TENGKU INTAN MARLINA, HASHIM AWANG, MADIAWATI, NUR HAMIZAH,

FROM TEXT TO ANIMATION:

ADAPTATION OF BAWANG PUTIH
BAWANG MERAH

Tengku Intan Marlina Tengku Mohd Ali

[email protected]

Hashim Awang
[email protected]

Madiawati Mamat @ Mustaffa

[email protected]

Nur Hamizah Hashim

[email protected]

Academy of Malay Studies,

University of Malaya,
50603 Kuala Lumpur, MALAYSIA.
Tel: +603-89216496.
Abstract

The adaptation of literary texts into drama, film and animation is increasingly
popular in today’s era of advances in science and technology. Bawang Putih
Bawang Merah (Garlic and Shallot) is one of the works which has been
adapted into the form of film and animation. One of the animations adapted
from text to film that received overwhelming response from the audience in
2001 was Putih directed by Rashid Sibir, produced by Fine Animation Sdn.
Bhd. In animation, several changes are made, including changes to the title,
characters and characters, setting and events to suit the target audience, and
the times. In relation to this, the objective of this article is to analyse the
adaptation from different Bawang Putih Bawang Merah texts into the animated
form to ascertain the modifications made when certain works are converted
into animation, and to investigate how far literary values are adapted into
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multimedia forms. This study will use the work of Rubaidin Siwar published
by Dewan Bahasa dan Pustaka (1990) because it is a more complete text as
compared to others. In discussing adaptations, Engelstad (2009) explains how
there are four stages involved in the process of adaptation, the first being the
narrative, the second the transformation of the verbal to visual, with the third
stage being “enunciation”, and the fourth being the comprehensive stage.
All four stages are applied in the analysis of BPBM in its adaptation from
text to animation. The adaptation process involved in converting the BPBM
texts into the multimedia form retains the literary elements through the use
of various story-telling techniques, to produce a captivating animated film.
Although BPBM is a traditional Malay tale, the story is adapted with various
interesting elements befitting the needs of today’s generation.

Keywords: animation, Bawang Putih Bawang Merah, adaptation, text,

multimedia

INTRODUCTION
Bawang Putih Bawang Merah (BPBM) is a folk tale from Malaysia as well
as Indonesia. It was first spread in the oral tradition, then compiled in books
and made into various film versions and most recently presented in the form
of animation. The changes in its form of presentation and story-telling as
various versions exhibits the many interesting elements in BPBM, so much
so that this story is presented in myriad forms, whether orally, textually or
through multimedia elements.
BPBM was produced in the form of texts in many versions, among which
were Bawang Merah and Bawang Putih by Khadijah Hashim published by
Institut Terjemahan Negara Malaysia (The Malaysian National Institute of
Translation) (ITNM) in 2009. This work has been translated into English
(30 pages). Prior to this, ITNM had also translated the book Bawang Putih
Bawang Merah by Othman Putih into Tamil in 2007 (21 pages). Bawang
Putih Bawang Merah by Sulaiman Zakaria was published by Pustaka Printis
in 1995 (29 pages), and earlier than this, there was Bawang Putih Bawang
Merah by Rejab F.I., published by Tempo Publishing in 1993 (40 pages).
However, this study will refer to the work by Rubaidin Siwar published by
Dewan Bahasa dan Pustaka in 1990 because this text is more complete than
others. BPBM in the other texts mentioned is too brief and simple because
these texts seem to be meant for children’s reading.
In line with modernization and technological advances today, BPBM has
also been adapted into film and animation. Early on, BPBM was made into
 TENGKU INTAN MARLINA, HASHIM AWANG, MADIAWATI, NUR HAMIZAH,

a film in 1959, directed by S. Roomai Noor, produced by Cathay-Kris Film.

This film was later also adapted into animated form in 2001 with the title
Putih, directed by Rashid Sibir, and produced by Fine Animation Sdn. Bhd.
In brief, BPBM is the story of the family of Pak Ali who has two wives,
Labu and Kundur. These marriages produce two daughters, Bawang Merah
and Bawang Putih. After the demise of Pak Ali, Labu and Kundur constantly
argue due to feelings of envy and dissatisfaction towards each other. Many
conflicts arise which cause them to become poorer and poorer. Bawang
Merah is a beautiful and kind young woman who is constantly physically
and mentally abused by her stepmother and stepsister, especially after the
demise of her biological mother. Bawang Merah’s hardship ends with joy
and happiness after she is married to a prince.
What can be seen from all three versions of BPBM is that several
changes have been made, including modifications in to the title, characters
and characterization, setting and events to suit the target audience and the
times. In relation to that, this article will focus on investigating adaptations
of BPBM from text to animated form to study the changes which take place
when a work is converted into animated form, while investigating how much
of its literary value is maintained in the multimedia form.

Menerusi penggunaan animasi, sesuatu mesej atau pengetahuan dapat

disampaikan dengan lebih mudah dan berkesan. Oleh yang demikian,
sewajarnya teknologi ini diterokai dengan lebih mendalam agar kelebihannya
dapat dimanfaatkan secara optimum.

(Through the use of animation, a message or information can be delivered

more easily and effectively. As such, this technology should be explored
deeper and accordingly to ensure its advantages can be fully optimised.)
(Jamalludin, 2006:iii)

In its literal sense, the term “animation” refers to something having

movement or life. Generally, to animate an object has the meaning of making
an object move to make it come to life. Animation became widely known and
popular through television that showed moving pictures, recorded products,
events, live recording encompassing human, animals or plants (Anung,
2010). Animation is one of many multimedia elements to deliver information
interactively. The term “animation” is derived from the English root word
“to animate”, which is to give life. A general definition of animation is that
it gives life, making lifeless objects move; a lifeless thing is given strength,
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spirit and emotion to come to life and move, or simply to affect life (http://
atan69.files.wordpress.com/2009/09/minggu-1-pengenalan-animasi12.pdf,
2012).
Jamalludin Harun (2005), explains that animation is derived from
the Latin word that means “bring to life”. According to Kamus Dewan, a
dictionary published by Dewan Bahasa dan Pustaka, animation refers to “an
action or a process of making something appear to be alive.” The Computer
Animation Dictionary (http://oxforddictionaries.com/definition/english/
animation, 2012), on the other hand, defines animation as a process that
shapes an illusion of movement in film or video through the composition
of photographs, or even the combination of movements which are recorded
from a framework of images. Each frame or framework of images contains
some variations in them and when presented in a time frame at full speed,
will form an illusion of movement.
BPBM in animated form is a striking innovation in the field of Malay
literature today. An animated work such as Putih appeals to people and attracts
them to works of literature due to being more interactive and interesting
nature, aside from providing entertainment and moral lessons to the public.
The animated version of Putih offers something different and has
revolutionized the Malaysian film industry whereby folklore is presented
in comic form, capable of providing entertainment and moral lessons to the
Malaysian film audience. Akmal Abdullah (2001) states:

Tidak keterlaluan saya menyifatkan kehadiran “Putih” sebagai perkembangan

menggembirakan untuk industri animasi negara kerana produk kartun
bergerak begitu rumit untuk berkembang berbanding filem cereka atau drama.

(I will not be exaggerating to describe the presence of “Putih” as a delightful

development for the nation’s animation industry because the product of moving
cartoons is rather complicated to develop, compared to short films or drama.)

(AkmalAbdulllah,2001,http://www.sinemamalaysia.com.my/
main/clippingnews/Filem_Putih_tampil_isi_kekosongan_2073)

As such, the adaptation of literary works into animated form has a big
impact on the development of the world of literature today. Nevertheless,
the adaptation of a literary work must meet literary criteria to ensure that
maximum benefit can be gained from the work.

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APPROACHES TO ADAPTATION

Adaptation is the conversion of a certain work into another type of work,

whether duplicated fully from the original, or altered, and with additions
or omissions. The process of adapting one work into another brings about
many advantages which are in line with today’s technological advancement.
Adaptations can be in various mediums, whether in print or online, whichever
that enables literary works to be enjoyed by the world at large.
According to Kate Atkinson (2002), adaptation is defined as “all matter
transformed into other matter”, which is the transformation from one medium
into another medium. Genette (1997) on the other hand, relates adaptation
to the study of hypertextuality, “the act of writing a text, in whatever genre,
with other texts in mind as a ‘transgeneric practice’”.
Adaptation is further explained by Alan Rosenthal in Julie Sanders
(2006), that is, adaptation is a process that transforms, corrects, shapes and
simplifies. In fact, according to him, this editing and creating (of a new
product) is an art, and the true technical aspect of the adaptation process. He
also suggests two main approaches in the process of adaptation which are,
firstly, staying true to the original work and, secondly, creating something
totally new. According to him, an adaptation that is true to the original work
is not very good, while the second approach, in which something new is
created, is better. However, the new product must be true to the spirit and
emotion of the original work even though the work is now channelled through
a different medium or technique.
Adaptation is not something new. This is explained by Booker (2004
in Engelstad, 2009), that is, adaptation is not a new phenomenon, since, in
the past, works were also adapted from other works.

Adaptation is not a new phenomenon at all. Intertextual studies show that

stories always seem to derive from other stories. Even the ancient Greek
playwrights, like Sophocles and Euripides, based their plays in most cases on
myths and stories that had already been told. The British scholar Christopher
Booker recently published a very thorough piece of research in which he
showed, and in fact proved, that most stories of the world – from myths and
fairy-tales, novels and plays to Hollywood films and TV soap operas can
structurally and thematically be reduced to “seven basic plots” – which is
also the title of his study.

(Engelstad,2009.http://www.caen.iufm.fr/colloque_iartem/pdf/engelstad.pdf)
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In discussing adaptation, Engelstad (2009) explains that there are several

processes involved in adaptation, which are the narrative stage, the verbal to
visual stage, the enunciation stage and the comprehensive stage. These four
stages are applied in the analysis of BPBM and its adaptation from text to
animation in this article. These four stages must be investigated together in
order to show the processes involved in changing text into animation. These
stages will be explained in the analysis.
Sohaimi Abdul Aziz (2011), talks about the adaptation of the novel
Lasykar Pelangi (2005) into the film Lasykar Pelangi (2008) using the
approach proposed by Engelstad (2009). His article as published in Jurnal
Kemanusiaan (2011) discusses the four stages of adaptation from novel
to film to view two differing works that are yet inter-related. Nonetheless,
Sohaimi Abdul Aziz’s article varies from this article. Even though this study
also investigates adaptation using the same approach, it gives more focus to
adaptation into animation, in this case, the adaptation of BPBM from text
to animation.

ADAPTATION OF BPBM INTO PUTIH

The study of BPBM into the adapted animated version, Putih, is described
below to explain the transformation from text into multimedia, through
the four stages as proposed by Engelstad (2009) that explain the aspects of
retaining, editing or omitting in a story.

Narrative Stage

The narrative stage is the stage at which the literary text is compared to the
script of the multimedia animated version. For analysis at this stage, several
matters are looked into such as “What has been kept of the novel’s narrative?
What has been reduced – and why? What has been changed from novel to
film narrative? What has been added? (Engelstad, 2009. http://www.caen.
iufm.fr/colloque_iartem/pdf/engelstad.pdf).
Matters such as aspects of retention, editing and omission should be
discussed in the adaptation of a work, whether the adaptation is from text
to film or even from text into animation. Although the theory explains the
transformation from text to film, the approach can also be used in studies on
adaptations from text to animation. Animation and film are not very different
because both forms highlight, among others, the combination of audio and
visual aspects to make the work more interesting and appealing to the public.

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The most striking difference is only in the characters’ appearance. If film
shows realistic characters, animation features cartoon characters to create
interesting animation effects.

Kehadiran animasi dalam sesuatu persembahan dapat menceriakan keadaan

penyampaian, sesuatu konsep yang kompleks, juga dapat dipersembahkan
dengan lebih mudah dan ringkas.

(The presence of animation in a show can enliven the delivery, a complex

concept can also be presented more easily and simply.)

(Jamalludin dan Zaidatun, 2005:4)

In relation to that, the animated film, Putih, is presented using more
interactive and interesting new media to attract the public to scrutinize
traditional works of literature which are rich in educational elements. The
elements found in this traditional work of literature are still applicable to
the life of today’s society. Therefore, this paper investigates the aspects of
adaptation from text to animation to explain the changes that take place
when a work is converted into animated form, and studies the extent to
which literary values suit adaptation into a multimedia form. At the narrative
stage, the aspects which will be explained encompass aspects of retention,
addition and omission.

(a) Retention
Here, the similar elements present in the transformation of the text of BPBM
into its multimedia form, Putih, are studied. It is found that there is very
little transfer of the original text BPBM to the animated form (Putih). The
only element is that of the plot or storyline.
This is in line with the view of Sohaimi Abdul Aziz (2011:39) who
explains that in the process of adapting novels into films, there are directors
or scriptwriters who remain true to the original work, and there are those
who do not. When a director or creator is not true to the text, he will do three
things: retaining, editing and omitting from the original work. These three
things are related to several factors such as the different media involved,
commercial significance, the agenda of the writer, producer or film studio,
as well as artistic importance and the like.
In relation to this, few aspects seem to have been retained in the adaptation
of BPBM into the animated version, Putih. The clearest aspect of retention
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aspect in both is that of the life of Mak Labu and Mak Kundur after the
demise of their husband. Various conflicts arise due to the greed, envy and
dissatisfaction of Mak Labu towards her co-wife and stepdaughter. Due
to this, many things occur that bring about hardship and injustice towards
Mak Kundur and her daughter. These conflicts help to develop the plot in
an interesting way and arouse the audience’s curiosity.
BPBM is a timeless tale, as the issues presented in it still occur to this
very day. Among them are human attitudes such as envy, greed, treachery and
dissatisfaction, which are still relevant to today’s society. This story was very
effective in its time, teaching that greed and envy lead to self-destruction,
while patience and acts of kindness lead to happiness in the end.
In the animated version, Putih, the conflicts that occur in the family are
presented in a very interesting manner through the way the characters are
drawn. The characters in this cartoon become more interesting because they
are given facial expressions and using suitable audio effects. Examples from
Figure 1 depict the conflicts in both versions. In picture (i), the character Mak
Kundur is shows to be constantly annoyed with her co-wife and stepdaughter.
What is interesting is that through animation, the facial expression can be
directly seen, unlike in the text, whereby the emotions of the character are
expressed through a certain narrative technique. In example (ii), on the other
hand, Mak Kundur is portrayed as always gloomy and sad because she is
always bullied by Mak Labu. Examples (iii) and (iv) show the images that
provide an explanation of the conflicts in the family. Picture (iii) portrays
the image of Mak Kundur scolding Bawang Putih because Putih is said to
be a lazy person who refuses to do household chores. Mak Kundur’s fierce
look with a scolding facial expression can be seen in the pictures. The same
applies to Bawang Merah, whose facial expression clearly gives out her
satisfaction and joy at Bawang Putih being scolded by her mother. Picture
(iv) shows Mak Kundur carrying a basket of dirty laundry to have them
washed by the river while she is being observed by Mak Labu and Bawang
Merah. Mak Kundur walks with a sad face, while Mak Labu has a fierce
facial expression because she is monitoring the chores that must be done
by Mak Kundur. Bawang Merah on the other hand is shown with her usual
affected, arrogant expression as she, too, despises Mak Kundur.
The conflicts explained above were transferred entirely from the
BPBM texts. The main theme of the tale, which is about family conflicts,
is retained in the animated form using suitable images and sound effects.
Jamalludin Harun and Zaidatun Tasir (2005:76) explain that the characters
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(i) (ii)

(iii) (iv)

Figure 1 Adaptation of conflicts.

Source: Fine Animation Sdn. Bhd.

which are created and developed must be developed. Facial expressions,

sitting positions, standing, walking and others must be identified and fixed.
This allows the characters created to possess their own personality, in turn
touching the hearts of the audience.
Another aspect of retention that can be identified here is the setting, such
as the village, river and palace, which are retained in the animated form.
The difference is that in the animation, the village setting is depicted to the
minutest detail, that is, the depiction includes social situations such as the
market place, interaction among the villagers, and the rural farming system.
These are not expressed clearly in the texts. Based on examples in Figure 2,
the place setting remains the way they are described in the text. However, the
images depicted become more interesting with an explanation voiced over.
Example (i) is an image of a palace which has been sketched interestingly
in the animated version. In the text, the palace is described in words but in
animation it is portrayed clearly as an image of a marvellous palace. Picture
I shows the image of the huge, beautiful palace with its spacious courtyard.
Picture (ii) is a depiction of a kampung enhanced with activities such as the
kampung folk working together to plant rice in the fields. This aspect is not
clearly explained in the text. Therefore, it can be said that there is a slight
addition in the retention aspect for the adaptation from text to the animated
form so as to provide a more interesting portrayal.
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(i)

(ii)

Figure 2 Adaptation of Setting.

Source: Fine Animation Sdn. Bhd.

The plot of BPBM and Putih ending happily is another obvious similarity
analysed in this study. Even though in the earlier stage the protagonist
(Bawang Merah in BPBM text, Putih in the animation) undergoes various
hardship in life, her patience pays off, and in the end she leads a happy life,
is married to a prince and lives in the palace for ever and ever.
Generally, not many aspects are retained in their entirety from the written
work, however, the major literary aspects such as theme, character and setting
remain the same and are modified to suit the form of presentation. What is
retained are the elements that may provide moral lessons for people of all
times, and that remain relevant even today. Nonetheless, what is apparent
in the animated version is that it is more interesting as far as the setting is
concerned because it is more detailed. Due to this, the story can be better
appreciated by the audience.
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(b) Addition and Alteration

Adding and altering is a normal practice when any written work is adapted into
animated form. Alteration may include changes to the characters, language
style, setting or any other aspect to produce an animated work that can present
the story in an effective manner. Whatever alterations made depend on the
creativity of the editor but are still in accordance with a pre-developed script.
An obvious difference in this story pertains character and characterization,
for example, the difference in the names and roles of the characters. In BPBM,
the protagonist is Bawang Merah, while in Putih, the protagonist character
is Putih. Putih is chosen as the main character here because putih (white)
is a symbol of purity and suits the protagonist’s character as she not only
possesses good looks but a good character as well. Furthermore, in terms of
nutrition, bawang putih (literally: white onion; the Malay word for garlic)
is healthy and nutritious. Putih befits the symbolic nature of this character
and is beneficial to the society.
Alterations in the scenes, on the other hand, can be seen in the incident
of Pak Ali’s demise. In the BPBM story, what is told of Pak Ali’s death is
that he was stung by a catfish and died, however in Putih, the cause of Pak
Sukam’s death is not stated. This happens because Putih portrays the conflicts
between Putih and her stepmother and stepsister. As such, scenes relating to
the life of her father are not depicted in great detail in the animated film. In
addition, the animated version is subject to a time limit. As such, the absence
of this incident does not affect the plot of the tale.
The scene of Mak Labu’s demise is also altered. In Putih, Mak Labu
dies after being pushed into the river by Mak Kundur, but in BPBM, Mak
Labu dies after she is beaten with firewood and bleeds to death before being
pushed into the well by Mak Kundur. Mak Kundur’s acts of violence and
her inhuman nature are apparent in the BPBM texts. In “Putih” animation
however, this scene is altered because such violent acts are unsuitable for
an audience that comprises children and teens.
The incident where Mak Labu catches a gourami is also found to have
been altered. In BPBM, it is told that Mak Kundur (who is Bawang Putih’s
mother in the text) and Bawang Putih catch a gourami (Mak Labu, who
has transformed into this fish) after Bawang Merah goes off to work at the
plantation. However, in the animated film, Mak Kundur and Merah’s strategy
to catch the gourami (Putih’s mother transformed) is through Mak Kundur
pretending to be ill and sending Putih to the kampung across from theirs
to get medicine. When Putih leaves for the kampung across the river, Mak
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Kundur and Merah embark on catching the gourami from the river, frying
the fish, and serving it to Putih. By modifying this event in Putih animation,
the scriptwriter attempts to showcase the element of deceit for a particular
purpose. The element of deceit is inserted into the animated work to arouse
suspense and curiosity among the audience.
Literary works transformed into animation also undergo modifications
aimed to suit the times and logical thinking, to ensure each work that is
presented captivates the audience. This study finds that the episode of Prince
Aftus who wished to go into battle is meant to bring out the wisdom and
intelligence in Putih’s character. For example, in the animated Putih, Prince
Aftus is deployed to lead an army to the borders of Tanjung Pura kingdom,
to defend it against Raja Aria Bupala and his army, for Raja Aria Bupala
has already reached the borders of Tanjung Pura. Putih gives suggestions to
Prince Aftus on ways to defeat Raja Aria Bupala and his army. One of Putih’s
strategies is for Raja Aftus to instruct his army to dig trenches in the middle
of the battlefield, so that when the soldiers of Raja Aria Bupala walk through
the trenches, they will fall into these. In addition to that, Putih requests for
Mikus (the rat) and his friends to attack Raja Aria Bupala’s soldiers by biting
them and eating their food supplies. Upon being bitten by the rats, Raja Aria
Bupala’s soldiers fall sick. This scene indirectly showcases Putih’s wit and
intelligence in assisting her husband, Prince Aftus.
Contrary to this, the BPBM text shows Bawang Merah’s the naivety
and lack of intelligence even as she is queen. For example, Queen Bawang
Merah abides to everything asked of her by Mak Kundur. For example,
when Mak Kundur asks Queen Bawang Merah to sprinkle the prickly hairs
of bamboo onto her husband’s sleeping chambers, supposedly to secure her
husband’s love for her. Additionally, Mak Kundur also convinces Queen
Bawang Merah to hang an axe Mak Kundur gives her at the entrance of their
bedroom door. When the Raja enters the chambers, the axe hits the Raja’s
head. This incident incites the Raja’s anger towards Queen Bawang Merah,
hence he commands Queen Bawang Merah to be executed. However the
BPBM story ends with Mak Kundur (mother to Bawang Putih) and Bawang
Putih being found guilty of conspiring to set up Queen Bawang Merah. Mak
Kundur (mother to Bawang Putih) is punished and exiled by the Raja.
The changes taking place due to the transformation of BPBM into the
animated version, Putih, still upholds BPBM’s main focus. The reason for
the changes are, among others, to suit the context of the era, thus ensuring
the work presented can be accepted by the general public. For example, the

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choice of the name Putih matches certain symbolisms which are ingrained in
the minds of the Malay community. Furthermore, an animated presentation
has its time constraints, hence the need for a brief plot whilst retaining its
literary and dramatic effects. The modification of events is so that the story
appears more logical and realistic, suitable for all time.
Adding on certain elements in the process of adaptation is aimed at
enticing the audience and captivating them. Additions can always be made
to the characters, setting, plot and language style. An animated presentation
is more interactive and interesting with proper multimedia elements such as
graphics, audio, colours and visuals.
With regard to the animated Putih, most of the additions are done to match
the story to today’s modern society. Significant additions include a delightful
melodious syair (sung poem) to depict happy and sad moments. The melody
leaves a deep impact on the audience so as to continue following the story.
For example, Putih begins with the melodious serenade of a syair that tells
the story of the harmonious life of the kampung people. The accompaniment
of the melodious syair and the delightful visual display increase the level
of understanding, as well as affect the audience’s appreciation of the tale in
the animated version.
Additions can also be seen in the aspect of characterization. In Putih,
animal characters are added, which are a cat and a rat. The cat and the rat
here are supporting characters to Putih. The cat is named Gemo while the rat
is named Mikus. Both animal characters are highlighted in Putih in order
to attract children and to make this plot more interesting. Psychologically,
children adore animal characters, especially if they are presented in animated
form with interesting cartoon images and are able speak like humans.
Furthermore, in Putih, action-packed elements are added to make the
story appear more complex and attractive. This can be seen in the scene where
Datuk Bendahara Panglima Bijarana and the character Raja Aria Bupala,
who are wolves in sheep’s clothing, conspire with the enemy to kill Prince
Aftus and conquer Tanjung Pura kingdom.
The same goes for additions in the events of the battle between the
two kingdoms in Putih. When Raja Aria Bupala discovers that his plan to
kill Prince Aftus is unsuccessful, and that in fact Prince Aftus is said to be
going to marry Putih, his hopes of conquering Tanjung Pura kingdom start
to fade. Due to this, Raja Aria Bupala gathers and deploys all his soldiers to
attack Tanjung Pura kingdom. This is where the action-packed elements take
place that fill the story with suspense and tension, consequently attracting
the audience to stay with the story.
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An element of slander is also added and inserted into Putih. Putih is

defamed and is accused of having an illicit affair and engaging in adultery
with Sulong, who is the assistant to Prince Aftus. Mak Kundur is the one
who spreads the slander to Raja Aristun. Due to this, Putih is cast out from
Tanjung Pura kingdom by Raja Aristun. However, in the end, Raja Aristun
discovers that everything was nothing more than slanders by Mak Kundur
because of her envy towards Putih. Once Prince Aftus hears the truth of the
matter, he leaves Tanjung Pura kingdom in search of Putih and they reunite.
Mak Kundur, Bawang Merah, Datuk Bendahara, and Panglima Bijana are
punished with a lifetime of servitude at the palace. The addition of the
slander element makes the plot in Putih more engaging because it creates
the element of suspense and attracts the interest of the audience towards
the ending of Putih.
The additions made to Putih, whether in aspects of character, setting,
plot and language style set apart “Putih” from the BPBM text. Different
audiences will have a different appreciation based on their own understanding
and knowledge. Nonetheless, Putih is found to directly affect and captivate
children, teens and adults alike due to its effective multimedia elements
such as graphics, audio, colours and visuals which are used to optimum
effect. Nevertheless, the textual form BPBM has its own uniqueness, such
as its ability to improve the power of the audience’s imagination with each
incident expressed by the writer.

Verbal to Visual Stage

The adaptation of a literary work into animation is a modification from the
verbal to visual form. Literary works in textual form are deemed to be verbal
whereas literary works in multimedia form are visual in nature. When a
scene is converted into animated form, changes will occur, the scene will
either be portrayed in detail using graphics, colours or certain sound effects,
or events will be removed entirely, replace by multimedia elements.
The transformation from the verbal into the visual shows in the way
the setting is created. For works in textual form, a setting is described by
the author through language in various styles, while in animation there is
a “real” backdrop that is sketched out, followed by certain sound effects
to make the atmosphere more interesting. Also, in an animated work, the
audience’s imagination is limited as the scenes presented are clear and
realistic, with the use of various visuals. On the other hand, literary texts

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Figure 3 Depiction of Putih sitting on the swing and singing.

Source: Fine Animation Sdn. Bhd.

do not limit the audience’s imagination, as the author’s language style will
excite the minds of the audience to imagine the situation described by the
author. The migration from text to visual form can be seen from the example
in Figure 3:
Referring to Putih, the scene where the prince and his advisors spy on
Putih while she is sitting on the swing and sings, is beautifully depicted,
whereby she is seen on a swing under a big tree surrounded by lush greenery,
colourful flowers and some deer hunting for food. The description shown in
the animation is vivid. The audience no longer needs to imagine what the
author attempts to deliver. This is in contrast to the BPBM text that illustrates
the scene in this way:

Mereka pun pergi lebih dekat lagi. Dari sebalik pokok besar mereka dapat
melihat seorang perempuan muda sedang berbuai-buai di bawah suatu
pohon beringin yang amat rendang sambil bergurindam, amat sedih dan
sayu bunyinya.

(They went closer. From behind a big tree, they could see a young lady
sitting on a swing under a shady banyan tree while singing a tune so sad
and melancholic to hear.)

(BPBM, 1990:94)

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The author’s depiction of the scene, using language in the style above,
will trigger the audience’s imagination of the narrated setting. The scene is
not fully converted from text into animation, instead, certain aspects in the
animation have been added to enhance the impact of the visual. For example,
colourful flowers, green bushes and deer are added.
It is apparent that an animated presentation is more captivating due to
its visuals, coupled with suitable sound effects that will bring forth a deeper
appreciation towards the story. The colours used can also create all sorts of
feelings, whether sadness, gloominess or even joy. In animation, the choice of
colours, sizes and graphic structures must correspond to the script provided.
Whereas in textual works, language style plays an important role in vividly
describing each scene. According to Muhammad Haji Salleh (2000:67),
literary language is a meaningful form of speech, for it highlights various
significant matters, and has been organized in an effective form.
Apart from that, the aspect of transformation from the verbal to the
visual can be seen in the wedding scene between Putih and Raja Aftus. In
animation, the joyful atmosphere at the palace is portrayed in a delightful way.
The cheerfulness is illustrated in the bersanding (sitting in state) ceremony
scene between Putih and Raja Aftus. In the animated film, Putih, Putih and
Raja Aftus are seated on a dais wearing complete wedding attire with yellow
accessories. Family members and palace chiefs appear to rejoice at the
ceremony. There are also a few dance performances during the ceremony.
Everything is depicted in a joyous mood. Family, palace chiefs and the
people of the kingdom, are all gathered to witness the wedding ceremony.
In BPBM, the wedding is illustrated as below:
Setelah siap dipakaikan dengan pakaian pengantin kelihatanlah Bawang
Merah amat cantik, menjadikan asyik sesiapa yang melihatnya. Upacara akad
nikah pun dijalankan kemudiannya, dan setelah itu raja pun disandingkan
dengan Bawang Merah di atas pelamin diraja yang dihias indah, disaksikan
oleh orang-orang besar negeri serta hamba sekalian. Sekalian yang
melihatnya memuji-muji kecantikan kedua pengantin itu, tak ubah seperti
pinang dibelah dua.

(After putting on her wedding dress, Bawang Merah looked breathtakingly

beautiful and stunned everyone who saw her. The solemnisation ceremony
followed, then the Raja was officially married to Bawang Merah in a sitting-
in-state ceremony, on a beautiful royal dais, witnessed by all the palace
chiefs and the people of the kingdom. Those who saw them exclaimed how
good-looking both bride and groom were, like two peas in a pod.)
(BPBM, 1990: 110-11)

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There is not much difference between the verbal and the visual versions.
Both versions depict the merriness of the wedding ceremony. However, the
animated version stands out more and looks more interesting as the festiveness
is illustrated using various colours and fascinating songs. Nonetheless, the
description given in the text is more detailed, unfolding the process of the
royal wedding from beginning to end. For example, there is mention of the
wedding attire, solemnization, bersanding ceremony, dais, and wedding
guests who are present, as well as a mention of the attractive looks of the
bride and groom.
However, there is a scene found in Putih that is an anachronism. For
example, on the night of the festivity when the newly-weds enter their
bedroom, they watch a fireworks display outside the palace through their
bedroom window. The depiction of fireworks is anachronistic for, in reality,
fireworks were not yet in existence during the time in which BPBM is set.
The addition of this aspect is merely to showcase the beauty and festive
atmosphere of the wedding ceremony. That being said, the festive atmosphere
could actually be created through other means which would still relate to
the context of the era. For instance, it is told in BPBM that:

Di luar istana suasana riang gembira masih berjalan berhari-hari lamanya.

Hamba rakyat bersuka-sukaan dengan mengadakan berbagai pertunjukan
dan permainan serta menjamu berbagai jenis hidangan yang disediakan.

(Outside the palace, the festivity continued for many days. The people of the
kingdom celebrated with a variety of shows and games, as well as enjoying
the many different foods that were prepared.)

(BPBM, 1990:111)

With a description of the atmosphere such as the one above, readers will
be able to visualize the festivity of this occasion. Although only words are
used without any visual and audio effects, the author’s skill in sketching the
atmosphere with his words is able to leave a great effect on the reader. Here,
it encourages readers to be imaginative as the situation can be interpreted in
many ways based on their appreciation of the tale.
That being said, undoubtedly, in the transformation stage from text
to animation or from the verbal to the visual, there is bound to be a little
modification in terms of the plot, such as in the scene of the wedding ceremony
between Putih and Raja Aftus (Putih). In the animation, the joyous celebration
at the palace is depicted in a very interesting way, compared to the text of
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BPBM which gives only the barest description, leaving readers to have to
imagine what takes place during the wedding ceremony.

Enunciation
Enunciation is an aspect of literary work that cannot be directly converted
into animated form. This is where the script writer needs to meticulously
plan what and how each aspect of the tale is to be presented so that it will
be easily understood and be interesting. Here, elements such as graphics,
sound, colours, and music replace the role of language.
Referring to BPBM, the scene where Bawang Merah (Putih in Putih)
is grieving is told using explicit detail:

... suaranya yang sedih dan pilu sayup-sayup dibawa angin petang;
“Tinggi-tinggi pohon beringin
Kalau tinggi menyapu awan
Kalau rendah menyapu bumi...

(… Her sad and melancholic voice was carried by the afternoon breeze,
“O towering banyan tree
You scrape the sky when you’re high
You sweep the earth when you’re low …)

(BPBM, 1990: 91)

The description of sadness and grief in Putih is not only captured through
the song “Kasih Putih” (Putih’s Love), sung by the singer, Aishah, but also
the atmosphere and movement of images add more depressing effects. For
example, the swing Putih sits on moves slowly following the rhythm of the
song, the butterflies and birds fly around the area as if they, too, can feel her
sorrow. The explicit description in the text is presented through graphics,
the rhythm of the song and colours.
In Putih, the relationship between Bawang Putih and Bawang Merah with
their father is not relayed at all. The audience learns of their father through
the film’s flashback scenes, which is in the scene where Mak Labu reminds
Mak Kundur about the house Mak Kundur inherits from their late husband:

“Kundur, memang betul rumah ini rumah engkau, “

“Ahh tahu pun ...”
“tapi arwah abang Sukam pesan walaupun rumah ini rumah kau, aku
dengan Putih mesti tinggal di sini. Macam juga dengan sawah tu, Abang
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 TENGKU INTAN MARLINA, HASHIM AWANG, MADIAWATI, NUR HAMIZAH,
Sukam bagi sawah dekat aku tapi dia pesan kau anak-beranak boleh makan
hasil sawah tu...”

(“Kundur, this house is definitely yours, “

“Ahh, you admit it then...”
“But our late husband, Sukam, said that even though this house belongs
to you, Putih and I must stay here. Just like the paddy field, Abang Sukam
handed it over to me but he reminded me that you and your daughter can
also enjoy the crop...”)
(Putih, 2001)

Through this argument, the audience indirectly learns about Pak Sukam
(Pak Ali in BPBM). In BPBM, the life of Pak Ali and his family is told in
great detail throughout the first five chapters. In Putih, however, the story of
Pak Sukam (Pak Ali) is only briefly touched in the flashback scenes. This is
done in order to shorten the plot of the animation because every production
has a specific and limited time and duration.
Where enunciation is concerned, it can be seen that the creator of Putih
manages to creatively portray every scene befitting the mood he intends
to highlight. The multimedia elements used are able to replace the role of
the language of the textual form. The audience is able to empathize with
the feelings of the characters. Moreover, the creator’s use of the flashback
technique is able to shorten the plot.

The Comprehensive Stage

The final stage, which is the comprehensive stage in an adaptation, is the
stage where the story is converted entirely from text into multimedia form.
This means that the entire plot of the text is transformed into the adaptation.
Studying Putih closely, it can be seen that BPBM is not completely transmuted
into animation, as it needs to suit the use of the medium. Modifications are
made to all literary aspects such as characters, characterization, plot, setting
and narration techniques. Only the theme of the original story is retained
and is narrated by the animated work in an interesting way.
BMBP is based on the theme of a child’s endurance towards life’s
hardship and overcoming challenges living with her stepfamily. The main
character in both the text and multimedia version is depicted as a strong
young woman who perseveres in facing the ridiculous whims and fancies
of her wicked stepmother and stepsister. She remains patient and moves

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on with her life despite enduring daily physical abuse and verbal torment.
The story has a happy ending when the main character marries a prince and
lives happily ever after.
Based on above discussion, it can be stated that Fine Animation Sdn.
Bhd retains the overall theme of the tale from text to multimedia form, as
the theme is relevant and is a factor that still attracts the audience today. In
addition, such a theme is able to bring out the strong points of a story, as
from this theme, other subject matters may arise which can make BPBM or
Putih more appealing.

CONCLUSION
Overall, based on the stages of analysis conducted, which consist of four
stages in the process of adapting the BPBM text into multimedia form Putih—
firstly, the narrative stage, secondly, the verbal to visual stage, thirdly the
enunciation stage and the fourthly and finally, the comprehensive stage—this
paper has uncovered several findings from the process of adaptation. There are
certain aspects which are retained, added and omitted during the adaptation
processes. The process of adapting BPBM into multimedia form retains the
literary elements of the tale, which is presented through various narration
techniques to produce an interesting animation. Though BPBM is a traditional
Malay tale, it has been adapted using various interesting elements befitting
the needs of today’s society. The strength of the literary text BPBM lies the
style of its language and its plot which is loaded with conflicts. This story
becomes more captivating when adapted into animated form as it contains
additions that can bring this piece of folklore to the attention of today’s society.
In fact, the literary and artistic values present in the story can benefit the
audience in terms of art, values and moral lessons. This shows that “Putih”
has successfully attracted today’s audience to collectively enjoy traditional
literature. If efforts such as this are not initiated, our traditional literature
will certainly die out and be buried under the current of modernization.

ACKNOWLEDGEMENTS
We would like to express our appreciation to Fine Art Animation Sdn. Bhd.
for their permission to reproduce images from the film Putih in this article.

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(Translated by Tanja Jonid)

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