c&c presentation report

1. 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

2. 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

3. 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

4. 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

5. 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 announcedin class)

6. 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.

7. 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:

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 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.

9. 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.

10. 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.

11. 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.

12. 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.

13. 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.

14. 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.

15. 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.

16. 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’.

17. 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.

18. 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.

19. 18

20. 19

21. 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

22. 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.

23. 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)

24. 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)

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(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

26. 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

27. 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)

28. 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)

29. 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)

30. 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?

31. 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*

32. 31
KEY FRAMES
Scene 1
Scene 2
Scene 3

33. 32
Scene 4
Scene 5
Scene 6

34. 33
Scene 7
Scene 8
Scene 9

35. 34
Scene 10
Scene 11

36. 35
IDEAS AND FINAL COSTUMES AND PROPS
Vaishya Merchant

37. 36
Indian Priest

38. 37
King Jehangir

39. 38
Queen Taj Bibi

40. 39
Shah Jahan

41. 40
Mumtaz Mahal

42. 41
Yama

43. 42
Slaves

44. 43
Food for the poor slave. Made out of old newspaper and a plate.

45. 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.

46. 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.

47. 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