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"Puppet theater Indonesia Java."
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Shadows of empire : colonial discourse and Javanese tales
Shadows of Empire explores Javanese shadow theater as a staging area for negotiations between colonial power and indigenous traditions. Charting the shifting boundaries between myth and history in Javanese Mahabharata and Ramayana tales, Laurie J. Sears reveals what happens when these stories move from village performances and palace manuscripts into colonial texts and nationalist journals and, most recently, comic books and novels. Historical, anthropological, and literary in its method and insight, this work offers a dramatic reassessment of both Javanese literary/theatrical production and Dutch scholarship on Southeast Asia.
Though Javanese shadow theater (wayang) has existed for hundreds of years, our knowledge of its history, performance practice, and role in Javanese society only begins with Dutch documentation and interpretation in the nineteenth century. Analyzing the Mahabharata and Ramayana tales in relation to court poetry, Islamic faith, Dutch scholarship, and nationalist journals, Sears shows how the shadow theater as we know it today must be understood as a hybrid of Javanese and Dutch ideas and interests, inseparable from a particular colonial moment. In doing so, she contributes to a re–envisioning of European histories that acknowledges the influence of Asian, African, and New World cultures on European thought—and to a rewriting of colonial and postcolonial Javanese histories that questions the boundaries and content of history and story, myth and allegory, colonialism and culture.
eBook
Shadows of Empire
Shadows of Empire explores Javanese shadow theater as a staging area for negotiations between colonial power and indigenous traditions. Charting the shifting boundaries between myth and history in Javanese Mahabharata and Ramayana tales, Laurie J. Sears reveals what happens when these stories move from village performances and palace manuscripts into colonial texts and nationalist journals and, most recently, comic books and novels. Historical, anthropological, and literary in its method and insight, this work offers a dramatic reassessment of both Javanese literary/theatrical production and Dutch scholarship on Southeast Asia.Though Javanese shadow theater (wayang) has existed for hundreds of years, our knowledge of its history, performance practice, and role in Javanese society only begins with Dutch documentation and interpretation in the nineteenth century. Analyzing the Mahabharata and Ramayana tales in relation to court poetry, Islamic faith, Dutch scholarship, and nationalist journals, Sears shows how the shadow theater as we know it today must be understood as a hybrid of Javanese and Dutch ideas and interests, inseparable from a particular colonial moment. In doing so, she contributes to a re–envisioning of European histories that acknowledges the influence of Asian, African, and New World cultures on European thought—and to a rewriting of colonial and postcolonial Javanese histories that questions the boundaries and content of history and story, myth and allegory, colonialism and culture.
eBook
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
Meaning, Style and Change in Gamalan and Wayang Kulit Banjar Since Their Transplantation from Hindu-Buddhist Java to South Kalimantan
This article examines the origins and development of a syncretic Hindu-Buddhist-Animist musical theatre form known as wayang kulit Banjar (Banjarese leather puppet shadow theatre), a complex combination of word, music, drama, stagecraft, movement and mystical ritual. Transplanted with its accompanying gamalan music from Java in the fourteenth century, it survives to this day among the Banjarese people of South and East Kalimantan, a mainly Malay society which adopted Islam from the sixteenth century. While Muslim influence in wayang kulit Banjar is only superficial, the story lines, puppet characters and texts preserve archaic Buddhist-Hindu-Javanese elements. Drawing on the literary sources as well asfieldwork interviews and recordings of performances, the author analyses the cosmological association and meaning of elements of wayang kulit and gamalan musical style. Transcriptions are included of four excerpts from the author s 1993 recording of a Mahäbhärata-plot based shadow play entitled Terfitnah dalam Kejujuran (\"Rumours Destroying Honesty\"), led by senden-dalang Abdullah and accompanied on a gamalan Banjar.
Journal Article
The \Crisis of the Sinden\: Gender, Politics, and Memory in the Performing Arts of West Java, 1959-1964
Weintraub takes a closer look on how sinden, the only female members of the wayang golek troupe, gained such a privileged position in a performance genre dominated by men. He describes some major changes in musical repertoire, style, aesthetics, and technology, leading up to the period 1969-64, often called the \"era of the sinden.\" He contends that the sinden crisis was a struggle over cultural authority, and that these struggles had, and continue to have, important ideological stakes.
Journal Article
Modern Javanese theatre and the politics of culture; A case study of Teater Gapit
A. Feinstein Modern Javanese theatre and the politics of culture; A case study of Teater Gapit In: Bijdragen tot de Taal-, Land- en Volkenkunde, Performing Arts in Southeast Asia 151 (1995), no: 4, Leiden, 617-638 This PDF-file was downloaded from http://www.kitlv-journals.nl ALAN FEINSTEIN Modern Javanese Theatre and the Politics of Culture A Case Study of Teater Gapit This article1 attempts to address certain issues of the politics of culture in Indonesia by focusing on a modern theatre group in Solo (also known as Surakarta), Central Java. Since 1981, the group, 'Teater Gapit,' has performed plays written by its director, Bambang Widoyo Sp. (whom I will henceforth refer to by his nickname, Kenthut), who chooses to write in Javanese, his mother tongue. According to a traditional arrangement known as magersari or magersaren, in return for various services the household staff of a nobleman and, theoretically, their descendants, could maintain modest houses in the compound. Since Romli is using the toilet and Jemprit can't restrain herself any longer, she urinates next to the well, then unwittingly washes herself with the now polluted well water, laughed at by others. [...]Sayid tries to kill Pinilih out of jealousy; Pinilih, also sought by the Major, but always the smooth operator, manages to escape;' REFERENCES Acciaioli, Greg, 1985, 'Culture as art; From practice to spectacle in Indonesia', Canberra Anthropology 8(1/2):148-172.
Journal Article