Author: Marianne Hulsbosch, 2014. 237pgs. (English) Hardcover
Publisher: Koninklijke Brill, Leiden, Netherlands
Drawing upon extensive research, Hulsbosch investigates the dress and adornment practices of the Ambonese people of the Central Maluku Islands during the final century of colonial rule. Rather than offering a mere descriptive catalogue of garments, the author foregrounds the problematic of choice—what to wear—highlighting the social, political, and cultural negotiations embedded in acts of dressing. Hulsbosch persuasively argues that dress is not simply a material item of clothing but a performative practice: the act of dressing and adorning the body generates both individual and collective identities. These identities, in turn, reflect political dispositions, ethnic affiliations, class distinctions, and gendered roles. One of the central challenges for the Ambonese, as the author demonstrates, was the tension between maintaining fidelity to their ethnic identity and navigating the constraints of colonial domination. The increasing Westernization of colonial society manifested most visibly in the primacy of European-style dress among the Ambonese, a phenomenon that simultaneously signified assimilation and the erosion of indigenous cultural markers. Employing Arthur Frank’s 1991 model, Typology of Body Use in Action, as an analytical framework, Hulsbosch delineates four typologies of dress: disciplined dress, dominating dress, mirroring dress, and communicative dress. This theoretical scaffolding enriches the study by situating Ambonese sartorial practices within broader discourses of power, resistance, and cultural negotiation. Pointy Shoes and Pith Helmets thus emerges as a valuable contribution to the study of Ambonese-Indonesian and colonial history. It is not only a meticulously researched ethnographic account but also a compelling exploration of how clothing mediates identity under colonial conditions. For scholars of cultural history, postcolonial studies, and Southeast Asian ethnography, this work is both fascinating and indispensable.
Author: Oetari Siswomihardjo-Prawirohardjo. 2011. 110pg. (In Indonesian)
Publisher: Pustaka Pelajar, Yogyakarta
The author strongly believes that the spiritual values represented by classic motifs in Javanese batik are at risk of being forgotten by the younger generation due to a disconnect from their heritage. This break in tradition has resulted in a loss of the spiritual message associated with these motifs. The book aims to present these spiritual values through illustrations and an exploration of the philosophies behind them.
Author: Francess B. Affandy & Andi Abubakar, 2003. 67pgs. (Indonesian and English). Softcover
Publisher: Paguyuban Pelestarian Budaya Bandung & Dinas Kebudayaan dan Pariwisata, Jawa Barat
This visually compelling bilingual volume operates not merely as a historical guide but as an ethnographic tribute to the enduring traditions of West Java. Through striking photography, it captures both the majesty of the natural landscape and the lived realities of Sundanese society, foregrounding the intricate interplay between environment and culture. Architectural forms, streetscapes, and cultural artifacts are presented as tangible expressions of Sundanese identity, while heritage sites, artisanal crafts, and historical landmarks are contextualized as nodes within a broader cultural continuum. The narrative situates these elements within the longue durée of regional history, engaging with the imprint of Dutch colonialism, the centrality of agrarian life, and the negotiation between traditional village structures and emergent urban modernities. In doing so, the book underscores the dynamic resilience of Sundanese culture, revealing how local traditions adapt yet persist amidst shifting socio-political landscapes. Although modest in length—comprising only sixty-seven pages—the volume functions as an accessible coffee-table introduction, offering readers a gateway into the ethnological richness of West Java’s cultural fabric.
Author: Hempri Suyatna, William Kwan, Dyah Rosiana, and Dewi Meiyani, 2010. 96pgs. (Indonesian). Softcover
Publisher: Institut Pluralisme Indonesia
This booklet offers a nuanced portrait of the daily life of batik artisans in Lasem and Rembang. The exploration of the Lasem batik industry is both compelling and significant, as Lasem was historically renowned for its exquisitely crafted textiles, predominantly produced by Indo-Chinese batikkers. The authors begin by tracing the early development of batik production in this region, situating it within broader socio-economic and cultural contexts. Traditionally, batik workers in Lasem emerged from agrarian communities. Many were impoverished farmers residing in the surrounding villages who engaged in batik-making only intermittently, typically during the intervals between rice planting and harvesting seasons. This dual livelihood underscores the precarious economic conditions of rural households and highlights the adaptive strategies employed to sustain their existence. Within this booklet, the authors present a vivid ethnographic account of batik workers’ lives, examining not only their craft but also the intricate social relations that bind batikkers to batik traders. These relationships reveal the dynamics of labor, commerce, and cultural transmission in the region. Furthermore, the text addresses the pressing challenges faced by the community in preserving the continuity of Lasem’s batik tradition amidst shifting economic realities and cultural transformations.
Author: Susan Rodgers, 1988, 370 pgs, (in English), Hardcover
Publisher: Prestell Verlag, Barbier Mueller Museum, Geneva
Power and Gold examines the ethnic jewelry traditions of the Indonesian archipelago beyond Java and Bali, focusing on communities that sustained ritual and mythological practices despite encounters with Islam, Christianity, and European colonialism in the nineteenth and twentieth centuries. Susan Rodgers organizes the study into four sections: the role of ornaments and heirlooms outside classical court societies; the artistic and cultural contexts of Island Southeast Asia; the social and supernatural dimensions of jewelry; and its contemporary significance. The collection encompasses material culture from Nias, North Sumatra, Kalimantan, Sarawak, Central Sulawesi, Flores, Sumba, West Timor, the Moluccas/Tanimbar, Northern Luzon, and Mindanao, offering a comprehensive account of jewelry as both aesthetic expression and social marker.
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