glossary - springer978-0-230-30900-5/1.pdf · kroncong, also spelled keroncong. popular music...
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231
Glossary
Angklung. Shaken bamboo rattles. This term can refer to one or more Javanese or Sundanese folk musical instruments and the music played on them.
Babu. Indigenous nurse-maid and child carer.Bedhaya, also spelled bedoyo. Sacred dance of the central Javanese courts
normally performed by nine female dancers to gamelan accompaniment.
Dhalang, also spelled dalang. The puppeteer in wayang puppet theatre or the narrator in wayang wong.
Eurasian. Person of mixed Asian and European descent.
Gamelan. Gong-chime ensemble. This term can refer to a set of instruments or the form of music played on them.
Indies drama or Indische toneel. Dutch-language colonial drama written in nineteenth- and twentieth-century colonial Indonesia and the Netherlands.
ISI. Acronym for Insitut Seni Indonesia (Indonesian Institute of the Arts), state-funded arts universities operating in Surakarta, Yogyakarta and Denpasar.
Kain. Literally ‘cloth,’ figuratively a batik wrap, typically worn as a skirt.Kebyar, also spelled kebiar. Twentieth-century Balinese gamelan form, with
associated dance.Kecak. Balinese dance-drama featuring a large all-male a cappella chorus.Kendhang. Javanese hand drum.Keris. The Malay dagger, an heirloom item and standard part of Javanese
traditional costume for men.Klana, also spelled Klono or Kelono. Character from Javanese mythology,
the antagonist of Prince Panji, often portrayed in a solo mask dance by this name.
Komedi stambul. A form of popular Malay-language melodrama launched in Surabaya in 1891.
KPM. Acronym for the Koninklijke Paketvaart Maatschappij, the Royal Packet Navigation Company, which had a monopoly on shipping in the Dutch Indies and was a major promoter of tourism.
Kraton. Javanese royal court.
Kridha Beksa Wirama, also spelled Krido Bekso Wiromo and abbreviated as Kridha or Krido. Javanese dance association established in Yogyakarta in 1918.
Kroncong, also spelled keroncong. Popular music originally from Batavia (present-day Jakarta) using Western musical instruments such as guitars and derived from Portuguese balladry.
Kunstkring. Dutch for ‘art circle’, used informally to refer to the Indies-wide circle of art societies catering to European art lovers in the late colonial period.
Langendriya, also known as langendriyan. Form of sung dance drama accompanied by gamelan music from central Java’s royal courts.
Legong. Dance of Bali traditionally danced by prepubescent girls to gamelan accompaniment.
Limbukan. Clown scene in wayang kulit, featuring the mother-and-daughter comic duo of Limbuk and Cangik.
Pencak silat. Malay martial arts. Also known penca, pencak or silat.Pendopo, also spelled pendhapa. High-ceiling pavilion with a peaked
roof, open walls and supported by pillars. With minimal furniture, this structure is used in traditional Java as a performance space and meeting area.
Pusaka. Sacred heirloom, a powerful object or form of intangible cultural heritage.
Rebab. Two-stringed spiked fiddle, a leading melodic instrument in gamelan.
Ronggeng. Social dance accompanied by gamelan or female social dancer.
Srimpi, also spelled serimpi. Sacred dance of the central Javanese courts normally performed by four female dancers to gamelan accompaniment.
Slendang. Traditional cloth garment, commonly with batik motifs, mostly used by women, and typically worn as a sling around the shoulder.
Stambul. See komedi stambul.susuhunan. Title of the ruler of the royal court of Surakarta.
Toneel. Dutch word for ‘theatre’, used by Indonesian modern theatre mak-ers starting circa 1930 to refer to a popular cabaret theatre, playing realist plays interspersed with extra turns.
Topeng. Mask or masked dance drama.
Wayang. All-purpose designation for puppet theatre and related arts, includ-ing wayang wong. Can also refer to a puppet.
Wayang golek. Javanese rod puppet theatre; also can refer to a rod puppet.
232 Glossary
Wayang kulit. Shadow puppet theatre of Java and Bali; also can refer to a shadow puppet.
Wayang wong. Form of dance drama originating from the Javanese royal courts in which human performers take on roles of puppets from the wayang theatre.
Glossary 233
234
Notes
Introduction: The Spectacle of Otherness
1. Suriname, in South America, was a so-called transmigration destination for nearly 33,000 Javanese from the Dutch Indies between 1890 and 1939. (There were also much smaller numbers from Sumatra and Sunda who assimilated into Javanese culture.) These migrants, and their descendents in Suriname and the Netherlands, have maintained many Javanese artistic practices, often in simplified forms. The distinctive cultural histories of Suriname’s Javanese and the Javanese, Banjarese, Buginese and Minang diasporic populations of Malaysia and Singapore fall outside the scope of this book, but are eminently worthy of further study. See van Wengen 1975 for a preliminary survey of Surinamese Javanese culture.
2. Spiegel’s paper archive is at the Deutsches Tanzarchiv Köln, and his masks at the Staatliches Museum fur Volkerkunde in Munich. For an overview of Spiegel’s work, see ‘East meets West’ 1932.
3. I use the words Orient and Oriental (in capitals but without scare quotes) here and elsewhere to describe constructions of the East, in line with current scholarly practice since Edward Said’s Orientalism 1979.
4. Important applications of Levinas include Read 1995 and Grehan 2009. 5. For a classic longue durée approach to Java at the crossroads of global cultural com-
merce, see Lombard 1996. 6. Drake 1854: 1961. Some have assumed that Raia (Raja?) Donan’s musicians played
gamelan, but this cannot be ascertained from the description. The exchange of musical arts on Pacific beaches and boats is analysed in Balme 2007.
7. Mestizo culture is described in loving detail in Taylor 1987 and Bosma and Raben 2008.
8. For an analysis of Raffles’s and Crawfurd’s musical transcriptions, see Brinner 1993.
9. Winter was also a founding editor of Surakarta’s Javanese-language newspaper, Bramartani.
10. There is also an account of a Dutch student performance on 5 May 1857 in the streets of Delft for the anniversary of the founding of the Delft Student Union. Students enacted ‘The Garebeg Procession of the Sultan of Yogyakarta and the Most Characteristic Types of the Dutch Indies Archipelago’, using costumes, topeng masks and gamelan instruments from the Delft Royal Academy of Linguistics, Geography and Ethnology. The musical director, J. C. Boers, reportedly based the music on gamelan melodies. See Terwen 2003: 35ff.
11. Another was planter Adriaan Holle, who played in the Parakan Salak tea plan-tation’s gamelan. An evocative photograph of Holle playing his ivory rebab is published in Nieuwenhuys 1998: 37. Holle is the only musician to sit on a chair, thereby maintaining European status. The rebab is the most lyrical of gamelan instruments and was considered the leader or ‘king’ of the gamelan in nineteenth-century Java. While the kendhang (drum) marks time, an opening from the rebab signals the melody to be played, and the rebab can also signal musical transitions.
Notes 235
The rebab was thus the instrument of choice for Europeans and high-ranking Javanese nobles alike.
12. Despite its name, Bernard’s troupe was a commercial outfit not associated with one of the royal courts. It was sometimes described as langendriya and sometimes as wayang wong, but basically performed wayang wong fragments. Gan Kam’s com-mercial wayang wong troupe Langen Ngesthie Soeka was one of the most popular troupes in Java in the 1890s, combining classical dance drama with spectacular stage effects. See Cohen 2006: 232f.
13. ‘From our London correspondents’, The Newcastle Courant 6 October 1882; ‘Java reduced to Jelly’, Punch 16 September 1882; ‘A Javanese Orchestra’, Times 7 September 1882; ‘The Javanese orchestra’, The Era 9 September 1882; ‘Our van’, Baily’s Monthly Magazine of Sports and Pastimes 1 November 1882: 395; ‘Our ladies’ column’, Aberdeen Weekly Journal 21 October 1882.
14. ‘Our van’, Baily’s Monthly Magazine of Sports and Pastimes 1 November 1882: 395.15. ‘Imitation is the sincerest flattery’, Funny Folks 14 October 1882.16. ‘The Javanese jaw-breakers’, Funny Folks 30 September 1882. I have modernized
the spellings of the Javanese names and titles. Explanations for most of the pieces referred to are provided in Risdell 2006: 10.
17. The kampong Javanais and the music and dance performance staged there is discussed in a spate of recent publications. See particularly Chazal 2002; Bloembergen 2004 and 2006; Fauser 2005.
18. ‘The queer Javanese dances’, Chicago Daily Tribune 22 December 1889; Judith Gautier qtd Bloembergen 2006: 134.
19. ‘Our ladies’ column’, Aberdeen Weekly Journal 21 October 1882.20. The concept of the ethnological village, where visitors could wander among
re-creations of indigenous houses, was first realized at the 1883 Colonial Exposition in Amesterdam by civil engineer Daniël Veth, son of the Dutch ethnologist P. J. Veth. It was a popularization of anthropology which became a form of recre-ational alterity. See Bloembergen 2006.
21. Among the early visitors was Eduard Douwes Dekker, whose stay at Parakan Salak provided background for his famous anti-colonial novel Max Havelaar (1860).
22. Spellings of these names vary.23. The ability of the musicians from Parakan Salak to accompany the dancers from
Surakarta is testament to their musical virtuosity. Javanese music from central Java’s royal courts enjoyed much prestige in the Sundanese highlands in the nineteenth century. Central Javanese arts, including gamelan pieces and Javanese songs (tembang), were emulated and entered the Sundanese cultural repertoire to enhance authority. In contrast, gamelan musicians in Surakarta knew pieces from Semarang, Kedu, Madura and Probolinggo, as well as Malay and stambul melodies, but reportedly could not play Sundanese pieces at the century’s end. See Bintang Barat 15 January 1898.
24. For an analysis of Debussy’s relation to gamelan, see Mueller 1986. Mueller argues convincingly that Debussy’s most Javanese-influenced piece was his piano con-certo Fantaisie (1890), which the composer subsequently rejected because he was unable to assimilate Javanese motifs sufficiently.
25. Reprinted in Bloembergen 2006: 141. It is difficult to know what the Javanese dancers themselves thought of this attention – nobody seems to have asked them.
26. This portrait is known alternately as Aita Tamari Vahine Judith te Parari (Child-Woman Judith is not yet Breached) or Annah la Javanaise. Gauguin scholars
236 Notes
believe the painter was carrying on simultaneous affairs with Annah and his teenage neighbour Judith, curiously conflated in this painting.
27. For a vivid portrait of Mérode and her contemporaries, see Conyers 2003.28. This short film is anthologized in the 1952 compilation by Jacques de Casembroot,
Cinema Parlant 1900, viewable at the British Film Institute in London.29. ‘Famed beauty of past whose hair won a king plans return to stage’, The Syracuse
Herald 1 July 1934.30. I also aim to avoid repeating the excellent work of others. Henry Stowitts and
Retna Mohini are the subjects of ongoing research by Henry Spiller and Kunang Helmi. See as well: Hsu 1984; Oja 1990; van den Berg 2000; and Burton 2001.
Chapter 1 Mata Hari
1. ‘Strange goddess, tawny as the dusk […]. even her walk is like a dance’ (Baudelaire 1999: 59, 61).
2. C., ‘Eine Indische Tänzerin in Wien’, Die Zeit 9 December 1906. 3. AW, ‘Bei Mata Hari’, Fremden-Blatt 9 December 1906. On the anti-nautch reform
movement, which began in Madras in 1892, see O’Shea 2007. 4. C., ‘Eine Indische Tänzerin in Wien’. 5. Ibid. 6. Biographical information is based primarily on Waagenaar 1964; Wheelwright
1992; and Shipman 2007. 7. On this company and komedi stambul more generally, see Cohen 2006. 8. For a photograph of one of these dancers, see Décoret-Ahihia 2004: 153. 9. For a comparison of Mérode and Mata Hari, see Conyers 2003.10. A postcard of this painting on sale in the online auction site eBay has a caption
indicating that this painting was displayed at the 1911 annual exhibition of Salon de l’Ecole Française.
11. Also referred to as Astara, Astarte, Ashtoreth and so on. See de Purucker 1999.12. La Presse 18 March 1905 qtd Waagenaar 1964: 50.13. Madame Zelle McLeod [sic], New Scotland Yard, 16 November 1916, London
National Archives, PRO MEPO 3-2444. This interview was conducted by Sir Basil Thomson. Mata Hari was suspected of actually being a flamenco dancer from Hamburg spying for Germany, known to Scotland Yard as Clara Bendix.
Chapter 2 Wayang as Technology
1. They were luxury goods: wayang for sale in London’s Java Head Bookshop cost two to five pounds (‘“Wayangs” arrive in London: Puppet figures of weird beauty’, The Straits Times 22 December 1932).
2. Alfred Jarry qtd Fell 2005: 211 n.19. In referring to wayang purwa (literally, ‘ancient wayang’), Jarry follows a standard tripartite model that divides the wayang rep-ertoire into early (or ancient) middle, and late stories. Wayang purwa generally enacts stories based on the characters and situations of the Mahabharata and Ramayana.
3. ‘Topics of the Times’, New York Times 23 January 1939: 12. 4. ‘Giant “gods” carried through London’, The Daily Mirror 12 June 1914: 5. 5. My conceptualization of techniques and technologies is indebted to Tenner
2003.
Notes 237
6. Dorothy Neville Lees, ‘Javanese Marionettes: A Wonderful Discovery, 1913’, Papers relating to Edward Gordon Craig and The Mask (MS Thr 423), Harvard Theatre Collection, Houghton Library, Harvard University.
7. Inspired by John Crawfurd’s description of Javanese theatre in History of the Indian Archipelago, a London reporter suggested that ‘a clever dalang’ (puppeteer/narrator) might be imported as ‘co-adjutor to Dr Busby, the present sole dalang of Drury Lane’(‘Indian Archipelago’, The London Literary Gazette and Journal of Belles Lettres, Arts, Sciences, Etc. 3 June 1820, 360 [359–60].)
8. Craig wrote the bulk of these plays between 1914 and 1921, but the English director Peter Brook observed him revising them decades later. See Peter Brook, ‘Gordon Craig’, The Sunday Times 29 July 1956. Craig informed Brook that he had written 365 plays in the cycle, one for each day in the week, but this number is probably exaggerated. Craig’s papers are dispersed among many private and public collections, but it is estimated that he completed between 30 and 119 short scripts (or ‘motions’) for puppet theatre. Few of Craig’s plays were published in his lifetime. See Siniscalchi 1980; Jurkowski 2001.
9. Between 1907 and 1919, Craig designed and cut out of flat pieces of wood free-standing model stage figures that he called black figures. Some of these were articulated and could be moved about on a model stage by means of strings, pul-leys, cogs and levers. Craig understood these to be puppets, though they were not intended for public performance, but rather for exploring scenic concepts and stage designs and for stimulating dialogue. (There were figures for ‘John Semar’ and Craig’s other pseudonyms.) Craig inked these wooden figures with dabbers and issued prints of them, which associates sometimes compared to ‘silhouettes’ or shadow puppets. A number of Craig’s black figures borrow explicitly from wayang iconography. See Craig 1989.
10. An abbreviated film of this play was released in a German edition as Marienlegende (1949) and with English -language narration as The First Christmas. Other Teschner films exhibited internationally include The Dragon Prince (1930) and The Card Maniac (1930).
11. An illustration of the conflux is an image of a magnifying glass custom-ordered from Teschner by Viennese philosopher Ludwig Wittgenstein. In the photograph in the Teschner archives, the carved wooden handle is populated by blank-eyes gnomes, while the glass itself reflects the image of a multi-storied Bauhaus-style modernist building. The picture invites us to draw relations between technology and the supernatural. Attention is drawn to the hunched gnome whose scarred back props up the glass. His face is pressed close to a sphere marked with a W – for Wittgenstein?
Chapter 3 Eva Gauthier, Java to Jazz
1. ‘Malays’ included both Indonesians and Malaysians. The 1920 census records 182,019 Asian and Pacific Islanders, accounting for only 0.2 per cent of the population. This includes 111,010 Japanese; 61,369 Chinese; 5603 Filipinos; 2507 ‘Hindus’; 1224 Koreans; 19 Malays; and 17 Siamese. Fifty-eight per cent of Asian Americans lived in California at this time. See ‘Table C-9. Asian and Pacific Islander, for the United States, Regions, Divisions, and States: 1920’, http://www.census.gov/population/www/documentation/twps0056/tabC-09.pdf (accessed 30 December 2009).
238 Notes
2. Other Hollywood films of the era set in Java or featuring Javanese characters include: Thundering Dawn (1923), Sea Beast (1926), Wild Orchids (1929), Thirteen Women (1932) and Samarang (1933).
3. Holmes, or one of his associates, appears to have returned to Java at least twice in later years, resulting in his films Surabaya, the Busy Burg of Java (1917), A Journey Through Java (1917) and Batavia, the Javanese Capital (1917), as well as a number of illustrated lectures, including ‘Motoring through Java’ (1933).
4. ‘Land of the daily nap’, Boston Daily Globe 5 March 1910. 5. Holmes was not the only American lecturer discoursing on Java. Dwight
Elmendorf, in a ‘picture journey’ that concluded his lecture series ‘The Other Side of the World’, showed magic lantern slides and motion pictures of Java ‘as proofs that the stories of the island’s wonderful agricultural wealth and beautiful scenery are not exaggerated’ (‘See Java in motion pictures’, The Washington Post 20 March 1914). He also demonstrated the use of angklung rattles and explained that the angklung was a musical instrument used in Java to accompany hobby-horse danc-ing and was ‘played like the chimes ones sees in vaudeville or the musical glasses’ (‘Gossip’, The Van Wert Daily Bulletin, 2 December 1916).
6. For example, Polish-born pianist and composer Leopold Godowsky wrote his Java Suite (1925) as a ‘phonorama’ or ‘tonal journey’ representing his own 1923 tour of Java as a concert pianist. His music is a personal, picture-postcard impression of what many tourists still see in Java. The suite takes in the major sites of the Botanic Gardens of Buitenzorg, the Kraton, Taman Sari, Borobudur and Mount Bromo; it visits cultural performances of gamelan, wayang kulit, dance, a hari besar (translated by Godowsky as a ‘country fair’), and a royal procession in Solo; it even has time to stroll through the kota district of old Batavia and pay a visit to the little-known bathing spot and monkey forest of Wendit, outside Malang. This is not Java as a Javanese might know it, but a Java of beautiful vistas to be con-sumed in an elegiac and wistful mood. Godowsky assumes in the preface to this piece that everyone is at heart a ‘globe-trotter […] fascinated by strange countries and strange people.’ Godowsky does not think that some of us might like to stay and linger and enter into dialogue so that the strange becomes more familiar.
7. On itinerant entertainment generally in nineteenth-century Java, see Cohen 2006; on circus, Cohen 2002.
8. Among the fatalities were famed English puppeteer Charles Webb, who died in Probolinggo, Java, in 1887, and African-American minstrel show director Charles Hicks, who died in Surabaya in 1902.
9. For earlier colonial art societies, see Kalmthout 1998: 287–97.10. For Seelig’s biography, see van Dijk 2007: 151–92.11. Gauthier writes that ‘accompanied by a native accompanist, a great local musical
genius, I paid my first visit to the court of the sultan.’ See Eva Gauthier, ‘Visiting the Harem Ladies in Java’, Lima Daily News 6 June 1915.
12. Ibid.13. Strakosch 1915; Imogen, ‘Music in the East’, The Sun 31 May 1914.14. Ursula Greville, ‘The art of Eva Gauthier’, The Citizen 7 April 1923.15. ‘Mlle. Eva Gauthier gives a Javanese song recital’, Newark Evening News 4 March
1915; Greville, ‘The art of Eva Gauthier.’16. ‘Sir Wilfred Laurier’s niece tells secrets of Java harem’, New York Evening Journal
27 April 1915.17. ‘My experience in a harem’, Toronto Sunday World 23 May 1915.18. James Whittaker, ‘Music notes’, Chicago Examiner 9 April 1917.
Notes 239
19. Doris E. Fleischman, ‘Niece of Sir Wilfrid Laurier and protégée of Lord Strathcona, singer lived in sultan of Java’s seraglio’, New York Tribune 13 January 1915.
20. Gauthier, ‘Visiting the Harem Ladies in Java.’21. ‘New bride’s arrival is always signal for jealousness in harem’, Times Union 8 April
1915.22. Knotte was a prisoner of war in Italy during the war. The couple divorced in
1918.23. The Seelig songs were Jika Begini (Unreturned Love, lit. If that is So), Pakai Cincin
(Put a Ring on my Finger) and Kupu-Kupu (Butterfly). The latter two were commis-sioned by Gauthier and dedicated to her in the Matatani edition. See Seelig 1914. The van de Wall songs were Apaka Guna Berkain Batik (Why Wear the Printed Cloth if it is Not Embroidered, lit. Why Bother Wearing Batik), Lagu Bersusah Hati (Why Light a Lamp if it has No Wick, lit. Song of a Troubled Heart) and Kaluk Tuhan Jalan Dahulu (A Safe Journey to Heaven, lit. If You Leave Before Me). All three songs are published in van de Wall 1910. The loose translations provided by Turbide (1986: 151f.) are taken from later programmes.
24. Undated concert programme; ‘Mlle. Eva Gauthier gives a Javanese song recital’, Newark Evening News 4 March 1915.
25. ‘Miss Eva Gauthier sings’, New York Times 1 May 1917.26. Isabel C. Armstrong, 1942, ‘Javanese greatly influence much so-called modern
music’, The Citizen 14 March 1942. 27. Programme for Song Motion concert by Eva Gauthier and Roshanara, Comedy
Theatre, New York, c. January 1917.28. Long available to only serious record collectors, Gauthier’s Nina Bobo was recently
uploaded to the internet on the Canadian Historical Sound Recordings website.29. ‘Miss Eva Gauthier Sings’, New York Times 1 May 1917.30. Pitts Sanborn, ‘Eva Gauthier in Interesting Song Recital.’ New York Globe n.d.31. For a detailed musicological and historical analysis of Seelig’s songs for Gauthier,
see Spiller 2009. Among the dancers and choreographers who used Seelig’s music to accompany their interpretations of Javanese and Balinese dance were: Ruth St Denis and Ted Shawn (for Balinese Fantasy, 1924); Stella Bloch (see Chapter 4, below); Russian-born dancer Vera Mirova; and English choreographer Antony Tudor (Atalanta of the East, 1933). Seelig was a musical informant for Leopold Godowski during the Polish pianist- composer’s 1923 concert tour of Java, and in his Java Suite (1925) for solo piano Godowski quotes Seelig’s Rhapsodie Javanaise (c. 1913) in homage.
32. Rooftop theatres were a New York innovation. Revue shows on top of build-ings were popular during the hot months of the summer, when theatres were overly hot and stuffy. The Jardin de Danse, according to Woody (1959: 218), was ‘Diamond Jim Brady’s hangout.’
33. ‘Orpheum’, San Francisco Chronicle 9 February 1916.34. ‘Singer and dancer seem to work with unspoken understanding in preparing their
act’, The Salt Lake Tribune 17 February 1916.35. Advertisement for ‘Eva Gauthier and Nila Devi and Ballet’ in Gauthier scrap-
book.36. Undated, untitled clipping in Gauthier scrapbook.37. Wynn, ‘Gauthier and Devie; Songs and dances’, Variety n.d.38 Los Angeles Courier 2 February 1916 qtd Turbide 1986: 158.39. ‘Vaudeville in its variety’, San Francisco Chronicle n.d.40. ‘Orpheum’, The St Paul Daily News n.d.
240 Notes
41. H. E. Krehbiel, 1917, ‘Folk Music Given by Miss Gauthier’, New York Tribune 24 January 1917.
42. Ibid.43. On Michio Ito, see Caldwell 1977; and Cowell 1994, 2001. 44. For more on Ratan Devi, see Lipsey 1977, passim.45. ‘Three Javanese Songs’ was published, see Anderson 1995: 50–9.46. Gauthier might also have stoked Canadian composer Colin McPhee’s interest in
the Indies when he toured as her accompanist in 1928.47. ‘18,000 enjoy exhibit of batik art work’, The Sun 6 August 1919.48. Leda Vera Bauerberg, n.d., ‘Share success with others- that’s what it’s for’, in
Gauthier scrapbook.49. ‘Batik making in Java’, The Christian Science Monitor 20 February 1918.50. Isabel C. Armstrong, ‘Javanese greatly influence much so-called modern music’,
The Citizen 14 March 1942. 51. Marian Hale, ‘Visits harem of sultan to learn music’, Appleton Post-Crescent
12 March 1923.52. Undated clipping from New York Tribune, Gauthier scrapbook.
Chapter 4 Stella Bloch and ‘Up to Date’ Java
1. I. Caesar and J. M. Anderson, Book and Lyrics, Fourth Annual Production, Greenwich Village Follies, unpublished manuscript in New York Public Library for the Performing Arts (NCOF�).
2. Lillethun (2005) describes how, as a rule, American batik adopted neither the distinctive colours nor design motifs of Javanese batik, but instead emphasized batik’s flowing lines with occasional interruptions, or crackles. Crackles are artefacts of using the canting as a tool for applying wax on cloth. They have no symbolic meaning in Java, but are taken as evidence that a piece of cloth is manufactured by hand rather than produced by mechanical processes. Americans appropriated batik for its imperfections, the way it interrupted mechanical processes of reproduc-tion, rather than for Javanese batik’s consummate artistry and range of symbolic meanings.
3. Display ad, New York Times 22 June 1919. 4. Mortie Offner to Bloch, Stella Bloch Collection (*MGZMF 273), Box 14, Folder 3,
New York Public Library for the Performing Arts. [Henceforth NYPL Stella Bloch Collection.]
5. Mortie Offner to Bloch, 10 June 1923, NYPL Stella Bloch Collection, Box 12, Folder 13.
6. Mortie Offner to Bloch, 10 June 1923, NYPL Stella Bloch Collection, Box 12, Folder 13.
7. Graham’s Javanese dances in Denishawn included ‘Danse Javanese’ and a ‘con-ceit from Java’, titled ‘The Princess and the Demon’ (1923), in which a masked demon, performed by Charles Weidman, terrorized Graham-the-Javanese-princess. On Graham’s Orientalism, see Wheeler 1999.
8. Bloch to Mortie Offner, 21 August 1923, NYPL Stella Bloch Collection, Box 12, Folder 13.
9. Bloch’s second husband, lyricist Edward Eliscu, ordered all Bloch’s papers, now housed at Princeton, Harvard and the New York Public Library for the Performing Arts.
Notes 241
10. Dates of Bloch’s birth in official records and her own accounts vary between 1897 and 1901.
11. Bloch to Mortie Offner, 9 April 1918, NYPL Stella Bloch Collection, Box 12, Folder 9.
12. Stella Bloch, Autobiographical fragment, Stella Bloch Papers Relating to Amanda K, CoomaraswamyManuscripts Division, Department of Rare Books and Special Collections, Princeton University Library (C0822), Box 8, Folder 1, Princeton Library. [Henceforth Princeton Stella Bloch Papers.]
13. Bloch to Mortie Offner, March 1917, NYPL Stella Bloch Collection, Box 12, Folder 9.
14. Richard Offner to Mortie Offner, 16 November 1920, NYPL Stella Bloch Collection, Box 12, Folder 10.
15. Bloch to Edna Offner, 28 July 1919, NYPL Stella Bloch Collection, Box 12, Folder 7.
16. Bloch’s Duncan fan letter was published as Bloch 1920.17. Coomaraswamy 1920; Coomaraswamy to Bloch, 22 May 1919, Princeton Stella
Bloch Papers, Box 1, Folder 19.18. Coomaraswamy to Bloch, 3 December 1917, Princeton Stella Bloch Papers, Box 1,
Folder 17.19. Stella Bloch, Autobiographical fragment, Princeton Stella Bloch Papers, Box 8,
Folder 1.20. Recent studies of the early twentieth-century modernization of Asian
performance traditions include Meduri 2005; Sasagawa 2005; and Goldstein 2007.
21. Among the first of these cultural associations were Mardi Guna (originally known as Hermani; founded 1908) and Langen Siswo (1912), followed by Marsudi Beksa, Anggoro Raras, Krido Jatmoko, Mardi Kagunan Jawi, Anggana Raras and many others.
22. Court style dance was taught by unauthorized teachers in the nineteenth century, resulting in commercial wayang wong groups that played to ticketed spectators in public theatre around Java.
23. For a concise overview of the history of dance notation, see Brakel-Papenhuyzen 1992.
24. Parts of this book are reprinted in Soerjadiningrat 1923–24.25. On the modernization of Javanese culture in this era, see Lindsay 1985:
16–27.26. Examples are numerous. An abbreviated wayang wong performance staged by
Krido Jatmoko and Langen Siswa in 1924 was advertised explicitly as being based upon fourteenth-century temple reliefs illustrating the Sudamala story – the subject of research in progress by Dutch archaeologist P. V. van Stein Callenfels. Members of Mardi Kagunan Jawi, a Javanese arts organization founded circa 1934 by future sociology lecturer and politician Maruto Darusman, negotiated theories about the archaic origins of wayang in pre-Hindu society proposed by Dutch scholars G. A. J. Hazeu and W. H. Rassers with traditional Javanese beliefs taught in puppetry courses. See Hooykaas 1940.
27. Kats arrived in the Indies in 1897 and lived there through retirement. His many publications included an authoritative 37-volume collection of wayang kulit plays, compiled in collaboration with Mangkunegara VII and published between 1927 and 1932 by state publisher Balai Pustaka; and important treatises on wayang kulit and Javanese poetics. See Arps 2000.
242 Notes
28. Kunst was appointed as the first colonial government musicologist in 1930, charged with surveying the archipelago’s music, but this position was discontin-ued in 1932 due to the economic depression. See Kunst 1994.
29. For a discussion of the impact of Dutch scholarship on wayang, see Sears 1996. 30. Introduction to the first issue of Djåwå qtd Tsuchiya 1990: 91.31. The study group’s language of discussion was Dutch but members included
Javanese, Chinese and European government officials, diplomats and scholars; invited speakers came from Batavia and elsewhere.
32. On Holt’s work and career, see Burton 2001.33. Bloch to Mortie Offner, 20 January 1921, NYPL Stella Bloch Collection, Box
12, Folder 11; Bloch to Binney Bloch, 30 December 1920, NYPL Stella Bloch Collection, Box 1, Folder 11.
34. For a partial list of Coomaraswamy’s purchases, see ‘Acquisitions’ 1921: 64. 35. Bloch to Mortie Offner, 27 December 1920, NYPL Stella Bloch Collection, Box 14,
Folder 3.36. Bloch to Mortie Offner, 27 December 1920, NYPL Stella Bloch Collection, Box 14,
Folder 3.37. On Coomaraswamy’s anti-colonialism, see Antliff 2007: 123–45.38. Bloch to Mortie Offner, 27 December 1920, NYPL Stella Bloch Collection, Box 14,
Folder 3.39. Bloch to Mortie Offner 20 January 1921, NYPL Stella Bloch Collection, Box 12,
Folder 11.40. Bloch to Mortie Offner, 27 December 1920, NYPL Stella Bloch Collection, Box 14,
Folder 3.41. Olin Downes, ‘There is no mystery in the Orient, says Stella Bloch, ballet star who
studied wondrous Eastern dances at Javanese court’, Boston Post 2 April 1922. 42. Elsewhere, Coomaraswamy and Bloch (1925: 122) write how ‘in Java the gesture
language is still closely related to spontaneous emotional expression. Anger, for example, is shown by clenching and unclenching the fists, lowering the brows and stamping on the ground.’
43 Bloch to Binney Bloch, 12 January 1921, NYPL Stella Bloch Collection, Box 1, Folder 12.
44. Bloch to Mortie Offner, 20 January 1921, NYPL Stella Bloch Collection, Box 12, Folder 11.
45. Bloch to Mortie Offner 20 January 1921, NYPL Stella Bloch Collection, Box 12, Folder 11.
46. Bloch to Binney Bloch, written 1921, Princeton Stella Bloch Papers, Box 4, Folder 7.
47. Bloch to Mortie Offner 19 February 1921, NYPL Stella Bloch Collection, Box 12, Folder 11.
48. Bloch to ‘Alley’, 22 March 1921, NYPL Stella Bloch Collection, Box 1, Folder 1.49. Bloch, ‘Java 1919–1920’, Princeton Stella Bloch Papers, Box 6, Folder 2.50. Stella Bloch, ‘Autobiography’, Princeton Stella Bloch Papers, Box 8, Folder 1.51. ‘The prince of Solo and the pretty American girl’, The New York Herald 9 April
1922.52. Bloch to Olga Offner, 13 February 1921, NYPL Stella Bloch Collection, Box 14,
Folder 4.53. There were solo dances by the young and very talented ballerina Ruth Page;
Armenian and Spanish dances; and a solo dance choreographed by Bolm to the lush chromatic strains of Charles T. Griffes’ tone poem The White Peacock – the
Notes 243
peacock had a moveable tail designed by an engineer. In the end, Pregiwa’s Marriage was deferred or cancelled due to insufficient rehearsal time, though arrangements of the ballet’s intermezzo were published (Crist 1922).
54. Bloch to Mortie Offner, n.d., NYPL Stella Bloch Collection, Box 14, Folder 3.55. Olin Downes, ‘Ballet Intime’. Boston Post 28 March 1922.56. Olin Downes, ‘There is no mystery’.57. Bloch also commissioned a piano piece titled ‘Javanese Dance’ from Boston com-
poser Henry F. Gilbert, best known for his art music based on African-American musical motifs. Bloch did not have a regular accompanist, but she paid her cousin Mortie Offner to pen new arrangements of her music for different instrumental combinations, as required.
58. ‘The prince of Solo’.59. Philip Hale, ‘Concert to aid Rheims School’, The Boston Herald 29 March 1922.60. ‘Adolph Bolm’s ‘Ballet Intime’, Christian Science Monitor 28 March 1922.61. Adolph Bolm to Coomaraswamy, telegram, 22 February 1924, Princeton Stella
Bloch Papers, Box 4, Folder 5.62. The 1924 Asian tour was a fiasco. Coomaraswamy was hired to lecture on Asian
art and society to a group of American tourists, and Bloch went along on condi-tion that nobody would know she was Coomaraswamy’s wife. This left Bloch free to pursue shipboard romances. Bloch found Japan tedious but Chinese theatre provided a ‘new thrill’ (Bloch to Mortie Offner, 6 October 1924, NYPL Stella Bloch Collection, Box 13, Folder 1). Conflict with Coomaraswamy and strained finances meant that Bloch had to leave the group early and did not return to Java. Always the dutiful husband, Coomaraswamy nonetheless photographed Javanese per-formances and purchased textiles, a mask and dance costumes for Bloch to use in performance.
63. Stella Bloch, ‘Yearbook 1927’, entry for 30 December 1927, NYPL Stella Bloch Collection, Box 26, Folder 2.
64. For a biographical portrait, see Robinson 1997: 90–3.65 ‘Mystery of the Beautiful Indian Princess’, Syracuse Herald 25 May 1924.66. Bloch to George Cukor, 19 May 1924, NYPL Stella Bloch Collection, Box 3,
Folder 10.67. Bloch to George Cukor, 10 June 1923, NYPL Stella Bloch Collection, Box 3,
Folder 10.68. Ruth Pickering, ‘The high and the low’, New Amsterdam News 22 May
1929.69. ‘Dancer pleases Eastman patrons in debut here’ and ‘Stella Bloch gives varied
program of dances at Eastman’. Both clippings from the Stella Bloch Papers (MS Thr 460), Box 6, Harvard Theatre Collection, Houghton Library, Harvard University. [Henceforth Harvard Stella Bloch Papers.]
70. Rouben Mamoulian to Bloch, 29 June 1925, Harvard Stella Bloch Papers, Box 4, Folder 12.
71. Bloch to Rouben Mamoulian, 25 June 1925, NYPL Stella Bloch Collection, Box 12, Folder 2. Possibly this letter was not sent.
72. Bloch to Mortie Offner, 5 June 1925, NYPL Stella Bloch Collection, Box 13, Folder 2.
73. Bloch to Mortie Offner, 8 July 1925, NYPL Stella Bloch Collection, Box 12, Folder 2.
74. Bloch to Mortie Offner, 12 July 1925, NYPL Stella Bloch Collection, Box 13, Folder 2; Bloch to Mortie Offner, n.d., NYPL Stella Bloch Collection, Box 14, Folder 3.
244 Notes
75. Bloch to Mortie Offner, n.d., NYPL Stella Bloch Collection, Box 14, Folder 3.76. Bloch to Mortie Offner, 12 July 1925, NYPL Stella Bloch Collection, Box 13,
Folder 2.77. Coomaraswamy to Bloch, 11 May 1920, Harvard Stella Bloch Papers, Box 2,
Folder 1. It is not clear whether the ‘Irish vaudevillian’ actually produced Coomaraswamy’s play.
78. Advertisement for dance classes taught by Stella Bloch [n.d.], Harvard Stella Bloch Papers, Box 7, Folder 28.
79. ‘Dancing most valuable of all recreations, Stella Bloch says’, Democrat and Chronicle 6 July 1925.
80. ‘The prince of Solo’.81 ‘Charms of many countries exploited at travel show’, 23 March 1922. NYPL
Stella Bloch Collection, Clipping from Scrapbook, 1922–1927, Box 6A, Folder 2.
82. This programme also included an illustrated lecture on Java by Neil van Aken, secretary of the Netherlands Chamber of Commerce; violinist Bella Hopman playing ‘music of Java’; ‘official motion pictures showing various islands in the Dutch East Indies’ and an Indonesian crafts exhibit. See Advertisement for Second Holland Program, New York Times 19 March 1929.
83. Downes, ‘There is no mystery’.84. Ibid.85. Ibid.86. For a comprehensive overview of Coomaraswamy’s work, see Lipsey 1977.87. Bloch went to Japan and China in 1924 with Coomaraswamy, and visited Java,
Bali and other parts of Asia in 1934 with her second husband, Edward Eliscu.88. In many ways, Bloch’s circumstances mirror anthropologist-dancers who emerged
in the 1930s such as Katherine Dunham and Pearl Primus, who also lacked insti-tutional embedding for much of their careers.
89 DA, ‘Boston art notes’, Christian Science Monitor 5 April 1930.90. Bloch to Coomaraswamy, 18 February 1942, NYPL Stella Bloch Collection, Box 3,
Folder 8.
Chapter 5 Raden Mas Jodjana and Company
1. This meeting is transcribed in Yzerdraat et al. 1956. 2. IJzerdraat was a war orphan informally adopted by the eminent ethnomusicolo-
gist and museum curator Jaap Kunst. IJzerdraat was introduced to gamelan in 1941 at the regular concerts in the Colonial Museum given by the Javanese arts group Ardjoeno and sailors from the Royal Netherlands Steamship Company at Kunst’s instigation. IJzerdraat soon became sufficiently competent to direct a youth gamelan group known as Babar Layar (‘Setting the Sail’, the name of a gamelan piece). The group played on a set of instruments constructed under Kunst’s supervision from scrap metal during the war. Babar Layar played regularly at the Colonial Museum (later known as the Tropical Museum), toured Europe and performed for radio, film and television. Nearly all Babar Layar’s members were Dutch, not Javanese (Mendonça 2002: 115–50). IJzerdraat migrated to Indonesia in 1954, and worked in radio and founded the influential sanggar (arts studio) Bakti Budaya (‘Servant of Culture’) in Jakarta in 1956. He adopted the Javanese name Suryabrata when he became an Indonesian citizen in 1966.
Notes 245
3. Gajus grudgingly admits that without STICUSA’s assistance, Jodjana’s choreogra-phy would be undocumented and lost.
4. Personal communication with Sardono W. Kusumo, 2 May 2004. 5. The extent to which Jodjana received training in the arts in Java is uncertain. It
is possible that Jodjana performed dance or gamelan in Java before he left the island, but I have seen no records to confirm this.
6. Chinese students from the Indies had their own student association, Chung Hwa Hui (founded 1911).
7. For a portrait of Boeatan, see Groot 2006: 127–31. 8. Noto Soeroto, the cultural critic, poet, publisher of Oedaya and confidant of
Mangkunegara VII, was a particularly enthusiastic organizer. Another organizer was political exile Suwardi Suryaningrat, who later took on the name Ki Hajar Dewantara. Hajar Dewantara is best known as the founder of Taman Siswa, an educational movement influenced by Montessori and Tagore, and was the first minister of education under President Sukarno. It was likely Suwardi’s experience of performing in the Netherlands, and his exposure to Tagore’s ideas via Noto Soeroto, that resulted in Taman Siswa emphasizing education in traditional arts. A third organizer was Suryo Putro, who gave lectures on Javanese music and devised new systems for writing Javanese music while studying engineering in Delft.
9. Mudato: Tijdschrift der Vereeniging tot Bestudeering van de Muziek, de Dans- en Tooneelkunst van Oost- en West-Indië was published from 1919 to 1922. It was the first journal focusing on Indonesian performing arts.
10. One might also see the Indies Evenings as contributing to the formulation of Indonesian national culture, enshrined in the constitutional mandate (attributed to Hajar Dewantara) for the government to promote ‘the peaks of culture’ of the nation’s constitutive ethnic groups.
11. ‘Muziek: Attima’, De Nieuwe Rotterdamsche Courant 9 January 1917 (evening edition).
12. Concise Explanation of Dances by Raden Mas Jodjana (n.p.: Starcamp, 1930).13. ‘Autobiographie Raden Mas Jodjana’, unpublished ms. in collection of Parvati
Chavoix-Jodjana, 44.14. The gagah version of Klana was accompanied by the boisterous gendhing (musical
piece) Lung Gadung, while the alus version was accompanied by a gendhing titled Cangkelet.
15. Programma voor de Dansmatinee op 5 Februari 1938, Centraal Theater door Raden Mas Jodjana.
16. For an overview, see Glerum 2005.17. The instrumentalists who accompanied Inayat Khan, referred to as his ‘boys’,
were his brothers Maheboob Khan and Musharaff Khan and his cousin Mohammad Ali Khan.
18. The School of Oriental Studies was later renamed the School of Oriental and African Studies (SOAS), now part of the University of London.
19. ‘Rotterdamsche Kunstkring: Oostersche avond’, Nieuwe Rotterdamsche Courant 6 October 1920 (evening edition).
20. Concise Explanation of Dances by Raden Mas Jodjana.21. Jodjana earned 2.50 francs an hour, a generous wage for France at this time.22. In another article (R. M. Jodjana 1956), Jodjana reports that Mangkunegara VII
told him that wayang wong dancers should only be seen en profil.23. ‘Tanzabend des Javanischen Tänzers’, programme for performance in Hamburg,
17 January 1934, Jodjana Collection, Theatermuseum archive, Amsterdam.
246 Notes
24. André Levinson, ‘Raden Mas Jodjana: Een Fransch oordeel’, Het Vaderland 17 August 1928 (evening edition).
25. The Nederlandsch Indonesisch Verbond (also known as Nederlandsch Indonesisch Verbond van Jongeren Organisaties or ‘Dutch Indonesian Association of Youth Organizations’) was founded in 1926 as an umbrella organization for seven asso-ciations concerned with the Indies (including student clubs, a missionary associa-tion, Leiden’s Indology association and the arts association Boeatan) and had the remit to promote better understanding between the Netherlands and Indonesia.
26. Raden Ajoe, or Raden Ayu, is a lady’s title taken on after marrying a Raden Mas.27. Coolemans studied dance in Dresden, and was a choreographer as well as a dance
instructor. Some of his dances were in Wigman’s expressionistic dance style and typically used music by Debussy, Bartók, Satie and other modern composers. Other dances were Javanese-derived and accompanied by piano and percussion. German reviewers found him to be technically polished and capable of project-ing a Javanese attitude of quietude, but lacking in drama, charisma or spirit. Coolemans ran Wigman’s Dresden dance school in 1933 while Wigman toured the United States. Upon her return, Wigman dismissed Coolemans and all other Jewish students and members of staff. Coolemans left Nazi Germany for Java. His route took him through New York, where he gave a dance recital reviewed by John Martin. Martin found Coolemans’s dancing to be more interpretive than modern, and complained that his dances were too illustrative of the music that accompanied them. When news of Coolemans’s death in Batavia from pneumo-nia reached Wigman in 1935, she wrote to her disciple Hanya Holm in New York with an odd mix of affection and anti-Semitic disdain. ‘However things went, Fred was one of the “gifted” and close to us through studies and collaboration. Strange fate! Maybe death is good! Maybe not much would have happened, would have grown within Fred. Maybe he was too weak to carry through a task all the way. Who knows?’ (Wigman qtd Gitelman 2003: 58).
28. ‘Jodjana danst’, Het Vaderland 28 August 1928 (morning edition).29. ‘Raden Mas Jodjana’, Haagsche Courant 20 July 1928.30. Indies drama (Indische toneel) is a genre of colonial theatre that flourished in
colonial Indonesia and the Netherlands between 1900 and 1925. These Dutch-language realist drama set in the Indies dealt with issues confronting Europeans in the Dutch Indies, such as class strife, prejudice towards men of mixed race, the nyai or unofficial wife of a European man, social isolation and generational conflict. Above all, though, the most significant theme was labour – offering moral perspectives on how Europeans made their living in the colony through commerce and service through dwelling in an alien environment. A small number of Indies dramas by Jan Fabricius and Hans van de Wall were translated into English, German, Malay and other languages and performed internation-ally. But generally Indies drama appealed specifically to Dutch audiences: a 1930 Broadway production of one of the most famous plays in this genre, Jan Fabricius’s Dolle Hans (1916), was a flop. See Baay 1993, 1998; van den Berg 2000; ‘New plays in Manhattan’ 1930.
31. Philologist Poerbatjaraka also performed wayang kulit while studying for his PhD at Leiden University, including at the Künstlerhaus exhibition in Berlin in 1925.
32. Waluyo was the susuhunan of Surakarta’s nephew. He came originally to the Netherlands in 1923 to study in secondary school (HBS). When he dropped out of his law studies, funds from home were stopped. He stayed in Holland but was
Notes 247
forced to find work. Iskandar, also known as Raden Sumardi, was the ex-chair of Perhimpunan Indonesia, a nationalist student society.
33. Among the dancers who performed with Eurasia were Dewi Suhita Urdayana (in 1927, described as a ‘student of the Mangkunegaran court’) and Dewi Sekar Kedaton (in 1928, possibly a stage name for a Dutch woman).
34. London critics were thrilled by the dangerous energy of randai, pencak and janger and impressed by the skill and grace of SVIK’s Javanese dances, but cringed at kroncong’s naïve harmonies and melodies.
35. De Meyier studied painting at the Koninklijke Akademie Van Beeldende Kunsten and privately with the Java-born Dutch artist Louis Willem van Soest.
36. Another of Roemah’s early stage roles was a combat dance Jodjana choreographed in 1928 titled ‘Ksatria-Boeta’ (Knight and Ogre), in which Roemah wore a mask crafted by Jodjana. This did not stay in repertoire long due to stylistic differences between the performers.
37. This gamelan pelog consisted of three kendhang, gong and kempul, kenong¸ two saron, two demung, two bonang, a gender, suling and gambang. Not all instruments were played at every performance.
38. Among Cowell’s New School students was John Cage. Gamelan provided an explicit model for the all-percussion ensembles that Cowell, Cage and Lou Harrison formed in the 1930s. Cowell’s gamelan studies also possibly contributed to his development of the notion of elastic form for dance accompaniment, whereby sections of a piece could be ‘repeated, extended, shortened, or omitted’, while preserving ‘unity of form’ (Miller 2006: 65). Cognate practices can be found in both Javanese and Balinese dance music. See also Miller 2002.
39. Modern dancers, including Gertrude Leistikow and Denishawn, toured the Indies under Kunstkring sponsorship and there were a handful of modern dance studios in late colonial Java, but audiences generally found modern dance alienating. See Sherman 1976: 178–93.
40. Cara Groot, ‘Les-uittreksels Centre Jodjana’, unpublished manuscript, Jodjana collection, Theatermuseum, Amsterdam.
41. Jodjana’s understanding of sangkan paraning dumadi is discussed in Bonneff and Labrousse 1997. I have drawn implicitly on this article elsewhere in this chapter.
42. ‘Lorsque je danse, je sculpte mon corps’ (Jodjana qtd Tulman-Bacmeister and Tulman 1985: 60).
43. Many of the intimate family details in this chapter are from a series of interviews and discussions with Parvati Chavoix-Jodjana at her house in La Réole on 10–14 January 2006. I am very grateful for her hospitality.
44. ‘Les gegeven door Raden Mas Jodjana’, Jodjana collection, Theatermuseum, Amsterdam.
45. Raden Mas Jodjana, ‘Amateurisme en de gamelan’, Jodjana collection, Theatermuseum, Amsterdam.
46. While rehearsals for The Mahabharata began only in September 1984, after Moes’s death, Peter Brook and his collaborator French playwright Jean-Claude Carrière started working on the project in 1975, undertaking much research as they devel-oped the play.
47. There has been occasional interest in Jodjana’s work since his death. In 1981, with the assistance of English friends, Moes succeeded in publishing a book, A Book of Self Re-Education, with an accompanying set of audiocassettes. Moes’s out-lines the teachings she developed with Jodjana, as well as reminiscences about
248 Notes
Jodjana, Roemah, Inayat Khan, Bhimo and others. The text has been applied by British mystics and community performers, including those associated with the UK Network for the Dances of Universal Peace. The rapid development of gamelan in Western Europe since the 1980s has prompted interest in Jodjana as the first truly professional Javanese performer to live permanently in Europe. A French website on gamelan maintains several pages of information, images and programmes. See ‘Raden Mas Jodjana (1893–1972)’, http://gamelan.free.fr/Jodjanem.htm (accessed 30 December 2009). The relation between Jodjana and Dutch painter Isaac Israëls was also the subject of an exhibition, ‘Isaac Israëls and Raden Mas Jodjana: An East Indian Friendship’, at the Museum Mesdag in The Hague in 2005.
Chapter 6 Magical Identification with Bali in France
1. A fascination for the theme of ‘passing’ weaves through Hughes’s fiction, poetry and autobiographical writing, linked perhaps to Hughes’s own fluid identity. Hughes was frequently mistaken for other ethnicities in his international travels, and passed for heterosexual among his Harlem Renaissance intellectual peers. See Bennett 2000.
2. There were more, of course. One was D’al-Al, the stage name of dancer and artist’s model Simone Luce, who was born in Montmartre in 1910. Luce’s mother was a dancer and model from Martinique, and encouraged her daughter to study dance at Paris Opera Ballet School and work in the music hall. D’al-Al gave her debut as a solo artist around 1925; her light skin allowed her to pass as Indian, Tahitian, Cuban or Javanese, and she was much in demand for both public perform-ances and private receptions. See Fabre 2007–08 and Décoret-Ahiha 2004: 156. Another Javanese dancer was Ishvani Goolbano (sometimes spelled Gool-Banco), who performed Indian and Javanese dance in London and Paris in the 1920s and 1930s. Both Goolbano and D’al-Al modelled for Man Ray and other modern artists.
3. For biographical information, see Décoret-Ahiha 2004: 246. 4. French dance critic André Levinson (1991: 123), who delivered a lecture-
demonstration with Mas Majajawa at the Sorbonne in 1930, described his collaborator as ‘the son of a magistrate of ancient and noble lineage; he is related on his mother’s side to an old family of Portuguese Creoles.’ Majajawa specialized in alus (refined) dance in the Yogyakarta style; he also had a background in Western music.
Retna Mohini (a.k.a. Caroline Jeanne de Souza-IJke) was born in Java and stud-ied traditional Javanese and modern dance in Batavia starting in 1933. A job as personal assistant to a Dutch electro-technical engineer brought her to Paris in 1936. There, she joined the dance troupe of Indian dancer-choreographer Ram Gopal and married the French photographer Henri Cartier-Bresson. See Helmi 1997, 2002.
5. ‘Here’s a real chocolate baby’, The Nebraska State Journal 22 January 1922. 6. ‘Spice of 1922 shows The Garden of Eden’, New York Times 7 July 1922. 7. Hasoutra returned to America in 1927 for an eight-month, cross-country tour of
the Keith-Albee-Orpheum vaudeville circuit. Her act, produced by Broadway pro-ducer George Choos, was titled ‘High Art’ and combined a number of Hasoutra’s Oriental numbers. Some reviewers found it ‘pretentious’ or ‘frankly bizarre’, while
Notes 249
others admired the ‘gorgeous stage pictures’. This was followed by a six-month tour of India and Burma together with ballet-trained American dancer Dora Duby. Hasoutra spent most of 1929–34 touring Europe and studying European modern dance. When she returned to the United States, she performed mixed programmes of modern dance and Oriental impressions. Among Hasoutra’s gilded American imitators were Arthur Corey and the lesbian dancing duo of Grisha and Brona.
8. For an overview of Mario’s career, see Dana 1996. 9. Latrell 1999; Bloemsbergen 2006: 339. Spies is also sometimes credited as the
creator of the new Balinese tradition kecak, a Ramayana dance drama featuring a large all-male a cappella chorus, glossed in tourist literature as ‘the monkey dance’. The circumstances of kecak’s creation are complex, but it seems to have derived from the sanghyang dedari ritual trance dance, modified for the tastes of tourists and for the film Insel der Dämonen (1933), directed by German film mak-ers Friedrich Dalsheim and Victor von Plessen, with an all-Balinese cast. Walter Spies acted as an advisor on this film. Possibly just as influential was Katharane Edson Mershon, who had earlier created a similar choral effect for the Pasadena Playhouse premiere of Eugene O’Neil’s play Lazarus Laughed (1928).
Merson’s role in the creation of kecak has been undervalued as few scholars are aware of her professional dance credentials. Mershon was an actor in the Belasco stock company in Los Angeles as a teenager, studied Delsarte technique with Mrs Richard Hovey (Ted Shawn’s teacher), and danced with the Chicago Civic Opera Ballet under Serge Oukrainsky. She toured North America and Europe as a solo dancer, performing balletic numbers as well as interpretations of Hopi ritual dances and Japanese and Chinese suites. Mershon directed the Denishawn school in New York and choreographed dance for Hollywood film, mostly uncredited. One of her major films was the Greta Garbo vehicle Wild Orchids (1929), which is set in Java and has a number of pseudo-Javanese dances. Mershon and her husband, also a retired dancer, lived in Bali for most of the 1930s; their house was a hub for Europeans visiting the island. Mershon worked as an assistant to anthropological research conducted by Margaret Mead and Gregory Bateson in Bali, and also conducted her own research on religion, working closely with a Balinese priest. Her research resulted in her book Seven Plus Seven: Mysterious Life-Rituals in Bali (1971).
10. Essays on Artaud’s encounter with Bali are numerous. In addition to sources already noted, see Bharucha 1978; Clancy 1985; Winet 1998; and Savarese 2001.
11. Toshi Komori is considered one of the founders of modern dance in Japan. In 1918–19 he appeared in Michio Ito’s New York production of At the Hawk’s Well and collaborated with him in a number of joint recitals. He then moved to Paris, where he partnered with Sakae Ashida for Estampes Vivantes Japonaises (1920), touring Europe through the 1930s. See Décoret-Ahiha 2004: 213ff. The true iden-tity of Toshi’s dance partner in Amok, ‘Soura Hari’, is unknown.
12. For thorough musical and historical analysis, see Mawer 2008.13. Tjili is an older spelling for cili.
Chapter 7 Greater India
1. ‘Ram Gopal: Spiritual Indian dancer who thrilled audiences worldwide with his blend of East and West’, Times 14 October 2003.
250 Notes
2. St Denis performed her Radha and other Indian dances for Sayajirao at a gala reception in the maharaja’s honour sponsored by New York’s Indian community in 1906. The maharani told St Denis that she ‘looked and acted like a high-class Indian woman’ (St Denis 1939: 59). Two decades later St Denis danced with her company Denishawn at the maharaja’s palace in Baroda.
3. Tagore’s letters from Bali and Java were written in Bengali and translated serially into English in The Visva-Bharati Quarterly between October 1927 and October 1928.
4. Vyasa (Abiyasa in Java) is the legendary author of the Mahabharata. 5. I have made some small changes for readability to the translation. 6. The translation is by Chatterji. 7. For a detailed summary of Rituranga, see Chakravatery 2000: 64–89. 8. Lynton 1995; personal communication with Mrinalini Sarabhai, January 2003. 9. For example, Venkatachalam promoted the work of Harindranath Chattopadhyaya,
the Bengali director-playwright, as ‘a Max Reinhart or a Meirhold of modern India’ (Venkatachalam 1929: 138).
10. For a recent assessment of Sanusi Pané, with a focus on pan-Asianism, see Mark 2006.
11. For an overview of Sanusi Pané’s dramatic opus, see Bodden 1997. Tagore’s plays about India’s mythic and legendary past were avidly read in translation and translated into Indonesian during the 1920s and 1930s. Dramas by Sanusi Pané’s brother Armijn Pané and other Indonesian playwrights were also influenced by Tagore.
12. A photograph of this performance is preserved in the Taman Siswa archive in Yogyakarta, showing Rusli, K. Hadisukatno and Subroto in Indian costume. ‘Indian dance’ (tari Hindu) was also performed by the Javanese and European girls at the Christilijke Muvo school in Surakarta in the late 1930s.
13. Karunamaya Goswani, ‘A tribute to Shantidev Ghosh’, originally published in The Independent December 1999, see http://www.ibaradio.org/India/calcutta/calcutta7.htm (accessed 30 December 2009).
14. Advertisement in The Tribune 15 March 1936: 2.15. Dancer-choreographer Rukmini Devi, a founder of bharatanatyam dance, also
visited Java with her husband George Arundale on Theosophical Society business for several weeks in 1929. It is not certain whether Rukmini studied Javanese dance, but staying at the Surakarta mansion of well-known arts patron Pangeran Arya Kusumadiningrat, it is likely she attended rehearsals or performances.
16. There are numerous studies of Shankar, including Banerji 1982; Erdman 1987; Khokhar 1983.
17. Uday Shankar’s diary of his trip to Java and Bali is reproduced in Abrahams 1986: 262–6.
18. Biographical information is based largely on Kothari 2000.19. ‘Indian dancer’s visit to study the Ceylon technique’, The Ceylon Daily News
15 November 1937. On La Meri, see Ruyter 2000.20. See Vashi 1948: 45. In this article, Vashi criticizes the Javanese courts for monopo-
lizing wayang wong and preventing it from being appreciated by the larger com-munity. He also equates the alus (refined) and gagah (manly) dance styles of Java to lasya and tandava in India, and is critical of the lack of facial expression in Javanese court dance (in contrast to Bali), claiming this prevents the appreciation of rasa.
21. Nataraj Vashi, ‘The dance forms of India’, Ceylon Daily News 4 December 1937.
Notes 251
22. Personal communication with Kapila Vatsyayan, 24 September 2005.23. Ibid. See also Coorlawala and Vatsyayan 2000.24. ‘Nehru says India and Indonesia are linked by ties of history’, Report on Indonesia
1, no. 44 (1950): 5.25. ‘Prime Minister Pandit Nehru’s goodwill visit in Indonesia’, Report on Indonesia 1,
no. 46 (1950): 5 [3–6].
Chapter 8 Devi Dja Goes Hollywood
1. For a comical dance instruction film on how to combine Javanese dance with the jitterbug, see Will Jason’s Groovie Movie (1944), available on YouTube.
2. Colonial-era exploitation films shot in Bali include: Balinese Love (1931), Virgins of Bali (1932), Women of Bali (1931), Goona Goona (1932; a.k.a. Kriss or Man’s Paradise), Isle of Paradise (1932), Insel der Dämonen (1933; a.k.a. Black Magic or Wajan or Son of a Witch or Sins of Bali), Nudist Land (1937) and Bali Paradise Island (1939; a.k.a. Bali, Isle of Paradise). So much filming went on in Bali during the 1930s that a New York gossip columnist quipped that ‘the goona-goona girls and sparsely clothed males have risen to the fact that they have been exploited com-mercially by picture people for years; and that they have posed too often without being remunerated. Hereafter […] the Balinese want a union scale or they will not perform for the lenses’ (‘In New York’, The Dunkirk Evening Observer 7 August 1937).
3. George Tucker, ‘Manhattan’, Fitchburg Sentinel 3 November 1942; Theodore Strauss, ‘New of the night clubs’, New York Times 16 April 1939.
4. Will Davidson, ‘2 stars shine brightly in new Chez show’, Chicago Daily Tribune 8 September 1940. See also Loney 1984.
5. Latief’s wife, known professionally as Retnowati Latip, qualifies as Indonesia’s first modern dancer. She studied at the Hellerau-Laxenburg dance institute in Austria in the early 1930s. Returning to Batavia in 1932, she offered concerts of expressionist dance at venues including Batavia’s schouwburg and dance lessons to students including Retna Mohini.
6. ‘The World and the theatre’, 1939: 620. See also John Martin, ‘The dance: From Java’, The New York Times 9 July 1939; and K. 1939.
7. Kodrat to Hadassah, 19 June 1940, Hadassah Papers (*MGZMD 135), New York Public Library for the Performing Arts.
8. George Tucker, ‘Man about Manhattan’, Oshkosh Daily Northwestern 6 June 1940.
9. Dare’s career as an exotic dancer began in the Midwest in 1936, and she was still going strong into the 1950s. She appeared in Life, Playboy and a host of other magazines.
10. Advertisement in Het Noorden 15 July 1929.11. For a description of one of Adolf Klimanoff’s clown acts, see Tan 1993: 40.12. For a recording of Dardanella’s cover of the song Dardanella in kroncong style
(with Miss Riboet II as vocalist), see Tanaka 2006.13. For a perspicacious account of the transition from stambul to toneel, see Jedamski
2008. 14. For a translation, see Cohen 2010.15. For a translation, see ibid.
252 Notes
16. ‘A versatile show: Graceful dancing by Dardanella Co.’, The Straits Times 3 June 1935.
17. ‘Balinese dances in Singapore’, The Straits Times 9 January 1935.18. GLP, ‘Balinese dancers’ first night’, The Straits Times 30 January 1935.19. Advertisement in Times of India 8 April 1936.20. Advertisement in Straits Echo, reprinted in Tan 1993: 55. 21. Advertisement in Pinang Gazette 29 August 1936.22. Anak Singapura, ‘Dardanella’, The Straits Times 22 December 1936.23. Clifford Gessler, ‘Devi Dja triumphs in dance art of Indonesia’, Oakland Tribune
6 June 1953.24. Isabel Morse Jones, ‘Oriental dance group scores hit’, Los Angeles Times
19 December 1939.25. MtB, ‘Devi Dja’, Het Vaderland 15 November 1938 (morning edition).26. ‘Devi Dja to dance here’, New York Times 17 October 1939.27. Takka-Takka, a.k.a. Lucie Lindermann, was a performer of mixed Javanese and
German descent, who performed impressionistic Oriental dances and pan-tomimes. She toured between 1922 and 1926 with the Czech-Jewish painter Ernest Neuschul, who danced under the stage name Yoga Taro. Takka-Takka and Yoga Taro were popular proponents of a primitivist Java. They staged Java as an island of jungles, volcanoes, magic, possession, unbridled sensuality, mystical gongs and puppet-like dances.
28. Malvina Hoffman visited Java and Bali to research her exhibition ‘The Races of Man’, commissioned by Chicago’s Field Museum of Natural History, which includes several life-size statues of Indonesians. See Hoffman 1936.
29. ‘Bali-Java Dancers received with acclaim’, The Oakland Tribune 3 September 1940.
30. John Martin, ‘East Indies troupe in American debut’, New York Times 28 October 1939.
31. ‘Old Ladies from Bali.’ Time 6 November 1939, http://www.time.com/time/magazine/article/0,9171,762762,00.html (accessed 6 February 2008).
32. Cecil Smith, ‘Bali Dancers are perfect in a strange art’, Chicago Daily Tribune 18 November 1939.
33. Edward Barry, ‘Bali and Java Dancers win huge audience’, Chicago Daily Tribune 20 November 1939.
34. Isabel Morse Jones, ‘Oriental dance group scores hit’, Los Angeles Times 19 December 1939.
35. ‘Dancers from Bali and Java in music hall this week’, The Kansas City Star 19 November 1939.
36. Isabel Morse Jones, ‘The week’s high note in music’, Los Angeles Times 24 December 1939.
37. ‘Bali lives in Hollywood’, Los Angeles Times 4 February 1940.38. ‘Shiver in Bali dreams’, The Kansas City Star 24 January 1943.39. International News Service, ‘Wrong sarong used by Dorothy Lamour’, The Daily
Courier 27 November 1940.40. Ida Jean Kain, ‘Your figure madame!’ The Washington Post 25 November 1939.41. The only instance of topless Balinese dancing I have discovered is a short seg-
ment of Ni Pollok, the principal model and wife of Belgian painter Adrien-Jean Le Mayeur, dancing on Sanur beach. This is included in the one reel ‘nudie cutie’ film Dancing Girls of Bali – released around 1950 but incorporating pre-war footage. This is anthologized in Dancing Dolls from Burlesque 1940–1950 (2000).
42. I have been unable to trace this book.
Notes 253
43. ‘Revue to feature humorous songs’, Los Angeles Times 20 September 1940.44. ‘Devi Dja at Teachers’ College November 18’, The Deming Headlight 15 November
1940.45. ‘Devi Dja in dance recital’, New York Times 30 November 1940.46. RE, ‘Devi Dja and her dancers charm Chicago’, Chicago Daily Tribune 23 November
1940.47. Margaret Lloyd, ‘Devi Dja and her group offer rare entertainment’, Christian
Science Monitor 20 December 1940.48. Ray C. B. Brown, ‘Postlude’, The Washington Post 4 January 1941.49. Will Davidson, ‘Devi Dja and troupe hit in Sarong Room’, Chicago Daily Tribune
16 May 1943.50. Will Davidson, ‘Waltz theme of sparkling Dorothy Dorben Revue’, Chicago Daily
Tribune 5 December 1943; Barzel 1945: 14; Davison, ‘Devi Dja and troupe.’51. Davidson, ‘Devi Dja and troupe.’ This is the way that Dutch colonials typically
drank coffee. 52. Will Davidson, ‘Drummer Gene Krupa’s comeback talk of the town’, Chicago Daily
Tribune 7 May 1944.53. Claudia Cassidy, ‘On the Aisle’, Chicago Daily Tribune 17 December 1944; Barzel
1945: 44.54. Marcia Winn, ‘The natives outdone’, Chicago Daily Tribune 14 May 1943.55. Clifford Gessler, ‘Star, Devi Dja proves artistry’, Oakland Tribune 22 August 1953.56. ‘Dancing of Devi Dja and Group entertains’, Los Angeles Times 15 February
1956.57. Dja separated from Blue Eagle in 1950 and divorced him in 1952. Dja attempted
to establish herself first in Los Angeles in 1948, while still married to Blue Eagle, but she was only able to attract two students to study with her in her dance studio, and she moved to San Francisco instead, where she was supported by the local Indonesian community.
58. Hedda Hopper, ‘Hedda Hopper’s Hollywood’, Los Angeles Times 10 April 1942.59. Ernest Foster, ‘Devi Dja says rug-cutting is old fashioned’, The Oakland Tribune
24 May 1942.60. Jimmie Fidler, ‘Jimmie Fidler in Hollywood’, Joplin Globe 12 May 1944.61. Will Davidson, ‘Latin Quarter’s Revue is best in its history’, Chicago Daily Tribune
16 January 1944.62. Pamoedjo served in the US army in Europe during the war, gained American
citizenship and went to the States. After Indonesian independence, he was appointed Indonesia’s honorary consul in New York.
63. Telephone interview with I Made Bandem, 15 February 2008.64. Th, ‘Pementasan Dr. Samsi jang charmant’, Republik 7 (1959). Clipping without
pages.65. For an overview of Dja’s strengths and weaknesses as an actor, see You
1939: 9f.66. Telephone interview with Ratna Assan Kohn, 20 February 2008. 67. TK 1982; ‘Assan, first Indonesian woman dancer to be citizen’, Daily News of Los
Angeles 22 January 1989.
Aftermath: Decolonization
1. ‘Dance concert Friday evening brilliant in color and beauty’, Florence Morning News 6 December 1939.
254 Notes
2. Cf. ‘Yenching Students’ 1941: 50; and Baribault 1932–33. 3. One of the few serious Australian observers of Indonesian arts before the war
was Emily Scott, who visited Java in the late 1920s and subsequently published a number of articles on Javanese music, dance and drama. For a novel photo of a Javanese sailor performing tandak (social dance) on a Dutch ship docked in Australia, see: ‘Javanese dancer’, The Argus 19 September 1931: 5.
4. See G. H. ’s-Gravesande, ‘Indische dansen’, Het Vaderland 17 July 1944; ‘Kunst van twee Vaderlanden’ 1961. Indra Kamadjojo had a long career after the war. He performed at the American Museum of Natural History’s Around the World with Dance and Song programme in 1952 and frequently appeared on Dutch television. His most famous television role was as the Regent of Ngadjiwa in the 1974 mini-series De Stille Kracht, based on the famous Indische novel by Louis Couperus. Kamadjojo was also a regular on the 1970s nostalgic Indische television variety show, The Late, Late Lien Show.
5. Express Staff Reporter, ‘Aryah brings Java dances’, Daily Express 20 May 1946. 6. Meyer Berger, ‘Clark at Ellis Island’, New York Times 9 February 1946. 7. Programme for The Ballet Society, Third Program, March 19, 1947 (New York: The
Ballet Society, 1947). 8. George Balanchine, director of the Ballet Society, had originally asked Retna to
choreograph a ‘Javanese ballet in the native idiom’ to the music of Stravinsky’s Rossignol but Retna insisted on performing more traditional numbers. See Jordan 2007: 125.
9. DAS, ‘Balinese dancers in Manchester at the Liberty Theatre’, Guardian 23 September 1952. The siblings split up in the 1950s. Edo Sie, currently living in Chicago, specialized in flamenco dance, while his brother Liong appeared as a dancer in a nightclub scene in the New Zealand film Runaway (1964).
10. Programme for Raden Mas Utomo and His Indonesian Dancers with a Gamelan Orchestra, Wyndham’s Theatre, 1950.
11. Ibid.12. ‘Communists: second time around’, Time 14 March 1960, http://www.time.com/
time/magazine/article/0,9171,871545,00.html (accessed 13 April 2010).13. Sastroamidjojo and Penders 1979: 233; ‘Shepherd boy and goddess- in Devon’,
The Daily Mirror 30 January 1951.14. Supianti’s father, an ex-regent named Suyono, was a Leiden University student
starting in 1935. Supianti joined him in Holland in 1936.15. John Coast to Philip E. Lilienthal of the Institute of Pacific Relations,
11 November 1951, Claire Holt Papers (*MGZMD 35), New York Public Library for the Performing Arts.
16. ‘Hope and Crosby have hit Road, a complex operation’, Panama City News-Herald 30 April 1952.
17. Coast 1953. Coast bartered his experience in producing Indonesian arts into a distinguished career as a theatrical agent. His clients included Bob Dylan, Luciano Pavarotti and Ravi Shankar.
18. Sumardjo 1985: 72. Last’s play was translated into Indonesian by Sumatra-born journalist Rosihan Anwar and published in Jakarta after the poet had left Indonesia. See Last 1955. There is also a Dutch edition of the play.
19. This television episode, ‘Death in the Dressing Room’, starring Boris Karloff, was anthologized in the film Colonel March Investigates (1953). The dance is described in dialogue as a serimpi and a Javanese ‘torture dance’, though it is actually based on Balinese Legong and accompanied by recorded Balinese gamelan.
Notes 255
20. ‘Hazel Lockwood Muller’, undated typescript, Hazel Lockwood Muller Papers, New York Public Library for the Performing Arts. See also Postal 1952.
21. Hollywood films set in Indonesia in the 1940s and early 1950s include Pilot No. 5 (1943), The Story of Dr. Wassell (1944), Wake of the Red Witch (1949), Cargo to Capetown (1950), Road to Bali (1952), Love Island (1952), Fair Wind to Java (1953) and East of Sumatra (1953). The next major Hollywood film set in Indonesia was the Rock Hudson vehicle, The Spiral Road (1962). Indicative of interest in Indonesia in Hollywood was Hollywood executive Matty Fox, who quit his job as executive vice-president of Universal-International Pictures in 1947 to form the American-Indonesian Corporation to handle Indonesian exports. Though the venture was a failure, the investment of an American businessman provided leverage for the Republic’s cause. See Homan 1983.
22. Claire Holt to Eugene Staples of the International Division of Ford Foundation, 13 February 1968, Claire Holt Papers (*MGZMD 35), New York Public Library for the Performing Arts.
23. Cohen 1999: 22f. See Carle 1990 for more on Rendra’s multiple versions of Oedipus.
24. Ron Bogley, ed., A History of ASEA and The Center for World Music, 1973–74 (2004), http://www.gamelan.org/centerforworldmusic/cwmpdf/history73.pdf (accessed 30 December 2009).
25. Chinese-born Chen Shi-Zheng has been based in New York since the late 1990s.26. These and other issues are addressed in a number of recent publications on the
international circulation of Indonesian performing arts. See particularly Hough and Hatley 1995; and Mendonça 2002.
27. Personal communication with Michael Hitchcock.28. Cf. Bakhtin’s (1981: 358–62) distinction between organic and intentional
hybridity. 29. On Waktu Batu, and Garasi more generally, see Hatley 2007.30. R. M. Kristiadi, ‘Naskah Karang Tumaritis: Kabudayaan Jawi ing Nagari Manca’,
broadcast live on TVRI Yogyakarta, 22 June 2009; Robson 2002: 395.
256
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Endfield, Cy, dir. Colonel March Investigates (Criterion, 1953).Enright, Ray, dir. Gold Diggers in Paris (Warner Brothers, 1938).Franklin, Sidney, dir. Wild Orchids (MGM, 1929).Gratioulet, Clément Maurice, dir. ‘Cléo de Mérode’ (Clément-Maurice, 1900). Compiled
in Jacques de Casembroot, anthologiser, Cinema Parlant 1900 (1952).Griffith, Edward H., dir. Honeymoon in Bali (Paramount, 1939).Haanstra, Bert, dir. God Shiva (Sticusa, 1955). Compiled in Bert Haanstra Compleet, vol.
2 (Hilversum: Just Entertainment, 2007).Jason, Will, dir. Groovie Movie (MGM, 1944).Lewin, Albert, dir. The Picture of Dorian Gray (MGM, 1945).Mayshell, Billie (dancer). ‘Javanese moods’, Compiled in Grindhouse Follies, vol. 18
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Japan: Sambinha, 2006).Teschner, Richard, dir. Marienlegende (Kolm-Velté, 1949). Released in the United
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Newspapers and popular periodicals
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274 Works Cited
The Argus (Melbourne).Baily’s Monthly Magazine of Sports and Pastimes (London).Bintang Barat (Batavia).Boston Daily Globe.The Boston Herald. Boston Post.Ceylon Daily News (Colombo).Chicago Daily Tribune.Chicago Examiner.Christian Science Monitor (Washington, DC).The Citizen (Ottawa).The Daily Courier (Connellsville, PA).Daily Express (London).The Daily Mirror (London).Daily News of Los Angeles.The Deming (New Mexico) Headlight.Democrat and Chronicle (Rochester).The Dunkirk (New York) Evening Observer. The Era (London).Fitchburg (Massachusetts) Sentinel.Florence (South Carolina) Morning News.Fremden-Blatt (Vienna).Funny Folks (London).Guardian (Manchester).Haagsche Courant.The Independent (Dhaka, Bangladesh).Joplin (Missouri) Globe.The Kansas City Star.Lima (Ohio) Daily News.The (Lincoln) Nebraska State Journal.The London Literary Gazette and Journal of Belles Lettres, Arts, Sciences, Etc.Los Angeles Courier.Los Angeles Times.New Amsterdam News (New York).New York Evening Journal.New York Globe.The New York Herald.The New York Times.New York Tribune. Newark Evening News.The Newcastle Courant (Newcastle-upon-Tyne).De Nieuwe Rotterdamsche Courant.Het Noorden (Cirebon).The Oakland (California) Tribune. Oshkosh (Wisconsin) Daily Northwestern.Panama City (Florida) News-Herald.Pinang Gazette.Punch (London).Report on Indonesia (Washington, DC).Republik (Semarang).
Works Cited 275
The St Paul Daily News.The Salt Lake Tribune.San Francisco Chronicle.The Straits Times (Singapore).The Sun (New York).The Sunday Times (London).The Syracuse (New York) Herald.Time Magazine.Times (London).Times of India (Bombay).Times Union (Albany).Toronto Sunday World.The Tribune (Lahore).Het Vaderland (The Hague).The Van Wert (Ohio) Daily Bulletin.Vanity Fair.Variety.The Washington Post.Die Zeit (Vienna).
276
Index
Adam, Tassilo (1878–1955), 104Adiluhung, cult of, 9 Alterity, see Otherness/alterityAlisjahbana, Sutan Takdir (1908–1994),
108–9, 138–9American Museum of Natural History,
176, 197, 254 n. 4American Society for Eastern Arts, 221Amok (1934), 147–9, 152, 230Anderson, Ben, 218, 220Anderson, John Murray (1886–1954),
73–7, 99, 100 Anggana Raras, 177–8Angklung, 16, 128, 131–2, 199, 238 n. 5Anik, Djemil (1888–1980), 141, 152, 219Annah la Javanaise (?1880–?), 17, 19Anti-colonialism, 8, 57, 85, 102–3, 108,
114, 147, 165, 182, 202, 212, 235 n21, 242 n. 37
Anti-imperialism, 156, 204–5, 209, 217, 221
Anti-modernism, 4–5, 37, 90, 101,114, 143, 146, 152, 175
Appiah, Kwame Anthony, 201Appropriation, 3–4, 21–2, 68, 153, 209,
223, 228–9, 240 n. 2Artaud, Antonin (1896–1948), 2, 122,
142–7, 150, 152Arundale, Rukmini Devi (1904–86), 155,
173, 186, 188, 250 n. 15Asmara, Andjar (1902–1961), 181–3,
187, 192, 202, 204Asmara, Ratna, 182–4, 187, 192Assan, Alli (1920–1985), 198, 200, 204,
207Assan, Ratna (1954–), 201, 204–5,
207Association of Southeast Asian Nations
(ASEAN), 222Authenticity, 4–5, 26, 33, 60, 70, 101,
120, 121, 173, 175, 184,188, 190, 197, 199, 208, 210–11, 214, 217
see also Ethnological authenticity; Staged authenticity
Babar Layar, 137, 244 n. 2Bake, Arnold (1899–1963), 157Balfas, M. (1922–1975), 108‘Bali Ha’i’ (1949), 211 Bali Hotel, 89, 143–6, 167 Ballet Intime, 65–8, 71, 78, 94–8 Ballet Russes, 2, 33, 55, 60, 66 Bandem, I Made (1945–), 205 Bara, Charlotte (1901–1986), 131 Baris, 144–5, 167, 205, 216 Barong, 144, 146, 167Bartók, Béla (1881–1945), 150, 246 n. 27Barzel, Ann (1905–2007), 197Bateson, Gregory (1904–1980), 171, 249
n. 9 Batik, 17, 54, 58, 76, 85, 88, 91
as souvenir, 15, 69, 85, 161domestication outside Indonesia, 48,
74, 118, 173, 240 n. 2use as costume, 10, 58, 69–70, 74, 94,
114, 148, 162, 192, 195use as scenery, 61, 195
Bedhaya, 159, 183–4, 187Berk, Ernest (1909–1993), 219Berkeley, Busby (1895–1976), 195Bernard, M., 10–11, 117, 235 n. 12Bhabha, Homi, 138Bharucha, Rustom, 2–3Bloch, Stella (?1898–1999), 21, 48, 75–9,
83–105, 226Dance of the Five Perfumes, 96
Blue Eagle, Acee (1907–1959), 194, 196–8, 201–2, 253 n. 57
Boeatan, 36, 112, 125, 128, 246 n. 25Bogk, Lari, 202–4 Bolm, Adolph (1884–1951), 65–9, 94, 98 Booloo (1938), 192Borobudur, 19, 61, 121, 158, 172, 195,
227, 238 n. 6Bose, Sugata, 156–7Brandts-Buys, Johann Sebastian
(1879–1939), 82–4British Puppet and Model Theatre Guild,
37
Index 277
Brook, Peter (1925–), 138, 220, 237 n. 8Brown, Robert E. (1927–2005), 221Budi Utomo, 80–3, 110, 165
Camus, Albert (1913–1960), 96Cargo to Capetown (1950), 200Centre Jodjana, 132–5Chao Ching Hui (a.k.a. Chao Ching
Hsin), 210 Chavoix-Jodjana, Parvati (1926–), 120,
129, 131, 134–8Cili, 149–52Circus, 29, 52, 142, 180, 211
Ott’s Circus, 180Civilization, 6, 10, 17, 50, 84, 90,
109, 142, 147, 156, 174, 197, 218
Classicization, 19, 144, 155–6, 173see also Codification; Preservation of
traditionCoast, John (1916–1989), 211–12,
215–17, 254 n. 17Codification, 79, 88
see also Classicization; Preservation of tradition
Cole, Jack (1911–1974), 177Colette (a.k.a. Sidonie-Gabrielle Colette,
1873–1954), 33Collingwood, R. G., 152Colonialism, 5–10, 21, 24, 36–7, 49–50,
114–15, 119, 143, 147, 176, 220see also Anti-colonialism;
Neo-colonialismCommunity, 1, 47, 81, 103–4, 139, 152,
223, 250 n20compare Individualism
Coolemans, Fred (a.k.a. Frederik Willem Cohen, ?1903–1935), 125, 246 n. 27
Coomaraswamy, Ananda Kentish (1877–1947), 68, 125, 156
relation to Ratan Devi, 66, 78, 84–5relation to Stella Bloch, 75, 78–9,
84–91, 93–4, 98, 101–5, 243 n. 62understandings of art, 90, 103–4,
125–6Cosmopolitan patriotism, 201Cosmopolitanism, 2, 5, 37, 51, 58, 65,
67, 71, 90, 126, 142, 175, 188, 195
see also Internationalism; Cultural relativism
Copeau, Jacques (1879–1949), 121–2Covarrubias, Miguel (1904–1957), 151,
195Cowell, Henry (1897–1965), 132, 247
n. 38Craig, Edward Gordon (1872–1966),
38–42, 47, 69, 73, 104, 136, 226
Drama for Fools, 41, 237 n. 8Cukor, George (1899–1983), 75, 77, 85,
90, 99Cultural diplomacy, 155, 209, 214–15,
222, 225Cultural imperialism, 2–3, 216–17Cultural relativism, 102
D’al-Al (a.k.a. Simone Luce, 1910–1998), 248 n. 2
Danandjaja, James (1934–), 109Dangsu, 11, 14Dardanella, 180–7, 192, 202, 204, 207,
225Dr Samsi, 181, 183, 186, 204–5
Dare, Yvette (a.k.a. Evelyn Evans, ?1915–?), 178–9, 194
Debussy, Claude (1862–1918), 53, 55, 60, 69, 87, 94, 246 n. 27
relation to gamelan, 2, 16, 19, 96, 235 n. 24
DeMille, Cecil B., The Story of Dr. Wassell (1944), 177
Denis, Ruth St (1879–1968), 2, 29–30, 32, 34, 74, 77, 92, 94, 155, 201, 218, 250 n. 2
Balinese Fantasy (1925), 239 n. 31Javanese Court Dancer (1926), 210
Denishawn, 74, 92, 96, 177, 210, 224, 240 n7, 247 n. 39, 249 n9, 250 n. 2
see also St Denis, Ruth; Shawn, TedDevi, Nila (a.k.a. Regina Jones Woody,
1894–1983), 60–4Devi, Pratima (1893–1969), 162, 164,
166, 173Devi, Ratan (a.k.a. Alice Ethel
Coomaraswamy, née Richardson, ?1885–?), 66–8, 78–9, 84–5, 94
278 Index
Dewantara, Ki Hajar (a.k.a. Suwardi Suryaningrat, 1889–1959) 82, 112–13, 115, 118, 158, 165, 227, 245 n. 8, 245 n. 10
Dewey, John, 6Difference, 3–4, 7, 51, 102, 138, 224 Dja, Devi (a.k.a. Ernesta Soetidjah,
?1913–89), ix, 6, 21, 175, 179, 181–209, 212, 216, 218, 225–6
Bedoyo, 187Jaran Kepang, 187, 196 Siwa, 196 Temptation of the Buddha, 187–8,
199–200Dr Samsi (1930), 181, 183, 186, 204–5Douwes Dekker, Eduard (1820–87), 235
n. 21‘Saidjah en Adinda’, 127, 138
Downes, Olin (1886–1955), 94–6, 102–3Drake, Sir Francis (1540–1596), 7Duarte, Henry L., 182, 187Dullin, Charles (1885–1949), 121–4Dunand, Jean (1877–1942), 120–2Duncan, Isadora (1877–1927), 29–30,
34, 75, 77–8, 88, 92, 96, 99, 101, 103, 105, 115
Dwelling-in-travelling, 3, 175, 207
Eastman School of Music, 99–100, 104Eichheim, Henry (1870–1942), 21, 69,
84Elder, Tamara Liegerot, 197 Ellis Island, 212Ellison, Ralph (1914–1994), 5Embodiment, 21, 54, 92, 101, 103–4,
119, 113, 131, 174Embracement of alterity, 4, 21, 51, 71,
217Epstein, Hadassah Spira (1909–92), 178Eroticism, 5, 11, 17, 24–6, 30–1, 34, 46,
60, 64, 73–4, 79, 103, 117, 141–3, 211
Ethics and morality, 3–5, 22, 103, 121, 144, 152, 220; see also Levinas, Emmanuel
Ethnic dance, 84, 172, 176, 201, 208, 218
Ethnographic, 4–5, 8, 58, 74, 191Ethnological authenticity, 175–9, 218,
226
Ethnomusicology, 82–4, 205, 209, 219, 221
Eurasia, 128, 131Eurasians, see Mixed race/EurasianExote, 51, 71Exotic/exoticism, 4, 17, 19–20, 34, 37,
60, 74–5, 93–5, 98, 106, 114, 120, 129, 140, 176, 190, 195, 200, 209, 211, 228
reactions against, 5, 21, 66, 102, 115, 150, 176, 223
‘Exotic’ dancers, 29, 64, 141, 194see also Colette; Dare, Yvette; Mata
Hari; Mayshell, Billie
Fabricius, Jan (1871–1964), 21, 246 n. 30Field Museum of Natural History, 203,
212, 252 n. 28Florida, Nancy, 9Forman, Ada (?1895–1973), 74, 92–3
Gambang kromong, 180Gamelan, ix–x, 7–8, 15, 29, 53–9, 80–2,
84, 137, 144, 160, 167, 170–1, 214, 219, 221–3, 227, 234 n. 6, 234 n. 10, 234 n. 11, 235 n. 23
as evoked in Western music, 2, 16, 53, 59, 75, 96, 112–13, 115, 148, 150, 152, 235 n. 24, 238 n. 6, 247 n. 38
as performed and studied outside Indonesia, 1, 8, 10–16, 22, 68–70, 84, 106–7, 110–12, 117, 124–5, 128–9, 131–5, 144, 168, 177, 184, 187, 190, 191, 193, 196–7, 199, 200, 211, 214–15, 219, 244 n. 2, 248 n. 47
Gamelan Digul, 210–11see also Kebyar
Gan Kam, 10, 235 n. 12Gauguin, Paul (1848–1903), 17, 19, 198Gauthier, Josephine Eva Phoebe (1885–
1958), 21, 50–72, 87, 94, 104, 147Gending srivijaya, 214Ghose, Santidev (1910–1999), 164–5Giddens, Anthony, 21, 207Godowsky, Leopold (1870–1938), 238
n. 6Gold Diggers in Paris (1938), 195
Index 279
Golden Gate International Exhibition, 178
Goolbano, Ishvani, 248 n. 2Gondo Siwoyo, Pangeran Hario, 10Goona-Goona (1932), 177, 251 n. 2Gopal, Ram (1912–2003), 153–4, 173,
248 n. 4Graham, Martha (1894–1991), 77, 100,
219, 240 n. 7Gray, Gilda (a.k.a. Marianna Michalska,
1901–1952), 93Greater India Society, 156Greenwich Village Follies, 73–6, 93, 99Guimet, Emile (1836–1918), 24, 30, 32
see also Musée Guimet
Haanstra, Bert, God Shiva (1955), 106–9, 137–8, 229
Hague Art Circle, 117Hall, Stuart, 4Hamengkubuwana VIII (1880–1939), 81,
146, 164–5, 170see also Yogyakarta, Royal Court of
Harjodirenggo, Raden S., 127–8Hasoutra (a.k.a. Ryllis Barnes,
?1898–1978), 141–2, 152, 219, 248–9 n. 7
Hawaiian music and dance, 52, 62, 70, 74, 93, 99, 128, 188, 190
Hoffman, Malvina (1887–1966), 189, 252 n. 28
Holger, Hilde (1905–2001), 218–19Holle, Adriaan Adrianus Walraven
(1832–1879), 15, 234 n. 11Hollywood, 48, 66, 75, 93, 105, 142,
175, 177, 195, 226, 230, 249 n. 9, 255 n. 21
Devi Dja and Hollywood, 182, 190–2, 198–201, 204, 216–18
Holmes, Burton (1870–1958), 49–50, 93
Holt, Claire (1901–70), 21, 84, 106, 116–17, 176, 178, 220
Honeymoon in Bali (1939), 195Hood, Mantle (1918–2005), 205, 219Hughes, Langston (1902–1967), 140Hunt, William Leonard (a.k.a. the Great
Farini, 1838–1929), 10–11, 14Hybridity, 2, 6–7, 11, 29, 38, 47, 108,
141, 155, 165–6, 175–6
‘I Wanna Go Back to Bali’ (1938), 195Idol dances, 26, 32–3, 60, 142
Idol Dancer, The (1920), 48, 93Javanese dancers as ‘bronze idols’, 17,
142IJzerdraat, Bernard (a.k.a. Suryabrata,
1926–86), 106–8, 137, 219, 244 n. 2
Imperial nostalgia, 83Imperialism, 4, 37, 47, 49, 131, 147, 174
see also Anti-imperialism; Cultural imperialism
Indies Association, 110–11Indies arts evenings, 110–13, 117, 128Indies drama, 127–8, 246 n. 30Indische Club Amsterdam, 128Indische culture, 28, 32, 53–4, 102, 254
n. 4Individualism, 47, 70, 117, 120, 126–7,
138, 145, 209 Indonesia Group Expo 86, 222Indra Kamadjojo (a.k.a. Jan Leonard
Broekveldt, 1906–1992), 211, 218, 254 n. 4
Interculturalism, 2–3, 22, 32, 143, 147, 152, 155–6, 167, 209, 219–20, 226, 229
International exhibitions, see World’s fairsInternationalism, 67, 155, 172, 174, 218
cultural internationalism, 6, 226see also Cosmopolitanism
Inyoka, Nyota (1896–1971), 98–9, 124, 129
Iriye, Akira, 6Iskandar, Raden, 127Israëls, Isaac (1865–1934), 117–18, 248
n. 47Ito, Michio (1892–1961), 66–8, 75–6, 94,
98–9, 104–5, 109, 249 n. 11
Jacob’s Pillow, 197, 203Janger, 129, 144, 247 n. 34Jarry, Alfred (1873–1907), 4, 36–7Java Institute, 83, 126, 157–8, 213, 227Javanais, 19Javaansch Kunstenaarstrio, 127, 189Jazz, 52, 69, 101, 128, 140, 180–1
Indonesian traditional music compared to, 89, 145, 199
Jazzing, 175–9, 183, 196, 208
280 Index
Jodjana, Bhimo (1924–1944), 120, 129, 131, 135–6, 248 n. 47
Jodjana, Parvati, see Chavoix-Jodjana, Parvati
Jodjana, Raden Ajoe ‘Moes’ (a.k.a. Elisabeth Pop, a.k.a. Khourshed de Ravalieu, 1888–1981), 118–19, 121, 125, 129, 131–8, 247, nn. 46, 47
Jodjana, Raden Mas (a.k.a. Joedjono, 1893–1972), 6, 21, 106–39, 196, 218–19, 225–6, 229
Kelono, 110, 115–17 Krishna, 119Shiva, 106–9, 115, 137–8, 229Topeng Mas, 123–4
Jolivet, André (1905–1974), 149–52Five Incantations (1936), 151Mana (1935), 149–52
Karang Tumaritis, 230Kathakali, 109, 153, 166–7, 170–1, 173,
186 Kats, Jacob (1875–1945), 82–3, 241 n. 27Kebyar, 144–5, 147, 150, 164, 167, 171,
195Khan, Hazrat Inayat (1882–1927), 32,
118–19, 134, 155, 248 n. 47Khan, Maula Bakhsh Ghisse (1833–96),
154–5Kock, Ferry, 182, 187, 192Kodrat, Raden Mas, 56, 177–9Komedi stambul, 28–9, 144, 179Komori, Toshi (1887–1951), 121, 148–9,
249 n. 11Konfrontasi, 106–9Kresse, Lisa, 4–5Kridha Beksa Wirama, 81–2, 84, 116,
125–6, 158, 161, 164, 170, 178, 220, 227
Krido Jatmoko, 178, 241 n. 21, 241 n. 26
Kroncong, 28, 128, 183as evoked in Western music, 32, 53,
59, 104as performed and studied outside
Indonesia, 110, 128–9, 184, 187–8, 190–2, 211–13, 247 n. 34
Kunst, Jaap (1891–1960), 82–4, 104, 137, 211, 219, 242 n. 28, 244 n. 2
Kunstkringen, Bond van, 52, 153, 157–8, 164
La Argentina (a.k.a. Antonia Mercé y Luque, 1890–1936), 124, 126, 131–2
La Meri (a.k.a. Russell Meriwether Hughes, 1899–1988), 84, 153, 172, 176, 218
Lamour, Dorothy (1914–1996), 191, 198, 216
Landowska, Wanda (1879–1959), 121Lange, Daniel de (1841–1918), 10Langen-Driyo, 112Langendriya, 9, 61, 113, 159 Langen mandra wanara, 159–60 Larasati, Rachmi Diyah (1968–), 224Latief, Raden Abdul, 177Last, Josephus Carel Franciscus (Jef)
(1898–1972), 217Law of Java, The (1822), 8Lebeau, Joris Johannes (Chris)
(1878–1945), 111, 117–19Legong, 89–90, 144–5, 164, 167, 183,
195, 214, 216, 254 n. 19 Leibmann, Hélène (1912–2002), 84Lelyveld, Theodore Bernard van
(1867–1954), 41, 82, 125–7, 189
Levinas, Emmanuel, 3–4, 22, 35–6, 38, 47, 105, 152–3; see also Otherness/alterity
enjoyment, 36, 38, 46–7 goodness of being for the Other, 22,
222inspiration, 152obsession, 152possession, 23, 34substitution, 73, 140 thematization, 22, 84
Levinson, André (1887–1933), 124, 176, 248 n. 4
Lewin, Albert (1894–1968), 198–200Liminality, 34, 66, 138, 152Love Island (1952), 217–18, 255 n. 21Lucardie, 10
McPhee, Colin (1900–1964), 21, 144–5, 213, 240 n. 46
Magical identification, 146, 149, 152
Index 281
Mahabharata, 6, 94, 101, 138, 158, 161, 172, 215
Majajawa, Mas, 141, 248 n. 4Mamoulian, Rouben (1897–1987),
99–100Mangkunegaran Royal Court, 9–11, 15,
17, 158–9, 167, 178, 183, 247 n. 33
Mangkunegara IV (1809–81), 9, 112Mangkunegara VII (a.k.a.
Suryasuparta, 1885–1944), 83–4, 87–8, 158–9, 164, 170, 241 n. 27, 245 n. 8, 245 n. 22
Maré, Rolf de (1888–1964), 176Mario, I Ketut (1897–1968), 144–5, 147,
164, 167, 171, 215, 217Martin, John (1893–1985), 190, 246 n.
27Masks, 1–2, 6–7, 66, 117, 122–4, 135,
168–9, 195, 218, 240 n. 7, 247 n. 36
see also Topeng; Wayang topengMata Hari (a.k.a. Margaretha Geertruida
Zelle, 1876–1917), ix, 21, 23–36, 60, 69, 75, 104, 110, 121, 217, 225–6, 228, 230
Mauss, Marcel, 151Mayshell, Billie, 194Mechelen, Charles te (1841–1917), 9Mead, Margaret (1901–1978), 171, 249
n. 9Mei Lanfang (1894–1961), 5, 176, 189Mérode, Cléo de (1875–1966), 19–21, 30Merrin, Leona Mayer (1923–), 175, 200 Mershon, Katharane Edson (1892–1986),
217, 230, 249 n. 9Messiaen, Olivier (1908–1992), 149–50Mijer, Pieter (1881–1963), 74–6Milhaud, Darius (1892–1974)
Java de la Femme (1937), 17Mixed race/Eurasian, 9–10, 17, 19, 28,
48, 83, 85, 98, 110, 112, 128, 195, 211–13, 218, 246 n. 30, 252 n. 27
Modernism, 2, 19, 25, 38, 47, 58–9, 69, 71, 90, 104, 113, 119–22, 124–7, 132, 138–9, 151–2, 154, 172, 180, 184
compare Anti-modernismModernity, 5, 10, 21, 34, 50, 71, 80,
102, 106, 147, 207
Modernization, 77, 79–84, 88, 105, 127, 147, 154–5, 177–8
Moon and Sixpence, The (1942), 198–200Mudato (Vereeniging tot Bestudeering
van de Muziek, de Dans- en Tooneelkunst van Oost- en West-Indieë), 112
Muller, Hazel Lockwood (1890–?), 176, 218
Musée Guimet, 24, 30–1, 36, 60, 121 see also Guimet, Emile
Nationalism, 2, 67–8, 80, 112, 135, 155–6, 165, 172–3, 175, 181–3, 202–3, 214, 216, 224
Javanese nationalism, 81–4, 127compare Internationalism
Nehru, Jawaharlal (1889–1964), 174, 186, 214
Neo-colonialism, 108, 217Night in Bali, A (1940), 192–4Nightclubs, 99, 177, 194–5, 200, 254
n. 9 Balinese Room, The, 195Club Bali, 194Club Bali-Bali, The, 194Sins of Bali, 194 see also Sarong Room, The
Njoo Cheong Seng (1902–1962), 180, 184, 187, 202, 204
Noto Soeroto, Raden Mas (1888–1951), 110, 112, 117–18, 124–5, 127, 157, 170, 245 n. 8
Kinanthie Sandoong, 112–3Novelty, 12, 14, 22, 49–50, 61, 63, 100,
183, 191, 210in Balinese arts, 144, 146
Nrityanatya, 163, 166
Offner, Mortimer (1900–1965), 75–8, 85, 90, 101
Opera Melayu, 179–81 Orientalism, 2, 4–5, 8–9, 17, 25, 29–30,
33–5, 37, 39, 51, 74–5, 109, 120, 162, 165, 176, 190, 226
opposition to, 66, 68, 102–4self-Orientalization, 225tactical Orientalism, 6see also Stereotypes
Orion, 180–1, 183–4, 225
282 Index
Otherness/alterity, 3–4, 21–2, 38, 95, 109, 152, 208, 224, 235 n. 20
see also Levinas, EmmanuelOzep, Fédor, Amok (1934), 147–9, 152
Pakualaman, 159, 227Paku Alam VII (1882–1937), 158
Paku Buwana X (1866–1939), 53–8, 71, 87, 183
see also Surakarta, Royal Court ofPamoedjo, James Imam (1914–1983),
203, 213, 253 n. 62Pan-Asianism, 156, 172, 174, 186–7Pané, Sanusi (1905–68), 165Parakan Salak, 15–16, 234 n. 11Passing, 85–6, 140–1, 248 nn. 1, 2Pencak silat, 113, 129, 184, 188–9, 198,
211, 247 n. 34Picture of Dorian Gray, The (1945),
199–201Piëdro, Adolf (a.k.a. Willy Klimanoff,
1903–1952), 180–96, 202Pires, Tomé (?1465–?1524), 7Poensen, Carel (1836–1919), 9Poerbatjaraka, Raden Ngabei
(1884–1964), 124, 158, 178, 246 n. 31
Pramoedya Ananta Toer (1925–2006), 108
Pregiwa’s Marriage (1922), 94Preservation of tradition, 81, 83, 111,
126, 138, 143see also Classicization; Codification
Primitivism, 38, 124, 147, 252 n. 27Prunières, Henry (1886–1942), 121Puppetry, see Wayang
Rabindra nritya, 166, 173Race, 4–5, 48, 50, 54, 83, 112, 114, 141,
202, 216, 218 racial utility playing, 142, 208see also Mixed race/Eurasian; Passing;
StereotypesRadio broadcasts, 84, 128, 137, 212,
220, 244 n. 2Raffles, Thomas Stamford Bingley
(1781–1826), 7–8Raka, Ni Gusti (1939–), 216Raki, Laya (a.k.a. Brunhilde Marie Alma
Herta Jörns, 1927–), 211
Ramadhan Karta Hadimadja (1927–2006), ix, 175, 207
Rameau, Jean-Philippe (1683–1764), 8Ramayana, 6, 161, 165, 168–70, 172,
213, 222, 249 n. 9 Rana Dipura, Raden, 8Rasa, 88, 250 n. 20Rasjid Manggis Dt. Radjo Penghoeloe
(1901–?), 189Reflexivity, 21, 124, 207Rendra, Willibrordus Surendra Broto
(1935–2009), 219–21Retna Mohini (a.k.a. Caroline Jeanne
de Souza-IJke, 1904–88), 21, 141, 153, 213, 248 n. 4, 251 n. 5
Revue theatre, 17, 31, 33, 50, 52, 60, 73, 75, 100–1, 127, 142, 176, 178–9, 184, 186, 239 n. 32
see also Greenwich Village Follies; Night in Bali, A
Riboet, Miss (1907–1965), 180; see also Orion
Riboet, Miss, II, 181, 204, 251 n. 12Rivière, Henri (1864–1951), 37Road to Bali (1952), 198, 216–18, 229Rodin, Auguste (1840–1917), 16Roemahlaiselan (1902–1990), 129–32,
134, 138, 247 n. 36, 248 n. 47 Soedhook Seliro, 129, 131Bela Pradja, 131
Ronggeng, 7, 10, 16–17, 29, 179, 196, 213
Rosaldo, Renato, 83Roshanara (a.k.a. Olive Craddock,
1894–1926), 64–8, 78, 92Royal Aquarium, 11–14Royal Packet Navigation Company
(a.k.a. KPM), 88–9, 102, 143
Said, Edward, 2–3see also Orientalism
Sanghyang, 144, 249 n. 9Santiniketan, 132, 157–8, 161–7, 173,
203Sarabhai, Mrinalini (1918–), 164–5Sardono W. Kusumo (1945–), 139, 219Sargent, John Singer (1856–1925), 16Sarong Room, The, 194–6Scheurleer, Daniel François (1855–1927),
111–12
Index 283
Scidmore, Eliza Ruhamah (1856–1928), 11, 15, 49
Secession, Viennese, 23–7, 34Seelig, Paul Johan (1876–1945), 53–4,
56–60, 63, 65, 69, 71, 96, 104, 239 n. 31
Shankar, Uday (1900–77), 6, 109, 124, 129, 131, 155–6, 166–73, 188–90, 194, 218–9, 225
Ram Leela, 167–70Shawn, Ted (1891–1972), 74, 77, 92–3,
96, 218, 239 n. 31, 249 n. 9 see also Denishawn
Sie, Edo (1929–), 213Sie, Richard Liong (1927–2007), 213Sie, Tamara (?1931–1981), 213Silat, see pencak silatSinagar, 15Siti Nurul Kamaril Ngasarati Kusumo
Wardhani, Gusti Raden Ajeng (1921–), 84, 229
Siti Sundari (a.k.a. Gieneke Weber), 124Sitor Situmorang (1924–), 124, 138–9,
204Soeripno, Raden Mas, 212Soetomo (1888–1938), 137, 165Songmotion, 60–6Sorga, Madame, 110, 112Spectacle, 4, 10, 16, 49, 143, 145, 167,
170, 180, 194, 198, 211, 227, 230rejection of, 51, 66, 94, 96,
Spiegel, Julius Hans (1891–1974), 1–2Spies, Walter (1895–1942), 146, 158, 167Srimpi, 14, 25, 50, 54, 57–8, 84, 125,
135, 141, 159, 164, 183–4, 210, 215, 227–8, 254 n. 19
Staged authenticity, 15Stereotypes, 2, 4–5, 8, 14, 39, 48, 75,
114, 143, 152, 176, 202, 226, 228see also Orientalism
Stevenson, Robert Louis (1850–1894), 15Stichting voor Culturele Samenwerking
(STICUSA), 108Stokowski, Leopold (1882–1977), 84Story of Dr. Wassell, The (1944), 177, 179Stowitts, Hubert (1892–1953), 21, 60,
176, 236 n. 30Strip dance, 176–9, 194
see also Dare, Yvette; ‘Exotic’ dancers; Mata Hari; Mayshell, Billie
Student Association for the Advancement of Indonesian Art, 128–9, 215, 247 n. 34
Suharsono, 153Sukarno (1901–1970), 157, 174, 202,
204–5, 207, 214–15 Sukawati, Cokorda Gede Raka
(1889–1979), 145–6Sukinah, M. A., 183Surakarta, Royal Court of, 9–10, 16–17,
49–50, 53–5, 57–8, 70, 137, 147, 159, 178, 183
Surya Thirta, a.k.a. Marie Caroline (Mickey) de Meyier (1902–1978), 129
Suryo Putro, Raden Mas Adipati, 110–12, 245 n. 8
Suryohamijoyo, Bandara Kanjeng Pangeran Arya (?–1972), 137–8
Suryowinoto, Raden Mukiman, 110, 117
Suwardi Suryaningrat, see Dewantara, Ki Hajar
Symons, Arthur William (1865–1945), 19
Sympathy, 6, 203, 210, 212, 220
Tagore, Rabindranath (1867–1941), 66, 82, 110, 155–67, 170, 173–4, 186, 225–7, 245 n. 8
Rituranga, 162–5Takka-Takka (a.k.a. Lucie Lindermann),
189, 252 n. 27Taman Siswa, 82, 112, 158, 165, 202,
214, 227, 245 n. 8Tan Tjeng Bok (1899–1985), 181, 204Tangkuban Prahu, 211Tarnow, Hella (a.k.a. Hella
Tulman-Bacmeister, 1913–?) 132, 134
Teater Garasi, 229–30Tembang, 9, 55, 110, 112, 148, 162–3,
180, 235 n. 23 Terry, Walter (1913–1982), 176, 190Teschner, Richard (1879–1948), 42–7,
218, 225, 228–9 Theosophy, 31–2, 46, 83, 250 n. 15Thurston, Carol (1923–1969), 177,
179
284 Index
Tio Tek Djien, Jr. (1895–1975), 180–1, 183
see also Orion Todorov, Tzvetan, 51, 71, 114Tondhakusuma, Raden Mas Harya, 9Toneel, 181, 184, 187, 192–3, 225Toorop, Jan (1858–1928), 25, 38, 119Topeng, 116, 123–4, 127, 145, 148, 159,
216, 234 n. 10, 243 n. 62see also Masks; Wayang topeng
Tourism, 11, 15, 48–50, 80, 85, 89, 99, 102, 143, 146, 151, 178, 222–3, 225, 227, 243 n. 62
touristic performance, 143–4, 167, 227, 238 n. 6, 249 n. 9
Trader Vic (a.k.a. Victor Jules Bergeron, 1902–1985), 211
Travelogues, 49–50, 93Trisno Sumardjo (1916–1969), 106,
108–9, 217Trümpy, Berthe (1895–1983), 131
Unity-in-diversity, 202, 216Universalism, 32, 41, 125, 135, 221Utomo Surowiyono, Raden Mas, 214,
218
Vallee, Rudy (1901–1986), 195Varèse, Edgard (1883–1965), 149–52Vashi, Nataraj (1914–1999), 156, 167,
170–4, 227 Vatsyayan, Kapila (1928–), 165, 173Vaudeville, 5, 60–4, 71, 101, 181, 186,
189–90, 210, 248 n. 7 Venkatachalam, Govindaraj (1895–?),
164–5, 250 n. 9Veth, Pieter Johannes (1814–1895), 15Vuyk, Beb (1905–1991), 108
Wall, Constant van de (1871–1945), 53–4, 58–9, 63, 65, 69
Attima, 113–5Wall, Hans van de (a.k.a. Victor Ido,
1869–1948), 53, 246 n. 30Waluyo, Raden Mas, 127, 141, 189,
246–7 n. 32Wani Soekoro, Devi (1923–), 187, 191,
193–4, 198–9, 203, 215Wayang, 7, 21, 31, 36–48, 69, 80–1, 85,
92, 109, 115, 119, 122, 127, 129,
158, 167–70, 184, 195, 214, 218–19, 221–3, 226–9, 241 n. 26
wayang golek, 15, 22, 225, 227–9wayang kulit, 7, 9, 22, 82–3, 85, 86,
113, 124, 127–8, 145, 148, 159, 167, 169, 210, 230, 238 n. 6, 241 n. 27, 246 n. 31
wayang topeng, 116wayang wong, 10–11, 14, 86, 115,
117–18, 127–8, 159, 163, 167, 168, 172, 195, 210–11, 230, 235 n. 12, 241 n. 22, 245 n. 22, 250 n. 20
Wayburn, Ned (1874–1942), 93Weidman, Charles (1901–1975), 197,
240 n. 7Wenten, I Nyoman (1953–), 207Wigman, Mary (1886–1973), 125–6, 131,
166–7, 178, 246 n. 27 Wild Orchids (1929), 230, 238 n. 2, 249
n. 9Williams, Raymond, 22Winter, F. W., 9Wiradat, Raden Mas, 55–6, 171,
178–9World’s Fairs, 4, 10, 36
Expo 86 (Vancouver, 1986), 222Exposition Coloniale Internationale
(Paris, 1931), 2, 128, 142–7, 149–50, 152, 215
Exposition Universelle (Paris, 1889), 10, 14–20, 29, 68–9, 142
Exposition Universelle (Paris 1900), 10, 20–1, 120
International Colonial Exhibition (Amsterdam, 1883), 10, 235 n. 20
Panama Pacific International Exposition (San Francisco, 1915), 58
World’s Columbian Exposition (Chicago, 1893), 10–11
World’s Fair (New York, 1939–40), 55, 177–9
Yeats, William Butler (1865–1939), 2, 66, 156
At the Hawk’s Well (1916), 66, 75, 245 n. 11
Yellowface, 5
Index 285
Yenching University, 210Yoga Taro (a.k.a. Ernest Neuschul,
1895–1968), 189, 252 n. 27Yogyakarta, Royal Court of, 9–10, 49,
58, 87, 109, 147, 164Young, Fifi (a.k.a. Tan Kim Nio) (?1911–
1975), 184, 187
Zelle, Margaretha Geertruida, see Mata Hari
Zola, Emile François (1840–1902), 17
Zweig, Stefan (1881–1942), 147–8
see also Amok