Music, followed by the gods Shiva and Vishnu, the Master of Recitals and Dance, Rici, the wise hermit, Vidente and the genies of the water, mountains and forests, with offerings of rice, candles and incense. Following the same religious inspiration, the panels representing the gods are cut from virgin female buffalo skin. However, this theatrical genre is now a rarity in Thailand whilst in Cambodia the panels were destroyed by the Khmer Rouge, despite one group having recently been re-established.

60. Raksasa gallops off to combat. Cambodia, Nang sbek style. (Early 20th century. 2.1 CA2)
61. Piplick, Thai and Cambodian name of Vibisana, brother of Ravana who became an ally of Rama, saves Laksmana from the magic arrow fired by Indrajit, son of Ravana in the Reamker version. Cambodia, Nang sbek style. (Early 20th century. 2.1 CA10)

The Nang Talung

This represents the most popular style of theatre that existed in Cambodia prior to the Khmer Rouge and which remains very much alive in the villages in the south of Thailand. Involving small jointed shadow puppets, the style only emerged in 17th or 18th centuries under the influence of Chinese shadow theatre in keeping with the Chinese community already living in this region of Southeast Asia. The genre is now more modernised: making recourse to industrial paints and either a kerosene lamp or electric lighting, loudspeakers and even to recorded music rather than an orchestra. One rod supports the body while a second articulates the moving arm while, on occasion, there is a third should the jaw be moveable as happens in the case of the clowns. The repertoire derives from Ramaken, as in the case of the nang yai, and sometimes from jataka, reciting the previous lives of the Buddha whilst also adapting modern stories and plots that draws from the realms of cinema and television and resulting in the gods, princes and princesses, raksasa and monkeys now being joined by cowboys, prostitutes gangsters and cops. The clowns continue to play an important role in these plays and telling obscene jokes to the great amusement of the audiences.

The sacred puppet is Rich, the holy hermit portrayed with a fan. Rici represents the puppeteer who, through this means of intermediation, makes personal comments. No figure portraying a woman is able to touch him and, at the beginning of performances and following a battle between a black monkey and a white monkey represent Evil and Good, Rici takes the stage and recites holy words for protection from the spirits before a clown takes the stage and presents the respective play to be performed. When the performances take place to commemorate a wedding, they are interrupted on the actual day of the ceremony. When held for a cremation, while the body is burning, the figures and the musical instruments are actually removed from the stage itself.

62. Erotic clowns. Thailand, Nang talung style. (20th century. 2.1 TH32, 3.1 TH34)	63. Kumpakan, Thai name of Kumbakarna, the giant brother of Ravana. Thailand, Nang talung style. (20th century, 2.1 TH4)	64. Indrajit, son of Ravana, bearing the image of the god Indra, riding a white elephant in order to terrify Rama's army. Thailand, Nang yai style. (20th century, 2.1 TH7)

60. Raksasa gallops off to combat. Cambodia, Nang sbek style. (Early 20th century. 2.1 CA2)

61. Piplick, Thai and Cambodian name of Vibisana, brother of Ravana who became an ally of Rama, saves Laksmana from the magic arrow fired by Indrajit, son of Ravana in the Reamker version. Cambodia, Nang sbek style. (Early 20th century. 2.1 CA10)

62. Erotic clowns. Thailand, Nang talung style. (20th century. 2.1 TH32, 3.1 TH34)

63. Kumpakan, Thai name of Kumbakarna, the giant brother of Ravana. Thailand, Nang talung style. (20th century, 2.1 TH4)

64. Indrajit, son of Ravana, bearing the image of the god Indra, riding a white elephant in order to terrify Rama's army. Thailand, Nang yai style. (20th century, 2.1 TH7)