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.
Eight photographs of dioramas and installation work at the Museum Pengkhianatan PKI, including a life-size Supersemar tableau with Sukarno and a woman in kebaya beside him. Visual record of the museum's making.
Eleven damaged colour prints (June 1974) of dioramas made by Edhi Sunarso's workshop for the Museum Satriamandala, showing oath-taking, assemblies and possibly an exhumation scene. Uncaptioned visual record of the military museum's historical narrative.
Official record of the first handover, 30 Sep 1975, of 29 dioramas by Edhi Sunarso to the Armed Forces History Centre for the Museum Pusat ABRI. Documents the production of military-history dioramas that fed the 1965 narrative.
Official record of the second and final handover of 29 dioramas by Edhi Sunarso to Nugroho Notosusanto's Armed Forces History Centre, Dec 1975. Shows the Pusjarah project that produced official military history displays.
Harian Neraca, 2 Oct 1989, p. 11: education-women page with Minister Fuad Hassan's speech making Hapsak Pancasila a national tradition, and a report on the Lubang Buaya ceremony that mentions Gerwani.
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.
The Guardian (Weekend Guardian), 8 Sept 1990, p.A4, John Gittings, 'The black hole of Bali': long feature on the 1965 massacre (250,000 or more killed), how the killings were organised by the army under Suharto, the Aidit/PKI role, the US list of communists (Martens/Kadane) and US encouragement, survivors ('Tapols') an
Letter of 20 Nov 1992 from Brig. Gen. Bintarto appointing PT Tiga Hasta Kreatifa without tender to renovate the Paseban building, dioramas and pool at the Pancasila Sakti Museum for Rp 88,484,000. Administrative record of the Lubang Buaya memorial project.
Berita Yudha, 28 Sept 1997, p. 12: tourism feature on the Lubang Buaya monument stating that in the 'torture house' four officers 'were cruelly tortured by Gerwani until they breathed their last'.
The Guardian, 23 May 1998, p.24, Martin Woollacott, 'Chaos at Crocodile Hole': comment on Suharto's fall, arguing it is no triumph and that his legacy of division (military vs Islamists, rich vs poor, ethnic and religious tensions) leaves the country fragile. It opens with the Crocodile Hole (Lubang Buaya) shrine, whos
Yosef Djakababa's 2009 Wisconsin dissertation on how the New Order built the official Lubang Buaya narrative (PKI sole mastermind, spontaneous people's response) via army history, Mahmillub trials, the monument, Hari Kesaktian Pancasila and the film. Key study of official memory.
Martha Stroud's 2015 UC Berkeley/UCSF medical-anthropology dissertation, based on fieldwork in Yogyakarta (2010-12), examines how the 1965-66 killings shape daily life through propaganda, surveillance, stigma, silence and justice. Gerwani appears mainly as the object of New Order propaganda: the Lubang Buaya mutilation
Photograph (24 Nov 2020) of a museum diorama of the recovery of the generals' bodies from the Lubang Buaya well, with frogman figure, coffins and red-bereted soldiers. Visual record of the official Lubang Buaya display.
Elsa Clave's introduction (Archipel 99, 2020) to a dossier on 1965 and cinema, arguing memory remains institutionalised in museums and monuments and stigma of communism is easily manipulated, as in the 2017 attack on LBH Jakarta. Context on film and memory.
Tempo magazine report (16 Nov 2025, Shinta Maharani and Iwan Kurniawan) on the Biennale Jogja solo exhibition of Lekra artist Mia Bustam at Benteng Vredeburg (opened 6 Oct 2025), based on Astrid Reza's thesis. It covers her arrest, nearly 14 years' detention (Plantungan gardener), embroidery, paintings, Api Kartini mag
MA thesis (University of Georgia, 2026) by Alyx L. Bontrager on how Indonesian artists Rangga Purbaya, Dadang Christanto and Leyla Stevens use testimony, embodiment and place as memory activism against the silencing of the 1965-66 genocide, theorised as 'counter-monuments'. Gerwani appears only in passing: ch. 2 (p. 7)