This dissertation would not have been possible without the support of the artists whose work is analyzed here. I wish to thank Catur 'Benyek' Kuncoro, Enthus Susmono, Jlitheng Suparman, Andri Topo, Nanang Hape, Sujiwo Tejo, Ledjar Subroto, Eko Nugroho, Nano Riantiarno, Tavip, Tyno TNT, Inung Arhaen and Tiara Santika for sharing their work and experiences with me. I am also especially thankful to the late Slamet Gundono, to whose memory this dissertation is dedicated.

Many other people also provided support, answering questions and providing me advice on which performances to watch. I am specially indebted to Honggo Utomo, Ardian Kresna, Elizabeth Inandiak, Rahadian Harie, as well as the staff of the Indonesian Contemporary Art Network (ICAN) and the Indonesian Visual Arts Archive (IVAA). I am also grateful for the advice and friendship of the pedalangan students at ISI, and my teachers: Ki Parjaya, Ki Sri Mulyono and Novi Marganingrum. My great housemates in Yogyakarta - Andi, Fivi and Lili - made my prolonged stays in Indonesia always easy and fun. Dave Hodgkin was always an inspiration with his expert knowledge of Indonesia.

Some parts of this dissertation appeared elsewhere in print and I wish to thank Matthew Isaac Cohen, Maaike Bleeker and Chiel Kattenbelt for helping me refine some of the ideas which eventually made it to the dissertation.

I also wish to thank the communities of StalkOverflow.com and Github.com for helping me become a better programmer and answering questions and helping me solve the programming challenges required by this dissertation's website.

In Singapore I wish to thank my fellow PhD students for their support, especially Shreyosi, Felipe, Matt, Shantini and Alvin. I also wish to thank Jan Mrázek, Paul Rae, Hwang Ha Young, as well as my supervisor Yong Li Lan. Thanks to my students from UAR2207 and TS4217, with whom I discussed many of the performances. I also wish to thank my wife Yinting for all her support during the finals stages of the writing of this dissertation.