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Women in the Shadows
Wayang kulit, or shadow puppetry, connects a mythic past to the present through public ritual performance and is one of most important performance traditions in Bali. The dalang, or puppeteer, is revered in Balinese society as a teacher and spiritual leader. Recently, women have begun to study and perform in this traditionally male role, an innovation that has triggered resistance and controversy. In Women in the Shadows, Jennifer Goodlander draws on her own experience training as a dalang as well as interviews with early women dalang and leading artists to upend the usual assessments of such gender role shifts. She argues that rather than assuming that women performers are necessarily mount...
Desa Paksebali dan Potensinya
Sejak masa Pandemi COVID-19, perkembangan pariwisata di Bali timur malah semakin pesat. Klungkung adalah salah satu kabupaten yang kini meraup banyak keuntungan dari pariwisata Nusa Penida yang kian banyak digandrungi wisatawan. Selain Nusa Penida, Klungkung juga punya banyak desa yang menjadi sentra kebudayaan sejak zaman dahulu. Salah satunya adalah Desa Paksebali yang tepat berada di sebelah timur Semarapura, ibukota kabupaten Klungkung. Dengan adanya sarana promosi yang lebih memadai dan luas, keberadaan potensi Desa Paksebali bisa lebih dikenal oleh masyarakat luar Klungkung. Apalagi dengan lokasi desa yang strategis dan sangat dekat dengan Pusat Kebudayaan Bali yang saat ini tengah dibangun, potensi desa ini sudah selayaknya bisa dikembangkan.
Wayang
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Profits, Power, and Legitimacy
Maritime East Asia is a region with a long history of contest. In the 17th century, the Zheng family enterprise found success in regional trade and maintained a high degree of agency despite clashing pressures in the region from Manchu China, Tokugawa Japan, and European colonial powers. The Zheng organization was caught between regional interests and an obligation to continental politics, and ultimately collapsed. In this new pamphlet in the Regions and Regionalisms in the Modern World series, Xing Hang aruges that the Zheng family nonetheless "profoundly shaped the maritime Asian world region and the global order."
Comfort Woman
From Comfort Woman: “We began the day with breakfast, after which we swept and cleaned our rooms. Then we went to the bathroom downstairs to wash the only dress we had and to bathe. The bathroom did not even have a door, so the soldiers watched us. We were all naked, and they laughed at us, especially me and the other young girl who did not have any pubic hair. “At two, the soldiers came. My work began, and I lay down as one by one the soldiers raped me. Every day, anywhere from twelve to over twenty soldiers assaulted me. There were times when there were as many as thirty; they came to the garrison in truckloads.” “I lay on the bed with my knees up and my feet on the mat, as if I we...
Listening to an Earlier Java
In "old-style" Central Javanese wayang, still known to many shadow-puppet performers and musicians in Java today, the male dhalang and his primary accompanist, usually a female gender player, are gendered embodiments of a Javanese aesthetic that has its origins in early Java. Analysis of the musical tradition known as "female style" grimingan—melodies played on the gender as the puppeteer sings, narrates or describes a scene—makes it possible to "listen back" to and reconstruct aesthetics for Javanese performance that can be felt in literary sources as early as the 12th century and that has endured into the present through cultural and political upheaval and globalised change during the ...
Transmission in Motion
How can various technologies, from the more conventional to the very new, be used to archive, share and understand dance movement? How can they become part of new ways of creating dance? What does this tell us about the ways in which technology is part of how we make sense and think? Well-known choreographers and dance collectives including William Forsythe, Siohban Davis, Merce Cunningham, Anne Teresa De Keersmaeker and BADco. have initiated projects to investigate these questions, and in so doing have inaugurated a new era for dance archives, education, research and creation. Their work draws attention to the intimate relationship between the technologies we use and the ways in which we th...
Kalangwan
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Bagnos
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