The Romance Of K Tut Tantri And Indonesia

This historiographic study of K'tut Tantri - alias Vannen Walker, the journalist from the Isle of Man; Muriel Pearson, the unhappy wife; and Surabaya Sue, the notorious revolutionary - compares her romantic and colorful autobiography, Revolt in Paradise, with other versions of her past, including those of her fellow Bali colonists and her revolutionary comrades, as well as her foes, the Dutch, and various intelligence organizations. These alternatives accounts of her past question the image of K'tut Tantri as hero, portraying her instead as dishonest, unstable, egotistical, and immoral. Such criticisms have overshadowed proper recognition of her role in the development of modern Indonesia, both as a bohemian hotelier in between-wars Bali and later as propaganda broadcaster and adviser to Indonesian revolutionary leaders including Soekarno, Sutomo, and Syarifuddin. Focusing on the nature of biography and autobiography, this book analyses K'tut Tantri's self-defeating battle to use history - in text and film script - to define her identity and reappropriate her past. An examination of the use of ideas of "truth" and "fiction" in understanding the past leads to broader consideration of the nature of history and its uses. Finally, an attempt is made to reconcile the deconstruction of K'tut Tantri's autobiography with both an acceptance of the validity of "alternative" historical genres and an acceptance of the problems inherent in writing a history of a living person. ABOUT THE AUTHOR Timothy Lindsey is Professor of Law, Director of the Asian Law Centre, Director of the Centre for Islamic Law and Society and Federation Fellow in the Law School at the University of Melbourne.

The true-life adventure of a Western woman who found happiness in Bali, then stayed on in Indonesia to help in the struggle for freedom. The great-granddaughter of a witch from the Isle of Man, the adopted daughter of a Balinese rajah, hostess of one of the most glamorous hotels in the Far East, a prisoner of the Japanese for two horror-packed years and, as Surabaya Sue, an ardent supporter of the Indonesian revolution, K’tut Tantri is well acquainted with the unexpected. Adventure and courage run strong in her blood. It was in a Hollywood movie theater that she first discovered Bali and knew it for the place where she belonged. She had hoped to live and paint there quietly among the island’s simple people, but destiny, in the form of a stalled car and a delightful young prince, took a hand and revised her plans. She was formally adopted by the prince’s father, and...though she came to know the peasants of the Balinese kampongs, she knew also, and intimately, the life of a Balinese palace with all its ritual and tradition. This world lasted for only a few years. With war come the Japanese, presumably as deliverers overthrowing Dutch rule but in reality as tyrants. K’tut Tantri stayed on to join the underground movement agitating for Indonesian independence, and was eventually captured, imprisoned, tortured. Then with the end of hostilities she chose once again to ally herself with the Indonesians—this time in their resistance against the British and the returning Dutch. A friend of the leaders around Sukarno, she was instrumental in getting the Indonesian story to the outside world, and on several occasions she lent herself to enterprises requiring the combined talents of Mata Hari and T E. Lawrence. K’tut Tantri has an observant eye, an understanding knowledge, and she writes with spirit. Her story is a deeply moving personal drama and a vivid commentary on a period of crucial change in an ancient, romantic country.

This volume offers a critical and complicated picture of how leisure tourism connected the world after the World War II, transforming coastal lands, traditional societies, and national economies in new ways. The 21 chapters in this book analyze selected case studies of architectures and landscapes around the world, contextualizing them within economic geographies of national development, the geopolitics of the Cold War, the legacies of colonialism, and the international dynamics of decolonization. Postwar leisure tourism evokes a rich array of architectural spaces and altered coastal landscapes, which is explored in this collection through discussions of tourism developments in the Mediterranean littoral, such as Greece, Turkey, and southern France, as well as compelling analyses of Soviet bloc seaside resorts along the Black Sea and Baltic coasts, and in beachscapes and tourism architectures of western and eastern hemispheres, from Southern California to Sri Lanka, South Korea, and Egypt. This collection makes a compelling argument that "leisurescapes," far from being supra-ideological and apolitical spatial expressions of modernization, development, and progress, have often concealed histories of conflict, violence, social inequalities, and environmental degradation. It will be of interest to architectural and urban historians, architects and planners, as well as urban geographers, economic and environmental historians.

The island of Bali’s sensational image was created by the tourists, artists, and scholars who visited the tiny nation between the two world wars. A Dutch colony from 1908, Bali was a source of revenue for the Dutch government, which began to develop its image as the ultimate vacation spot. The tourism industry spread the idea of Bali as a paradise in which noble, happy, spiritual Balinese—all prodigiously creative artists—lived in innocence. Sensual images of beautiful people on an enchanted isle unspoiled by modernity predominated. Bali also acquired a reputation as a homosexual paradise. A host of books and articles fed these images of Bali until it evolved into one of the most romantic stops on the tourist itinerary. The Balinese people, however, made little profit from the tourist traffic. This history of the development of tourism in Bali stretches from the Dutch occupation in 1906 to the Japanese occupation in 1942. After exhaustive research in published records and in unpublished letters, diaries, and oral histories left by many of the American and European visitors to the island as well as the Balinese residents, the author explores the reasons for Bali’s popularity among Westerners and their effects on the native culture.

'There's no denying the beauty and opulence of Morrissey's rendering of place . . . She is a master of the genre.' Weekend Australian From Australia's favourite storyteller with new novel The Night Tide out now. In the ashes of her marriage, she finds the truth about his past and the courage to start again in . . .The Last Paradise. Grace has the perfect life: a job she loves, a beautiful daughter and a rich, successful husband. But one night, when their world falls apart in a shocking disaster, Grace suddenly sees what she couldn't admit - her marriage and her husband are a fraud. With the life she knew in tatters, she takes an assignment promoting the launch of a unique luxury hotel, hidden in a stunning, untouched oasis in the heart of tourist-crazed Bali. Here, in this last paradise, Grace gathers the strength to take charge of her world. And, inspired by a woman's story from long ago, she discovers a path to a future she'd never dared to imagine . . .

Sociale geschiedenis van Indonesië.

The mention of Buddhism in Indonesia calls to mind for many people the Central Javanese monument of Borobudur, one of the largest Buddhist monuments in the world and the subject of extensive scholarly scrutiny. The neglect of scholarship on Buddhist art from later periods might lead one to assume that after the tenth century Buddhism had been completely eclipsed by the predominantly Hindu Eastern Javanese dynasties. Yet, as the works discussed here illustrate, extraordinary Buddhist images were still being produced as late as the fourteenth century. Violence and Serenity offers a close examination of some of the impressive works from East Java and Sumatra and explores their political and religious roles. The number of clearly identifiable Buddhist works from the Singasari and Majapahit dynasties (1222–ca. 1520) is limited, yet existing examples are impressive. They demonstrate a remarkable level of craftsmanship and are exceptionally expressive, exhibiting a range of emotions from the ferocious to the serene. Following a brief discussion of the early history of Buddhism in Indonesia, Natasha Reichle focuses each chapter on a specific statue or group of statues and considers the larger issues evoked by the images. Through a rarely examined depiction of the last Singasari king, she explores the nature of religion in Java in the late thirteenth century and what we know about tantric practices and the syncretism of Hinduism and Buddhism. She reassesses the question of portraiture in ancient Javanese art while contemplating the famous Prajñāpāramitā from Singasari. Notions of kingship are discussed in light of a number of statues depicting the Buddhist deity Amoghapāśa and his attendants and the meanings of the Amoghapāśa maṇḍala. The final chapter examines the origins and significance of one of Indonesia’s most spectacular sculptures, a four-meter-high Buddhist bhairava (demon) discovered in West Sumatra.