The In-Between in Javanese Performing Arts

List of illustrations • Preface • My Birthplace • Socio-hierarchy • Paying Homage to Mbah Cåkarmå • Dualistic Interactions • Cultural Arbiter? • Coda •Acknowledgement • Note on Orthography • Introduction • Hinduization • The Magically Charged Relic of Inheritance • Myth as Conduit for Spiritual Experience and Proselytization • Overview of Chapters • Coda: The In-Between • Chapter One: Indian Origin and Inspirations: Old Javanese Literary Works and Cultural Performance • Evidence from Kakawin • Discourses on Early Javanese Music • Reflection and Discussion • Tracing and Retracing Indic Roots • Chapter Two: Central-Periphery, Court-Rural Dynamic: Performing Arts in the Move • The Panji and Damarwulan Story • East Javanese Stories on the Move • East Javanese Stories as Celebrated •Performances in Javanese Courts • The Case
of Bhima Svarga: Wayang Golèk in Tegal • Chapter Three: Linking the Present to the Past through Preaching, Ritual, And Levity • Intertextuality • Affect, Wayang and Pengajian • Dakwah, Humor, and Popular Music: Ki Joko Goro-Goro • The History and Religiousity of Gamelan Sekatèn • Chapter Four: The 19th-to 20th-Century and Contemporary Discourses on Wayang • Light and Power: Wayang as a Shadow Play • Colonial and Political Trajectory • Allegory, Meaning, and Transformation • Preservation and Development • Concluding Thoughts • Transhistorical Complexity and Ambiguity • Incongruity • Politicization • Allegory • Patronage and the Advance of Culture • Coda • References • Glossary • Notes • Illustrations • Figures