Thirty-one production photographs from Edhi Sunarso's studio of life-size figures for the Lubang Buaya 'torture house' diorama, showing generals, bound captives and assailants in fatigues. Shows how the Lubang Buaya scene was physically fabricated.
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.
Typed layout sheet listing the 37 diorama titles of the Museum Pengkhianatan PKI ('Museum Ekstrim Kiri'), opened 1 Oct 1992, from Madiun 1948 through Aidit's capture, the Njono trial and 1974. Shows how the official PKI-treachery narrative was structured.
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.
Official booklet issued by Pusjarah ABRI for the 1 Oct 1992 opening of the Museum Pengkhianatan PKI, with forewords by Brig. Gen. Idroes and Try Sutrisno framing 37 dioramas as warning about communism's 'latent danger'. State memory propaganda.
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.
Handwritten draft by sculptor Edhi Sunarso, 30 Nov 1992, asking Bank Niaga Yogyakarta for a 5% performance guarantee for the Paseban, diorama and pool renovation at Monumen Pancasila Sakti. Shows the commercial side of the state memory project.
Three snapshots of President Suharto's visit to the Museum Pengkhianatan PKI at Lubang Buaya, probably at its 1 Oct 1992 inauguration. Shows him before dioramas made in Edhi Sunarso's workshop.
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
Klaus Schreiner's 2003 chapter reading the Monumen Pancasila Sakti at Lubang Buaya as a 'site of memory' and founding shrine of the New Order, noting the 1998 end of the annual film broadcast; applies Halbwachs, Nora and trauma theory. Memory-studies framing.
2004 illustrated Grasena guidebook by M. Fahlevi to the Lubang Buaya complex, walking through the 34 dioramas of the Museum Pengkhianatan PKI and the Paseban hall, with captions taken from the dioramas. Official state narrative of the Lubang Buaya site.
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.
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.
Wieringa's 2011 article condensing her research: the army's sexual slander of Gerwani was the spark without which the genocide would not have happened; reconstructs the Lubang Buaya night (about 70 women and girls, mostly Pemuda Rakyat volunteers) and reads the monument mural. Programmatic synthesis.
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.
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)