When he died 70 years ago, the artist Walter Spies was known to only a few close friends. Now he is prized as one of the finest painters of the tropical landscape. This was one of many gifts that he made available to the people of Bali in the years between 1927, when he first settled there, and 1940 when he was interned as an enemy alien. In the turmoil of war and the turbulence of the post-war years, his fate remained for a time unknown and his life and deeds in Bali gradually took on mythic proportions. He was remembered almost as a founding figure, one who had taken the arts of Bali to unprecedented heights. There was some truth in this hyperbole; he had indeed made a massive contribution to the reputation of the island as a centre of special artistic excellence during the 1930s. He was not alone in this endeavour.

The Gay Archipelago is the first book-length exploration of the lives of gay men in Indonesia, the world's fourth most populous nation and home to more Muslims than any other country. Based on a range of field methods, it explores how Indonesian gay and lesbian identities are shaped by nationalism and globalization. Yet the case of gay and lesbian Indonesians also compels us to ask more fundamental questions about how we decide when two things are "the same" or "different." The book thus examines the possibilities of an "archipelagic" perspective on sameness and difference. Tom Boellstorff examines the history of homosexuality in Indonesia, and then turns to how gay and lesbian identities are lived in everyday Indonesian life, from questions of love, desire, and romance to the places where gay men and lesbian women meet. He also explores the roles of mass media, the state, and marriage in gay and lesbian identities. The Gay Archipelago is unusual in taking the whole nation-state of Indonesia as its subject, rather than the ethnic groups usually studied by anthropologists. It is by looking at the nation in cultural terms, not just political terms, that identities like those of gay and lesbian Indonesians become visible and understandable. In doing so, this book addresses questions of sexuality, mass media, nationalism, and modernity with implications throughout Southeast Asia and beyond.

The large house gecko, called tokek, is regarded as a lucky talisman by the Indonesians. When its 'Toke' resounds in the night, they count how many times it calls, both in town and in the country, and this number determines how lucky the call is. Only an odd number is lucky: seven is already quite good, but nine promises the peak of success and good fortune. The author has spent 18 years in Indonesia and helped the young independent country in its development and construction on the sectors of telecommunications, electrotechnical and solar power engineering. Amusing and interesting events from his private and professional life during those years make this book historically interesting and also humorous reading for anyone who is interested in getting to know Indonesia off the beaten tourist track. The author and his famliy had tokeks in both their house in Jakarta and their weekend home in Carita. He often has heard nine successive calls, and the prophecy was fulfilled: Indonesia has brought the author luck and happiness.

This beautiful book contains a photographic record of the work of Walter Spies, a German artist, and Beryl de Zoete, a British writer and dance critic, co-authors of the classic Dance and Drama in Bali (1938). These photographs, many previously unpublished, are chosen from the Horniman Museum Library collection to vividly evoke rural life in Bali, with its dance-drama traditions, and challenge the more lurid aspects of Bali's image in the 1930s.

Overzicht van leven en werk van de Duitse schilder en musicus (1895-1942), met speciale aandacht voor diens betrokkenheid bij de inheemse schilderkunst en muziek op Bali

In this book, James Boon ranges through history and around the globe in a series of provocative reflections on the limitations, attractions, and ambiguities of cultural interpretation. The book reflects the unusual keyword of its title, extra-vagance, a term Thoreau used to refer to thought that skirts traditional boundaries. Boon follows Thoreau's lead by broaching subjects as diverse as Balinese ritual, Montaigne, Chaucer, Tarzan, Perry Mason, opera, and the ideas of Jacques Derrida, Ruth Benedict, Kenneth Burke, and Mary Douglas. He makes creative and often playful leaps among eclectic texts and rituals that do not hold single, fixed meanings, but numerous, changing, and exceedingly specific ones. Boon opens by exploring links between ritual and reading, focusing on commentaries about the seclusion of menstruating women in Native American culture, trance dances in Bali, and circumcision (or lack of it) in contrasting religions. He considers the ironies of "first-person ethnography" by telling stories from his own fieldwork, reflecting on ethnological museums, and making seriocomic connections between Mark Twain and Marcel Mauss. In expansive discussions that touch on Manhattan and Sri Lanka, the Louvre and the "World of Coca-Cola" museum, willfully obscure academic theory and shamelessly commercial show business, Boon underlines the inadequacies of simple ideologies and pat generalizations. The book is a profound and eloquent exploration of cultural comparison by one of America's most original and innovative anthropologists.