
Muslim Thai Bibliography
10. Performing Arts
Balfour, H. (1903). Report on the collection of musical instruments from the Siamese Malay States and Perak. In N. Annandale & H. Robinson (Eds.), Fasciculi Malayenses (pp. 1–18). London: The University Press of Liverpool.
Bussakorn Binson. (2016). Silat: A Muslim Traditional Martial Art in Southern Thailand. In U. U. Paetzold & P. H. Mason (Eds.), The Fighting Art of Pencak Silat and Its Music (pp. 125 –166). Leiden: Brill.
Bussakorn Sumrongthong. (2008). The blending of Thai-Muslim musical performances in Southern Thailand. Manusya: Journal of Humanities, 11(4), 99–113.
Carkin, G. B. (1984). Likay: The Thai popular theatre form and its function within Thai society. (Ph.D.). Michigan State University.
Davisakd Puaksom. (2008). The Pursuit of Java: Thai Panji Stories, Melayu Lingua Franca, and the Question of Translation. (Ph.D.). National University of Singapore.
Dowsey-Magog, P. (1997). Khao Yam – A Southern Rice Salad: Heteroglossia and Carnival in Nang Talung. The Shadow Theatre of Southern Thailand. (Ph.D.). University of Sydney.
Guelden, M. (2005). Ancestral spirit mediumship in Southern Thailand: The Nora performance as a symbol of the south on the periphery of a Buddhist nation-State. (Ph.D.). University of Hawaii, Anthropology.
Horstmann, A. (2009). The Revitalization and Reflexive Transformation of the Mannooraa Rongkruu Performance and Ritual in South Thailand: Articulation with Modernity. Asian Journal of Social Science, 37(6), 918–935.
Joll, C. M. (2019). Siam’s Javanese fetish as cultural anomaly or vestige of cosmopolitan past (Vol. 62). Bangi: Institute of Ethnic Studies (KITA), National University of Malaysia.
Joll, C. M., & Srawut Aree. (2020). Thai adaptations of the Javanese Panji in cosmopolitan Ayutthaya. Southeast Asian Studies, 9(1), 3–25.
Kartomi, M. J. (1995). “Traditional Music Weeps” and Other Themes in the Discourse on Music, Dance and Theatre of Indonesia, Malaysia and Thailand. Journal of Southeast Asian Studies, 26(2), 366–400.
Paritta Chalermpow Koanantakool. (1989). Relevance of the Textual and Contextual Analyses in Understanding Folk Performance in Modern Society: A Case of Southern Thai Shadow Puppet Theatre. Asian Folklore Studies, 48(1), 31–57.
Porntep Bunjanpech, Kla Somtrakool, & Prarop Kaewset. (2013). The Development of Costumes for Thai-Muslim Folk Performance Arts in Three Southern Border Provinces of Thailand. Asian Social Science, 9(4), 100–104.
Raja Iskandar Bin Raja Halid. (2018). The nobat in early Malay literature: A look into the Hikayat Patani. Indonesia and the Malay World, 46(135), 168–197.
Raja Iskandar Bin Raja Halid. (2022). The Malay Nobat: A History of Power, Acculturation, and Sovereignty. Lanham: Rowman & Littlefield.
Rattiya Saleh. (1988). Panji Thai Dalam Perbandingan Dengam Cerita-cerita Panji Melayu. Kuala Lumpur: Dewan Bahasa dan Pustaka.
Ross, L. N. (2009). Hikayat Abu Qasim: The legacy of a twentieth-century musical pioneer in Thailand’s Andaman Coast region. Ria Thai: International Journal of Thai Studies, 2(1), 143–170.
Ross, L. N. (2011). Rong Ngeng: The Transformation of Malayan Social Dance Music in Thailand Since the 1930s. (Ph.D.). The City University of New York.
Ross, L. N. (2012). How Traditional are so-called Traditions?: Three case studies of Malayan folk performance. Jurnal Pengajian Melayu, 23.
Ross, L. N. (2016). ‘Folk-ifying the Urban, Urbanizing the Folk’: Rural ronggeng social dance at the Thai-Malay borderland (1930s–present). In Baharudin Ahmad (Ed.), Pengilmuan Seni dan Industri Kreatif (pp. 114–120). Kuala Lumpur: ASWARA.
Ross, L. N. (2017). Across Borders and Genres in Malaysia and Thailand: The Changgong Rhythm of the Andaman Sea Coast. Asian Music, 48(1), 58–84.
Ross, L. N. (2017). Retiring the Spirits: Islamic Activism and Cultural Revival in Southwestern Thailand. In P. Matusky & W. Quintero (Eds.), Proceedings of the 4th Symposium: the ICTM Study Group on Performing Arts of Southeast Asia (pp. 77–80). Penang: Universiti Sains Malaysia.
Ross, L. N. (2020). The Rong Ngeng of the Andaman Coast: History, Ecology, and the Preservation of a Traditional Performing Art. Manusya: Journal of Humanities, 23(3), 389–406.
Scott-Kemball, J. (1959). The Kelantan Wayang Siam Shadow Puppets ‘Rama’ and ‘Hanuman’: A Comparative Study of Their Structure. Man, 59(May), 73–78.
Smithies, M. (1971). Likay: A note on the origin, form, and future of Siamese folk opera. Journal of the Siam Society, 59(1), 33–77.
Smithies, M., & Kerdchouay, E. (1972). Nang Talung: The Shadow Theatre of South Thailand. Journal of the Siam Society, 60(1), 379–390.
Sompiboon, S. (2012). The Reinvention of Thai Traditional-Popular Theatre: Contemporary Likay Praxis. (Ph.D.). University of Exeter, Exeter.
Surapone Virulrak. (1986). The Origins and Historical Development of Likay. In R. D. Renard (Ed.), Anuson Walter Vella (pp. 316–336). Chiang Mai: Payap University.
Sweeney, A. (1972). Malay Shadow Puppets: The Wayang Siam of Kelantan. London: The Trustees of the British Museum.
Thaneerat Jatuthasri. (2020). The Significance of the Inao during the reign of King Chulalongkorn: A transitional period in the Thai Panji tradition. Wacana, 21(1), 42–68.
Titima Suthiwan. (2020). Mangummangaaraa: The search of Inao’s origin in Thailand. Wacana, 21(2), 235–267.
Vandergeest, P., & Paritta Chalermpow-Koanantakool. (1993). The Southern Thai Shadowplay Tradition in Historical Context. Journal of Southeast Asian Studies, 24(2), 307–329.
Vickers, A. (2020). Reconstructing the history of Panji performances in Southeast Asia. Wacana, 21(2), 268–284.
Wright, B. S. (1981). Islam and the Malay Shadow Play: Aspects of the Historical Mythology of the Wayang Siam. Asian Folklore Studies, 40(1), 51–63.