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Color Insert Plate 1. Rearrangement of white platform in Butterfly Lovers: parting scene. (Photo: Cour- tesy of Dama Orchestra) Plate 2. Butterfly Lovers’ costumes for wedding scene. (Photo: Courtesy of Dama Orchestra) Plate 3. Tari galomban (Silat Dance) in a Randai performance of Tunang Pak Dukun (The Healer’s Fiancée), directed by Mohd. Effindi Samsuddin, performed at University Malaya’s Grand Hall. (Photo: Latimin Keman) Plate 4. A silat duel in makyong performance at University Malaya’s Experimental Theatre. (Photo: Latimin Keman) Plate 5. Mak yong from Pattani and Narathiwat in southern Thailand by Jehyeanah Saeng- dao Group as the pak yong leads the dance. (Photo: Zukifli Mohamad) Plate 6. Che Amat, noted musican, plays the crucial musical instrument in mak yong, the rebab. The opening of each play is “Meghadap Rebab” a dance paying respect to the player- teacher. (Photo: Zukifli Mohamad) Plate 7. Nyaman Karang (played by I. Wayan Dibia) in Arja Basur protects his family including Luhsukasti (played by N. Wayan Karmini) against black magic. (Photo: courtesy of I. Wayan Dibia) Plate 8. Kudiyattam performance by Arya Madhavan. (Photo: Subhash Kumarapuram) http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

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Asian Theatre Journal , Volume 29 (2) – Feb 14, 2013
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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

Plate 1. Rearrangement of white platform in Butterfly Lovers: parting scene. (Photo: Cour- tesy of Dama Orchestra) Plate 2. Butterfly Lovers’ costumes for wedding scene. (Photo: Courtesy of Dama Orchestra) Plate 3. Tari galomban (Silat Dance) in a Randai performance of Tunang Pak Dukun (The Healer’s Fiancée), directed by Mohd. Effindi Samsuddin, performed at University Malaya’s Grand Hall. (Photo: Latimin Keman) Plate 4. A silat duel in makyong performance at University Malaya’s Experimental Theatre. (Photo: Latimin Keman) Plate 5. Mak yong from Pattani and Narathiwat in southern Thailand by Jehyeanah Saeng- dao Group as the pak yong leads the dance. (Photo: Zukifli Mohamad) Plate 6. Che Amat, noted musican, plays the crucial musical instrument in mak yong, the rebab. The opening of each play is “Meghadap Rebab” a dance paying respect to the player- teacher. (Photo: Zukifli Mohamad) Plate 7. Nyaman Karang (played by I. Wayan Dibia) in Arja Basur protects his family including Luhsukasti (played by N. Wayan Karmini) against black magic. (Photo: courtesy of I. Wayan Dibia) Plate 8. Kudiyattam performance by Arya Madhavan. (Photo: Subhash Kumarapuram)

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Feb 14, 2013

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