Early Maritime Contacts Between Kalinga and Bali : a Historical Perspective

Total Page:16

File Type:pdf, Size:1020Kb

Early Maritime Contacts Between Kalinga and Bali : a Historical Perspective ISSN 0970-8669 Odisha Review Early Maritime Contacts between Kalinga and Bali : A Historical Perspective Dr. Benudhar Patra Kalinga or Odisha in ancient times had brisk culture of India. Hindu Gods like Shiva, Vishnu, overseas contact with different parts of the world. Brahma, Indra, Varuna, and Ganesha are In the process, Odia culture, customs, beliefs, worshipped and highly venerated in Bali. ideas, language, script and manners were H.B.Sarkar3 very correctly says, “Indeed, all popularised in those lands where settlements were known gods of any importance in the Hindu and established by Odia merchants, missionaries and Buddhist pantheon of India had their heyday in political adventurers. The maritime trade of Bali.” Lord Shiva, however, was considered the Kalinga brought in vast amount of wealth and supreme and most powerful deity. He was the glory, and the prosperity of Kalinga beyond doubt presiding deity and was considered the elder was largely due to her overseas trade with distant brother of Buddha. According to traditional lands. The people of ancient Odisha maintained beliefs, Bali was the centre of Universe and the enduring commercial and cultural relationship with abode of Gods. The Balinese verses, which refer the Indonesian islands of Java, Sumatra, Bali and to five pious women are very much similar to India Borneo, collectively known as Suvarnadvipa i.e., “Om Ahalya Draupadi Sita Dara (for Tara) (roughly modern Indonesia). They played a Mandodari tatha panchakanya smarennityam." leading role in the dissemination of their culture Besides Hinduism, Buddhism was also very and civilization in the Indonesian island of Bali. In popular in ancient Bali. Indian influence on Bali fact, Indonesian islands, particularly the island of could be marked in composition of works on Bali, formed the most attractive destination for astrology (Balinese called it wariga). Sanskrit the merchants of ancient Odisha. also influenced to a great extent the language and The island of Bali is situated between Java literature of the Balinese. The Balinese also and Lombok. In the Chinese sources it has been celebrate Indian festivals like Shivaratri, mentioned as Poli. 1 The Chinese pilgrim I-Tsing,2 Saraswati puja, Durga puja etc. The name Bali who stayed at Sri Vijaya, mentions the name of is said to have originated from the kingdom of the Poli (Bali) among other islands. Bali is the only pious demon emperor Maha Bali (of the vamana island, in the whole of Indonesia, where Hinduism, avatar fame), who had gifted away the entire blended with Balinese concepts, is still prevalent. world to Lord Vishnu, who came to him in the Even now Bali is a veritable repository of the Hindu disguise of a midget.4 34 November - 2016 Odisha Review ISSN 0970-8669 There are ample proofs to testify that the voyages to the island of Bali and had their Hindu influence from India reached Bali as a result settlements in the island who consequently of direct contact between the two countries. disseminated Hindu culture there. As a result, the Recent archaeological discoveries indicate that the whole island of Bali was Hinduised. The contact between India and Indonesia, particularly reminiscent of this link of the glorious past has Bali, had been occurring at least from the been preserved in a festival of Odisha known as beginning of Christian era (Common Era or CE).5 Bali yatra, celebrated throughout the length and The discovery of Indian rouletted ware of first breadth of Odisha. It is also otherwise known as and second centuries CE from Sembiran (in north- boita bandana festival. It is celebrated on the east Bali) have established the fact that Indian auspicious purnima (full-moon) day in the month traders were coming to the region. Discovery of of kartika (October-November). Even today, rouletted ware, glass beads, semi-precious stone the people of Odisha celebrate this festival with beads, potsherds with kharosthi characters etc., much pomp and ceremony by sailing boats of from Bali points to ancient cultural contact banana peel in rivers, ponds and sea. The lit boats between Bali and different regions of India. carry betel leaf and betel nuts as token of Archaeological findings refer to the development merchandise and are sent off amidst chanting of of a trading network between eastern coast of nostalgic refrains: India, Sri Lanka and Bali. The Hindu texts such as Vrihat Samhita and Kathasarita Sagara “aa – ka – ma – ba (bha) i inform us that there were trade relations between pana – gua – thoi India and Bali since very early times. However, pana-gua-tora the earliest Indian literary source which masaka dharama mora” authentically mentions about the island of Bali is At Gadagadia ghatta of Cuttack, on the the Buddhist text Aryamanjusrimulakalpa (c. bank of the great river Mahanadi, people of seventh-eighth century CE) which mentions Odisha, irrespective of age, sex and caste, “Dvipe varusake chaiva nagnavali celebrate this festival in great earnest and pomp. samudbhabe yavadvipoba …” In the opinion On this auspicious day (kartika purnima), early of K.S.Behera, 6 varusake of the text is evidently in the morning, every household floats down in Sumatra, nagna dvipa is the Nicobar island, Yava the sea, river, stream or even in the village tank dvipa is Java and vali is no doubt, the island of (whichever is near or favourable to them), a gaily Bali. decorated sholapith, banana stem or paper boat Kalinga had close links with the Hindu with all paraphernalia of a real ship to mark the kingdom of Bali. The island of Bali was known to beginning of the voyage of shipping season. The the sailors of Kalinga as Narikela dvipa. Many scene of the celebration of the festival Balinese inscriptions refer to Bali as the island of automatically creates a nostalgic mood in the minds coconut. The Poh Inscription of Bali (c. 905 CE) of the spectators. In the words of A.K. Mishra, 9 mentions that Bali was the island of coconut “The cold and misty dawn suddenly becomes (wanuari rumaksan ringnyu)7 and once was the vibrant and takes on a festive look as men, women centre of Odisha’s commercial and maritime and children, attired in colourful costumes throng activities.8 The sailors of Kalinga made frequent all waterfronts carrying tiny boats made either of November - 2016 35 ISSN 0970-8669 Odisha Review banana peels, or sholapith, or paper, with lighted script, spoken and written in contemporary lamps inside, in a frenzied bid to launch those Odisha.12 P.C. Rath, 13 on the basis of the language brightly lit toy vessels on the gentle waves to the and script used in this 14th century CE inscription accompaniment of ululations by women, blowing alludes that this might indicate ‘the arrival of a of conch, and occasional burst of crackers.” Again new batch of immigrants in sufficiently large he observes, “The receding line of the flickering number.’ The scripts used in Bali in the tenth lamps and spectacle of a large number of Oriya century CE were also used in Kalinga. Hence, [Odia] women, in colourful saris, for performing on the basis of this, the contact between Odisha the rite of ‘Boita-Bandana’ (the ceremonial send- and Bali can be easily established. off to the sailing ships) evoke the memories of the Odisha played a significant role in the voyages of the adventurous Kalingans of yore and 10 evolution of Hindu culture in Bali. A section of create a truly romantic and nostalgic mood.” The brahmanas in the Karangasam district of Bali small hours of the morning of kartika purnima styled themselves as Brahmana-Bouddha - were used to be considered as the most auspicious Kalinga. It seems very likely that their ancestors and suitable time for the beginning of sea journey. were immigrants from Kalinga. In this context, it Kalinga and the island of Bali have is worthwhile to mention that some words and influenced each other’s culture to a very usages with regard to vocabulary, crafts, religious considerable extent, though the share of practices, form of worship, food habits and Kalingans was more. I.G.P. Phalgunadi, an manners prevalent in Bali are indubitably of Odia Indonesian scholar who visited Odisha and did in origin. There are linguistic parallels between some field work in connection of his research was Odisha and the island of Bali. For example, in the pleasantly surprised at many instances of similarity coastal districts of Odisha, mother is addressed between the culture and life styles of the people as bou and father as baba and in Bali the former of both the places. There are many cultural is called bu (boo) and the latter as bapa. In some elements that are similar between Odisha and Bali, places of Odisha, father is also called as bapa e.g. religious activities, dance forms, art and crafts, (the author was addressing his father as bapa temples and monuments, textile designs, even while his wife is addressing her father as food habits, manners and the vocabulary. Temples baba).The Balinese term for betel-nut is buah14 as socio-cultural centres are common both to Bali (goah) and in Odisha it is gua or guah. Cina/ and Odisha. The discovery of similar type of China is the Balinese word for groundnut, while rouletted ware at Sembiran, located in north in Odia it is china or chinabadam. Both Balinese eastern Bali and from the sites like as well as Odias used to call uncooked rice made Shishupalagarh, Manikpatna, Tamluk etc., of out of part-boiled (or sun dried) paddy as arua.15 Odisha suggest trade contact between Odisha and The plough is called lengallo in Bali while the the island of Bali.11 Interestingly, a potsherd from Odias used the term langala for the same.
Recommended publications
  • Odisha Review Dr
    Orissa Review * Index-1948-2013 Index of Orissa Review (April-1948 to May -2013) Sl. Title of the Article Name of the Author Page No. No April - 1948 1. The Country Side : Its Needs, Drawbacks and Opportunities (Extracts from Speeches of H.E. Dr. K.N. Katju ) ... 1 2. Gur from Palm-Juice ... 5 3. Facilities and Amenities ... 6 4. Departmental Tit-Bits ... 8 5. In State Areas ... 12 6. Development Notes ... 13 7. Food News ... 17 8. The Draft Constitution of India ... 20 9. The Honourable Pandit Jawaharlal Nehru's Visit to Orissa ... 22 10. New Capital for Orissa ... 33 11. The Hirakud Project ... 34 12. Fuller Report of Speeches ... 37 May - 1948 1. Opportunities of United Development ... 43 2. Implication of the Union (Speeches of Hon'ble Prime Minister) ... 47 3. The Orissa State's Assembly ... 49 4. Policies and Decisions ... 50 5. Implications of a Secular State ... 52 6. Laws Passed or Proposed ... 54 7. Facilities & Amenities ... 61 8. Our Tourists' Corner ... 61 9. States the Area Budget, January to March, 1948 ... 63 10. Doings in Other Provinces ... 67 1 Orissa Review * Index-1948-2013 11. All India Affairs ... 68 12. Relief & Rehabilitation ... 69 13. Coming Events of Interests ... 70 14. Medical Notes ... 70 15. Gandhi Memorial Fund ... 72 16. Development Schemes in Orissa ... 73 17. Our Distinguished Visitors ... 75 18. Development Notes ... 77 19. Policies and Decisions ... 80 20. Food Notes ... 81 21. Our Tourists Corner ... 83 22. Notice and Announcement ... 91 23. In State Areas ... 91 24. Doings of Other Provinces ... 92 25. Separation of the Judiciary from the Executive ..
    [Show full text]
  • Annual Report 2 MISSION
    Santi Forest Monastery Inc. ANNUALREPORT For the year ending 30 June 2011 MISSION To bring peace, happiness and liberation to the world through the Buddha’s teachings. CONTENTS Our Vision and Mission 3 Objectives 3 The Year in Review 4­5 President's Report 6 Treasurer's Report 7 Spiritual Director's Report 8 OBJECTIVES Our Community 9­10 Source of Funds 11 To study the Buddha’s teachings, with a special emphasis on those teachings that are common to all Buddhist traditions. The Environment 12 To build a community of the four­fold assembly — bhikkhus, Financial Statements 13­25 bhikkhunis, laymen and laywomen — based on the consensual, principled and egalitarian model of the Vinaya. Independent Audit Report to the Members 26­27 To encourage and support the practice of meditation in seclusion, with the aim of liberation from suffering. Santi FMAnnual Report 2 MISSION To bring peace, happiness and liberation to the world through the Buddha’s teachings. OBJECTIVES To study the Buddha’s teachings, with a special emphasis on those teachings that are common to all Buddhist traditions. To build a community of the four­fold assembly — bhikkhus, bhikkhunis, laymen and laywomen — based on the consensual, principled and egalitarian model of the Vinaya. To encourage and support the practice of meditation in seclusion, with the aim of liberation from suffering. Santi FMAnnual Report 3 Year in Review Special Events Vassa At the time of the Buddha, the monastics stopped their wanderings and stayed in one place during the rainy season, or vassa, concentrating on meditation and aspiring to attain enlightenment.This became formalized as a three month retreat each year, corresponding to the ‘rainy season’ in the Indian calendar, roughly mid­July to mid­October.
    [Show full text]
  • Folk Dance: a Distinctive Performing Art Tradition of Odisha
    FOLK DANCE: A DISTINCTIVE PERFORMING ART TRADITION OF ODISHA MANMATH PADHY Professor (Dr.) Vice Chancellor, Khallikote University, Berhampur, Ganjam, Odisha, India E-mail: [email protected] I. INTRODUCTION present day. The remnants of the past and continuity of the traditional culture which has been possible in The traditional focus in the study of folk dance has spite of the influx of cultures from the outside have been marked, more or less, on the equilibrium been the striking features of the Odisha history. analysis and configurations in societies characterized Odisha has been made substantial contributions to by its small sizes, isolated location and homogeneous enrich the folk culture with a special identity of its of the population. Folk culture has been generally folk tradition. considered to be the study of primitive societies. The Odisha society is a continuum of tribal and non-tribal cultural program the source of entertainment has been elements even to this day. Every aspects of its socio- performed in various forms all over the world since cultural life – be it religion, language, art, painting, the dawn of the civilization. Archaeological dance drama or literature, bears a stamp of their own evidences indicate that dancing was a common culture. Odisha has as many as folk dances and pastime in Harappan period in ancient India. The literature of which most of them are identified as literary sources are also replete with the cultural primitive and they form considerable percentage of phenomenon of the folk tradition. In Yajur Veda, a the State’s total population. Though the cultural pole dancer or acrobat has been mentioned.
    [Show full text]
  • View Entire Book
    Orissa Review * June - 2006 A Cult to Salvage Mankind Sarat Chandra The cosmic and terrestrial : both realities are The Hindu inclusiveness is nowhere as reflected in the Jagannath cult of Orissa. The evident as in the rituals of Lord Jagannath. Even cosmic reality of the undying spirit which romance is not excluded in the deity's schedule: abides, endures and sustains; the cosmic reality Once in a week the God is closeted with his of birth and death, as well as the beauty and consort Laksmi (in the ritual Ekanta). The refinement of the terrestrial world are mirrored Sayana Devata golden sculpture used in the in this all-inclusive mid-night ritual after the religious practice. "The Bada Singhara Dhupa, is visible and invisible both not only suggestive but worlds meet in man", even explicit. sang the British poet T.S.Eliot in the Four Over a year Lord Quartets. We may say Jagannath, like human that the Jagannath cult is beings, is engaged in designed to reflect both multification activities. the visible, this-worldly On one occasion realities as well as the (Banabhoji Besha) He cosmic phenomena. sets out on a picnic trip, Hence, the cult reflects a to an idyllic forest land, life style of a god who has which is suggestive of the numerous human God's love for natural attributes. beauty. On the other occasions (seven times in a year), the Lord goes This makes the God and the cult unique. for hunting expeditions. During the summer Several traits characterize the God: the everyday rituals of bathing, brushing of teeth, he goes for boat rides for twenty-one days dressing-up and partaking of food materials.
    [Show full text]
  • 1 Chapter 1 Introduction As a Chinese Buddhist in Malaysia, I Have Been
    Chapter 1 Introduction As a Chinese Buddhist in Malaysia, I have been unconsciously entangled in a historical process of the making of modern Buddhism. There was a Chinese temple beside my house in Penang, Malaysia. The main deity was likely a deified imperial court officer, though no historical record documented his origin. A mosque serenely resided along the main street approximately 50 meters from my house. At the end of the street was a Hindu temple decorated with colorful statues. Less than five minutes’ walk from my house was a Buddhist association in a two-storey terrace. During my childhood, the Chinese temple was a playground. My friends and I respected the deities worshipped there but sometimes innocently stole sweets and fruits donated by worshippers as offerings. Each year, three major religious events were organized by the temple committee: the end of the first lunar month marked the spring celebration of a deity in the temple; the seventh lunar month was the Hungry Ghost Festival; and the eighth month honored, She Fu Da Ren, the temple deity’s birthday. The temple was busy throughout the year. Neighbors gathered there to chat about national politics and local gossip. The traditional Chinese temple was thus deeply rooted in the community. In terms of religious intimacy with different nearby temples, the Chinese temple ranked first, followed by the Hindu temple and finally, the mosque, which had a psychological distant demarcated by racial boundaries. I accompanied my mother several times to the Hindu temple. Once, I asked her why she prayed to a Hindu deity.
    [Show full text]
  • Chinese Art Within Thai Temples in Malaysia: the Disappearance of Thai Art
    Asian Social Science; Vol. 11, No. 9; 2015 ISSN 1911-2017 E-ISSN 1911-2025 Published by Canadian Center of Science and Education Chinese Art within Thai Temples in Malaysia: The Disappearance of Thai Art Punya Tepsing1 1 Faculty of Liberal Arts, Prince of Songkla University, Songkhla, Thailand Correspondence: Punya Tepsing, Faculty of Liberal Arts, Prince of Songkla University, Songkhla 90112, Thailand. Tel: 66-83-14-6692. E-mail: [email protected] Received: August 12, 2014 Accepted: December 2, 2014 Online Published: April 2, 2015 doi:10.5539/ass.v11n9p43 URL: http://dx.doi.org/10.5539/ass.v11n9p43 Abstract The identity of Thai temples in Malaysia is disappearing, as the temples display more Chinese art than Thai. Thus, this research aims to investigate the patterns in Chinese art and the conditions that support the appearance of Chinese art within Thai temples. Chinese art appears within these temples in their sculptures of Buddha, pavilions, and walls. The conditions supporting the appearance of Chinese art include 1) the need for funds to construct new temples; 2) the abilities of pastors who can speak Chinese and English and are interested in art from various countries; and 3) the eastern coast of Malaysia being a place where many people of Chinese descent settled. Chinese people were not able to purchase land easily due to state laws; thus, they had to use Thai temples as places to preserve their identity by constructing Chinese art within the temple. Keywords: Chinese art, Thai temple, Malaysia, disappearance 1. Introduction Chinese culture has been found in Malaysia since the 15th century (Khin & Huat, 2005).
    [Show full text]
  • Odisha Day Celebrated by G H Raisoni College of Engineering
    Odisha Day Celebrated by G H Raisoni College of Engineering Nagpur students under Ek Bharat Shrestha Bharat Program of AICTE As a part of Ek Bharat Shrestha Bharat Campaign run by AICTE, National Service Scheme unit of G H Raisoni College of Engineering, Nagpur celebrated Odisha Day on 1st May 2020 (Friday). Odisha Day is celebrated on 1st of April every year in India. Under this event the Odisha Anthem sing by the people of Odisha and various activities conducts. Due to pandemic situation this program was taken on 1st of May 2020 by GHRCE students. This activity was conducted by Prof. Mangesh Bhorkar, NSS Program officer through online Zoom app. In this program total 37 faculty and students of G H Raisoni College of Engineering Nagpur & faculty and students from paired institute C V Raman College of Engineering, Bhubaneswar, Odisha State were present. At the start of program, Prof. Mangesh Bhorkar given the preamble. He also stated some key facts of Odisha state and requested students to start the activity. Ms. Anisha Khairkar started the activity and asked Mr. Aman Agrawal to talk on dance forms of Odisha. He given information of dance forms like Odissi, Chhau, Gotipua, Danda Nata, Sambapuri, Dalkhai, Chaitighoda, and Medha Nacha. Then Ms. Dolly Taiwade spoken on tourism places in Odisha. She spoken on the beauty of Tourist places. Then Ms. Anisha Khairkae talked on Culture of Odisha state. She spoke on history of Odisha, political views, Hanuman Vatika, Red Crab, Hirakund Dam, Jagannath Puri, Konark Temple. She explaine each and every aspect of Odisha stae and elaborated beauty of state.
    [Show full text]
  • Arts-Integrated Learning
    ARTS-INTEGRATED LEARNING THE FUTURE OF CREATIVE AND JOYFUL PEDAGOGY The NCF 2005 states, ”Aesthetic sensibility and experience being the prime sites of the growing child’s creativity, we must bring the arts squarely into the domain of the curricular, infusing them in all areas of learning while giving them an identity of their own at relevant stages. If we are to retain our unique cultural identity in all its diversity and richness, we need to integrate art education in the formal schooling of our students for helping them to apply art-based enquiry, investigation and exploration, critical thinking and creativity for a deeper understanding of the concepts/topics. This integration broadens the mind of the student and enables her / him to see the multi- disciplinary links between subjects/topics/real life. Art Education will continue to be an integral part of the curriculum, as a co-scholastic area and shall be mandatory for Classes I to X. Please find attached the rich cultural heritage of India and its cultural diversity in a tabular form for reading purpose. The young generation need to be aware of this aspect of our country which will enable them to participate in Heritage Quiz under the aegis of CBSE. TRADITIONAL TRADITIONAL DANCES FAIRS & FESTIVALS ART FORMS STATES & UTS DRESS FOOD (ILLUSTRATIVE) (ILLUSTRATIVE) (ILLUSTRATIVE) (ILLUSTRATIVE) (ILLUSTRATIVE) Kuchipudi, Burrakatha, Tirupati Veerannatyam, Brahmotsavam, Dhoti and kurta Kalamkari painting, Pootha Remus Andhra Butlabommalu, Lumbini Maha Saree, Langa Nirmal Paintings, Gongura Pradesh Dappu, Tappet Gullu, Shivratri, Makar Voni, petticoat, Cherial Pachadi Lambadi, Banalu, Sankranti, Pongal, Lambadies Dhimsa, Kolattam Ugadi Skullcap, which is decorated with Weaving, carpet War dances of laces and fringes.
    [Show full text]
  • ISSN 2277 – 9809 (Online) ISSN 2348 - 9359 (Print)
    International Research Journal of Management Sociology & Humanities ISSN 2277 – 9809 (online) ISSN 2348 - 9359 (Print) An Internationally Indexed Peer Reviewed & Refereed Journal Shri Param Hans Education & Research Foundation Trust www.IRJMSH.com www.SPHERT.org Published by iSaRa Solutions IRJMSH Vol 7 Issue 5 [Year 2016] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) Folk theatre in Western Odisha Atish Kumar Satpathy Introduction Western Odisha is well-known to the world for its art and architecture. Folk songs and dance forms have been developed mainly out of celebrating socio-religious rituals and ceremonies. Songs and dances are integral ingredients of folk theatre. Each folk form has its specific community but their language is same. If we look into the origin and evolution of folk theatre; we have to admit that this theatrical tradition is interconnected with human civilization. Since the Vedic period, people have developed potential artistic qualities like songs, dance and many religious rituals to express their emotions, hope and aspirations. The musicality is one of the greatest characteristics of these folk dramas. The musical instruments used in such folk performances are developed indigenously and are a unique characteristic of these folk plays. Western Odisha is culturally influenced by assemblage of several traditions in several religious rituals. During the last quarter of the twentieth century, research and studies in the area of folk songs and dances along with folk theatre of this region have been revived and recognized, including the modern "Krushnaguru Bhajan", one type of folk lyrics/songs and Danda (Danda Yatra and Danda Nata), which are considered to be a part of the oldest art forms in India.
    [Show full text]
  • From Landways to Seaways in the Study of Theravāda Buddhism
    Journal of Global Buddhism 2021, Vol.22 (1): 211–218 DOI: 10.5281/zenodo.4727625 www.globalbuddhism.org ISSN: 1527-6457 (online) © The author(s) Symposium: New Roads in Theravada Studies The Road Less Travelled: From Landways to Seaways in the Study of Theravāda Buddhism Jack Meng-Tat Chia National University of Singapore Although Charles Hallisey’s seminal 1995 essay is primarily concerned with the ways European colonial scholars approached Theravāda Buddhism in majority Theravāda contexts, its emphasis on two key topics—the importance of ritual and the dynamics of the “local production of meaning”—laid the foundation for a range of recent studies that explore the history and contemporary developments of Theravāda Buddhist communities in the Malay Archipelago. This article charts how the neglected topics Hallisey urged scholars to attend to have opened new pathways for the study of Theravāda minority communities. Drawing on recent studies of Theravāda Buddhist communities in Indonesia, Malaysia, and Singapore, I discuss how Theravāda Buddhists established institutions, participated in rituals, and relied on vernacular and non-canonical texts to preserve their sense of diasporic identity and ensure the survival of Buddhism as a minority religion. Keywords: Indonesia; Malaysia; Singapore; Maritime Southeast Asia; Southeast Asian Buddhism begin this paper with a confession: I have hardly considered myself a scholar of Theravāda Buddhism. What first attracted me to the study of “Southeast Asian Buddhism” was my interest in Chinese immigration. Born and raised in Singapore, I was drawn to the beliefs and practices Iof the Chinese diaspora communities in Southeast Asia since I was an undergraduate student.
    [Show full text]
  • The Journal of Social Sciences Research ISSN(E): 2411-9458, ISSN(P): 2413-6670 Special Issue
    The Journal of Social Sciences Research ISSN(e): 2411-9458, ISSN(p): 2413-6670 Special Issue. 2, pp: 800-806, 2018 Academic Research Publishing URL: https://arpgweb.com/journal/journal/7/special_issue Group DOI: https://doi.org/10.32861/jssr.spi2.800.806 Original Research Open Access The Perception of Malaysian Buddhist towards Islam in Malaysia Ahmad Faizuddin Ramli* PhD Candidate, Center for Akidah and Global Peace, Faculty of Islamic Studies, The National University of Malaysia / Lecturer at Department of Social Sciences, Faculty of Humanities and Social Sciences, Nilai University, Malaysia Jaffary Awang Assoc. Prof. Dr., Chairman, Center for Akidah and Global Peace, Faculty of Islamic Studies, The National University of Malaysia / Senior Fellow at The Institute of Islam Hadhari, The National University of Malaysia, Malaysia Abstract The existence of Muslim-Buddhist conflicts in the Southeast Asian region such as in Myanmar, Sri Lanka, Thailand is based on the perception that Islam is a threat to Buddhism. While in Malaysia, although the relationship between the Muslims and Buddhists remains in harmony, there is a certain perception among Buddhists towards Islam. Hence, this article will discuss the forms of Buddhism's perception of Islam in Malaysia. The study was qualitative using document analysis. The study found that particular group of Buddhists in Malaysia had a negative perception of Islam, particularly on the implementation of Islamization policy by the government and the Islamic resurgence movement in Malaysia. This perception is based on misunderstanding of Islam which is seen as a threat to the survival of Buddhists in practicing their teachings. The study recommends the empowerment of understanding between the religious adherents through Islamic-Buddhist dialogue at various levels of government and NGOs.
    [Show full text]
  • The Course – Curriculum for Master of Performing Arts (Mpa) (Dance & Drama )
    SCHOOL OF PERFORMING ARTS SAMBALPUR UNIVERSITY THE COURSE – CURRICULUM FOR MASTER OF PERFORMING ARTS (MPA) (DANCE & DRAMA ) 2018 – 2020 1 Courses Offered : Master of Performing Arts (Dance & Drama) Aim and Objective : The above courses aim at providing both theoretical and Practical aspects of dance/drama to students and facilitating them to take up career in performing art. Duration : Two years Pattern : Semester-cum-Course Credit System Total Mark : 2000 Credit Hours : 80 CH Seats : 16 + 16 Outline of the Course Curriculum for MPA Special Papers : 1) Dance: (A) ODISSI (B) SAMBALPURI 2) Drama: ACTING 2 THE COURSE CURRICULUM FOR MASTER OF PERFORMING ARTS (DANCE) Outline of Course Curriculum 1ST SEMESTER MPA (DNC) – 4.1.1 : History of Indian Dance & Drama (Ancient and Medieval) (4CH) MPA (DNC) – 4.1.2 : Natyashastra and Other Texts (4 CH) MPA (DNC) – 4.1.3 : Folk Dance and Folk Drama (Major) of Western Odisha (4CH) MPA (DNC) – 4.1.4 : Studio Course (Practical) -Yoga, Music & Theatre Games (4 CH) MPA (DNC) – 4.1.5 : Studio Course (Practical)-Multimedia & Computers (4CH) 2ND SEMESTER MPA (DNC) – 4.2.1 : Indian Dance: Pre and Post-Independence Scenario (4CH) MPA (DNC) – 4.2.2 : Dance Aesthetics (4 CH) MPA (DNC) – 4.2.3 : Popular Dances of the World (4CH) MPA (DNC) – 4.2.4 : Studio Course (Practical) Abhinaya Aspect of Classical (4 CH) MPA (DNC) – 4.2.5 : Studio Course (Practical) Rhythm(4 CH) 3RD SEMESTER (Special Papers) A) ODISSI DANCE MPA (DNC) 5.1.1 : Dance Research (4 CH) MPA (DNC) 5.1.2 : Theory of Odissi Dance (4 CH) MPA (DNC) 5.1.3
    [Show full text]