The infinite jest: Heri Dono's Punakawan and their metamorphosis throughout Indonesia's new order regime and reformasi era
Why was wayang a popular visual iconography amongst all sociopolitical/cultural circles in post-independent modern Indonesia, particularly during the Suharto regime? What relationships are explored and fostered between artist-audience in a period where arts censorship was at an all-time high, ver...
Saved in:
| 主要作者: | |
|---|---|
| 其他作者: | |
| 格式: | Final Year Project |
| 語言: | English |
| 出版: |
Nanyang Technological University
2024
|
| 主題: | |
| 在線閱讀: | https://hdl.handle.net/10356/178270 |
| 標簽: |
添加標簽
沒有標簽, 成為第一個標記此記錄!
|
| 總結: | Why was wayang a popular visual iconography amongst all sociopolitical/cultural
circles in post-independent modern Indonesia, particularly during the Suharto regime? What
relationships are explored and fostered between artist-audience in a period where arts
censorship was at an all-time high, versus a period where there was more freedom of
expression? What is the ultimate role of visual (and consequently, performative) art during
this tumultuous sociopolitical period? Following these questions, I argue that through the portrayal of environmental and bodily metamorphosis in Heri Dono’s works, his works are a vessel in which satirical
sociopolitical commentary thrives given his reworking of the iconic punakawan figure.
Ultimately, he privileges the metamorphosis of his punakawan to instil and embody the
hopeful empowerment that the Indonesian public fought for in the late 1990s, from the New
Order regime until the Reformasi era. |
|---|