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Pak Dogol and Wak Long in Wayang Kulit Kelantan

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Pak Dogol and Wak Long in Wayang Kulit Kelantan PAK DOGOL AND WAK LONG IN WAYANG KULIT KELANTAN MAHMOUD DEHGHANHARATI CULTURAL CENTER UNIVERSITY OF MALAYA KUALA LUMPUR 2017 PAK DOGOL AND WAK LONG IN WAYANG KULIT KELANTAN MAHMOUD DEHGHANHARATI THESIS SUBMITTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY CULTURAL CENTER UNIVERSITY OF MALAYA KUALA LUMPUR 2017 UNIVERSITY OF MALAYA ORIGINAL LITERARY WORK DECLARATION Name of Candidate: MAHMOUD DEHGHANHARATI Matric No: RHA12004 Name of Degree: Doctor of Philosophy (PhD) Title of Thesis: PAK DOGOL AND WAK LONG IN WAYANG KULIT KELANTAN Field of Study: Performance study I do solemnly and sincerely declare that: (1) I am the sole author/writer of this Work; (2) This Work is original; (3) Any use of any work in which copyright exists was done by way of fair dealing and for permitted purposes and any excerpt or extract from, or reference to or reproduction of any copyright work has been disclosed expressly and sufficiently and the title of the Work and its authorship have been acknowledged in this Work; (4) I do not have any actual knowledge nor do I ought reasonably to know that the making of this work constitutes an infringement of any copyright work; (5) I hereby assign all and every rights in the copyright to this Work to the University of Malaya (“UM”), who henceforth shall be owner of the copyright in this Work and that any reproduction or use in any form or by any means whatsoever is prohibited without the written consent of UM having been first had and obtained; (6) I am fully aware that if in the course of making this Work I have infringed any copyright whether intentionally or otherwise, I may be subject to legal action or any other action as may be determined by UM. Candidate’s Signature Date: Subscribed and solemnly declared before, Witness’s Signature Date: Name: Designation: ii ABSTRACT This thesis focuses on the character analysis of Pak Dogol and Wak Long as clowns in wayang kulit Kelantan. The three objectives of this thesis are: 1) to explore the significance of the two clown characters, Pak Dogol and Wak Long, in wayang kulit Kelantan with focus on their myth origin, their role in wayang kulit stories and performances; 2) to investigate the characterization of Pak Dogol and Wak Long by exploring their visual features and possible origin with focus on their comic features; and 3) to investigate the comic qualities of these two characters as well as the comic methods used in wayang kulit Kelantan. Based on the objectives, the analysis of these two clown characters is done in four main aspects. The first is their significant and conventional definitions and myth origin both inside and outside of wayang kulit Kelantan. The second is the detailed analysis of the visual aspects of these characters as solely presented in their puppets in the wayang kulit Kelantan. The third aspect is the role of Pak Dogol and Wak Long in five selected stories and one wayang kulit performance script. In this aspect, the different roles of these clowns are explained in the stories and comic features in selected texts. Finally, the comic features of Pak Dogol and Wak Long is explained in the three recorded wayang kulit performances. However, four theories are applied in this thersis, these are, A- direct and indirect charactrization. B- Bakhtin theory of ggrotesque. C- postmodernism. D- interculaturalism. E- Bergson theory of comedy. In brief, Pak Dogol’s character as the main clown with a noble and divine origin is recognized by dalangs (puppeteers) who also consider him as a god-clown. His character is represented by a puppet with an ugly and exaggerated body shape which improves his clowning characteristic as well. In the selected stories, Pak Dogol takes on many roles such as a servant, guarder of other main characters such as Siti Dewi, consoler of Seri Rama and a clown with supernatural powers who can solve difficult problems. Moreover, Pak Dogol also provides situation comedy where necessary. Wak Long is the second clown character iii and loyal companion of Pak Dogol. Wak Long also is considered as a dignified and noble character by dalangs but still inferior to Pak Dogol. On the other hand, Wak Long’s character provides more comic features than Pak Dogol, especially in case of character and behavior comedy. Visually, Wak Long’s puppet design is similar to Pak Dogol but without as much exaggeration. iv ABSTRAK Tesis ini memfokus pada analisa watak Pak Dogol dan Wak Long sebagai badut dalam wayang kulit Kelantan. Tiga objektif tesis ini adalah saperti berikut: 1) Merungkai pentingnya watak kedua dua Pak Dogol dan Wak Long dalam wayang kulit Kelantan dan memfokus pada mitos asal, peranan watak dan persembahan didalam cerita wayang kulit Kelantan; 2) Menyiasat tentang watak Pak Dogol dan Wak Long dengan merungkai ciri2 visual yang asal dan memfokus pada ciri2 komik; and 3) Menyiasat tentang kualiti komik pada kedua dua watak tersebut dan juga cara2 yang di gunakan dalam wayang kulit Kelantan. Berdasar kan pada objektif, analisa kedua dua watak badut dibuat dalam 4 aspek. Yang pertama berdasarkan pada kepentingan dan konvensional definasi dan mitos asal di dalam dan diluar wayang kulit Kelantan. Yang kedua adalah analisa terperinci tentang aspek visual watak tersebut yang di persembahkan sebagai patung2 dalam wayang kulit Kelantan. Aspek yang ketiga adalah peranan Pak Dogol dan Wak Long dalam lima cerita yang terpilih dan dalam skrip wayang kulit Kelantan. Di dalam aspek ini, watak2 yang berlainan oleh badut2 tersebut di nyatakan didalam teks yang terpilih untuk cerita dan watak komik. Akhir sekali, watak komik Pak Dogol dan Wak Long dinyatakan dalam 3 persembahan wayang kulit yang telah direkodkan. Walau bagaimanapun, empat teori digunakan dalam thersis ini, ini adalah, A- charactrization langsung dan tidak langsung. teori B- Bakhtin daripada ggrotesque. pascamodenisme C- . interculaturalism D-. teori E- Bergson komedi. Ringkasnya, watak Pak Dogol adalah badut utama yang mempunyai nilai kebangsawanan dan ketuhanan yang asli yang diterima oleh dalang-dalang yang menganggap dia sebagai tuhan badut. Watak tersebut diketengahkan sebagai patung yang hodoh dan mempunyai bentuk tubuh yang besar yang membolehkan keberkesanan watak. Didalam cerita-cerita yang terpilih, Pak Dogol mendukung watak sebagai orang gaji, pengawal beberapa watak seperti Siti Dewi, penasihat Seri Rama dan juga badut yang mempunyai kuasa ghaib yang boleh menolong v menyelesaikan masaalah yang sukar. Pak Dogol juga membuat lawak bila diperlukan. Wak Long ada watak badut kedua and menjadi teman setia Pak Dogol. Wak Long juga di anggap sebagai watak yang mempunyai nilai kebangsawanan oleh dalang-dalang tetapi tidak setaraf Pak Dogol. Sebaliknya, watak Wak Long mempunyai lebih ciri-ciri komik daripada Pak Dogol, terutama pada watak lawak. Visualisasi patung Wak Long direka seakan akan Pak Dogol tetapi kurang diperbesarkan. vi ACKNOWLEDGEMENTS I wish to express my deepest appreciation to all those who helped me, in one way or another, to complete this project. First and foremost I thank God almighty who provided me with strength, direction and purpose throughout the project. First and foremost, I am grateful to Holy Allah almighty who provided me with strength, direction and purpose throughout the thesis. Where it is impossible for man, it is possible with Them. The birth of this thesis would have never been possible without the support of many people. I would like to express my heartfelt gratitude and special thanks to Dato’ Professor Dr. Ghulam- Sarwar Yousof, my supervisor of this study for his unrelenting support and professional guidance. I would also like to thank Tayebe Barfe and Ashkan, my wife and my son, who gave me full support through this journey with their unconditional love and prayers. Last, I thank all the wayang kulit Kelantan dalangs (puppeteer) who shared with me their profound knowledge during interviews: Pak Yousof, Pak Nasir, Pak Dain and Dr Khor Kheng Kia. Thanks also to my greatful friends Ali Karimian, Lida Vakili, Ms Salmyyah Raheem, Mahtab Mahdavifar and Pouria Mozarmnia. Ms Jomaila lecturer in University Teknology Mara (UTM) Mr Kamil and Ms Nurul for providing valuable resources which have been used in the preparation of this thesis. vii TABLE OF CONTENTS ABSTRACT .............................................................................................................. iii ABSTRAK.................................................................................................................. v ACKNOWLEDGMENTS...................................................................................... vii TABLE OF CONTENTS....................................................................................... viii LIST OF TABLE...................................................................................................... xi LIST OF FIGURES................................................................................................. xii LIST OF APPENDICES..........................................................................................xv CHAPTER 1 ............................................................................................................... 1 1.1 Introduction ................................................................................................... 1 1.2 Background of the Study ............................................................................... 3 1.2.1 Pak Dogol .................................................................................................. 4 1.2.2
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