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Modern Javanese theatre and the politics of culture; A case study of Teater Gapit
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Journal Article
Modern Javanese theatre and the politics of culture; A case study of Teater Gapit
1995
Overview
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.
