From Tribal Hut to Royal Palace: The Dialectic of Equality and Hierarchy in Austronesian Southeast Asia

In the Nusantara archipelago, the process of Islamization began with port cities which were at the same time the royal capital, such as Samuera Pasai and Malacca, which later became the center of the royal palace which became the center of Islamic intellectual development over the official protection of the rulers, followed by the emergence of clerical figures such as Hamzah Fansuri, Samsuddin as-Sumatrani, Nuruddin Ar-Raniry, and Abdur Rauf as-Singkili in the Aceh kingdom. While in Java there is Wali Songo. 2 These great ulamas were credited with spreading Islamic knowledge in Southeast Asia and later established Islamic educational institutions such as dayahs so that a university in Aceh developed.

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The Khmer Empire

10.1093/oso/9780197532768.003.0015 ◽

2021 ◽

pp. 430-449

Author(s):

Michael D. Coe

Keyword(s):

Southeast Asia ◽

Fourteenth Century ◽

The State ◽

Capital City ◽

Royal Palace ◽

Foreign Wars ◽

Artificial Reservoirs

Founded in 802 CE, until its demise in the fourteenth century CE, the Khmer Empire held sway over much of Southeast Asia. At the heart of the empire was the highly urbanized capital city Yashodarapura (Angkor), containing the royal palace, the state temple, and enormous artificial reservoirs or barays. The empire’s numerous provinces were connected to the central bureaucracy by a system of major and secondary roads. In a moneyless economy, taxes were levied in kind, principally rice, and market transactions were by barter. Over these roads traveled the imperial armies at times of foreign wars or invasion, or local revolt; army units consisted of foot soldiers, horse cavalry, and war elephants. Several factors led to the empire’s collapse, including agricultural failure and the silting of the barays; and outside attack, especially from the newly powerful Thai.

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The Javanese Panji Story: its transformation and dissemination into the performing arts in Southeast Asia

Harmonia Journal of Arts Research and Education ◽

10.15294/harmonia.v17i2.11539 ◽

2017 ◽

Vol 17 (2) ◽

pp. 113

Author(s):

Triyono Bramantyo ◽

Susan Hung

Keyword(s):

Southeast Asia ◽

Performing Arts ◽

Southeast Asian ◽

Original Version ◽

13Th Century ◽

Royal Palace ◽

Classical Dance ◽

Music Ensembles ◽

High Standards

<p>This paper studies descriptively several versions of Javanese Panji Story with its transformation and dissemination into the performing arts found in Southeast Asia. Accordingly, there are versions varied not only regarding its stories, locations, events, and the style of its narratives but also the flow of the stories. So many other versions have not been described here in this paper just to imagine how this 13th century Javanese literature has turned out to become so many versions. Moreover, the story has spread out not only in Indonesia but also throughout the Southeast Asian archipelago. The writer found that authenticity is not the concern because the original version of the Panji Story was not existed and thus texts can be in so many forms. However, what was overwhelming is that the story had been transformed into so many genres of performing arts in Southeast Asia, such as in Indonesia, Thailand, Cambodia and Myanmar, the former state of Burma. The study found that the performing styles of Panji or Inou in Indonesia, Thailand, Cambodia, and Myanmar shared the same styles as typical classical dance of Royal Palace that performed high standards of performances such as glorifying model of costumes and accompanied by aesthetically qualified Royal Palace Music Ensembles.</p>

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On The Possibility of an Autonomous History of Modern Southeast Asia

Journal of Southeast Asian History ◽

10.1017/s0084255900007944 ◽

1961 ◽

Vol 2 (2) ◽

pp. 73-105 ◽

Cited By ~ 2

Author(s):

John R. W. Small

Keyword(s):

Southeast Asia ◽

Contemporary History ◽

The Past ◽

History Of

It is generally accepted that history is an element of culture and the historian a member of society, thus, in Croce's aphorism, that the only true history is contemporary history. It follows from this that when there occur great changes in the contemporary scene, there must also be great changes in historiography, that the vision not merely of the present but also of the past must change.

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