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Been a long time since I've posted pictures: in part because my old camera finally chose to rest its circuits, and also because facebook has an alluringly straightforward photo uploading system. but since i've already let the blogspot RIP, i suppose i should make a little effort keeping this one afloat.

   

   

   

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(Its interesting enough to cross post with my blogspot =P)

An excerpt from a condensed, translated version of "Serat Centhini", an 19th century Javanese epic which contains both sections of religious exploration and erotic activity. In the condensed version published in 2006, the epic is restructured into a journey where the travellers develop "their mental and spiritual development".

In the following passage, Mas Cabolang and his follower Nurwitri interact with Ki Adipati, who had previously engaged them to conduct a rebana performance where "The spectators... moved in rhythm to their instincts and impulses and did strange things. Pickpockets and sexually inclined people were in their element."



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Ki Adipati was sitting with Nurwitri in the rear hall of his residence. The regent was half drunk and Nurwitri looked more beautiful to him. An unusual feeling of love bega n to stir within him and he said: "I'm sleepy. Give my leg a massage and sing for me, my sweet." Nurwitri was thrilled that Ki Adipati called him his sweetheart. In his heart, he believed the regent had fallen in love with him. It did not take long before Ki Adipati's hands were reaching for Nurwitri's neck and he was kissing the santri [Nurwitri] over and over again. Remembering his experiences with the waroks ("Tops" believed to have supernatural powers) of Selaung, Nurwitri was able to guide Ki Adipati in his new sexual escapade. The regent, having forgotten his wife and concubines, kept Nurwitri in the room for two days and two nights.

Meanwhile, Mas Cabolang could do as he wished. There were many women - girls, widows, even married women - who had fallen in love with him and he was able to satisfy them all. Even the regent's concubines, especially Jahe Manis, and Ki Jamali's youn wife did not escape his spell for he possessed a special knowledge. He knew the pangontong-ontong spell, which allowed him to chnage the size of his manhood to fit his partner for the best result and satisfaction...

On the third day, Ki Adipati summoned Mas Cabolang [on a pretext;] his real purpose in sending for Mas Cabolang was to fulfill his sexual desires with the handsome santri.

After sending Nurwitri to rest in another room, Ki Adipati said: "Tell me, Cabolang! So far you have always played the female role. I wonder whether it feels different, I mean, in terms of the sexual enjoyment. Whose enjoyment is greater, a man's or a woman's?" Mas Cabolang replied: "To be honest milord! The woman's enjoyment is greater and more fulfilling. That's why many boys choose to become jathil (Bottoms for the Top Waroks mentioned above)" Ki Adipati said: "If that is so, give me that experience." Mas Cabolang could not refuse because he, too, wanted to experience what it was like to wield power over the most influential man in the territory. Preparations were quickly made.

When they were ready, Mas Cabolang entered the regent from the rear. He then pronounced the pangontong-ontong spell, which caused Ki Adipati unbearable agony. He grunted and groaned and bled profusely when Mas Cabolang withdrew. He fell on the floor, writhing like a worm and totally humiliated. Nurwitri brought some herbal ointment, which helped ease the pain a little.

The painful experience, however, brought the regent to his senses and reminded him of the love and care that he gets from his wives and concubines. He dismissed Nurwitri and Cabolang.

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From "Mas Cabolang", in The Centhini Story Translated and condensed from the original Serat Centhini by Soewito Santoso

So yeah. this and the two posts below are my very very overdue livejournal posts of my trip to Solo with the NUS Singanglaras Gamelan Ensemble. Totally zesty trip, and i'm glad i went with the group, since Solo is sort of a place where modernity hasn't really been kind, but luckily the unkindness takes place mostly along the bigger, dirtier streets. the small lanes inbetween houses, which you get to simply by turning off, are still absolutely charming, and totally confusing - oftentimes the becak/taxi drivers themselves get lost in the maze of streets.

other related posts and places i've put the photos: [blogpost], [photoset 1], [photoset 2]

need to brush up my bahasa, and maybe think about a dharmasiswa scholarship there...

anyway, to give you a sense of the coolness of the place:

   

Old plus New

   

Jalan Punk Rock; THE SPIRIT OF RAMADAN PWNZ U

( streets of solo )

Cakra Homestay, Institut Seni Indonesia (Surakarta), Museums and Performances, Gamelan Workshop



Breakfast essential for getting around.

( Places in Solo )

Solo has two palaces, the Keraton and the Mangkunegara; the latter is a smaller one. Nonetheless, i hear that in recent times it is the Mangkunegara that seems to have survived better, having more money to upkeep its premises and continue its tradition. Each palaces has a different dance/gamelan tradition, as do the two courts in Jogjakarta.



( Keraton and Mangkunegara )

on my way to surakarta (via silkair), saw this set of photographs in their magazine. i found them quite striking, these visions of children so tiny admist the toys and consumer goods that engulf them within the frame, so packed in that they seem to have no space to move. the article was some inane "pink for girls and blue for boys" kinda kitsch. but to me the photographs point towards the construction of gender (and by extension, identity), through consumer objects: the body--the soul as well?--seems to be the centre of this claustrophobic maelstrom (as we always hope it to be...), but still only a small centre, no more or less significant than the kitsch around it. portraits of commercialism; commercial portraits. and in this airplane magazine devoted to promoting a tourism industry (culture into commodity), these photos become themselves advertisements for commercialism.

sorry for the lousy shots of the shots tho'. cabin dim, camera old, and half my LCD pecha. and sorry that somehow i have forgotten to keep track of the photographer. bleh.