In lieu of an abstract, here is a brief excerpt of the content:

  • Color Insert

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Plate 1.

Rearrangement of white platform in Butterfly Lovers: parting scene. (Photo: Courtesy of Dama Orchestra)


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Plate 2.

Plate 2. Butterfly Lovers’ costumes for wedding scene. (Photo: Courtesy of Dama Orchestra)


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Plate 3.

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)


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Plate 4.

Plate 4. A silat duel in makyong performance at University Malaya’s Experimental Theatre. (Photo: Latimin Keman)


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Plate 5.

Plate 5. Mak yong from Pattani and Narathiwat in southern Thailand by Jehyeanah Saengdao Group as the pak yong leads the dance. (Photo: Zukifli Mohamad)


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Plate 6.

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)


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Plate 7.

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)


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Plate 8.

Plate 8. Kudiyattam performance by Arya Madhavan. (Photo: Subhash Kumarapuram)

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Additional Information

ISSN
1527-2109
Print ISSN
0742-5457
Pages
pp. Color Insert 1-Color Insert 6
Launched on MUSE
2013-02-14
Open Access
No
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