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The coming of Islam further cemented the affiliation of the Isthmian Malays to the people of the Nusantara. However, the arts and culture of the Patani-Kelantan region (historically, extending northwards up to present-day Phatthalung) till this day carry a distinct flavour of Khmer courts of old, exemplified by Wayang Kulit (traditional shadow play depicting adapted Ramayana epics), Mak Yong (a royal court theatre combining dance, opera, drama and wry humour), Menora (a complex rhythmic dance drama depicting ancient pre-Islamic folklore) and Petri (a cryptic musical-dance spiritual cleansing ritual), all often inaccurately attributed to a “Thai” or “Siamese” origin. The T’ai (or Thai) themselves adopted and emulated these high culture from the courts of Cambodia when they rebelled against their Khmer rulers in the 13th century and formed their ancestral polities in the central Chao Phraya basin. See Geoffrey Benjamin’s “Ethnohistorical Perspectives on Kelantan’s Prehistory” in Kelantan Zaman Awal, 1987, pp.108-46, for a fascinating discourse on the linguistic-cultural evolution of the northern peninsula Malays, particularly the Patani-Kelantanese group. His hypothesis somewhat reaffirmed the socio-cultural specificities of the Patani-Kelantan Malays and their intrinsic distinction from other Malays of the peninsula.
2 comments:
What about the movie "Langkasuka"?
Based on facts or fantasy?
Amnart
Krung Thep Mahanakhon
Fantasized facts.
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