Bibliographic record
Abstract
Transported to museum settings, wayang puppets from Java (Indonesia) are inevitably disembedded from performance traditions and the techniques and events animating and framing them. But this essay argues that it is possible to involve puppets in processes of “reverse repatriation,” bringing home to objects far from their sites of origin, as well as catalyzing new dialogues in sites of storage, exhibition, and performance. Puppets in the British Museum collected in Java by T. S. Raffles during the 1810s are venerated by Javanese visitors, but generally museum visitors were more taken by wayang hip hop puppets acquired in 2016 and displayed alongside Raffles’s figures in the exhibition Shadow Puppet Theatre from Indonesia, Malaysia, and Thailand. (2016–17). The new puppets serve to challenge Orientalist preconceptions of wayang as an unchanging tradition. A wayang performance occasioned by the exhibition Die Welt des Schattentheaters: Von Asien bis Europa (The world of shadow theatre: From Asia to Europe) (2015–16) at the Linden Museum Stuttgart enabled an intergenerational dialogue about the tradition of wayang for a German Javanese diasporic family. A set of puppets collected in Java over several generations by a Chinese Indonesian family, gifted in 2006 to Simon Fraser University’s Museum of Archaeology and Ethnology in British Columbia, has been used to explain stories of migration and multiculturalism in Canada. The private museum Rumah Wayang 2 (House of Wayang 2) in Tegal, Indonesia, is a way station for the puppets of puppeteer Enthus Susmono. Rather than safeguarding puppets, Enthus’s museum promotes his reputation as an innovator and whets appetites for his puppets’ future sale.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.009 | 0.006 |
| Scholarly communication | 0.003 | 0.003 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.005 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".