This historic publication provides the most thorough documentation of wayang kulit Kelantan (a Malay shadow play from the Ramayana tradition) shaped by centuries of cultural exchange and performance innovation. Drawing upon years of research, fieldwork, and interviews with master puppeteers, this work examines how various versions of the Ramayana (Javanese, Thai, and the Malay oral folk narrative, Hikayat Maharaja Wana) penetrated into Kelantan’s shadow play, not through written texts but through living theatre traditions such as wayang kulit Melayu and nang talung. The result is a rich and dynamic performance heritage, where names and stories of the characters shift through improvisation, invention, and artistic necessity. The study involved conscientious examination of Indian and Southeast Asian Ramayana texts in translation, and writings on shadow play traditions across the region. At the core of the project is the unprecedented photographic documentation of more than 1,200 puppets from collections across Kelantan, Kuala Lumpur, and Penang; showcasing the craftsmanship of the anonymous and renowned puppet-makers and dalang (master puppeteers). Among the contributors to these collections are some of the most respected figures in the field: Rahim bin Hamzah (Pak Hamzah), Eyo Hock Seng, Muhammad Dain bin Othman, Pak Yusoff, Pak Nasir of the National Arts Academy, and Dollah Baju Merah, whose works are now housed in the University of Malaya Museum. Many of the puppets presented in this work are over 50 years old, some to the years immediately following World War II. They are of figures now relegated to history and long forgotten by today’s performers. In this book, they are restored to visibility through careful study and striking photography, serving as both artistic treasures and cultural witnesses. This documentation is more than just a catalogue, it is an exploration of transformation, continuity, and loss. It highlights how wayang kulit Kelantan simplifies and reimagines the moral and philosophical dimensions of the Ramayana to capture its essence in drama and emotion suited for local audiences. At a time when this once-flourishing art form stands on the brink of extinction, with only a handful of puppeteers still active, this documentation appears as a method of both preservation and a tribute. Captured over the final months of 2014, it marks the last comprehensive record of a living tradition that may never again be seen in such depth. This book stands as a testament to the creativity, resilience, and artistry of Kelantan’s shadow play; a legacy now safeguarded for generations to come.

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