0

MESSAGES FROM THE PAST

CULTURE AND CIVILIZATION (CLS30105)

REPORT COMPILATION OF

TEAM INDIA

TUTORS:

MS NORMAH SULAIMAN

MS IDA MAZLAN

GROUP LEADER:

LIM JOE ONN

GROUP MEMBERS:

HARWINDER SINGH

LEE KAI YUNG

NG HONG BIN

POH WENG CHUAN

CARLSON KO

CHONG JIN FENG

CHONG YU XUAN

CLEMENT CHEN

DANIEL CHOW

1

CONTENTS

TITLE PAGE

ASSIGNMENT BRIEF 2-4

RESEARCH 5-19

RESEARCH SUMMARY AND ADAPTION INTO STORY 20-21

SUMMARY OF SKETCH 22

SCRIPT OF SKETCH 23-30

KEY FRAMES 31-34

IDEAS AND FINAL COSTUMES AND PROPS 35-45

REFERENCES 46

2

ASSIGNMENT BRIEF

SCHOOL OF ARCHITECTURE, BUILDING & DESIGN

Research Unit for Modern Architecture Studies in Southeast Asia

Foundation of Natural and Built Environments

CULTURE & CIVILIZATION (FDES 0815)

Prerequisite: None

Lecturer : Normah Sulaiman . Ida Mazlan _____________________________________________________________________

Project 2

Messages from The Past 30% marks (20% Group – 10% Individual) Submission date: 11th December 2014

Introduction

“The history of drama stretches back to some of mankind's earliest civilizations. It's always fun to learn the history of a play that you're watching. You could be seeing something that people have enjoyed for hundreds or thousands of years. Drama as we know it got its start back in ancient Greece. Many of the plays written during the Classical period, from 525 BC to 385 BC, are still performed today”

Cheever, J. 2011

Objectives of Project

1. To examine the similarities and differences between Eastern and Western civilizations.

Learning Outcome

1. Able to recall the development of Eastern and Western human civilizations in the past as

well as present.

2. Able to demonstrate good documentation and presentation skills.

Tasks

Part I: Timeline Research: You are to research and analyze the specific given timeline through

books, and internet. Elements such as the culture, administration, social strata, tradition and history or myth are to be researched and included in the timeline. With the research that

you have conducted in mind prepare a visual timeline. Select the most important plot from the timeline for your performance. The materials gathered are to assist you for your group and

individual outcome.

Part II: Individually, your task is to study the character chosen in detail that would

demonstrate your understanding of the chosen elements in Part 1. Final submission as a group

3

would be a showcase of students’ understanding of the timeline and the 20mins showcase / acting of the scene of the elements that are prominent in the timeline.

Part III: Submission as an individual would be a journal on the character in A5 size comprises of

series of sketchs, colored, complete with annotations and design the packaging of your journals.

Schedule:

*It is compulsory for you to bring your tutorial sheet each time you see your tutor. This tutorial sheet will be compiled in the final submission

Submission Requirements: Group

1. Screening Date and Assessment Day** Screening Date : 11th December 2014 Venue : Class Venue

Time : Class Time

** For E-portfolio purposes, performance of each group need to be recorded and uploaded

using proper media and compiled using a CD for lecturer’s archive.

2. An A4 report* compilation comprises of Part I and Part III.

*List of report content will as below

Document your research findings and tutorials output in A4 size with a proper cover. (Includes, refer to details below). This shall be submitted on the same day of

performance.

• Assignment brief • Research – movies and characters that have inspired you, costume research,

props research, etc.

• A summary of your research and how you have adapted the research into your story.

• A summary of your sketch. • A script of your sketch. • In each act in the script, pick the most crucial scene. Draw out that key frame

(how you visualize that scene to be). You can draw with your own style.

Week 6 : 6th Nov 2014 : Planning of Project Week 7 : 13th Nov 2014 : Progress I – 5% evaluation Week 8 : 20th Nov 2014 : Progress I – 5% evaluation Week 9 : 27th Nov 2014 : Progress II – 20% evaluation Week 10 : 4th December 2014 : Progress III – 20% evaluation Week 11 :11th December 2014 : Performance Day Week 12 :16th December 2014 : Submission of Individual

Component

4

• All ideas of costumes and props must be drawn and colored. After they are

completed, photographs are to be produced to show the final outcome.

References for both text and visuals. Individual

1. A5 booklet (maximum 6 pages). The journal includes brief introduction of character,

progress of understanding and elements such as the culture, social strata, and

architecture of the timeline.

2. Journal works must be in hand drawn or collage format (No computer graphics).

3. Referencing and citation of sources is to be inserted at the back of the culture journal.

Date : 16th December 2014

Time : Class Time

Venue : Class Venue

Reminder: Works submitted late will yield 10% mark reduction. For works submitted later

than two working days, no assessment will be done.

** Subject to changes (if any and will be announced in class)

5

RESEARCH

LANGUAGES IN INDIA

Different states of India have different official languages, which includes Tamil, Urdu

and Bengali. Some of them not recognized by the central government. The central

government decided that Hindi was to be the official language of India.

SOCIAL HIERARCHY

The influences of Hinduism and the tradition of the caste system have created a culture that emphasizes established hierarchical relationships. Indians are always conscious of

social order and their status relative to other people, be they family, friends, or strangers.

Indians typically define themselves by the groups to which they belong rather than by their status as individuals. Someone is deemed to be affiliated to a specific state,

region, city, family, career path or religion. ETIQUETTE AND CUSTOMS

Indians do not like to express 'no,' be it verbally or non- verbally. Since they do not like to give negative answers, Indians may give an affirmative answer but be deliberately vague about any specific details.

Religion, education and social class all influence greetings in India. This is a hierarchical culture, so the eldest or most senior person is greeted first. Indians are also known to

always respect their elders and never talk back at them. Objecting the elder’s decision is a taboo.

6

Men may shake hands with other men and women may shake hands with other women;

however there are seldom handshakes between men and women because of religious beliefs.

RELIGIONS

India is very diverse in terms of religion. This country is the origin of Buddhism. Most of

its citizens are Hindus or Muslims.

NAMING CONVENTIONS

Indian names vary based upon religion, social class, and region of the country.

Hindus:

In the north, many people have both a given name and a surname.

In the south, surnames are less common and a person generally uses the initial of their father's name in front of their own name.

The man's formal name is their name "s/o" (son of) and the father's name. Women

use "d/o" to refer to themselves as the daughter of their father. At marriage, women drop their father's name and use their first name with their

husband's first name.

Muslims:

7

Many Muslims do not have surnames. Instead, men add the father's name to their own name with the connector 'bin'. Women use the connector 'binti'.

The title Hajji or Hajjah before the name indicates the person has made their pilgrimage to Mecca.

Sikhs:

Sikhs all use the name Singh. It is either adopted as a surname or as a connector name to the surname.

DINING ETIQUETTE

Indians entertain in their homes, restaurants, private clubs, or other public venues, depending upon the occasion and circumstances.

Take off your shoes before entering the house. Dress modestly and conservatively.

There are diverse dietary restrictions in India, and these may affect the foods that are

served:

Hindus do not eat beef and many are vegetarians. Muslims do not eat pork or drink alcohol.

Sikhs do not eat beef. Lamb, chicken, and fish are the most commonly served main courses for non-

vegetarian meals as they avoid the meat restrictions of the religious groups.

Table manners:

Much Indian food is eaten with the fingers.

Always use your right hand to eat, whether you are using utensils or your fingers. In some situations food may be put on your plate for you, while in other situations

you may be allowed to serve yourself from a communal bowl.

8

Leaving a small amount of food on your plate indicates that you are satisfied. Finishing all your food means that you are still hungry.

SOCIAL STRUCTURE THROUGHOUT HISTORY

Hinduism has strict rules about social

structure, called a caste system.

Brahmins consist of priests, Kshatriya’s

consist of warriors, Vaishya consist of

merchant and farmers, Shudras are

unskilled workers while Untouchables

and Adivasis are seen as unclean and

perform the unclean tasks of society.

These tasks include cleaning human

waste and cleaning drains. They are

treated terribly by others and are always

discriminated by other classes.

The most significant minority population in

India today is the Muslim population. This

stems out of a period of several hundred years

of Indian history where Muslims ruled over

much of the subcontinent. During Muslim rule,

changes were done to the caste system.

9

Emperor Akbar, a Muslim Mughal ruler from 1592 to 1605, attempted to remove

some aspects of discrimination against Hindus in Indian society. He envisaged

an India where major religious groups could work together (also including Christianity and Buddhism). This created

a social pyramid where leaders from different religions were equal.

MOGHUL MARRIAGE CEREMONY

Origins

Traditional Muslim pre-wedding ceremonies are similar to ancient Moghul customs since they originated from the Persian Empire. However, the practice of Hindu-Muslim

marriages of Moghul princes to Rajput princesses (such as that of Jodhaa Akbar) involves some Rajput engagement customs as well.

Moghul marriage were usually arranged by elder family members. Today’s Muslim

equivalent of this arranged marriage process is called istikhara – where the religious or political head of a community takes rights from Allah to perform and approve the marriage ceremony.

10

The Moghul betrothal process called magni involves a display of affection and wealth from both the bride’s and groom’s sides of the family. The groom and his family pay a

visit to the bride’s home with gifts – including silk clothing and gold jewellery.

Pitha

Moghul brides would wear bright yellow and gold lehengas while they were covered in

turmeric (haldi) powder by her female relatives. The haldi makes the bride’s skin

glow naturally – reflecting her happiness for her wedding day.

The pitha ceremony is the ancient equivalent of today's haldi tradition followed in both

Hindu and Muslim wedding cultures.

Mehendi

Intricate floral, peacock, and

mango print designs are delicately painted in henna paste on the hands and feet of

the bride. It is ancient tradition to have the groom’s name hidden in the bride’s mehendi

design as well – so that he will spend the whole night

searching for it!

Despite the commonality of Hindu-Muslim marriages

amongst royalty, Moghul customs were primarily practiced with adaptations from

Hindi traditions.

11

Baraat

The day of the wedding is just as lavish as the extensive engagement ceremonies that precede it. The groom has his wedding procession, the baraat, which is his grand

entrance to the wedding venue. He brings with him the daala - which are gifts of clothing and jewelry from his family to the bride.

The wedding ceremony is officiated by a priest. The fathers of both the bride and the groom are both heavily involved in the ceremony. Once legal matters are settled,

the priest makes the bride and groom sign a marriage contract known as a nikah-nama. It is also signed by the other family witnesses.

After verses from the Quran are read and

martial responsibilities are agreed upon, the bride and groom are officially married and receive blessings while they pray together.

The acceptance of these verses is called the Ijab-e-Qubul.

An interesting wedding tradition in Moghul,

and now Muslim, culture is the concept of gender-segregation at the ceremony. The

men and women sit on opposite sides of the venue, while the bride and groom are only allowed to view each other through a mirror

until all the rituals have been completed.

12

MOGHUL FUNERAL CEREMONY

Little amounts of records of Moghul

funerals in general are found. Thus,

research is focused on Mumtaz Mahal’s

funeral ceremony in historical records. The

‘O Man’ chapter of the al-Quran was read

by her bedside at the moment of the death.

Announcements of the death of Mumtaz

Mahal were done. Every member of the

royal family gathered, and anguished.

Mumtaz Mahal’s body received a cold

water bath by a female washer before

being wrapped in a white shroud. The

corpse is removed from Burhanpur Palace head first to prevent the spirit from finding its

way back in.

A mourning period of 40 days was announced by the king. As the corpse is carried from

Burhanpur to Agra, there was a long procession of slaves and commoners. Alms and

food were given to them for attending the funeral. The corpse is placed in a temporary

tomb until the Taj Mahal is completed.

MOVIES AS REFERENCE

This movie, Jodhaa Akbar, is a sixteenth century

love story between Moghul emperor, Akbar, who

was Shah Jahan’s grandfather and Rajput

princess Jodhaa.

A traditional Indian musical instrument called

‘punji’ was introduced in this movie.’Yuddh kala’,

an Indian martial art was exhibited in this movie

as well.

13

Punji Yuddh kala

This movie, Taj Mahal, is a historical movie

based on actual facts. The plot of this movie

revolves around Shah Jahan’s love towards

Mumtaz Mahal and events that happened

during the construction of the Taj Mahal.

14

Shah Jahan, played by Kabir Bedi, is

potrayed as a legendary king who built one

of the most marvellous architecture

wonders of the world.

Mumtaz Mahal, played by Sonya Jehan has

a kind hearted personality that captures the

heart of Shah Jahan. She inspired viewerd

by standing firm with Shah Jahan even if

their love were tested by the people around

them. The Taj Mahal was built as a

testimony of true love between them.

COSTUME RESEARCH

Moghul kings usually tie a turban, sport a moustache and wear high quality golden or

green cloth. They also wear strings of pearls and golden jewellery.

15

Moghul men are northern Indians. Hence, they wear Northern Indian clothing called

dhoti sherwani.

Royal Moghul women usually wear lots of jewellery. They cover their head with a piece

of cloth called a ‘dupata’.

16

Based on our research on the Hindi movie ‘Jodhaa Akbar’, which is set during the

Moghul era, it is found that Moghuls tend to wear green, red and yellow colours.

This is due to the fact that green is the national colour of the Moghul Empire.

Hindu merchants from the Vaishya class like to wear bright colours as they believe that

it wards of evil spirits.

17

Slaves, who are at the bottom of the caste system only wear a few pieces of white cloth

and are barefooted.

Yama, the god of death in the Hindu religion, wears a golden cone-shaped helmet and

holds a danda. He uses a chess set to determine whether a soul reincarnates as a

superior or inferior organism.

18

19

20

RESEARCH SUMMARY AND ADAPTION INTO STORY

Hinduism and Islam are two major religions of India. To make the story more

comprehensive, elements of both religions are included. As Yama, the Hindu god of

death, is in charge of observing all deeds of all beings, it is logical for Yama to be the

narrator of the play.

The love story between Shah Jahan and Mumtaz Mahal that lead to the construction of

the Taj Mahal is one of the most compelling stories that represent India. Based on the

movies we referred to, a young prince and a potential leader of the mighty Moghul

Empire must be equipped with multiple skills, which include reading skills, martial arts

and musical instruments. These will be shown in the story as the traditional Indian

musical instrument - punji and a form of Indian martial art called ‘yuddh kala’ are

exhibited.

According to historical records, Shah Jahan, then called Prince Khurram went to Meena

Bazaar when he was 15 and fell in love with Mumtaz Mahal, then called Arjumand Banu

Begum, who was selling silk and glass beads. It was love at first sight. As entertaining

the husband was one of the basic requirements of a good wife back then in Moghul

India, Mumtaz Mahal’s feminine skills such as dancing and singing are exhibited during

the play.

In Indian culture, the decisions of the elder family members are always final and the

younger ones must respect their choices. This can be shown through the culture of

arranged marriages in India. Free love without arrangements, such as the love between

Shah Jahan and Mumtaz Mahal was rare back then. As Indians are always conscious of

social order and their status relative to other people, it is a social custom that Shah

21

Jahan’s parents need to know the family background and social status of his potential

bride.

Shah Jahan and Mumtaz Mahal only married 5 years after they met, which is unusually

long for that period. Pitha, Mehendi and Baarat ceremonies are important rituals in

Moghul weddings. Thus, these ceremonies are adapted into the story. As Mumtaz

Mahal died of childbirth, Moghul funeral ceremonies are shown too. According to Indian

beliefs, the three main occasions of life are birth, marriage and death. The story is

comprehensive as most of these occasions are involved.

Thousands of slaves, which have the lowest class in Indian society, were involved in the

construction of the Taj Mahal. The play then links to a rich Vaishya merchant who buys

one of the slaves and forced him to work. Hence, chores done by slaves such as

cleaning human waste, carrying objects and unclogging drains are adapted in the story.

Research also found that many Indians are god-

fearing people. This could be shown by heavy

influences of religion in their lives. The Hindu

concept of karma is then shown when Lord Yama

punishes the cruel Vaishya merchant and rewards

the kind slave. From rich to poor, nobility to

commoner, god to mortal, different classes of

society and beings are adapted into the story.

This makes the story full of content.

22

SUMMARY OF SKETCH

The Narrator introduces himself as Yama, the god of death that observes all actions of

humanity - Intro to Shah Jahan's life in the palace - Shah Jahan went to Meena Bazaar

and fell in love with Arjumand Banu Begum - Shah Jahan proposed to his parents that

he wants to marry her - His parents opposed (only arranged marriages are allowed) -

Shah Jahan pleads to let them see her first - Shah Jahan's parents invites Arjumand to

the palace - Arjumand performs Indian dance - Shah Jahan's parents like her and

approves the wedding - *Wedding Ceremony* - Shah Jahan named her Mumtaz -

Complications at birth during the 14th child - Mumtaz said last words to Shah Jahan -

*sad scene* - *Funeral Ceremony* - Shah Jahan builds the Taj Mahal - Slaves working

at construction site - Finish construction after 22 years - Construction slaves are sold at

market - Vaishya Merchant buys a slave - Merchant bullies slave - Slave clear faeces,

carry heavy things, eat bad food - Slave is kind, gived remaining food and penny to

hungrier slaves - Slave tried to help Merchant clear dust at his body but Merchant angry

bcus slaves cannot be touched (filthy) - A virus outbreak, both of them fell sick -

Merchant blamed the slave for his sickness - punished slave to work more - Slave died

at work while Merchant died at bed - They went to meet Yama in hell -Yama calculated

their deeds - Yama punished Merchant and rewarded Slave (karma)

23

SCRIPT OF SKETCH

SCENE 1: HELL

(press sound button)

Yama: Greetings everyone! Welcome to Naraka, HELL!!! My name is Yama, the God of

Death and Justice, the wisest among all the devas. I observe the all human beings on

Earth and keep a complete record of their actions. Upon their death, I calculate their

karma and decide whether they reincarnate as a superior or inferior organism.

(press enter)

SCENE 2: MOGHUL PALACE

Yama: Today, I am going to tell all of you a story, a story about love. Many many years

ago in the Moghul Empire of India, there lived a handsome prince named Shah Jahan.

He lived a fabulous life in a beautiful palace.

(press button)

(Priest and Shah Jahan appears. Priest seemed to tutor Shah Jahan)

Yama: As a child, Shah Jahan received broad education befitting his status as a Mughal

prince, which included poetry.

Priest: (Holds book with Shah Jahan) Read this poem, your highness. Follow me.

LAGTA NAHIN HAI DIL

Shah Jahan: LAGTA NAHIN HAI DIL

Priest: MERA UJDE DAYAR MEIN

Shah Jahan: MERA UJDE DAYAR MEIN

Yama: Shah Jahan learnt musical instruments

Priest: My royal highness, this is called a punji and I am teaching you how to play this.

(Shah Jahan and priest plays musical instrument) (press sound button)

Yama: Also, he learnt martial arts.

Priest: My dear highness, to be a strong king, you must train your muscles (shows

muscles), to be as strong as me.

Shah Jahan: Yes, my honourable teacher.

Priest: Now, take your sword, I am teaching you the Indian martial art called ‘yuddh

kala’.

(Priest and Shah Jahan performs martial arts)

24

(King Jahangir and Queen Taj Bibi comes in)

Yama: One day, Shah Jahan’s parents, King Jahangir and Queen Taj Bibi came for a

surprise visit.

Priest and Shah Jahan: (bows to king and queen) Your majesties.

Jahangir: How is my son doing?

Priest: He is learning very well, your majesty.

Jahangir: Great job, son. I am proud of you.

Shah Jahan: Thanks, your majesty.

(Jahangir and Taj Bibi leaves)

(press enter)

SCENE 3: MEENA BAZAAR

(press sound button)

(Priest and Shah Jahan comes in)

Yama: When Shah Jahan was 15, he went to a Meena Bazaar. While strolling down the

streets, he caught a glimpse of a girl selling silk and glass beads. It was love at first

sight.

Shah Jahan: (To priest) Hey, did you see that girl?

Priest: Yes, I do

Shah Jahan: She’s so pretty!

Priest: I agree, your highness. Why not you talk to her?

Shah Jahan: (approaches Mumtaz, Mumtaz shy) Hey girl, what’s your name?

Mumtaz: (shy) Arjumand Banu Begum.

Shah Jahan: Wow, what a beautiful name. You’re beautiful (kisses hand)

Mumtaz: Thank you. (shy and moves far away)

(press enter)

SCENE 4: INDIAN SAVANNA

(press sound button)

(Shah Jahan and Mumtaz dances)

Yama: They fell in love

25

(press enter)

SCENE 5: MOGHUL PALACE

Yama: Shah Jahan went back to the palace.

(Jahangir and Taj Bibi comes in)

Shah Jahan: My majesties, I have an important announcement to tell.

Jahangir: What is it, my dear?

Shah Jahan: I met a girl called Arjumand and I wanna marry her!

Taj Bibi: Seriously? You can’t marry a girl you just met!!!

Shah Jahan: But, but she’s kind and pretty and I really love her!

Jahangir: No, only arranged marriages are allowed in this family. This tradition has been

in the family for generations!

Shah Jahan: Why not let’s invite her to the palace. You’ll probably like her!

Jahangir: Okay fine, find one day and invite her to the palace. We would like to know

her background and see if she’s eligible to be your princess.

Shah Jahan: (happy) Alright, your majesty (walks away)

Yama: One day, Shah Jahan brought Arjumand to the palace.

Shah Jahan: May I introduce all of you to the lady I fell in love with…

Jahangir: May we know your name?

Mumtaz: Arjumand Banu Megum, your majesty.

Taj Bibi: What’s your background?

Mumtaz: I am a Persian princess, your majesty.

Taj Bibi: Wow, a princess. Our son is pretty good at selecting girls.

Jahangir: Only royal families can marry royal families. I think our son just did a right

choice.

Taj Bibi: I agree. (to Mumtaz) What talents do you have?

Mumtaz: I can dance, your majesty.

(press sound button)

(Indian music, Mumtaz dances)

Jahangir: I like her, she is pretty and talented

26

Taj Bibi: Most importantly, she has a good family background.

Jahangir: Alright son, you can marry her, but you need to wait for 5 years, when you are

more matured.

Shah Jahan: 5 years?? But why???

Taj Bibi: 5 years then 5 years!!! Don’t misobey your father.

Shah Jahan: Alright.

(press enter)

SCENE 6: WEDDING

Yama: 5 years later, when Shah Jahan was 20 years old, he married Arjumand. A grand

wedding ceremony was held. The bride performs the Pitha ceremony. She wears in

bright yellow while being covered in turmeric powder.

(Mumtaz wears yellow cloth, Taj Bibi put powder on Mumtaz)

Yama: Next, she wears a nose ring called a Nath.

(Taj Bibi wears Nath on Mumtaz)

(press enter)

Yama: Next, it’s the Mehendi ceremony. Henna is delicately painted on the bride’s

hands and feet.

(Taj Bibipaints bride’s hands)

(press enter)

(press sound button)

Yama: After that, it’s the Baarat ceremony. The groom makes a grand entrance to the

wedding venue.

(Shah Jahan enters and carry gifts)

Yama: He brings with him the daala, which are gifts of clothes and jewelry from the

royal family to the bride.

(Shah Jahan gives gift to Mumtaz)

Yama: The priest makes the bride, groom and family witnesses sign a contract known

as nikah-sama.

(Priest brings paper for everyone to sign)

Yama: Next, they pray together

(Everyone prays)

27

Yama: A grand wedding feast is held after the ceremonies. However, males and

females are segregated from one another in Moghul weddings.

(Male one side, female one side. Eat.)

(press enter)

Yama: Shah Jahan awards Arjumand an official title.

Shah Jahan: (takes away shroud) From now on, your name shall be Mumtaz Mahal!

Mumtaz: Yes, your highness.

Yama: After marriage, Shah Jahan and Mumtaz Mahal lived happily. Mumtaz gave birth

to as much as 13 children.

However, when the 14th child is born…

(Mumtaz with cloth, holding Shah Jahan’s hand)

Taj Bibi: Push!!!!! Push!!!!

Mumtaz: AHHHH!!! I can’t do it!!! I’m gonna die!!!!

Shah Jahan: No, you cannot die. Our children needs you.

Mumtaz: No, I can’t, this is too hard for me. Take care of our children, ok? (closes eye)

Shah Jahan: No, No!!! (shakes Mumtaz) PLEASE DON’t DIE!!!

NOOOOOOOOOOOO!!!!!!

(Everyone cries) (press sound button)

(press enter)

SCENE 7 : FUNERAL

Yama: Mumtaz died due to child complications. A grand funeral is held for her.

Yama: First, the priest reads the al-Koran.

(Priest reads Koran)

Yama: Next, female members of the family gives the dead body a cold bath and wrap

the body with a white shroud

(Taj Bibi bathes Mumtaz’s body and covers it with white shroud)

Yama: A mourning period of 40 days is announced and the king refused to attend any

affairs. The corpse is then transported to Agra and buried. There was a long procession

of commoners and slaves.

(Royalty family mourns at dead body, slaves follow behind)

28

Yama: The slaves receive alms and food for attending the funeral procession

(Priest gives food and coins to slaves)

(press enter)

SCENE 8: CONSTRUCTION SITE

Yama: To commemorate his wife, Shah Jahan recruited men all over India to build the

Taj Mahal. Hundreds of slaves were involved in this construction.

(Shah Jahan directs the slaves to do work)

(press sound button)

(press enter when sound ends)

(SCREEN CHANGES TO TAJ MAHAL)

Yama: After 22 years, the Taj Mahal is built.

(press sound button)

(press enter when sound ends)

(SCREEN CHANGES TO MARKET)

(press sound button)

Yama: The slaves are then sold at the slave market. One day, a Vaisya merchant came

to buy a slave

Merchant: (looks at slave) You are too skinny, I don’t like! (looks at another slave) You

are too old, I don’t like! (looks at last slave) Ahhhhhh, this one is just right. I want you to

be my slave! (Gives money to priest) (to slave) Follow me!!!

(press enter)

SCENE 9: INDIAN STREET

Yama: It is not easy to be a slave, they have no rights in society. They do all sorts of

dirty work. For example, they carry heavy things.

(Slave carries heavy things)

Yama: They clear clogged drains

(Slave clearing drain)

Yama: Also, they clear human waste .

(Merchant poops)

(press sound button)

29

(Merchant asks slave to clear it, slave carries the pot)

Yama: The slaves are often bullied by their owners.

(Gives slave horrible food, slave eats)

(Slave tries to touch merchant)

Merchant: Shoo shoo shoo!!! Why did you touch me!!??

Slave: Got dust on your shirt.

Merchant: Just go away, you filthy animal, you’ll dirty my skin!!! Don’t you know you’re

an untouchable? You’ll degrade me if you touch me.

Slave: Sorry, sir.

Yama: Despite the hardships, the slave is a kind person.

(Another slave dying on the street, he gives his food to him)

(Another slave begging, he gives him penny)

Yama: One day, there was a virus outbreak. Both of them fell sick.

(Slave and merchant sick and coughing)

Merchant: You see!!!! Last time you touch me, now I’m sick already!!!

Slave: Sorry, sir.

Merchant: Sorry what sorry??? Go and clean the toilet. Now!!!

Slave: Yes, sir.

Yama: At the end, both of them died of disease.

(press enter)

SCENE 10: HELL

Yama: In the Hindu religion, it is believed that souls go to hell first for their judgement

after death.

Merchant: Where are we?

Slave: I think we are in hell.

Yama: Greetings, newcomers!

(press sound button)

Merchant: Who, who, who are you?

30

Yama: I am Yama, the God of Death and I have been observing all your good deeds

and bad deeds. It’s time for judgement now. Upon death, I will calculate all your karma

using a chess set. Black represents bad deeds while white represents good deeds.

(Merchant and slave begging)

Merchant: (begs) Oh please, please don’t punish me, I’m a good person!

Yama: Silence!!! (calculates) You!!! (to slave) You are a kind person, you can

reincarnate as a rich man in your next life. Go!!

Slave: Thank you sir

Yama: YOU!!!

Merchant: Yes???

Yama: You evil man. You reincarnate as a pig in your next life!!!!

Merchant: What?? I??? A pig???? NOOOOOOO!!!!!!!!

(press enter)

SCENE 11: THE NEXT LIFE (20 YEARS LATER)

Yama: 20 years later, after the two souls have reincarnated.

Slave: Awwwww, what a cute piggy….

Merchant: (wears pig mask) Oink! (chase after slave)

Slave: Don’t don’t touch me you filthy animal, shoo!!!

Yama: This is called karma. It is in the belief system of most Indians. And the moral of

the stories I tell is, number one, love should be unconditional and number two, we

should treat others well disregarding their background or status. Thank you.

(press enter)

*THE END*

31

KEY FRAMES

Scene 1

Scene 2

Scene 3

32

Scene 4

Scene 5

Scene 6

33

Scene 7

Scene 8

Scene 9

34

Scene 10

Scene 11

35

IDEAS AND FINAL COSTUMES AND PROPS

Vaishya Merchant

36

Indian Priest

37

King Jehangir

38

Queen Taj Bibi

39

Shah Jahan

40

Mumtaz Mahal

41

Yama

42

Slaves

43

Food for the poor slave. Made out of old newspaper and a plate.

44

An Indian punji. Made by combining a recorder and an apple at its blowing end.

Swords for yuddh kala

The nikah-sama used during the wedding ceremony.

45

White pot used for defecation purposes.

The daala. Made by covering a toolbox with cloth.

The dustpan. Used as a hoe in the play.

46

REFERENCE LINKS

http://lrrpublic.cli.det.nsw.edu.au/lrrSecure/Sites/Web/int_india/culture/applets/show_tell

634_text.htm

http://www.tajmahal.gov.in/mumtaz.html

http://www.tajmahal.org.uk/mumtaz-mahal.html

http://www.mapsofindia.com/on-this-day/june-17-1631-mumtaz-mahal-dies-during-

childbirth

http://www.caleidoscope.in/art-culture/rtp-understanding-culture-indian-states

http://thebigfatindianwedding.com/2013/the-essential-guide-to-mughal-weddings-bridal-

attire-and-jewelry

https://books.google.com.my/books?id=v-

2TyjzZhZEC&pg=PA147&dq=mumtaz+mahal+death&hl=en&sa=X&ei=Pg2PVJLyL4Kgu

QTWmICACg&ved=0CCAQ6AEwAQ#v=onepage&q=mumtaz%20mahal%20death&f=fa

lse

http://www.indianetzone.com/6/katha_upanishad.htm