Chevening Fellowship “Manuscript Textiles in the Southeast Asian Collections” at the British Library

Open for applications until 2 November 2021

During the curation process of a major exhibition on Buddhism at the British Library in London (October 2019 – February 2020), an unexpected number of manuscript textiles in the Southeast Asian Collections came to light. These are textiles that are used to wrap around manuscripts to protect them from damage and dust, but also textiles that contain information about manuscripts, bags for the storage and transport of palm leaf manuscripts and textiles attached to scrolled paper books. In most cases, there was no or only minimal documentation and cataloguing data available for these textiles. To improve the catalogue records and to research these rare manuscript textiles, a one-year Chevening Fellowship project will be starting in September 2022.

This Chevening Fellowship is open to candidates from Cambodia, Laos, Malaysia, Myanmar, and Thailand who have a degree or work experience in a subject relevant to Southeast Asian textiles and/or Southeast Asian manuscript cultures. The project provides an opportunity to survey, assess and research these under-researched and often fragile Southeast Asian manuscript textiles, in order to provide comprehensive catalogue records and to help plan and inform future conservation work, as well as public engagement in form of a publication or curating a small public display.

More detailed information and direct access to the online application process can be found on the Chevening website.

Palm leaf manuscript, containing the Malalankara (Life of the Buddha), with a hand-woven inscribed binding tape and a wrapper made from imported printed cotton. Burma, 1883. © British Library, Or 16673

The Ramayana in Southeast Asia

Originally composed in India in Sanskrit over two and half thousand years ago by Valmiki, the Ramayana is also one of the most popular masterworks throughout Southeast Asia. This is reflected not only in the literary traditions, but also in the performing and fine arts, as well as in architecture and modern design. The epic tells the story of Rama, his brother Lakshmana and Rama’s wife Sita, who was kidnapped by the demon king Ravana. The main part of the epic is about the fight between Ravana and Rama, who wants to get his wife back. In this battle, Rama is supported by his brother and a monkey chief, Hanuman, with his armies.

Hanuman facing Ravana asleep in his palace after having abducted Sita. From a 19th century album of drawings by an anonymous Thai artist. British Library, Or.14859, pp. 58-59

Knowledge of the Ramayana in Southeast Asia can be traced back to the 5th century in stone inscriptions from Funan, the first Hindu kingdom in mainland Southeast Asia. An outstanding series of reliefs of the Battle of Lanka from the 12th century still exists at Angkor Wat in Cambodia, and Ramayana sculptures from the same period can be found at Pagan in Myanmar. Thailand’s old capital Ayutthya founded in 1347 is said to have been modelled on Ayodhya, Rama’s birthplace and setting of the Ramayana. New versions of the epic were written in poetry and prose and as dramas in Burmese, Thai, Khmer, Lao, Malay, Javanese and Balinese, and the story continues to be told in dance-dramas, music, puppet and shadow theatre throughout Southeast Asia. Most of these versions change parts of the story significantly to reflect the different natural environments, customs and cultures.

Serat Rama Keling, a modern Javanese version of the Ramayana, illuminated manuscript dated 1814. British Library, Add.12284, ff.1v-2r

When mainland Southeast Asian societies embraced Theravada Buddhism, Rama began to be regarded as a Bodhisatta, or Buddha-to-be, in a former life. In this context, the early episodes of the story were emphasized, symbolising Rama’s Buddhist virtues of filial obedience and willing renunciation. Throughout the region, Hanuman enjoys a greatly expanded role; he becomes the king of the monkeys and the most popular character in the story, and is a reflection of all the freer aspects of life. In a series of articles on the British Library’s Asian and African Studies blog, curators Annabel Gallop, San San May and Jana Igunma explore how the Ramayana epic has been rewritten and reimagined in the different parts of Southeast Asia.
To read the articles, go directly to the Asian and African Studies blog.

Mandalay Marionettes Theater Online

The ever growing Southeast Asia Digital Library (SEADL), hosted by the Northern Illinois University, has made available access to ten videos recording various aspects of the Mandalay Marionettes Theater.

In Burma, marionette puppetry has played an important role in the history and development of dramatic art and culture over the last 500 years. Burmese puppetry served as a means of making people aware of current events; as a medium for educating people in literature, history, and religion; as a display of lifestyles and customs; and as mouthpieces for the people in the days of the monarchy.

Burmese puppet theatre show, photograph by Philip A. Klier, 1895 (British Library Photo 88/1(42))

The practice of traditional marionette puppetry in Burma has waned over the decades, and is on the verge of becoming a lost art form. In 1986, Mrs. Ma Ma Naing and Mrs. Naing Yee Mar formed the Mandalay Marionettes Theater as a step in saving this rich legacy. This troupe has been working to preserve Burmese puppetry and original Burmese traditions such as Burmese dancing and music, sculpture, sequin embroidery and painting.

The Mandalay Marionettes Theater troupe has contributed an assortment of performance videos to the SEADL. Included in these is an introduction and overview to the Burmese marionette tradition; a ritual dance that is done to respect the Nats, or the guardian spirits of the area; the Himalayas dance, featuring the horse, monkey and demons; and a dance of an alchemist or the Zaw-Gyi dance. Daw Ma Ma Naing, one of the founders of the Mandalay Marionettes Theater, also gives a brief history about marionettes. Other videos highlight the skills of the puppeteers themselves, while demonstrating the dance of the two royal pages; a humorous dance performed by two villagers named U Shwe Yoe and Daw Moe; a dance between a human being and a puppet; a romantic and sentimental dance called “Myaing Da;”and a performance from the Ramayana epic where Rama chases a golden deer for his princess, Sita.

To go directly to the video collection at SEADL, click HERE.

For further information about the Mandalay Marionettes Theater, please visit http://www.mandalaymarionettes.com/.