Coedes started the book by briefly describing the geographical characteristic of southeast Asia then explaining the term of ‘Indianization’ which for him is more into the influence of arts, custom and religion of India. He also included the usage of Sanskrit language as a huge characteristic of Indianization. He later focused on each Kingdom like Funan, Angkor, Srivijaya and Majapahit. Coedes also included the declined of the kingdoms and provide us few theories in Indianization of Southeast Asia.
This is a great book for those who were interested in learning the early kingdom in Southeast Asia or anybody interested in Indianization. I came across to a few books that have different view about the type of Buddhism during the earlier kingdom, Coedes wrote that it was Mahayana but there were other scholars said about other type of Buddhism. We were discussing about it during the class and my friend told me that he found it in Wikipedia. He is just ridiculous to say that! I need to read more and do more research on it Continue reading
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Trần Quốc Vượng
Trên dải đất miền Trung Việt Nam hiện tại, chủ yếu là từ Đèo Ngang cho đến Hàm Thuận, nhiều thời bao gồm cả Tây Nguyên, đã nảy sinh, phát sáng rực rỡ rồi tắt dần một nền văn minh độc đáo, ta gọi là văn minh Chămpa
- Lời mở
Từ một hai thế kỷ đầu Công nguyên cho đến các thế kỷ XVII-XVIII, trên dải đất miền Trung Việt Nam hiện tại, chủ yếu là từ Đèo Ngang cho đến Hàm Thuận, nhiều thời bao gồm cả Tây Nguyên, đã nảy sinh, phát sáng rực rỡ rồi tắt dần một nền văn minh độc đáo, ta gọi là văn minh Chămpa mà sợi dây liên kết (theo F. Engels: “sợi dây liên kết văn minh là Nhà nước” (xem Nguồn gốc gia đình tư hữu và Nhà nước, 1882) là các nhà nước mà sử sách Trung Hoa, Đại Việt gọi bằng những tên Lâm Ấp, Hoàn Vương, Chiêm Thành, với các miền lãnh thổ – cũng có thể là các “tiểu quốc” xuất hiện trong sử sách Hoa Việt dưới những cái tên Địa Lý, Ma Linh, Bố Chính, châu Ô, châu Lý, Chiêm Động, Cổ Lũy, Thi Bị, Thượng Nguyên, Bôn đà lãng…, hay trong bi ký Phạn – Chàm với những tên Chămpapura, Amaravati, Vijaya, Kauthara, Panduranga, Virapura, v.v…
Văn minh Chămpa đã tắt, hay đúng hơn, các nhà nước Chămpa đã không còn tồn tại từ vài trăm năm nay, song tộc Chăm và các tộc bà con theo mẫu hệ còn đó: Chăm H’rê, Chăm H’roi, Raglai, Jarai, Rhaday… Văn hóa Chăm vẫn còn đây, sống động ở Ninh Thuận (với làng gốm Bàu Trúc), Bình Thuận hay là các phế tích “thành lồi’, “giếng Hời”, “cánh đồng chăm” theo cách gọi của người Kinh – Việt ở Bình – Trị – Thiên, Nam – Ngãi – Bình – Phú, Khánh Hòa – Phan Rang, Phan Rí, Phan Thiết…, những “thánh địa” (sanctuaive) Mỹ Sơn, Đồng Dương, Phong Nha, những cụm/nhóm đền – tháp Chămpa trong thung lũng, trên sườn đồi, chân núi, ven biển, trong rừng sâu…, những dòng họ Ông, Ma, Trà, Chế… với những con người da đồng hun, mũi cao, mắt sâu, tóc xoăn, những huyền tích, những lễ hội Katé, nhiều di tích Chăm và ảnh hưởng văn hóa Chăm còn “nhìn” thấy được và có thể tìm hiểu, nghiên cứu được ở Thanh, Nghệ, Tĩnh, ở châu thổ Bắc Bộ, ở ngay nội đô và ven đô Hà Nội… Và ngôn ngữ Chăm vẫn là sinh ngữ (Ngôn ngữ là sản phẩm/thành phần văn hóa). Người ta bảo “chính trị qua đi, văn hóa ở lại” (Les poliques passent, les cultures restent)”. Continue reading
STEPHEN G. HAW
Journal of the Royal Asiatic Society
Series 3, page 1 of 31
Since their first publication in 1922, two Islamic inscriptions formed an essential basis of the early history of Islam in Champa. Recently, however, they have been shown to have originated, not from Southeast Asia, but from Tunisia. It is clear that either there was an error regarding their provenance, or it was deliberately falsified. The implications of this are discussed, and the remaining evidence of early Islamic presence in Champa is reassessed. It is suggested that there is now no good evidence of any Islamic presence there until after the sixteenth century. In relation to this issue, the maritime links between China and the Islamic world are examined, as also are other examples of possible falsification of history.
CALL FOR PAPERS
Performing Arts and the Royal Courts of Southeast Asia
12-13 July 2018
Sunway University, Malaysia
This symposium brings together current scholarship on past and present roles of Southeast Asia’s
royal courts in regional performing arts.
Royal courts have long been sites for the creation, exchange, maintenance, and development of
myriad forms of performing arts, literature, and other distinctive cultural expressions.
Performing arts have been included among royal regalia of numerous kingdoms. They have
figured prominently in traditional displays of dominion. In many cases, they were transferred
between courts through marriage, conquest, diplomatic exchanges, trade, and tributary relations.
Within the kingdoms themselves, the performing arts have circulated between royal courts and the
public, providing vibrant mediums for civic discourse, education, and articulations of spirituality
and shared identity. Today, many of them occupy iconic positions within the popular imagination
as national heritage and classical archetypes.
As such, their legacies have important stories to tell about the region’s history, as well as the roles,
protocols, functions, and perceptions of monarchies in the present. This symposium addresses
three distinct, but related areas of discussion:
● How have court-to-court relations shaped the development of Southeast Asia’s performing arts?
● What do the performing arts tell us about power relations between past polities?
● How have palace-village exchanges contributed to developments, refinements, and standardized
practices in the performing arts?
● How do the performing arts reflect the institutions, ideologies, and constitutions of power
produced under state sponsorship?
● What roles do courts or court legacies play in the production and development of performing arts
in the twenty-first century?
● How have performing arts figured in the transformations of Southeast Asia’s hereditary polities
into modern states?
● How have recent generations of royal-court descendants transformed their patronage of the arts as
politicians, activists and entrepreneurs?
Abstract and Publication Details
Submission deadline: 15 January 2018
Abstract length: 250 words, along with a short biographical note (100 words or less)
Send to: PARC.SEA@gmail.com
—Please allow one month for notification from the program committee
We call for abstracts from scholars in Southeast Asian performing arts with fresh perspectives
germane to the abovementioned areas, who might draw from a range of topics including, but not
limited to, issues of origin and myth, genealogy, stylistic developments, repertoires and genres,
tools and instruments, ritual practices, proscriptions, and cultural preservation. We especially
welcome a variety of methodological approaches from a broad array of disciplines such as
heritage and history studies, manuscript studies, comparative studies, gender studies, religious
studies, ethnography, oral history, or hermeneutical studies.
Symposium papers should be 20 minutes in length. Additional time will be allotted for discussion.
Participants will be expected to contribute an expanded version of their symposium presentation
(of at least 8,000 words) as a chapter within a published anthology to be co-edited by the
conveners. The first draft of the publication manuscript will be due within three months of the
The committee will provide all selected speakers with airport transfer (between Kuala Lumpur
International Airport and the symposium site/hotel), and cover accommodation, symposium fees,
and meals for the duration of the symposium.
We thank you for considering your participation in this symposium. Please address any questions
regarding the event to the abovementioned email address.
Lawrence N. Ross, Academy of Malay Studies, University of Malaya (email@example.com)
Mayco Santaella, Department of Performance & Media, Sunway University
Set apart from the so-called ‘Hinduisation’ process, the Cham country is characterised by the presence of many sites or shrines dedicated to local deities. This paper—based on the analysis of archaeological and anthropological evidence—aims to identify these cults, to clarify the associated practices and to demonstrate how the local cults map out the entire local geography. Moreover, in central Vietnam, it is possible to precisely examine ‘potent places’ in order to achieve a better understanding of the local cults and the persistence of those cults from antiquity to the present. In ancient times, each local deity was connected to a political power, which ‘exhaled’ it and, at the same time, put a mark on the territory. The diversity of potent places allows a better understanding of puzzling territories. The continuity of ritual practices performed at Cham potent places, centuries after the disappearance of any form of Cham political power, shows the link between the first occupants of the land and the following Viet inhabitants.
‘Everything that Comes Out of the Earth is Cham’, The Asia Pacific Journal of Anthropology, DOI:
To link to this article: https://doi.org/10.1080/14442213.2017.1370478
Danny Wong Tze-Ken
This paper highlighst the importance of using Vietnamese historical sources to examine Vietnamese contact with the Malay world as well as their view on the Malay world.
Angie Ngoc Tran
California State University, Monterey Bay, USA
Focusing on the understudied Cham (Sunni) Muslims who live in the Mekong Delta region of southern Vietnam, decades after Vietnam joined the market system, I found that they have sustained their century-old mobile ways of life—including retailing, fishing, and sewing—in close connection with the global Islamic community to make a living and to continue their religious studies. But a mixed picture emerges in their response to Vietnam’s labor export policy since 2002: practicing geographical agency with short-term successes but facing more risks as both men and women engage in extra local journeys, crossing borders into Cambodia, Thailand, and Malaysia. Continue reading