Instead of re-emerging the kethek (monkey) figure as the main character and re-enacting the adeptness of Kethek Ogleng, this Otobiografi performance tries to perceive the possible dramaturgy choices of the Panji tales it adapted, namely making Dewi Sekartaji the main narrative element.

We are interested in revisiting Dewi Sekartaji in the narrative of power loop and at the same time speculated on her context as a woman living in today’s social environment narrated personally through the ‘autobiography’ of female performers. Meanwhile, Kethek Ogleng is seen as a tactic to narrate a complex situation outside the walls of power (kingdom): from the matters of identity (Dewi Sekartaji’s disguise while in another place and / or Panji Asmarabangun’s disguise as a monkey in another version of the story) to the imagination beyond domestic and public boundaries (inside the palace and outside the palace) and the mobility (Dewi Sekartaji’s escape from the kingdom and living as a peasant).