Wong Pinter The Roles And Significance Of Javanese Shaman

Exploring the phenomenon of socio-religio-magico reality in Java called wong pinter, this study is a pioneering academic work based on a first hand data. By interviewing 108 practitioners within the framework of anthropological and ethnographical approaches and putting the discussions in the context of shamanism study, this work is also a unique inquiry on Javanese culture conducted by a native. Wong Pinter delineates significant connectivity between Javanese shamanism and Asian or Southeast Asian shamanism. It also describes various aspect of shamanism practices in Java and assesses the sustainability and challenges of this phenomenon vis-a-vis the suppression of religious and political establishment. Above all, this book is an outstanding report valuable to those who are interested to delve into the core of Javanese culture and to the deliberation of social science in general.

The question 'who is my neighbour?' challenges the way we see ourselves as well as the way we see others. Especially in situations where we feel conflicted between our own self-identity and common identity within a wider society. Historically, religion has contributed to this inner conflict by creating 'us versus them' mentalities. Challenging this traditional view, this volume examines how religions and religious communities can use their resources, methodology and praxis to encourage peace-making. The book is divided into two parts - the first includes sources, theories and methodologies of crossing boundaries of prejudice and distrust from the perspectives of theology and religious studies. The second includes case studies of theory and practice to challenge prejudice and distrust in a conflict or post-conflict situation. The chapters are written by scholars, religious leaders and faith-motivated peace practitioners from various global contexts to create a diverse academic study of religious peace-building.

This study illustrates the strong relationship between world views and ethical values that are embedded in the lives ofa group of people called wong pinter. Some notes on the results of the study show the following points. First, on the basis of the categories of worldviews studied (classification, causality, space, time, and self-others relation), it is found that the concept of classification is not strong enough. The concept of space is also not sufficiently patterned, in contrast to the findings of the concept of space on the Ainu people, the people of Bali and Yogyakarta. Wong pinter describes the concept of space in relation to the existence of non-human beings. The concept oftime is explained in more detail. Some of the views about time are intended to discipline and self-control. On the self-other concept, God becomes the most important element in His status as the Almighty. The selfis a common creature that interacts with other humans and non-human beings. Horizontally, the worldview of wong pinter pivots on the ethical elements of the relationship between God's creatures that synergize and create harmony so as to create a comfortable and peaceful life. Secondly, the basic concept of the worldview guides the wong pinter on the pattern of life both in society, self-control, keeping not to hurt others, and care about the hassles of others. Therefore, they are regarded as people who behave nobly and become role models in society. Thirdly, even though the wong pinterhas some abilities that are relatively similar to the abilities of the shamans (comrnon dukun) that have been mentioned by most researchers but the behavior of wong pinter is different from and even contradict the general characteristics of the dukun. Fourth, this study enriches the study of the concept of space, time, causality, and self-other relationships. This study also explicitly revise the theories that generalize the understanding and characteristics of dukun or wong pinter which has been widely associated with witchcraft, money, and worldly pragmatic goals.

"[A] most impressive achievement by an extraordinarily intelligent, courageous, and—that goes without saying—'well-read' mind. The scope of this work is enormous: it provides no less than a comprehensive, historically grounded theory of 'modern peoplehood,' which is Lie’s felicitous umbrella term for everything that goes under the names 'race,' 'ethnicity,' and nationality.'" Christian Joppke, American Journal of Sociology "Lie's objective is to treat a series of large topics that he sees as related but that are usually treated separately: the social construction of identities, the origins and nature of modern nationalism, the explanation of genocide, and racism. These multiple themes are for him aspects of something he calls 'modern peoplehood.' His mode of demonstration is to review all the alternative explanations for each phenomenon, and to show why each successively is inadequate. His own theses are controversial but he makes a strong case for them. This book should renew debate." Immanuel Wallerstein, Yale University and author of The Decline of American Power: The U.S. in a Chaotic World

"What corporations fear most are consumers who ask questions. Naomi Klein offers us the arguments with which to take on the superbrands." Billy Bragg from the bookjacket.

This textbook provides a global, chronological mapping of significant areas of theatre, sketched from its deepest history in the evolution of our brain's 'inner theatre' to ancient, medieval, modern, and postmodern developments. It considers prehistoric cave art and built temples, African trance dances, ancient Egyptian and Middle-Eastern ritual dramas, Greek and Roman theatres, Asian dance-dramas and puppetry, medieval European performances, global indigenous rituals, early modern to postmodern Euro-American developments, worldwide postcolonial theatres, and the hyper-theatricality of today's mass and social media. Timelines and numbered paragraphs form an overall outline with distilled details of what students can learn, encouraging further explorations online and in the library. Questions suggest how students might reflect on present parallels, making their own maps of global theatre histories, regarding geo-political theatrics in the media, our performances in everyday life, and the theatres inside our brains.