1. Student's full name: Nguyen Mai Phuong 2. Gender: Female
3. Date of birth: January 26, 1998
4. Place of birth: Hanoi
5. Student recognition decision No. 2168/QD-XHNV dated November 19, 2020 of the President of the University of Social Sciences and Humanities, Vietnam National University, Hanoi.
6. Changes in the training process:
(record the forms of change and the corresponding time)
7. Thesis topic: Shadow puppetry in Southeast Asia: A case study of Wayang Kulit (Indonesia), compared with Wayang Kulit Kelantan (Malaysia) and Nang Yai (Thailand).
8. Major: World History Code: 8229010.03
9. Scientific advisor: Associate Professor, Dr. Pham Van Thuy, Faculty of History, University of Social Sciences and Humanities, Vietnam National University, Hanoi.
10. Summary of thesis results:
The thesis focuses on presenting and explaining the characteristics of the history of the formation and development of shadow puppetry in Southeast Asia with a typical case study of Wayang Kulit in Indonesia in comparison with Wayang Kulit Kelantan in Malaysia and Nang Yai in Thailand. Wayang Kulit is a traditional shadow puppetry art form of Indonesia, a product combining five elements: puppets (wayang), music (gamelan), spirituality (kulit), mythology (lakon) and storytelling (dalang). Through the study of the nature and implementation of performance activities, the thesis makes a specific conclusion that Wayang Kulit is a complete integration of indigenous elements (Malay) and exogenous elements (India) creating a unique feature that has lasted throughout Indonesian history. In which, the indigenous element plays the role of foundation and material, while the exogenous element is the soul and vitality that brings Wayang Kulit from a folk custom to a representative art form of Southeast Asia and is famous all over the world. In a comparative view between the shadow puppetry art of Wayang Kulit in Indonesia with Wayang Kulit Kelantan in Malaysia and Nang Yai in Thailand, we can imagine the similarities and differences in the puppetry forms that represent the Southeast Asian region. The most directly noticeable similarity is the same performance method when harmoniously combining the role of the storyteller - puppeteer with the supporting orchestra and lighting elements. The similarity is also shown through the common cultural and aesthetic values inherited from the origin of Indian art, promoting and respecting noble humanistic values, aiming for goodness, goodness will always triumph over evil, and good people will always be blessed. Besides the similarities, there are also differences between the three art forms of Southeast Asia determined by indigenous cultural factors, reflecting the unique features of each country and meeting the practical needs in the religious and artistic life of the residents of each country.
11. Practical application:
The thesis explains why Wayang Kulit shadow puppetry has such an important influence on all areas of Indonesian society and has maintained its enduring appeal throughout nearly twenty centuries of formation and development. Thereby, the thesis offers some lessons for performing units and cultural management units in the context of a society where many traditional arts of Vietnam are gradually fading away. The thesis also represents a new interdisciplinary research direction when focusing on studying an art form, a performance form from a historical perspective, as a historical element. The thesis can be considered as a document for research and teaching about World History in general and Southeast Asian history in particular.
12. Further research directions:
From the studies on shadow puppetry in Southeast Asia, typically Wayang Kulit in Indonesia, in the future, students will continue to pursue research on the history of phenomena, cultural and artistic values in Southeast Asia in particular and in the world in general. In addition, comparative studies between cultural, artistic and ethnic values of the regions will also be further researched.
13. Published works related to the thesis:
INFORMATION ON MASTER'S THESIS
1. Full name: Nguyen Mai Phuong . 2. Sex: Female
3. Date of birth: 26th January 1998 4. Place of birth: Hanoi
5. Admission decision number: 2168/QD-XHNV dated 19th November 2020
6. Changes in academic process:
(List the forms of change and corresponding times)
7. Official thesis title: Shadow puppetry in Southeast Asia: A case study of Wayang Kulit (Indonesia), comparison with Wayang Kulit Kelantan (Malaysia) and Nang Yai (Thailand).
8. Major: World History Code: 8229010.03
9. Supervisors: Assoc. Prof. Dr. Pham Van Thuy, Faculty of History, University of Social Sciences and Humanities, Vietnam National University, Hanoi.
10. Summary of the findings of the thesis:
The thesis focuses on presenting and explaining the characteristics and the history of the formation and development of shadow puppetry in Southeast Asia with the case study of Wayang Kulit in Indonesia in a comparison with Wayang Kulit Kelantan in Malaysia and Nang Yai in Thailand. Wayang Kulit is a traditional shadow puppetry art form of Indonesia, a product that combines five elements of puppetry (wayang), music (gamelan), spirituality (kulit), mythology (lakon) and storytelling (dalang). Through the study of the implementation of performance activities, the thesis makes a specific statement that Wayang Kulit is a complete integration of indigenous elements (Malay) with exogenous elements (Indian) to create a distinctive feature that endures throughout Indonesian history. In particular, the indigenous element plays the fundamental role, the material, while the exogenous factor is the soul and vitality, bringing Wayang Kulit from folk conventionality to an art form representing Southeast Asia and to become famous worldwide. By comparing the shadow puppetry of Indonesian Wayang Kulit with Malaysian Wayang Kulit Kelantan and Thai Nang Yai, we can see the similarities and differences in the types of puppetry representing Southeast Asia. The most directly noticeable similarity is the same performance method when harmoniously combining the role of the narrator-puppeteer with an auxiliary orchestra and lighting. The similarity is also reflected in the cultural quintessence and common aesthetic values inherited from the Indian artistic origin, upholding and respecting the noble human values in society, towards the good, good will always triumph over evil, and the most righteous will always be blessed. In addition to those very common similarities, among the three art forms of Southeast Asia, there are also very specific differences that are regulated by the indigenous cultural factors of each land, showing the unique characteristics of each region and meeting the actual needs of the religious and artistic life of the residents.
11. Practical applicability, if any:
The thesis explains why Wayang Kulit shadow puppetry has an important influence on all areas of Indonesian society and retains its lasting attraction throughout nearly twenty centuries of formation and development. Thereby, it is possible to draw lessons for performance units and cultural management units in the context of a society where many traditional arts of Vietnam are gradually disappearing. The thesis also represents a new interdisciplinary research direction when focusing on studying an art discipline, a performance form from a historical perspective, as a historical element. The thesis can be seen as a document for research and teaching about World History in general and Southeast Asian history in particular.
12. Further research directions, if any:
From studies on shadow puppetry in Southeast Asia, typically Wayang Kulit in Indonesia, in the future, students will continue to pursue research on the history of phenomena, cultural, artistic values in Southeast Asia and in the world. In addition, comparative studies between the cultural, artistic and ethnic values of the regions will also be further studied.
13. Thesis-related publications:
