Abstract

Practices of art and anthropology are interlacing a dynamic dialog especially for the methodology of research, the process for awakening knowledge. Historically anthropology treated art in its various expressions as privileged field of study for being in a certain way caught up in social and cultural relations. Nowadays more and more the both practices share ways of thinking through making and making through thinking in processes of active going along, engagement with the surroundings and self-discovery. In researching how wayang kulit is being alive in Yogyakarta at the present on going time, art to be intended as creative doing and practical understanding became all in one object, subject and process of the research. Learning by making and performing wayang kulit as well as observing, sharing and discussing with people gives path to experience and question some issues about ways of knowledge and skill transmission; practices of growing between forces, materials and gestures; borders of completion of never-finished objects and practices; relations between practitioners, materials and surroundings; projections of imaginative design between local and global dynamics.

Highlights

  • In this paper I intend to explore the traces that the fieldwork research is leaving along its creative process

  • Its utopian aim is to draw/portrait how wayang kulit practices are being alive - in the continuous tension between changing and permanence - at the contemporary on going time in Yogyakarta, and to which extent its practices are being shaped by 2003 UNESCO designation of Indonesian Wayang Puppet Theatre as Masterpiece of Humanity and by related Intangible Cultural Heritage discourses

  • Sarah Anaïs Andrieu studied for her doctoral degree the political anthropology of the Sundanese (West Java) wayang golek and its process of patrimonialization, questioning the present and contemporary appropriation of wayang golek (Andrieu 2009)

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Summary

Introduction

In this paper I intend to explore the traces that the fieldwork research is leaving along its creative process. In another way and in this specific case, it is to disclose how in the life/ alive experiences, multidimensional relations between puppets, people, stories and places make wayang alive. Practices, actions and changes are questioned in the field of anthropology of performance (Schechner 2002) and in the wake of autocriticism the definition of the other itself were questioned.

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