De Waarheid, 9 Mar 1978, p. 1: report that NVB women on International Women's Day wrapped the Van Heutsz monument in Amsterdam in white cloth marked 'Gerwani'. The item summarises Gerwani's pre-1965 work (clinics, crèches, kindergartens, courses, anti-polygamy campaigns) and the 1975 trials: Sulami life, Suharti, Sudji
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
Gerry van Klinken's 2001 article mapping the post-Suharto contest over the national past: statist New Order history (film, Lubang Buaya rituals, book bans), versus societal streams including Sulami's 1999 truth-seeking organisation and Pramoedya. Historiographical context.
Seven-page summary (LIPI journal, 2010) of Djakababa's dissertation arguing 1 Oct 1965 was chaotic and the New Order turned it into a good-versus-evil narrative via trials, the monument, commemoration and the film. Short companion to the full thesis.
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
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.
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)