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"The first half of the twentieth century in Indonesia is often remembered as the Age of Motion. The term “motion” (pergerakan) is invariably used in history textbooks for students and in the official Indonesian historiography: Sejarah nasional Indonesia (Kartodirdjo, Poesponegoro, and Notosusanto 1975; Poesponegoro and Notosusanto 2008) and in the new edition, Indonesia dalam arus sejarah (Lapian and Abdullah 2012). Political movements in Indonesia always dominated the discourses of pergerakan at the expense of developments in other sectors, including culture. This cultural development, particularly in Java, was intricately intertwined with the upsurge in Javanese and then Indonesian nationalism, an expansion of modernity and Islamic revivalism. Topeng Panji with all of its forms around Java is symptomatic of this development. This paper is an initial investigation into the developments of topeng Panji across Java in the Age of Motion. By tracing the social and cultural histories from the perspective of the bureaucrats, artists, and government officials who wrote in books, journals, and other contemporary sources, this study aims to highlight topeng Panji and its development during that period."

"Discussions on post-coloniality are often situated either in the centre of the colonizer or colonial metropole or the centre of the former colonized. The local perspective, especially in Indonesia, seems overlooked in existing literature, whereas it could be regarded as the cultural archive of the colonial era to post-independence Indonesia. Edward Said (1994) has said that cultural archives are a storehouse of a particular knowledge and structures of attitude and a reference to and structure of feelings. Gloria Wekker (2016) elaborates on the cultural archive; it has influenced historical cultural configurations as well as current dominant, cherished self-representations and culture. This paper examines the role of two provincial museums in Indonesia: Mpu Tantular Museum Surabaya and the Sonobudoyo Museum Yogyakarta, as cultural archives for each region. Since their foundation in the colonial era by the Europeans and local elite figures, these museums have seen many political changes. This paper delves into the archives and exhibitions of the museums to assess how they deal with their exhibition narratives as a colonial legacy, and to what extent these provincial museums have been involved in decolonization discourse. It proposes another way of looking at the post-colonial situation in Indonesian museums, not at the centre but more on the periphery."