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Sendratari Indonesia
Indonesia merupakan negara yang majemuk dengan keanekaragaman suku dan seni budaya. Walaupun berbeda-beda tetapi tetap satu juga dalam naungan Bhinneka Tunggal Ika. Secara garis besar, kebudayaan setiap daerah yang ada di Indonesia memiliki alur yang hampir sama. Hanya mungkin pengaruhnya saja yang berbeda. Apakah itu kebudayaan yang terpengaruh oleh agama ataupun sistem kepercayaan di setiap daerah. Keanekaragaman budaya di Indonesia dapat dikembangkan menjadi salah satu daya tarik wisata. Sehingga tidak mengherankan jika banyak warga negara asing yang datang ke Indonesia hanya untuk berlibur dan menikmati berbagai keanekaragaman budaya di Indonesia. Pada dasarnya, sendratari merupakan rangkaian atau kombinasi dari sejumlah seni, drama, dan tari yang dipentaskan dalam satu panggung. Sendratari pada hakikatnya merupakan hasil kreativitas para seniman modern melalui pengolahan kembali elemen-elemen seni dan bentuk-bentuk kebudayaan yang telah ada.
Ramayana Theater in Contemporary Southeast Asia
The ancient Indian epic poem Ramayana has been disseminated throughout large tracts of Southeast Asia since the 9th century. Versions of the epic poem have come to adopt and reflect the unique characteristics of the countries and regions where it has gained cultural currency. The epic has been a source of popular themes in both traditional and contemporary art forms, including literature, performing arts, fine arts, and films. This book showcases Ramayana theater as a platform where the multiple meanings and senses of values are negotiated. It focuses on the relationships between the cultural representation and the various meanings of Ramayana theater, as well as other dramatic art forms. Fo...
Inequality, Crisis and Social Change in Indonesia
Indonesia has experienced a quick succession of new governments and fundamental reforms since the collapse of Suharto's dictatorial regime in 1998. Established patterns in the distribution of wealth, power and knowledge have been disrupted, altered and re-asserted. The contributors to this volume have taken the unique opportunity this upheaval presents to uncover social tensions and fault lines in this society. Focusing in particular on disadvantaged sectors of Balinese society, the contributors describe how the effects of a national economic and political crisis combined with a variety of social aspirations at a grass roots level to elicit shifts in local and regional configurations of power and knowledge. This is the first time that many of them have been able to disseminate their controversial research findings without endangering their informants since the demise of the New Order regime.
Boundaries of the Text
When the Mahabharata and Ramayana are performed in South and Southeast Asia, audiences may witness a variety of styles. A single performer may deliver a two-hour recitation, women may meet in informal singing groups, shaddow puppets may host an all-night play, or professional theaters may put on productions lasting thirty nights. Performances often celebrate ritual passages: births, deaths, marriages, and religious observances. The stories live and are transmitted through performance; their characters are well known and well loved. Yet written versions of the Mahabharata and Ramayana have existed in both South and Southeast Asia for hundreds of years. Rarely have these texts been intended fo...
Embodied Communities
Court dance in Java has changed from a colonial ceremonial tradition into a national artistic classicism. Central to this general transformation has been dance’s role in personal transformation, developing appropriate forms of everyday behaviour and strengthening the powers of persuasion that come from the skillful manipulation of both physical and verbal forms of politeness. This account of dance’s significance in performance and in everyday life draws on extensive research, including dance training in Java, and builds on how practitioners interpret and explain the repertoire. The Javanese case is contextualized in relation to social values, religion, philosophy, and commoditization arising from tourism. It also raises fundamental questions about the theorization of culture, society and the body during a period of radical change.
The Changing World of Bali
The glossy guide book image of Bali is of a timeless paradise whose people are devoutly religious and artistically gifted. However, a hundred years of colonialism, war and Indonesian independence, and tourism have produced both modernizing changes and created an image of Bali as ‘traditional’. Incorporating up-to-date ethnographic field work the book investigates the myriad of ways in which the Balinese has responded to the influx of outside influence. The book focuses on the fascinating interrelationship between tourism, economy, culture and religion in Bali, painting a twenty-first century picture of the Balinese. In documenting these diverse changes Howe critically assesses some of the work of Bali’s most famous ethnographer, Clifford Geertz and demonstrates the importance of a historically grounded and broadly contextualized approach to the analysis of a complex society.
Traditional Music in Modern Java
Musicologist Judith Becker contends that sociopolitical changes in Javanese society since the 1940s are reflected in changes in the structure of gamelan music, which is one of the traditional musics of Java. She sees gamelan music as a musical system in a state of crisis, unsure of its proper function and direction. While traditional gamelan musical structures supported old Hindu-Javanese concepts of cosmology and kingship, modern innovations reflect Indonesian nationalism and a desire to become a "twentieth century nation." In particular, the introduction of Western musical notation, which Becker describes as "the most pervasive, penetrating, and ultimately the most insidious type of Wester...
Between Harmony and Discrimination: Negotiating Religious Identities within Majority-Minority Relationships in Bali and Lombok
Between Harmony and Discrimination explores the varying expressions of religious practices and the intertwined, shifting interreligious relationships of the peoples of Bali and Lombok. As religion has become a progressively more important identity marker in the 21st century, the shared histories and practices of peoples of both similar and differing faiths are renegotiated, reconfirmed or reconfigured. This renegotiation, inspired by Hindu or Islamic reform movements that encourage greater global identifications, has created situations that are perceived locally to oscillate between harmony and discrimination depending on the relationships and the contexts in which they are acting. Religious belonging is increasingly important among the Hindus and Muslims of Bali and Lombok; minorities (Christians, Chinese) on both islands have also sought global partners. Contributors include Brigitta Hauser-Schäublin, David D. Harnish,I Wayan Ardika, Ni Luh Sitjiati Beratha, Erni Budiwanti, I Nyoman Darma Putra, I Nyoman Dhana, Leo Howe, Mary Ida Bagus, Lene Pedersen, Martin Slama, Meike Rieger, Sophie Strauss, Kari Telle and Dustin Wiebe.
The Kecak and Cultural Tourism on Bali
"The Kecak is one of the most well-known dramatic dance performance practices on Bali. It is based on stories from the Old-Indian epic Ramayana, performed by an ensemble of male and female solo dancers and accompanied by a group consisting of approximately 100 men, who function both as musical accompaniment and living scenery that can be flexibly choreographed. Since its genesis in the 1930s the Kecak has been almost solely performed in a tourist context. This book gives a thorough analysis and description of the Kecak in its present form and explores how the Kecak became and stayed a tourist genre for more than 80 years. The book is divided into two parts. The first part focuses on the Kecak in its present form, including musical, choreographic, and dramatic elements. The connection between cultural tourism on Bali and Kecak performance practice is analyzed in detail, including the dependency between tourism professionals and artists and ways of promoting the kecak. Tourists' perspectives on the Kecak are addressed separately. The second part deals with the genesis and development of the Kecak from the 1930s onward"--
