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Spending more than five years in Indonesia, American author Ora Jonasson became fascinated and moved with one Indonesian family—the Datuks. Inspired by them, she pens a non-fiction account of their history and their relationship to the development of their nation in her new book, DATUK An Indonesian Odyssey. Far more than just a history of one family, DATUK An Indonesian Odysseyprofile of a developing nation wrought with pain, sacrifice, and courage. It embodies the struggle of a family as they break the hold of colonialism and forge their national identity. Direct interviews, with the Datuk brothers and sisters, add authentic depth and intensity to the fiction-like romance of their lives. Always maintaining integrity of the family voice, the author weaves a background collage of history, dialogue, and setting to support individual accounts. The story unfolds with the dignity and grace of a traditional wayang performance amid the tropical splendor of Indonesia. With information taken from interviews, collected photos, and travels with family, this story of conviction and urgency also covers topics ranging from political, economic, and social pressure to national consciousness.
Based on the award-winning PBS documentary series, Ring of Fire is this first-person account of the adventures of two English brothers as they explore the astonishingly rich cultures of the Indonesian archipelago. Their fascinating odyssey began in 1972 with a 2,500-mile voyage through the fabled Spice Islands, in search of the Greater Bird of Paradise. A decade of further exploration followed, during which the brothers lived among the Asmat cannibals of Papua and the healers of Bali, came face-to-face with the man-eating dragons of Komodo, and encountered the elusive dream wanderers of Borneo. Amid impenetrable rain forests, erupting volcanoes and startling natural beauty, the brothers have captured on film and in words the story of one of the most captivating and intriguing explorations ever made.
It is well-known that Indonesia is blessed with very rich and varied cultural traditions. From Aceh in West to Papua in the East, one finds spectacular creativity expressed through song, dance and in particular, art. It is only in recent years that the international art market has awakened to these treasures created throughout the archipelago, but due to the scarcity of well-developed and properly-maintained public museums, the majority of these masterpieces are obtained by private collectors for their homes. This results in scores of private museums scattered around the country where the treasures are carefully preserved in the notoriously humid tropical climate. In the past, the only way to view these artworks would be via a personal invitation to these private homes. This book, Indonesian Odyssey, opens the doors to these collections for the world to see and enjoy. Dr. Helena Spanjaard, one of Indonesia¿s most respected art historians, has gained unprecedented access to twenty-one of the country¿s most avid collectors, gathering extraordinary insight into their collecting history and philosophy. Indonesian Odyssey profiles each collector and walks the reader through their favorite pieces, assembling an unparalleled anthology of more than 100 artists: from local masters such as Affandi and Hendra Gunawan, and their Indo-European counterparts like Rudolf Bonnet and Willem Hofker; to leaders of the contemporary movement like Rudi Mantofani and I Nyoman Masriadi. Lavishly illustrated with full-color reproductions of more than 230 paintings, Indonesian Odyssey provides a comprehensive catalog of Indonesian art and is a required resource for all collectors - both those with established collections and those just embarking on their own individual journey.
"These memoirs provide new and thoughtful evidence that pioneers are necessarily diverse, illuminating two crucial decades of dawning self understanding for women, for America, for the discipline of sociology."—Mary Catherine Bateson, author of Composing a Life It is difficult to imagine an intellectual world with only a few—if any—women scholars and sociologists. But that was the case, nor so long ago, for women such as Arlene Kaplan Daniels, Dorothy Smith, Arlie Russell Hochschild, Jacqueline Wiseman, and Lillian Rubin. These and many other now-eminent women in sociology began their careers as graduate students at Berkeley; they tell their stories in this volume, which spans two decades beginning with the first woman graduate student in 1952. With Berkeley as the backdrop, each woman constructs a personal memoir of her educational experience in a department and a profession then dominated by men. In this thought-provoking book, sixteen women describe their marginal status and how their struggles informed their studies and their later work. Though each woman’s story is unique, common themes surface: mixed feelings of intellectual self-confidence and inadequacy, difficulties in integrating personal and professional worlds, a net humor that both masked and helped the women cope with their hardships. These compelling essays tell how these women creatively met the challenges and obstacles of our gendered society, conducted their lives intrepidly, and left a clearer path for those who followed. Gender and the Academic Experience illustrates that times are changing: by 1991, women made up the majority of graduate students in the Berkeley sociology department. Kathryn P. Meadow Orlans is a senior research scientist and professor in the Department of Educational Foundations and Research at Gallaudet University in Washington, D.C. She helped pioneer a program of research and mental health services for deaf people, and her inventories for teachers of deaf children have been translated into eight languages. She has published Deafness and Child Development and co-authored Sound and Sign: Childhood Deafness and Mental Health.
The book traced the journey of his Hakka grandfather who left China for Indonesia in early 20th century as an indentured servant, of his father who was born and grew up in East Java and of himself as a Chinese-Indonesian who grew up in Indonesian, lived through racial and ethnic discriminations and the violent pogrom during 1965-1966. It also chronicled his educational experiences in Chinese high schools in Indonesia and his quest for a higher education that was denied to him in his native land because of his race and educational background. His leap-of-faith journey that took him to Canada, where he succeeded to obtain a doctoral degree in biochemistry and led him eventually to settle in the Golden State of the United States as a research scientist. The book also provided a brief history of Hakka people and their migration to Indonesia. The book points out the fallacy of the concept of native and non-native Indonesians, challenges both Chinese-Indonesians and the Native Indonesians to face the reality of today and to honestly and to objectively discuss what each group has done to other to the detriment of their country.
When armed insurgents began to attack government soldiers in the Indonesian province of Aceh with increasing frequency in the middle of 1989, it was apparent that this distinctive part of the far-flung republic was adding yet another period of turmoil, rebellion, and blood-letting to those that had marked its history over the previous hundred years. Famous for their long war against the Dutch in the last quarter of the nineteenth century, the Acehnese were equally well-known for their willingness to resort to arms to defend their identity and interests against the encroachments of postindependence Indonesian governments. As early as 1953 a rebellion had broken out against the central government, and in the latter part of the 1970s another attempt had been made to foment revolt. This study seeks to explain the reasons for the most recent uprising in Aceh. Part One sketches the region's history up to the mid-1960s. Part Two examines the economic, political, and social changes that have occurred in Aceh over the past quarter of a century, under the New Order regime: the roots of rebellion in the province. This analysis goes beyond the period defined in the title of the study: the end of rebellion does not mean that its root causes have been resolved. Part Three looks at the rebellion itself, and at the complexion of political power in Aceh in the early 1990s. Part Four summarizes the principal arguments of the monograph. The main thesis of this study is that exploitation of Aceh's resources for the benefit of the central government; economic stagnation in the province itself; governmental and political overcentralization which has served to disenfranchise the people of the region; and social changes which have led to the mass of Acehnese losing their traditional social and political leaders, have combined to open the way for an armed separatist movement to foment rebellion in the province.
Indonesian art entered the global contemporary art world of independent curators, art fairs, and biennales in the 1990s. By the mid-2000s, Indonesian works were well-established on the Asian secondary art market, achieving record-breaking prices at auction houses in Singapore and Hong Kong. This comprehensive overview introduces Indonesian contemporary art in a fresh and stimulating manner, demonstrating how contemporary art breaks from colonial and post-colonial power structures, and grapples with issues of identity and nation-building in Indonesia. Across different media, in performance and installation, it amalgamates ethnic, cultural, and religious references in its visuals, and confidently brings together the traditional (batik, woodcut, dance, Javanese shadow puppet theater) with the contemporary (comics and manga, graffiti, advertising, pop culture). Spielmann's Contemporary Indonesian Art surveys the key artists, curators, institutions, and collectors in the local art scene and looks at the significance of Indonesian art in the Asian context. Through this book, originally published in German, Spielmann stakes a claim for the global relevance of Indonesian art.
The 26 scholars contributing to this volume have helped shape the field of Indonesian studies over the last three decades. They represent a broad geographic background—Indonesia, the Netherlands, the United Kingdom, Australia, the United States, Canada—and have studied in a wide array of key disciplines—anthropology, history, linguistics and literature, government and politics, art history, and ethnomusicology. Together they reflect on the "arc of our field," the development of Indonesian studies over recent tumultuous decades. They consider what has been achieved and what still needs to be accomplished as they interpret the groundbreaking works of their predecessors and colleagues. This volume is the product of a lively conference sponsored by Cornell University, with contributions revised following those interactions. Not everyone sees the development of Indonesian studies in the same way. Yet one senses—and this collection confirms—that disagreements among its practitioners have fostered a vibrant, resilient intellectual community. Contributors discuss photography and the creation of identity, the power of ethnic pop music, cross-border influences on Indonesian contemporary art, violence in the margins, and the shadows inherent in Indonesian literature. These various perspectives illuminate a diverse nation in flux and provide direction for its future exploration.