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"The circulation of Panji stories throughout Southeast Asia has been studied as a textual phenomenon. These same texts, however, provide evidence of how theatrical forms were important as a source for the dispersal of Panji stories. The textual evidence demonstrates that dance-dramas presenting Panji stories were performed in Majapahit times. These dance-dramas, known as raket are continued in the gambuh of Bali as well as in Javanese topeng. They were also widely known in the Malay world, and were connected to Thai and Cambodian theatrical forms."

"Panji Paniba of 1816 is a Panji story. It is built on a plot which is characteristic of Panji stories: four Javanese kingdoms in a Hindu setting, a princess who disappears and a prince, her fiancé, who finds her again. Another characteristic of Panji tales is the happy ending of marriages and successions to thrones. Interestingly in Panji Paniba a foreign king has a role to play. Crucial to our understanding of this particular version of Panji stories is the special attention it pays to types of marriages. Three types can be distinguished: proper, improper but repairable, and objectionable. How these are defined and how they influence the development of the narrative is the topic discussed in the present article."