著者

福岡 まどか Madoka Fukuoka

出版者

国立民族学博物館

雑誌

国立民族学博物館研究報告 = Bulletin of the National Museum of Ethnology (ISSN:0385180X)

巻号頁・発行日

vol.40, no.2, pp.349-367, 2015-11-27

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The Indian epic poem the Ramayana has become widespread throughoutmany regions of Southeast Asia, being adopted as the main theme in variousperforming art forms such as theatre, dance drama, and mask dance upto the present day. In Indonesia, the art forms include wayang kulit (shadowpuppets), wayang golek (rod puppets) and sendratari (dance drama).This study takes up the subject of the Ramayana epic poem in Indonesiancomic works, indicating their characteristic structures and plots. Amongthe Indonesian comic books, the works of R. A. Kosasih (1919–2012) arethe best-known and most successful. His comic style is called komik wayangbecause of its close relationship to wayang theatre. Kosasih adopted manyepisodes from the wayang tradition, but dealt with them in his own way. Heintentionally changed the episodes and developed his own adaptation of theRamayana tale. In the process he created a new version that is not peculiar toany specific region such as Java, Sunda or Bali. Through the production ofcomic books, Kosasih succeeded in presenting the entire plot of Ramayanain a unique manner.