This dissertation points out the stark inequalities of segregated criminal justice in nineteenth-century Java and analyses this unequal system in practice, shown by an actor-focused approach... Show moreThis dissertation points out the stark inequalities of segregated criminal justice in nineteenth-century Java and analyses this unequal system in practice, shown by an actor-focused approach and through a framework of legal pluralities. Ravensbergen searched for the conflicts occurring around the green table of the 'pluralistic courts'(landraden and ommegaande rechtbanken) where the non-European population was tried by Javanese and Dutch court members, and Islamic and Chinese legal advisors. The pluralistic courts, the only places in Java where all regional power structures met and actively worked together, were courtrooms of many conflicts. The courts were also in interaction, and conflict, with other state institutions, together all furthering the project of colonial state formation. By taking this approach, Ravensbergen shows how it was not only inequality, but also uncertainty and injustice, that were central to colonial criminal justice imposed on the local population. Show less
This dissertation explores a recent development in the wayang kulit purwa (shadow puppetry) tradition of Surakarta, Central Java, Indonesia, known as pakeliran garap semalam or all-night... Show more This dissertation explores a recent development in the wayang kulit purwa (shadow puppetry) tradition of Surakarta, Central Java, Indonesia, known as pakeliran garap semalam or all-night contemporary-interpretive style. This style was created and debuted in Surakarta by the dhalang (puppeteer) Purbo Asmoro (born 1961 in Pacitan, East Java) in 1989. He spent the next decade developing his new system, and post-2000 it has became the most popular approach to performance practice among puppeteers Purbo Asmoro's generation and younger. This research examines the history of Purbo Asmoro's style, its essential elements and identifying characteristics, his creative processes in developing and working within this style, and the effect his new approach to story-telling has had on other dhalang and on audiences. It also explores Purbo Asmoro’s musings, decisions, motives, and strategies. Most importantly, this work analyzes how all-night contemporary-interpretive style, in Purbo Asmoro's hands, has evolved into an entirely new system of performance practice rather than simply being stylistically innovative in a few characteristic ways. Six live performances over a one year period, 2007–2008, is the primary source material for the analysis. In these recordings, Purbo Asmoro performed two different stories three times each: in classical style, contemporary-interpretive style, and condensed style. Show less
This book focuses on several Javanese theatre companies and more specifically on the way these groups shape and use their play texts. By looking at the different stages and dimensions of Javanese... Show moreThis book focuses on several Javanese theatre companies and more specifically on the way these groups shape and use their play texts. By looking at the different stages and dimensions of Javanese theatre productions various manifestations of the script and ‘script-like phenomena’ are encountered. All these phenomena play an important role in the production process as a whole. They are mnemonic and structuring devices employed by the participants of the production process. In case studies is explained how the playwright-director creates these tools and how he and the actors apply them. Furthermore, it is shown how ‘shaping agents’ such as the playwright-director, his assistant, the guest star and the companion of the guest star are at work during the performance. These agents influence the way the actors apply the mnemonic and structuring devices that form part of the production process. The interaction between shaping agents is characterised by multiple (humorous) misunderstandings. These misunderstandings eventually lead to collisions and call for multiple creative solutions in response. As a result the Javanese staging process has a lively, spontaneous and creative character. Show less
