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This dissertation explores a recent development in the wayang kulit purwa (shadow puppetry) tradition of Surakarta, Central Java, Indonesia, known as pakeliran garap semalam or all-night contemporary-interpretive style. This style was created and debuted in Surakarta by the dhalang (puppeteer) Purbo Asmoro (born 1961 in Pacitan, East Java) in 1989. He spent the next decade developing his new system, and post-2000 it has became the most popular approach to performance practice among puppeteers Purbo Asmoro's generation and younger. This research examines the history of Purbo Asmoro's style, its essential elements and identifying characteristics, his creative processes in developing and working within this style, and the effect his new approach to story-telling has had on other dhalang and on audiences. It also explores Purbo Asmoro’s musings, decisions, motives, and strategies. Most importantly, this work analyzes how all-night contemporary-interpretive style, in Purbo Asmoro's hands, has evolved into an entirely new system of performance practice rather than simply being stylistically innovative in a few characteristic ways. Six live performances over a one year period, 2007–2008, is the primary source material for the analysis. In these recordings, Purbo Asmoro performed two different stories three times each: in classical style, contemporary-interpretive style, and condensed style.

This study deals with stone representations of Bhīma, one of the protagonists of the Hindu epic Mahābhārata. This epic which originates from India, is already known on Java in the tenth century. The Bhīma representations which include statues and reliefs appeared during the Majapahit Period (1296-1527 C.E.) and were mainly found on mountain sanctuaries in present East and Central Java. Given the number of statues found, there was a worship of Bhīma going on during the Majapahit Period. The study researches the motives, the spread and the origin of the worship, its relation to other gods and the influence of wayang on the worship. It concentrates on the iconography of Bhīma, and the interpretation of his iconography. Furthermore it examines Bhīma literature and the material and historical context of the Bhīma representations. This interdisciplinary research shows that protection, salvation and fertility were motives for the Bhīma worship. It also indicates that Bhīma's descent from Bāyu, the god of the wind and his father, was substantial for his worship. The worship was definitely of Javanese origin and the wayang played a considerable role in it.