Academic literature on the topic 'Panjabi Historical drama'

This paper reviews historical materialization as repertoire in Hamka's Tenggelamnya Kapal van der Wijck novel. Repertoire is a concept attached to a theory of aesthetic response by Wolfgang Iser. Repetoire is a collection of knowledge owned by authors, consisting cultural elements (history, social, culture). Research method focused on aesthetic response which is about reading strategy and the interaction between text and its reader. It resulted in historical materialization in the form of background and foreground. "Paham Merah"/"Red Idealism" or PKI that appears in the text is stated as background in Tenggelamnya Kapal van der Wijck novel. Background leads reder's interpretation to understand foreground which is Zainuddin was PKI historical figure in Padang Panjang, Natar Zinuddin. It is supported by the presence of Muluk—Zainuddin's best friend—whom related to Muluk Nasution. The effect of idealism brought by them was the ups and downs of Haji Rasul's career in Sumatera Thawalib. It is also interpreted in a drama titled "Terusir" and "Kembali" by Zainuddin.

Andhe Andhe Lumut is a folktale that derived from many versions of Panji tales. Andhe Andhe Lumut is the popular one amongst Indonesian, especially Javanese cultures. In popular culture, there are many works in various media that derived from Andhe Andhe Lumut story. Originally, as one of Panji tales, Andhe Andhe Lumut background story takes place at Kediri Kingdom era, but most of visual works like comics, picture story books, animations, drama costumes, etc use far more modern era style of traditional Javanese culture. Beside of that, from original text, Andhe Andhe Lumut folktale is designed for adult audiences, however most Indonesians have identified that folktale is a bedtime story for children. That’s why people can’t find visual works from Andhe Andhe Lumut story for adult audiences. As mentioned before, Panji tales have many versions. They are also already popular since Majapahit era. This is proven by carvings about some scene from Panji tales at Penataran Temple Complex which most of stuctures are built at Majapahit era. Panji tales themselves are semi fictional stories. Prince Panji or Inu Kertapati is inspired from King Kameswara II, seventh king of Kingdom of Kediri, and Princess Candra Kirana is inspired from Queen Kirana from Jenggala, but in Panji tales, their origins are opposite. Panji is from Jenggala and Candra Kirana is from Kediri. Ancient Javanese temple carvings could shows anything, but always showed environmental situations when the carvers live.”Teras Pendopo” building, where Panji tales carvings are located, was built at Majapahit era, when King Hayam Wuruk reigned. It is about 100 years after fall of Kediri, so the carvings are the closest visualization of Kingdom of Kediri daily life.Visualization of Andhe Andhe Lumut folktale based on original text and Panji tales characters at Penataran Temple Complex has never done before. Panji tales at Penataran Temple itself does not tell Andhe Andhe Lumut version of Panji. This comic design, if done properly can gives a new point of view about Andhe Andhe Lumut and can be the first comic of Andhe Andhe Lumut for adult audience with some historical accuracy.