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The popular stages of urban Indonesia offer windows on inter-ethnic cultural obsessions and signs of participation in global trends. This volume brings together. About the Book. The popular stages of Indonesia offer a window to inter-ethnic cultural obsessions and signs of participation in global trends. Volume 1 of the.
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When will my order be ready to collect? These instructions ironically articulate precisely what this theatre was not and point to its communicative limits.
Radical politics and radical artistic practice are sometimes unhappy bedfellows, as Bodden ably shows. Subsequently he embarked on research into modern theatre in the national language of Indonesia referred to in the past as tonil or sandiwara, and today as teater and the various ways its practitioners have imagined the nation while engaging with or distancing themselves from local traditions and cosmopolitan culture.
Such an approach yields interesting continuities between contemporary theatre art- ists and their forebears, even if it also exaggerates somewhat anxieties of influence and worries about inauthenticity. And perhaps without sufficient complexity, Winet claims that liberal Muslims, searching for a syncretic theatrical form by which to express their personal piety, remain subject to public politics.
Such a charge seems to me valid for the now-fading generation of avant-garde neo-traditionalists, but has less traction when applied to the current scene, where local activism trumps universalism and artists trained in both traditional and nontraditional forms and techniques collaborate in producing multifaceted events fig. Maya did not disband in , but remained active in Dutch-occupied Jakarta until the end of the revolution in Such inaccuracies notwithstanding, the book is provocative and illuminating and will certainly interest scholars of the global dispersion of European- style theatre and processes of cultural hybridization.
It goes some way toward restoring the place of Chinese and mestizo theatre artists to Indonesian theatre history and also un-. Figure 1. Note how the green banana log that is the puppet stage has been. Newly commissioned sets delighted fans with fresh designs; castoffs found their way to aspiring puppeteers, who hoped to benefit from the mediated aura of the rich and famous.
This internationalism is due less to temperament he is reticent in person and a classicist at heart than to the promotion of his work by the influential government arts conservatoire Institut Seni Indonesia Surakarta, where he is a professor of puppetry. Such internationalism is in line with Indonesian cultural policy to promote wayang puppet theatre, which has been designated an item of Intangible Cultural Heritage of Humanity proclaimed by UNESCO in and inscribed in Within the tradition he represents, Ki Purbo is an innova- tor known for his sensitive character portrayals and thoughtful plot variants, yet there are no obvious signs of artistic influence from his extensive overseas touring.
In it, she provides precise details of preparing rawhide, fashioning control rods from buffalo horn, and punching and painting leather. The introduction is animated by comments by authoritative Javanese experts, including lead- ing puppeteers interviewed by the author.
Less detail is provided on wayang stories and the history section is very cursory, reproducing uncritically some of the hoary myths about fifteenth-century legendary saints using puppetry to spread Islam. There is little discussion about regional variations, beyond noting that the Solo style Ki Purbo espouses has become increasingly dominant in recent decades.
Similarly detailed information is almost completely lacking for all other puppet sets in public collections. In- novatively, Katz-Harris arranges entries in the order that puppets would be arrayed by Ki Purbo during performances. That is to say, puppet images in the book.