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"Popular culture Indonesia Java."
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The domestication of desire
While doing fieldwork in the modernizing Javanese city of Solo during the late 1980s, Suzanne Brenner came upon a neighborhood that seemed like a museum of a bygone era: Laweyan, a once-thriving production center of batik textiles, had embraced modernity under Dutch colonial rule, only to fend off the modernizing forces of the Indonesian state during the late twentieth century. Focusing on this community, Brenner examines what she calls the making of the \"unmodern.\" She portrays a merchant enclave clinging to its distinctive forms of social life and highlights the unique power of women in the marketplace and the home--two domains closely linked to each other through local economies of production and exchange. Against the social, political, and economic developments of late-colonial and postcolonial Java, Brenner describes how an innovative, commercially successful lifestyle became an anachronism in Indonesian society, thereby challenging the idea that tradition invariably gives way to modernity in an evolutionary progression. Brenner's analysis centers on the importance of gender to processes of social transformation. In Laweyan, the base of economic and social power has shifted from families, in which women were the main producers of wealth and cultural value, to the Indonesian state, which has worked to reorient families toward national political agendas. How such attempts affect women's lives and the meaning of the family itself are key considerations as Brenner questions long-held assumptions about the division between \"domestic\" and \"public\" spheres in modern society.
eBook
Living the Punk Lifestyle in Jakarta
Wallach looks at the development of a dedicated nationwide punk movement in the Republic of Indonesia during the 1990s. Indonesia is seldom a topic of conversation in Western punk circles. Yet it is home to what is almost certainly the largest punk movement in Southeast Asia, and one of the largest in the world. Following their exposure in the mid 1990s to commercially hyped groups such as Green Day, Rancid, and the Offspring, Indonesian youth in cities such as Jakarta, Denpasar and Bandung began to build informal grassroots networks of bands, local fanzines, small independent record labels, and merchandisers dedicated to the production and distribution of punk music and ideology. These networks overlapped with those associated with other so-called \"underground\" rock genres, including metal, gothic, and industrial, which had surfaced at roughly the same time.
Journal Article
Dangerous Liaisons and other Tales from the Twilight Zone: Sex, Race, and Sorcery in Colonial Java
I have only once seen witchcraft on its path. I had been sitting late in my hut writing notes. About midnight, before retiring, I took a spear and went for my usual nocturnal stroll. I was walking in the garden at the back of my hut, amongst banana trees, when I noticed a bright light passing at the back of my servants' huts towards the homestead of a man called Tupoi. As this seemed worth investigation I followed its passage until a grass screen obscured the view. I ran quickly through my hut to the other side in order to see where the light was going to, but did not regain sight of it. I knew that only one man, a member of my household, had a lamp that might have given off so bright a light, but next morning he told me that he had neither been out late at night nor had he used his lamp. There did not lack ready informants to tell me that what I had seen was witchcraft. Shortly afterwards, on the same morning, an old relative of Tupoi and an inmate of his homestead died. This event fully explained the light I had seen. I never discovered its real origin, which was possibly a handful of grass lit by some one on his way to defecate, but the coincidence of the direction along which the light moved and the subsequent death accorded well with Zande ideas (Evans-Pritchard 1937: 34).
Journal Article
Dislodged tales: Javanese goddesses and spirits on the silver screen
Indonesian films and television shows often feature popularly though only superficially known figures from Javanese mythology, including the Goddess of the Southern Ocean Nyai Roro Kidul and her counterpart the Queen of the Snakes Nyi Blorong. In this study I examine the effects of placing the stories about these entities in ‘media space’ (Sen and Hill 2000:199), thus removing them from the local context that in the past infused them with its truth, and making possible their apposition to other truths and values that were previously unconnected to them, and may or may not be congenial with them.
Journal Article
Masks and Selves in Contemporary Java: The Dances of Didik Nini Thowok
This essay reflects on the plays of masks and selves in the dances and the life of Didik Nini Thowok, and the resonances between dance and life. An Indonesian of Chinese descent and a female impersonator whose comic dances combine different regional styles, Didik upsets notions of ethnic and gender stereotypes and identities, the notion of identity itself.
Journal Article
Performers and professionalization in Java: Between leisure and livelihood
This paper draws on a ten-year study of the styles of performance patronage in Java — patronage by the state, the tourist industry and individuals, in contexts from the sultan's court to remote highland villages. It focuses on the latest findings about traditionally-and academically-trained performers in the court city of Yogyakarta. Supported by a number of case studies and survey results, it asks how performers have been surviving the economic crisis that began in August 1997, how they evaluate the different spheres of patronage, and how they see their best options for future survival. The answers to these questions elucidate the ways in which performers' identities are being altered, from both individual and collective perspectives.² The data also raise questions about professionalization, and whether this ubiquitous sign of modernity and globalization is able to deliver the promises it holds out to those who aspire to identify themselves as 'professionals'.
Journal Article
St Nicholas as a public festival in Java, 1870-1920; Articulating Dutch popular culture as ethnic culture
King drew attention to the fact that 'the first globally multi-racial, multi-cultural, multi-continental societies on any substantial scale' were the colonial societies, in particular colonial cities. [...]a consideration of colonial history holds the promise of being theoretically relevant - King even describes it as 'an essential pre-requisite' - in providing a comparative empirical basis for current debates about cultural and ethnic identities in Europe (King 1991:8,7). [...]nowadays in the Indies, the festival of St Nicholas is increasingly celebrated outdoors by adults and children alike' (BN 3-12-1892). [...]a constant deep longing for the mother country was a prominent and pervasive mental characteristic of those who saw their stay in the Indies as temporary (the so-called trekkers; see, for example, De Vries 1996:47, 120; for an ambivalent attitude, see Reitsma-Brutel de la Riviere 1920:66). [...]of their special efforts on this particular day, some of these confectioneries, later restaurants - in particular Kuijl & Versteeg and Vogelpoel in Bandung, Versteeg, Leroux and Stam & Weijns in Batavia, and Grimm and Hellendoorn in Surabaya - won a great reputation not only in their respective cities, but throughout the Indies as a whole.
Journal Article