Seventeen photographs of the sculptors' group Keluarga Arca installing miniature dioramas (Yani abduction, Lubang Buaya training, recovery of bodies) c. 1980-81, plus later life-size figures. Visual evidence of how the Paseban dioramas were made.
Berita Harian, 9 December 1965, p. 4: UPI photographer Kurnipi visits Bukit Duri women's prison, Jakarta (about 110 detainees), among them Gerwani leaders and MPs Salawati Daud and Umi Sardjono, plus Emi binti Madali, 20, who 'confessed' to killing General Yani, and two small children jailed with their mothers. Women p
Berita Yudha, 1 Oktober 1966. First-anniversary issue: Suharto on Pancasila's 'magic power', Nasution on the Cakrabirawa, photo of Yani's exhumed body, an interview with a widow; Gerwani item on p. 1.
Algemeen Handelsblad obituary-profile of Sukarno (1970-06-22), covering his life, Guided Democracy, Nasakom, and the 30 September 1965 events, which it blames on palace guards and communist groups, followed by an anti-communist reaction costing 'tens of thousands' of lives. A photo caption states General Yani was murde
Fourteen prints from Edhi Sunarso's archive of Lubang Buaya dioramas, including 'Latihan sukarelawan P.K.I. di Lubang Buaya' and 'Penganiayaan dan pembunuhan di Lubang Buaya'. Titles match the Paseban dioramas opened in 1981. Visual material on the official narrative.
Tempo review (31 Jan 2011) of 'Tjap Merah', a dance piece by Yosep Prihantoro Sadsuitubun (grandson of K.S. Tubun) at GoetheHaus, Jakarta, closing the exhibition 'Indonesia and the World 1959-1966'. It stages the stigma on Gerwani women (Lubang Buaya dancing and castration myth, 'ET' label, Genjer-genjer); he says most
Muslim Pohan's 2018 short article on the sexual politics and slander against women's organisations in the shift to the New Order, relying on Wieringa; includes the army's takeover of the army-wives' organisation Persit and Kowani dropping 8 March. Secondary synthesis.
Charles P. Sullivan's PhD dissertation (History, University of Michigan, 2020) reads Indonesian women's magazines (Wanita, Puspa Wanita, Varia) from 1945-66 to argue that the Lubang Buaya narrative about Gerwani worked as a 'post-text' of long-running anxieties over modernity, moral crisis and the 'Mother of the Nation