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The Panji tales are a cycle of Javanese stories, centred around the legendary prince of the same name (actually a title) from East Java, Indonesia. Along with the Ramayana and Mahabharata, the tales are the basis of various poems, sculpture and painting, dance-drama performances and genres of wayang (shadow puppetry), especially the one known in East and Central Java as wayang gedhog (the meaning here is unclear, as "gedhog" means "a thumping sound").Holt (1967), p. 124, who says the meaning is unclear. In this book, which is often cited as a reference, the word was misspelt as "godeg". Panji tales have been the inspiration of Indonesian dance, most notably the topeng (mask) dances of Cirebon, Central Java and Malang, as well as gambuh dance-drama in Bali. Especially in the environs of Kediri Regency, part of the probable homeland of the tales of Panji, local stories grew and were connected with the obscure legendary figure of Totok Kerot.Timoer (1981) Panji tales have spread from East Java (Indonesia) to be a fertile source for literature and drama throughout Indochina Peninsula (a region that includes modern-day Thailand, Cambodia, Laos, Myanmar, South Vietnam).
The legendary Javanese Saint who brought Islam to the Island, Sunan Giri, is credited, along with other innovations in wayang, with the creation of wayang gedog in 1553, to enact the Panji stories.Brandon (1970), p. 6. Wayang kulit performances of the Panji cycle are in general the same as in performances of the wayang purwa (those based on the Indian epics); however, because of their material, they are considered less significant. In addition, their headdresses are simpler, and the garment worn on the lower body is based on Javanese court dressScott-Kemball (1970), p. 41. Plots based on the Panji cycle are also common in East Javanese wayang klitik (using wooden puppets), in West Javanese wayang golek (using three-dimensional rod puppets), and in wayang beber (stories depicted pictorially on scrolls). It is also the principal basis of the stories used in wayang topeng (masked dance-pantomime). In Bali, where the longest and best-known of the tales is called Malat, the story is performed in the Gambuh plays and in the operatic Arja. In Sulawesi, there is a Panji tale written in Makassar language, called Hikayat Cekele . There is also a long Malay-language story, the Hikayat Cekele Wanengpati. See, for example, Dr. Cense (1889). Band. Tijdschr. V. Ind. Taal, Land-en Volkenkunde 32, p. 424; Poerbatjaraka (1968). Tjerita Pandji dalam Perbandingan. p. 410; Nugroho, Irawan Djoko (2011). Majapahit Peradaban Maritim. p. 42 and 355. In Thailand, these stories are performed in the lakhon nai stage plays as "Inao" (อิเหนา).
The Panji manuscripts are also digitally available through Digital Collections ‘’Panji Tales Manuscripts’’, in Digital Collections (Leiden University Library)
Panji is the prince of the Kuripan (Koripan) or Janggala. He is usually depicted in an unadorned helmet-like rounded cap. The mask for Panji has a smooth white or green face; narrow, elongated eyes; a straight and pointed nose; and delicate, half-open lips.
Panji is engaged to be married to Candra Kirana (also known as Sekartaji), the princess of Daha (Kediri), when she mysteriously disappears on the eve of the wedding. Later in the story, she is sometimes called Kuda Narawangsa when she appears disguised as a man. Panji's principal adversary is Klono (Kelana Tunjung Seta), a ferocious king who desires Candra Kirana and tries to destroy Daha to get her. Klono was adopted as a Moluccan title for a ruler as Kolano.Leonard Andaya (1993), The world of Maluku. Honolulu: University of Hawai'i Press, p. 59. In some versions of the story, Klono is Panji's half-brother. Other common characters are Gunung Sari (Candra Kirana's brother), Ragil Kuning or Dewi Onengan (Panji's sister, married to Gunung Sari), Wirun, Kartala and Andaga (relatives and companions of Panji).
The following are several episodes of the compilation of Panji stories:
Panji and Anggraeni were separated and tricked by being told to meet in different places. Anggraeni was led by the royal troops deep into a forest to be murdered. After she learned that their action was meant to avoid war and bloodshed between two kingdoms, she willingly sacrificed herself and gave up her life. After Panji learned about the death of Anggraeni, the prince went Running amok, fell unconscious, and finally lost his mind. The insane prince suffered from amnesia and wreaked havoc across both kingdoms, attacking villages, authorities, lords, and bandits alike. Meanwhile, in Kediri, Princess Kirana has learned about the fate of her future husband and has decided to go out from the palace to find and help him. Princess Kirana, disguised as a man, is later involved in a battle with Panji and finally manages to cure the Prince from insanity. Surprisingly, Princess Kirana looked exactly like the late Anggraeni, as actually they both were incarnated from the same spirit, Kamaratih, the goddess of love. Panji and Kirana were then united in marriage and lived happily ever after.
Meanwhile, the true Candra Kirana, alone in the forest, is advised by the gods that she must return to the palace disguised as a man to be reunited with Panji. She does so and, upon entering the city, discovers the wedding plans for the false Candra Kirana, delivers a letter to Panji revealing the true situation, and vanishes. Upon discovering this, Panji rushes to search for his love while his courtiers kill the demonic impostor.
Panji, in his search, undergoes many adventures, staying in forests with hermits, working as a servant in different palaces, always hoping to find traces of his lost bride. Candra Kirana, meanwhile, continues in her male disguise, undergoes her own set of adventures, and ends up as the king of Bali. In the climax of the story, Panji and Candra Kirana unknowingly oppose each other on the battlefield. There, as witnesses are ordered to leave, she confides to her opponent that she is the bride of Panji, and that the disguise was assumed because of a command of the gods that she could win back her prince only in a face-to-face combat where his blood is made to flow. Still not aware that she is fighting her prince, they continue the fight with swords and arrows, but she is unable to harm him until she resorts to her hairpin. As Panji is wounded, he reveals his identity, and they are happily reunited.
After many years of Kleting Kuning living in the village with the widow's family, a rich and handsome eligible bachelor named Ande Ande Lumut declared that he was searching for a bride. Many girls across the kingdom were smitten and interested in becoming his wife, including Kleting Kuning's sisters. Only Kleting Kuning was not interested since she had not forgotten the youthful face and betrothal to Prince Kusumayuda. However, a magical crane told Kleting Kuning to participate in this event where her true fate awaited her. All of the girls dressed up beautifully, putting on their make-up and marched together towards Ande Ande Lumut's house. However, her stepmother ordered Kleting Kuning not to dress up and even disguised her beauty in ugly and dirty clothes, hoping one of her own daughters, who were Kleting Kuning's elders, would win more favor and the bachelor's heart. She even gave her a sapu lidi (a simple broom made of coconut leaf spines) to carry in order to make Kleting Kuning look like a poor servant; however, it was actually a magical broom.
In their journey, the girls had to cross a large river without any ferry services. The river was guarded by a giant freshwater crab named Yuyu Kangkang. Yuyu Kangkang offered to take the girls across the river, riding upon its back, in return for a kiss. In order to reach Ande Ande Lumut's house as fast as possible, the girls hastily agreed on this arrangement and allowed Yuyu Kangkang to kiss them. Kleting Kuning arrived late at the river bank after he had taken the others across, and again Yuyu Kangkang offered its service for a kiss. Of course, Kleting Kuning, who always upheld her modesty and chastity, refused. Yuyu Kangkang, angered with Kleting Kuning's refusal, tried to eat her. In defense, Kleting Kuning tried to hit the crab but missed and hit the river with her broom and magically, all the water in the river dried up, and Kleting Kuning was able to cross the river safely. Yuyu Kangkang was trapped on the dry banks and was very scared, and he begged her for her mercy and forgiveness and to return the river to its home as it was before. Kleting Kuning felt sorry for him and again hit the ground with the broom, and the water returned, washing the relieved Yuyu Kangkang downstream. By then, Kleting Kuning's sisters had reached Ande Ande Lumut's house, where they were greeted kindly by Ande Ande Lumut's mother and served refreshments. Although the girls are pretty, and Ande Ande Lumut liked them, he refused all of them because he could detect the smelly, pungent fishy kiss of Yuyu Kangkang on them. Finally, Kleting Kuning arrived, dirty and simply dressed like a servant, which is how her sisters introduced her to Ande Ande Lumut's mother, who asked her to wait outside. However, Ande Ande Lumut received her warmly, as he could see the true beauty beneath and invited her in. After he speaks to her, he realizes that Kleting Kuning is the princess, his long-lost love. At that moment, Kleting Kuning also realizes that Ande Ande Lumut is actually Kusumayuda, her beloved prince. They are reunited, soon are married and live happily ever after.
One modern adaptation of the story of Panji and Candra Kirana (called Sekartaji in this version) is a musical play titled "Hayati: Panji Searching for the Essence of Love" under the direction of Rama Soeprapto and staged in Katara Opera House from 22 to 24 May 2023. It was a part of the Qatar-Indonesia Year of Culture program and commissioned by the governments of Qatar and Indonesia.
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