Rendra created a bridge from the anti-communist student activism of the late 1960s to the pro-Left activists of the 1980s and 1990s but he never crossed it

Rendra's artistic practice was grounded in reality, Javanese poetics and martial arts

When Rendra returned from three years study in New York in 1967 the innovations he introduced into modern Indonesian theatre signalled the wider impact he would have on Indonesian cultural and political life

Bangau Putih martial arts and Rendra enriched each other

At times Rendra played the role of the conventional Muslim

These 1979 Rendra postcards were illustrated by the New Art Movement painter Hardi, who had also attracted the unwelcome attention of the authorities

Rendra made poetry a part of the New Order culture of opposition

Rendra was charmed by and concerned for women, particularly the oppressed

Art has a role to play in achieving social change

Australia's journey with Indonesia was reflected through its engagement with Rendra's visits