リケラボ論文検索は、全国の大学リポジトリにある学位論文・教授論文を一括検索できる論文検索サービスです。

リケラボ 全国の大学リポジトリにある学位論文・教授論文を一括検索するならリケラボ論文検索大学・研究所にある論文を検索できる

リケラボ 全国の大学リポジトリにある学位論文・教授論文を一括検索するならリケラボ論文検索大学・研究所にある論文を検索できる

大学・研究所にある論文を検索できる 「A Methodological Construction of Analysis on Mak Yong's Mengadap Rebab Dance to Address the Discontinuance of Data Using a Mixied-Method Approach」の論文概要。リケラボ論文検索は、全国の大学リポジトリにある学位論文・教授論文を一括検索できる論文検索サービスです。
リケラボ

コピーが完了しました

URLをコピーしました

論文の公開元へ論文の公開元へ
書き出し

A Methodological Construction of Analysis on Mak Yong's Mengadap Rebab Dance to Address the Discontinuance of Data Using a Mixied-Method Approach

Syafiq Faliq Bin Alfan 広島大学

2022.03.09

概要

Mak Yong, a traditional Malay dance theatre is regarded as one of the intangible cultural heritage by UNESCO since 2005. It combines ritual, music, dance and improvised acting to provide entertainment to its crowd since days of old. Although no documentation was found on its origin and historical narrative due to its oral tradition, Mak Yong was recorded and studied at least one hundred years old. However, the different periods of its study since the early twentieth century has led to one of the problematic issues that have yet to be criticized by its scholars, which is the discontinuance of data. There seems to be a different description of what Mak Yong is through its one hundred years of study. In addition, during the fieldwork in Southern Thailand and throughout this study, fewer people could connect the early recorded form of Mak Yong early in the twentieth century with its current form. The situation calls for a different approach than what was done in the past for the Mak Yong study. The limitation of the ethnographic study on Mak Yong was unable to address this issue of discontinuance or track any possible changes that happened in the period before the study. Due to this issue, we decided to use pragmatism as the philosophical foundation of this study as it caters to inquiry-oriented study. In addition, pragmatism philosophy allows applying a mixed-method approach to answer its inquiries, therefore overcoming the issue of limitation in an ethnographic study. We used the cultural evolution concept to connect these data with the supplementary understanding of the connection between creativity, social action, tradition and environment through George Herbert Mead’s social behaviourism and Hans Joas’ Creativity in Action theory. Using motion capture technology, we will understand the connection between environment, social culture and choreography in Mak Yong’s cultural evolution. In short, we have expanded the objective of this study into five main concerns, which are given below:

1. To understand the physical and dramatic movements of Mak Yong’s Mengadap Rebab dance through its movement pattern data obtained using motion capture.

2. To interpret the data and connect to their cultural representation from the bodily expression given in the current and previous ethnographic studies.

3. To examine the connection between the use of accessories and costumes in the dance choreography of Mengadap Rebab.

4. To connect all past ethnographic data using motion capture data and cultural evolution theory.

5. To examine the viability of using motion capture in the future studies of traditional performing arts in Malaysia.

However, to test the universality of this approach, we will also use different traditional performing art with no historical connection to Mak Yong as a comparison. If choreography in both performing arts corresponds to the background information on their environment, we can accept the connection between environment and other background information towards the dance choreography. For this study, we will be using Japanese Noh theatre to compare as they do not have a historical connection based on our literary review. We used Noh’s Hagoromo Shimai as the comparative subject to Mak Yong’s Mengadap Rebab. After the preliminary fieldwork, we decided to imitate the acquisition of dance knowledge by each dance’s community member to provide valid comparable motion capture data. Using MoCap MATLAB Toolbox created by Berger and Toiviainen in 2013, we have chosen three elements for our studies. These elements are cumulative distance by toe markers, standard deviation and velocity graph on several important markers. The cumulative distance by toe markers on both dances shows the corresponding connection between the distance travelled by toe markers with the performance space. The high value of cumulative distance in Noh’s Hagoromo Shimai shows how it corresponds to the big performance space provided in Noh theatre compared to the small one in Mak Yong. The standard deviation in Mengadap Rebab and Hagoromo Shimai shows both Mak Yong and Noh have less preference in vertical movement of the feet in their choreography. Finally, the velocity graph shows the important part of the body utilized for the dance choreography. In Mak Yong, the hands are the most important element in the dance, which corresponds to the accessories worn by the performers. Meanwhile, the feet in Noh becomes an important tool in expressing the dramatic choreography. Therefore a proper technique and socks need to be used to execute it as intended. From this experiment, we had established the universality of our hypothesis for the connection between the environment and dance choreography. It also implies that we can connect the past and present data on the Mak Yong dance. We understand that both past and present Mak Yong shares similarity as they both regard the hand as the attractive element of the performance. While in the past, they utilized Canggai or fake fingernails for their performance, particularly in Southern Thailand, today, Mak Yong in Kelantan and Kuala Lumpur use bangles to enhance the aesthetic of the performance. The Canggai is also the element that connects the Kelantan Mak Yong to its past in Southern Thailand and other forms of Mak Yong in Southeast Asia, particularly in Indonesia's Sumatran and Riau Islands.

During our fieldwork, we found that the Mak Yong community in Raman, Southern Thailand exhibits Lamarckian inheritance cultural evolution with a guided variation. Coined by Alex Mesoudi (2011: 43), it can be understood that the inherited traits were passed after changes in the lifetime of their predecessors. Meanwhile, guided variation is the characteristic of a process that causes a change in cultural variation over time. It can be defined as a change made by individuals on the information they received due to their own cognitive biases. Through interviews we made during our fieldwork, there is a tendency by the community members to modify their approach towards the tradition, and this we believe will create cultural variation over time. The same examples happen in Mak Yong's well-known personalities, such as Khatijah Awang. She, too, made improvements and adjustments to the Mak Yong tradition to keep it relevant to the contemporary audience in Kuala Lumpur. This information, together with historical documentation on the banning of Mak Yong in the nineteenth century and during the 1990s, we have a reason to believe that this caused the distinct variation between Mak Yong in Kelantan, Sumatran and Riau islands. In the case of Sumatran and Riau Islands, it was exported out of the Malay Peninsular more than one hundred years ago, which is why their style is akin to the one recorded by Skeat in early 1900. Using the approach of Mead and Joas, we could understand how these processes occur using available information. The changes in Kelantan and Southern Thailand may cause by the need of the community to protect the tradition through the ‘I’ in the individual’s self. As in the example of Khatijah Awang, changes are much easier to occur in the community where the ‘Me’ within the community is not as strong. Through this understanding, we can understand how she thrived in Kuala Lumpur as the community was not familiar with Mak Yong tradition compared to Pattani – Kelantan. However, Han Joas’ approach enlightens us on why these changes could have resulted in the discontinuance of data. In one of his tacit assumptions, he highlights that situationality is an important element in discussing the creativity of social action's. Due to creativity in action that does not necessarily fit within the means-end schema, human social action often finds themselves reflecting and changing its course over time according to their current need. In the case of Mak Yong, due to its roots in oral tradition, there is no way of tracking progress on the changes made in the tradition. Over time, each generation influences the tradition and consequently cause cultural variations to occur.

論文の公開元へ

この論文で使われている画像

関連論文

参考文献

1. A.S Hardy, S., Kong-Chiang, J. T. & Baboo, S.B. (Eds.). (2015). Makyung: Perspectives on Malaysia’s Traditional Theatre. Kuala Lumpur: Dewan Bahasa dan Pustaka.

2. Abdul Razak Mahmud. (2018). Kelantan – Patani: Ulama’ dan Intelektualisme Melayu Wilayah Timur. Kota Bharu: Majlis Agama Islam dan Adat Istiadat Melayu Kelantan.

3. Adshead, Janet (Ed.). 1988. Dance Analysis: Theory and Practice. London: Dance Books Ltd..

4. Aristidou, Andreas; Shamir, Ariel; Chrysanthou, Yiorgos. 2019. Digital Dance Ethnography: OrgaOrganisingge Dance Collections. ACM Journal on Computing and Cultural Heritage, Vol. 12, No. 4, Article 29. https://doi.org/10.1145/3344383

5. Babulal, Veena & Madaven, Nirooshini. (2019, August 2). ‘Giving recognition to traditions’. New Straits Times. https://www.nst.com.my/news/nation/2019/08/509225/giving-recognitiontraditions

6. Bacon, M. (2012). Pragmatism: An Introduction. UK: Polity Press.

7. Baker, Chris & Pasuk Phongpaichit. 2017. A History of Ayutthaya: Siam in the Early Modern World. Cambridge: Cambridge University Press.

8. Beng, T. S. & Shafii, A. S. H.. (2021). ‘A Tribute to the Remaining Makyong Performers of Yala, South Thailand’. SPAFA Journal Vol 5 (2021): SEAMO - SPAFA. DOI: https://doi.org/10.26721/spafajournal.2021.v5.678

9. Bernama. (2019, March 20). ‘Mak Yong dibenarkan jika patuh syariah, kata exco Kelantan’. Free Malaysia Today. https://www.freemalaysiatoday.com/category/bahasa/2019/03/20/mak-yongdibenarkan-jika-patuh-syariah-kata-exco/

10. Bernama. (2020, October 4). Syariah-Compliant Mak Yong Performance Received Well in Kelantan. Borneo Post Online. https://www.theborneopost.com/2020/10/04/syariah-compliant-mak-yongperformance-well-received-in-kelantan/

11. Bhawan Ruangsilp. 2007. Dutch East India Company Merchants at the Court of Ayutthaya: Dutch Perceptions of the Thai Kingdom c. 1604 – 1765. Leiden: Brill.

12. Boon Kheng, C. (comp.) & Haji Ismail, A. R. (transc.) (1998). Sejarah Melayu/The Malay Annals. Kuala Lumpur: The Malaysian Branch of Royal Asiatic Society.

13. Bougas, Wayne. Patani in the Beginning of the XVII Century. Archipel, Vol. 39, 1990. pp. 113-138;

14. Boxer, C. R. 1951. The Christian Century in Japan 1549 – 1650. California & London: University of California Press & Cambridge University Press.

15. Bradley, Francis. R.. 2009. Moral Order in a Time of Damnation: The “Hikayat Patani” in Historical Context. Journal of Southeast Asian Studies , Jun., 2009, Vol. 40, No. 2 (Jun., 2009), pp. 267-293. Cambridge: Cambridge University Press.

16. Brandon, J. R. (1967). Theatre in Southeast Asia. Massachusetts: Harvard University Press.

17. Brewer, J. (1994). The Ethnographic Critique of Ethnography: Sectarianism in the RUC. Sociology, 28(1), 231-244. Retrieved March 3, 2021, from http://www.jstor.org/stable/42855325

18. Britannica, The Editors of Encyclopaedia. “Rabāb”. Encyclopedia Britannica, 17 Jan. 2018, https://www.britannica.com/art/rabab. Accessed 3 February 2021.

19. Burger, Birgitta and Toiviainen, Petri. 2013. Mocap Toolbox – A Matlab Toolbox for Computational Analysis of Movement Data. Proceedings of the Sound and Music Computing Conference 2013, SMC 2013, Stockholm, Sweden.

20. Cady, John F. (1964). Southeast Asia: Its Historical Development. USA: McGraw – Hill Inc.

21. Caroll, C. & Caroll, R. (2013). Mudras of India: A Comprehensive Guide to the Hand Gestures of Yoga and Indian Dance. Great Britain: Singing Press.

22. Cœd s, G. (1918). Le royaume de r vijaya. In: Bulletin de l'Ecole fran aise d'Extr me-Orient. Tome 18, 1918. pp. 1-36; doi : https://doi.org/10.3406/befeo.1918.5894 https://www.persee.fr/doc/befeo_0336-1519_1918_num_18_1_5894. Retrieved on 11 February 2021.

23. Cœd s, G. (1975). The Indianized State of Southeast Asia. Canberra: The Australian National University Press.

24. Cuisinier, J. (1936). Travaux Et Memoires De L’Institut D’ethnologie XXII - Danses Magiques de Kelantan. Paris: Université de Paris, Institut D’ethnologie

25. Cuisinier, Jeanne. 1936. Danses Magiques de Kelantan. Paris: Travaux et Memoires de I’Institut de’Ethnologie de l’Universite de Paris 22.

26. Darmawan, A. (2021). A Methodological Examination of Multidisciplinary Research of Mak Yong Theatre: Text, Heritage, and Performance. SPAFA Journal Vol 5 (2021). https://doi.org/10.26721/spafajournal.2021.v5.680

27. Darwin, C. (2009). The Origin of Species: By Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life. New York: Cambridge University Press.

28. Darwin, Charles. (1981). Descent of Man, and Selection in Relation to Sex. New Jersey: Princeton University Press.

29. Davies, D. W.. 1961. A Primer of Dutch Seventeenth Century Overseas Trade. The Hague: Springer Science + Business Media Dordrecht.

30. De Josselin de Jong, P. (1961). Who’s Who in the Malay Annals. Journal of the Malayan Branch of the Royal Asiatic Society, 34(2 (194)), 1-89. Retrieved February 11, 2021, from http://www.jstor.org/stable/41505506

31. Deenerwan, M. (2017). Costume, Make-Up and Props. In Nasuruddin, M. G. (Eds.). Mak Yong – Malaysian Legacy World Heritage. (pp. 195 – 236). Kuala Lumpur: The Department of National Heritage, Ministry of Tourism and Culture Malaysia.

32. Delbridge, Matt. 2015. Motion Capture in Performance: An Introduction. Basingstoke: Palgrave Macmillan.

33. Dewan Bahasa dan Pustaka. (1996). Kamus Dewan Edisi Ketiga. Kementerian Pendidikan Malaysia: Kuala Lumpur.

34. Dewey, J. 1988. Experience, knowledge and value: A rejoinder. 1939. In John Dewey The Later Works 1925–1953, Vol. 14: 1939–1941, Essays, ed. Jo Ann Boydston, 3–90. Carbondale and Edwardsville: Southern Illinois University Press.

35. Engel, Heino. 2020. Measures and Construction of the Japanese House. Malaysia: Tuttle Publishing.

36. Farok Zakaria, (2011) Khatijah Awang dan Seri Temenggong: satu kajian kes terhadap keusahawanan seni. In: Festival & Seminar Kebangsaan Tradisi Lisan Dan Keusahawanan Warisan, 16-18 Oct 2011, Universiti Malaysia Kelantan, Kampus Bachok, Bachok , Kelantan. (Unpublished).

37. Fetterman, D. M.. (2010). Ethnography: Step-by-step, Third Edition. USA: SAGE Publications, Inc.

38. G.R. Lambert & Co (Singapore) (A). 1903. Ma'joeng dans- en toneelspel te Penang (Digital Image). Leiden University Libraries Digital Collections. http://hdl.handle.net/1887.1/item:788115

39. G.R. Lambert & Co (Singapore) (B). 1903. Ma'joeng dans- en toneelspel te Perak (Digital Image). Leiden University Libraries Digital Collections. http://hdl.handle.net/1887.1/item:783031

40. Gerini, G. (1905). The Nagarakretagama List of Countries on the Indo-Chinese Mainland (Circâ 1380 A.D.). The Journal of the Royal Asiatic Society of Great Britain and Ireland, 485-511. Retrieved February 11, 2021, from http://www.jstor.org/stable/25210168

41. Ghulam – Sarwar, Yousof. 1992. Panggung Semar. Selangor: Tempo Publishing.

42. Ghulam – Sarwar, Yousof. 2014. Issues in Traditional Malaysian Culture. Singapore: Partridge.

43. Ghulam – Sarwar, Yousof. 2018. Mak Yong Through the Ages – Kelantan’s Traditional Dance Theatre. Kuala Lumpur: University of Malaya Press.

44. Ghulam-Sarwar, Yousof. (1976). The Kelaantan Mak Yong Dance Theatre – A Study of Performance Structure. University of Hawaii. Unpublished Disseration.

45. Ghulam-Sarwar, Yousof. 2004. Panggung Inu: Essays on Malay Traditional Theatre. Singapore: UniPress.

46. Golshani, Forouzan; Vissicaro, Pegge & Park, Youngchoon. 2004. A Multimedia Repository for Cross Cultural Dance Studies. Multimedia Tools and Applications, 24, 89 – 103.

47. Gordon, S. I. & Guilfoos, B. (2017). Introduction to Modeling and Simulation with MATLAB® and Python. Florida: CRC Press.

48. Haack, S. (1998). Manifesto of a Passionate Moderate: Unfashionable Essays. Chicago: University of Chicago Press.

49. Habsah, Mohd Noordin. 1999. Mak Yong Kelantan – Satu Kajian Estetika Seni. Kuala Lumpur: University Malaya. Unpublish Dissertation.

50. Haji Salleh, S. H. (Ed.). (2010). Hikayat Patani. Kuala Lumpur, Malaysia: Dewan Bahasa dan Pustaka.

51. Hall, D. G. E. (1968). A History of Southeast Asia (3rd Edition). New York, USA: St. Martin’s Press.

52. Hall, K. R. (2011). History of Early Southeast Asia: Maritime Trade and Societal Development. Maryland, United States of America: Rowman & Littlefield Publishers, Inc.

53. Hammersley, M. & Atkinson, P. (2007). Ethnography: Principles in Practice – Third Edition. Routledge: New York.

54. Hammersley, Martyn. 1992. What’s Wrong with Ethnography: Methodological Explorations. New York: Routledge.

55. Hardwick, Patricia. 2014. The Body Becoming: Transformative Performance in Malaysian Mak Yong. Music & Medicine (2014) Volume 6 Issue 1 Pages 40 – 48. DOI: http://dx.doi.org/10.47513/mmd.v6i1.151

56. Heejung, K. (2015). Kunlun and Kunlun Slaves as Buddhist in the Eyes of Tang Chinese. KEMANUSIAAN Vol. 22, No. 1, (2015, pp 27 – 52), Penang, Malaysia: Penerbit USM.

57. Hirth, F. & Rockhill, W. W. (trans.). (1911). Chau Ju-Kua: his work on the Chinese and Arab trade in the twelfth and thirteenth centuries, entitled Chu-fanchï. St. Petersburg: Imperial Academy of Sciences.

58. Hussein, Muhammad Saiful Haq; Abdul Aziz, Noorhanisah; Abdul Wahid, Puteri Roslina. (2013). Konseptologi Dalam Terminologi Makyung. Jurnal Pengajian Melayu (S.l.), v. 24, n. 1, p. 158-185, (Dec. 2013). Available at: . Date accessed: 15 Jan. 2019.

59. Ibrahim Syukri. (2002). Sejarah Kerajaan Melayu Patani. Bangi: Penerbit Universiti Kebangsaan Malaysia.

60. Idris, S. R. (2020, October 16). Mak Yong Patuh Syariah di Kelantan. BH Online. https://www.bharian.com.my/rencana/sastera/2020/10/742447/mak-yongpatuh-syariah-di-kelantan

61. Inoura, Y. & Kawatake, T. (1981). The Traditional Theater of Japan. Tokyo, Japan: The Japan Foundation.

62. Jacq-Hergoualc’h, M. (2002). The Malay Peninsula: Crossroads of the Maritime Silk Road (100 BC – 1300 AD). Hobson, V. (Trans.) Leiden, The Netherlands: Koninklijke Brill N.V..

63. James, William. (2007). Great Man, Great Thoughts and the Environment. Brock University: The Mead Project. https://brocku.ca/MeadProject/James/James_1880.html

64. Joas, Hans. (1996). The Creativity of Action. Gaines, J. & Keast, P. (Trans.). UK: Polity Press

65. Johnson, R.B., de Waal, C., Stefurak, T. et al. (2017). “Understanding the philosophical positions of classical and neopragmatists for mixed methods research”. Köln Z Soziol 69, 63–86 (2017). https://doi.org/10.1007/s11577-017- 0452-3

66. Khan, M. H. A. (2017). Mak Yong: Malaysia’s Heritage, the World’s Heritage. In Nasuruddin, M. G. (Eds.). Mak Yong – Malaysian Legacy World Heritage. (pp. 3 – 32). Kuala Lumpur: The Department of National Heritage, Ministry of Tourism and Culture Malaysia.

67. Kinue Oshima. (2017). O-Noh Yomotsukiji. Japan: Kita-ryu Oshima Noh Theater.

68. Kitagawa, Midori & Windsor, Brian. (2008). MoCap for Artists: Workflow and Techniques for Motion Capture. Massachusetts: Elsevier, Inc.

69. Komparu, Kunio. 1983. The Noh Theater – Principles and Perspectives. Tokyo: John Weatherhill.

70. Kozaburo Hachimura. "Digital Archiving of Dancing." Review of the National Center for Digitization (2006): 51-66. .

71. Laderman, C. (1993). Taming the Wind of Desire: Psychology, Medicine, and Aesthetics in Malay Shamanistic Performance. Berkeley: University of California Press.

72. Laderman, Carol. 1993. Taming the Wind of Desire: Psychology, Medicine, and Aesthetics in Malay Shamanistic Performance. California: University of California.

73. Landis, K. & Macaulay, S. (2017). Cultural Performance: Ethnographic Approaches to Performance Studies. London: Red Globe Press.

74. Lears, T. J. J. (1985). Cultural Hegemony: Problems and Possibilities, The American Historical Review, Vol. 90, No. 3 (June 1985), pp 567-593. Oxford, United Kingdom: Oxford University Press.

75. Legg, C. & Hookway, C. (2020). Pragmatism. In E. N. Zalta (Ed.), The Stanford Encyclopedia of Philosophy (Fall 2020 ed.), https://plato.stanford.edu/archives/fall2020/entries/pragmatism/

76. Lela Erwany. 2020. Perkembangan Tradisi Lisan Mak Yong di Indonesia. Bahterasia (1) (2020). Medan: Universitas Muhammadiyah Sumatera Utara.

77. Li, A. (2012). A History of Overseas Chinese in Africa. New York: Diasporic Africa Press. London: Printed by F.L. for Tho. Horne, Francis Saunders, and Tho. Bennet.

78. M. Taib, Osman (Trans.). (2004). Hikayat Seri Kelantan. Kuala Lumpur: Dewan Bahasa dan Pustaka (In Malay)

79. Mahmud, A. R. (2017). Ikhtisar Sejarah Kelantan. Kota Bharu: Majlis Agama Islam dan Adat Istiadat Melayu Kelantan.

80. Malaysia National Cultural Policy 1971. (2019). https://www.pmo.gov.my/ms/2019/07/dasar-kebudayaankebangsaan/?highlight=dasar%20kebudayaan%20kebangsaan (In Malay)

81. Mason, R. H. P. & Caiger, J. G.. 1997. A History of Japan. Singapore: Tuttle Publishing.

82. Maton, K. (2008). Habitus. In M. Grenfell (Ed.). Pierre Bourdieu: Key Concepts. (pp. 49-65). Durham, United Kingdom: Acumen.

83. Mcintrye, I. (2007). Kelantan Refuses to Lift Mak Yong Ban. Kuala Lumpur, Malaysia: The Star.

84. Mead, George Herbert. (1934). Mind, Self and Society: From the Standpoint of Social Behaviorist. Morris, C. W. (ed.). USA: The University of Chicago Press.

85. Menache, Alberto. 2011. Understanding Motion Capture for Computer Animation – Second Edition. Masschussets: Elsevier, Inc.

86. Mesoudi, Alex. 2011. Cultural Evolution – How Darwinian Theory Can Explain Human Culture and Synthesize the Social Sciences. Chicago: University of Chicago Press.

87. Miettinen, J. O. (2008). Dance Images in Temples of Mainland Southeast Asia. Helsinki: Theatre Academy.

88. Misak, C. (ed.). (2007). New Pragmatists. New York: Oxford University Press.

89. Mohd Noordin, H. (1999). Mak Yong Kelantan: Satu Kajian Estetika Seni (Unpublished master’s thesis). Kuala Lumpur, Malaysia: Universiti Malaya.

90. Mohd. Ghouse, Nasuruddin. 1995. The Malay Dance. Selangor: Dewan Bahasa danPustaka.

91. Mohd. Ghouse, Nasuruddin. 1995. The Malay Dance. Selangor: Dewan Bahasa dan Pustaka.

92. Morris, D. (2002). Peoplewatching. London: Vintage.

93. Nabihah Hamid. (2019, Sept. 26). ‘Activist accuses Kelantan of killing mak yong’s spirit with lifting of ban’. The Malaysian Insight. https://www.themalaysianinsight.com/s/186014

94. Nor Hatina, Shuib. (2018, October 31). ‘Pewaris mahu bawa Mak Yong ke pentas global’. https://www.bharian.com.my/wanita/lainlain/2018/10/492604/pewaris-mahu-bawa-mak-yong-ke-pentas-global

95. O’Neill, P. G.. 1958. Early Nō Drama – Its Background, Character and Development 1300 – 1450. London: Lund Humphries.

96. Ortolani, B. (1995). The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism, Rev. Edition (pp. 107), USA: Princeton University Press.

97. Ortolani, Benito. 1990. The Japanese Theatre. New Jersey: Princeton University Press.

98. Parent, Rick et al. (2010). Computer Animation Complete - All-in-one: Learn Motion Capture, Characteristics, Point-Based, and Maya Winning Techniques. Massachusetts: Elsevier, Inc.

99. Patarawdee, Puchadapirom. 2006. The Evolution of Entertainment Culture in Thai Socviety: From Sacredness to Popularity. Manusya: Journal of Humanities. Vol. 9: No. 2. pp 1 – 17.

100. Paul, J. (2005). Art as Weltanschauung: An Overview of Theory in the Sociology of Art, Electronic Journal of Sociology (2005). Available at: . Date accessed: 1 Jan. 2019.

101. Peirce, C. S. (2011). The Fixation of Belief. In R. B. Talisse & S. F. Aikin (Eds.). The Pragmatism Reader: From Peirce Through the Present (pp. 82 – 108). New Jersey: Princeton University Press.

102. Peirce, C. S., de Waal, C. (ed.). (2014). Illustration of the Logic of Science. Chicago: Open Court Publishing.

103. Pudentia, MPSS. (2010). The Revitalization of Mak Yong in the Malay World, Wacana, Vol. 12 No. 1 (April 2010), (pp 1-19), Depok, Indonesia: University of Indonesia.

104. Qualisys. (n.d.). ‘Qualisys Track Manager (QTM)’. https://www.qualisys.com/software/qualisys-track-manager/

105. Reid, A. (2013). Patani as a Paradigm of Pluralism. In Jory, P. (Eds.). Ghost of the Past in Southern Thailand: Essays on History and Historiography of Patani (pp. 3 – 30). Singapore: National University of Singapore.

106. Rimer, J. T. & Masakazu, Y. (1984). On the Art of Nō Drama: The Major Treatises of Zeami. Prince, N. J.: Princeton University Press.

107. Rockhill, W. (1915). Notes on the Relations and Trade of China with the Eastern Archipelago and the Coast of the Indian Ocean during the Fourteenth Century. Part II. T'oung Pao, 16(1), second series, 61-159. Retrieved February 9, 2021, from http://www.jstor.org/stable/4526442

108. Sachs, Curt. (2006). The History of Musical Instruments. New York: Dover Publications, Inc.

109. Shaffer, L. N. (1996). Maritime Southeast Asia to 1500. USA: M. E. Sharpe, Inc.

110. Sheppard, Mubin. 1972. Taman Indera, A Royal Pleasure Ground – Malay Decorative Arts and Pastimes. Kuala Lumpur: Oxford University Press.

111. Siti Rohana, Idris. (2020, October 16). ‘Mak Yong patuh syariah di Kelantan’. Bhonline. https://www.bharian.com.my/rencana/sastera/2020/10/742447/mak-yongpatuh-syariah-di-kelantan

112. Siti Rohana, Idris. (2020, October 16). ‘Mak Yong patuh syariah di Kelantan’. Bhonline. https://www.bharian.com.my/rencana/sastera/2020/10/742447/mak-yongpatuh-syariah-di-kelantan (In Malay)

113. Skeat, W. W. (1900). Malay Magic. London, United Kingdom: Macmillian and Co., Limited.

114. Skeat, W. W. 1900. Malay Magic. New York: The Macmillan Company.

115. Soedarsono, R. M. (1984). Wayang Wong: The State Ritual Dance Drama in the Court of Yogyakarta. Yogyakarta, Indonesia: Gadjah Mada Press.

116. Sooi-Beng, T. (1988). The Thai “Menora” in Malaysia: Adapting to the Chinese Penang Community. Asian Folklore Studies Vol. 47, No. 1 (1988), pp. 19-34. Nanzan University. DOI: http://www.jstor.org/stable/1178249

117. Stefan Amirell. (2011). The blessings and perils of female rule: New perspectives on the reigning queens of Patani, c. 1584–1718. Journal of Southeast Asian Studies, 42(2), pp 303–323 June 2011. The National University of Singapore.

118. Suan, C. L & Mohammad Afiq, K. A. (2018). The Healing Angin in Psychological Therapy of Mak Yong. Advances in Natural and Applied Sciences, 2018 January; 12 (1), pp 15 – 18. AENSI Publication. DOI: 10.22587/anas.2018.12.1.4.

119. Suriyami, Abas. (2009). A Study on Stylistic Development of Mak Yong Costume in Malaysia (Unpublished Master’s Thesis). Selangor, Malaysia: Universiti Teknologi Mara.

120. Suwannathat-Pian, K. (1984). The 1902 Siamese-Kelantan Treaty: an End to the Traditional Relations. Journal of the Siam Society Vol. 72 (Jan & July 1984) pp 95-139, Bangkok, Thailand: The Siam Society.

121. Suwannathat-Pian, K. (1984). The Quiet Affairs in the Siamese-Malay Relations in the nineteenth century. Jebat 13 (1984/1985) pp. 19-28. Selangor, Malaysia: Universiti Kebangsaan Malaysia.

122. Sweeney, Amin. 1973. Journal of the Malaysian Branch of the Royal Asiatic Society , 1973, Vol. 46, No. 2 (224) (1973), pp. 1-53. Doi: https://www.jstor.org/stable/41492077.

123. Swettenham, F. (1878, July). A Malay Nautch, Journal of the Straits Branch of the Asiatic Society No. I. Singapore.

124. Syafiq Faliq, Bin Alfan. 2020. ‘Sustaining Mak Yong – Main Puteri in Raman: A Discussion of Its Existance in Cultural Evolutionary Thread’. Jurai Sembah, 1 (2).

125. Syed Alwi, S. A-H. (1986). Adat Resam dan Adat Istiadat Melayu. Kuala Lumpur: Dewan Bahasa dan Pustaka.

126. Tanner, Jeremy (Ed.) (2003). The Sociology of Art: A Reader. London, United Kingdom: Routledge.

127. Teddlie, C. & Tashakkori, A.. (2009). Foundations of Mixed Method Research: Integrating Quantitative and Qualitative Approaches in the Social and Behavioral Sciences. USA: Sage Publications, Inc.

128. Teeuw, A. & Wyatt, D. K.. (1970). Hikayat Patani – The Story of Patani. The Hague: Springer – Science Business Media, B.V.

129. Tyler, Royall. 1992. Japanese Nō Dramas. London: Penguin Books.

130. United Nations Educational, Scientific and Cultural Organisation. (2008). Convention for the Safeguarding of the Intangible Cultural Heritage: Intergovernmental Committee for the Safe Guarding of Intangible Cultural Heritage, ITH/08/3.COM/CONF.203/1 (4-8 November 2008). Istanbul, Turkey. Available from

131. Wade, G. (2013). The Patani Region in Chinese Texts of the 6th to the 19th Centuries. In Jory, P. (Eds.). Ghost of the Past in Southern Thailand: Essays on History and Historiography of Patani (pp. 53 – 86). Singapore: National University of Singapore.

132. Wakita, Wataru; Tanaka, Shiro; Furukawa, Kohei; Hachimura, Kozaburo Hachimura; and Tanaka, Hiromi T. 2015. Digital Archiving of Takigi Noh Based on Reflectance Analysis. R. Shumaker and S. Lackey (Eds.): VAMR 2015, LNCS 9179, pp. 398408, 2015. DOI: 10.1007/978-3-319-21067- 4_41

133. West, C. (1989). The American Evasion of Philosophy: A Genealogy of Pragmatism. The University of Wisconsin Press: Wisconsin.

134. Wheatley, P. (1961). The Golden Khersonese – studies in the historical geography of the Malay Peninsula before A.D. 1500. Kuala Lumpur: University of Malaya Press.

135. Winstedt, R. (1938). The Malay Annals of Sejarah Melayu. Journal of the Malayan Branch of the Royal Asiatic Society, 16(3 (132)), 1-226. Retrieved February 11, 2021, from http://www.jstor.org/stable/41559927

136. Wolcott, Harry. 2009. Writing up Qualitative Research (Third Edition). USA: SAGE Publications, Inc.

137. Wood, W. A. R. (1924). History of Siam. London, United Kingdom: T. Fisher Unwin, Ltd.

138. Yoshioka, Shinsuke; Ueda, Kazuhiro; Morita, Yui; Morita, Toshio; Fukashiro, Senshi. 2012. Kinetic Features of Sliding Walk in Nogaku. Journal of Trainology 2012; 1: 10 – 13.

139. Zahana, B & Habsah, N. (1999). Khatijah Awang – Penerima Anugerah Seni Negara. Department of National Heritage, Ministry of Tourism and Culture Malaysia: Selangor. (In Malay)

140. Zurairi, AR. (2019, September 25.) ‘Kelantan lifts Mak Yong ban after two decades, but insists performances must be Shariah-compliant. Malay Mail. https://www.malaymail.com/news/malaysia/2019/09/25/kelantan-lifts-makyong-ban-after-two-decades-but-insists-performances-must/1794202

参考文献をもっと見る