Nang Talung

''Nang talung'' (, ) is a traditional style of shadow puppetry from southern Thailand. Similar arts are found in Cambodia, Malaysia, and Indonesia. ''Nang'' means "leather" ("leather puppet" in this case), and ''talung'' is an abbreviation of Phattalung, a southern city where the shadow play tradition has long been popular. ''Nang yai'' features life-size puppets, while ''nang talung'' puppets are much smaller.

''Nang talung'' has been extremely popular for a long time. On the other hand, the art form is slowly disappearing because it is complicated. There is a campaign to preserve the traditions of ''nang talung'' for future generations.

The Malaysian wayang kulit gedek has its origin from Nang Talung.

History

Many scholars believe that shadow play performances such as ''Nang Talung'' represent one of the oldest forms of theatrical art in human civilization. They were once widespread in Europe and Asia. Some evidence suggests that after Alexander the Great conquered Egypt, shadow shows (or similar performances) were held to celebrate his victory and proclaim his glory. It is believed that shadow plays were already popular in Egypt before the Buddhist era.

In India, Brahmins performed a shadow play known as ''Chhaya Nataka'', often based on the epic Ramayana, to worship deities and honor heroic figures. In China, there were shadow shows praising the virtues of imperial concubines, such as the consort of Emperor Yuan of Jin, upon her death.

Later, shadow plays spread throughout Southeast Asia, including Cambodia, Myanmar, Java, Malaysia, and Thailand. It is believed that Nang Yai (large shadow puppets) existed before ''Nang Talung'' (small shadow puppets), and that these traditions originated from India due to lingering Brahmanical influence. Thai society continues to revere Rishis, Shiva, Vishnu, and Brahma. The Ramakien—the Thai version of the Ramayana—is considered sacred, and early Nang Yai performances exclusively featured this story. Originally, there were no screens, and performers would act out movements alongside the puppets.

It is believed that Nang Yai existed prior to the reign of King Narai the Great. There is evidence referencing a scholar from Wiang Sa district, Surat Thani, who was well-versed in astrology and poetry. He was summoned to Ayutthaya Kingdom by King Prasat Thong and later became the royal teacher of King Narai. He was appointed ''Phra Maharachakhru'' (Royal Astrologer) and was ordered to revive the traditional puppet play (Nang Yai). This revival is mentioned in the poetic work ''Samutthakot Kham Chan'':

I pay homage to all deities, protectors of the realms,
May blessings and boons fulfill my desires.
May the court officers shine light upon history,
And illuminate the splendid artistry.
Let the carved images glow with fine designs,
So all who see shall delight in them.

Originally, Nang Yai was simply called "Nang" and was widely performed in Central Thailand. ''Nang Talung'', performed in Southern Thailand, was also referred to locally as "Nang", as in the common phrase "Pai lae Nang Nora" (Let’s go see a shadow play and Nora dance). The term ''Nang Talung'' likely emerged when shadow plays from the south were introduced to central Thailand. The terms ''Nang Talung'' and ''Nang Yai'' were used to distinguish the two. The first known ''Nang Talung'' performance in Bangkok occurred during the reign of King Rama III, brought by Phatthalung (Phueak), who staged the performance in the Nang Loeng area. The performers were from Phatthalung Province, which led to the term ''Nang Phatthalung'', later corrupted to ''Nang Talung''.

''Nang Talung'' is believed to be derived from Nang Yai, with smaller puppets and adapted scripts. Early performances likely featured the Ramakien, but were rewritten in local dialects. Musical accompaniment also changed, replacing the central Thai ''Piphat'' ensemble (which includes ''taphon'' drums) with southern instruments like ''thap'', ''klong'', ''ching'', and ''hom''. One clue pointing to the connection between ''Nang Yai'' and ''Nang Talung'' is that, although southern versions don’t use ''Piphat'', the invocation to Shiva still mentions:

O venerable beings from ancient times,
With piphat, taphon, and drums,
I shall perform for you all.

Later, ''Nang Talung'' incorporated influence from Javanese Wayang kulit. Unlike the static figures of Nang Yai, Javanese puppets had movable hands and mouths. Most ''Nang Talung'' puppets could move one arm, while comedic characters such as ''Nu Nui'' could move both hands. Javanese puppet faces were stylized, and this aesthetic influenced Thai comedic puppets as well—for example, ''Nu Nui'' has a cow-like face, and ''Theng'' resembles a heron. The name ''Nang Talung'' may also derive from the Javanese and Malay word ''dalang'', meaning puppeteer.

Types of Nang Talung

Nang Talung, a form of shadow puppetry from Southern Thailand, has long been popular among local communities and continues to thrive today. Over time, the performance styles have evolved and diversified by region.

Eastern-style Nang Talung

Found among communities along the eastern coastal provinces such as Chumphon, Surat Thani, Nakhon Si Thammarat, Trang, Phatthalung, and Songkhla.

Western-style Nang Talung

A significant part of Thai folk wisdom and cultural heritage among the Andaman coast communities, particularly in Phang Nga and Phuket. This style features distinctive singing, dialogue, puppet design, and performance customs, though other elements of the show remain similar.

Malay-style Nang Talung or

Wayang kulit

Performed by Thai Muslims, often referred to locally as ''Wayae Kuleh'' or ''Wayang Kuleh''. This shadow play tradition has been popular for generations, especially in the southern border provinces of Yala, Pattani, and Narathiwat.

Musical Instruments

In the past, the musical instruments used in Nang Talung were simple and could be made by local villagers themselves. The main instruments included the ''tap'' (a type of drum), ''klong'' (drum), ''homong'' (gong), and ''ching'' (small cymbals). The ''pi'' (oboe) and ''saw'' (fiddle) were introduced later but were still locally crafted instruments.

As external cultures, especially Western music, began to influence the tradition, some Nang Talung troupes incorporated modern instruments such as drum kits, guitars, violins, and organs. This expansion required more performers, which led to higher production costs and more expensive performance fees. Concurrently, the rise of film screenings contributed to the decline in demand for Nang Talung performances. Some regarded the introduction of modern instruments as an evolution aligned with contemporary tastes, while others expressed concern that it diminished the unique identity of Nang Talung.

The Tap Drum: Core of the Ensemble

The most important instrument in Nang Talung is the ''tap''. It provides the rhythm and melodic cues for the performance. Other musicians must listen to the ''tap'' and adjust their playing accordingly. There are twelve traditional ''tap'' rhythms commonly used: “Marching Song,” “Retreat into the Canal,” “Giant’s March,” “Three Troops Song,” “Naadkrai Leaves the Palace,” “Lady in the Forest,” “Bathing Song,” “Governor’s Command,” “Troop Gathering,” “Troop Deployment,” “Giant’s Theme,” and “Return to the Palace.” A musician capable of playing all twelve rhythms is honored with the title ''Mue Tap'' (Master Tap Drummer), a mark of exceptional skill.

There are two ''tap'' drums: one high-pitched drum called ''Nuae Chap'' and one low-pitched drum called ''Nuae Thoeng''. The ''Nuae Chap'' is the primary drum, while the ''Nuae Thoeng'' serves a supportive role. In earlier times, two performers played these drums. Around sixty years ago, performances transitioned to a single drummer system, with the drums tied together using cloth. Drummers may rest the drums on their legs or secure them under one leg to keep them from moving during performance.

The Construction of Tap

The drum body, also known as the “puppet,” is traditionally made from jackfruit wood, valued for its ease of carving and shaping. Occasionally, santol wood is used. The wood is cut into 60 cm segments, roughly shaped into a long drum using an axe, then hollowed out and finely shaped. The exterior is polished with oil.

The ''tap'' has a single drumhead, typically made from langur skin. The drumhead is tightened using rope or rattan, with strips of hide connecting the drumhead's edge to the neck for sound adjustment. Before playing, the drumhead is dampened with water. A small cloth the size of a little finger is inserted inside the drum's edge to ensure tight tension and create a clear, resonant sound.

See also

*Hun krabok
*Nang yai
*Wayang
*Wayang kulit
*Menora

References

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Culture of Malaysia
Southern Thai culture
Shadow play
Puppetry in Thailand
Cultural history of Thailand