Volume two, containing circa 2000 records selected from the annotated bibliographic database on South and Southeast Asian art and archaeology (formerly
Annual Bibliography of Indian Archaeology) found at www.abia.net. Compiled by an international team of specialists brought together in a project of The International Institute for Asian Studies (IIAS) in Leiden. Features all forms of scholarly publications, ranging from survey works to small but important articles in monographs and journals, published world wide between 1997 and 2001.
Subjects include pre- and protohistory, historical archaeology, ancient art history, modern art history, material culture, epigraphy and palaeography, numismatics and sigillography (seals). Covered are South Asia and its culturally related regions (Afghanistan, Uzbekistan, Tajikistan and Tibet) and Southeast Asia (including related regions in South China and the Pacific). The detailed bibliographic descriptions (which faithfully reproduce the original diacritics), controlled keywords and many elucidating annotations make this reference work into an indispensable guide to recent scholarly work on the prehistory and arts of South/Southeast Asia.
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In "old-style" Central Javanese
wayang, still known to many shadow-puppet performers and musicians in Java today, the male dhalang and his primary accompanist, usually a female gender player, are gendered embodiments of a Javanese aesthetic that has its origins in early Java. Analysis of the musical tradition known as "female style"
grimingan—melodies played on the gender as the puppeteer sings, narrates or describes a scene—makes it possible to "listen back" to and reconstruct aesthetics for Javanese performance that can be felt in literary sources as early as the 12th century and that has endured into the present through cultural and political upheaval and globalised change during the colonial and postcolonial periods. Ethnomusicologist Sarah Weiss, herself a gamelan musician who has directed ensembles in Australia and the United States over many years, examines for the first time the musical practices, concepts, stories, changing historical circumstances, and myths that have shaped "female-style" gender playing into a uniquely significant mode of artistic practice.
This study is the first large-scale treatment of gender issues in Indonesian music. Integrating the analysis of gender and music with that of aesthetics, this study of the musical synergy between the puppeteer and his female accompanist describes the ways in which shifting gender constructions have helped to shape and change Central Javanese music and theatre performance practice while throwing new light on the history of Javanese gender relations and culture, as well as on the aesthetics of Central Javanese shadow-puppet theatre.
PLEASE NOTE that the accompanying CD-ROM is no longer available due to the incompatibility with current file formats.