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One of the world's most intensively studied societies, Bali has hosted scholars and writers as renowned as Margaret Mead, Gregory Bateson, Miguel Covarrubias, Fred Barth, and Hildred and Clifford Geertz. Staying Local in the Global Village is part of a continuing tradition in which Balinese and foreign scholars reflect on the processes of transformation that link Bali to Indonesia and the world beyond. The chapters in this volume are based on research carried out in the early 1990s, when Suharto's New Order still enjoyed widespread legitimacy in Indonesia. Even then, political consensus in Bali was weakened by the inhabitants' view of themselves as an exploited minority of Hindus in a nation dominated by Islamic Javanese. As this book reveals, the ambivalent positioning of Balinese vis-à-vis the national and the global in recent decades has been played out in many different spheres of life. Contributors take up a number of themes that reflect different articulations of the local throughout the twentieth century. Early chapters provide a bird's-eye view of the public culture, local history, definitions of "Balinese-ness," and political struggles over land and sacred space. Later chapters explore specific aspects of Balinese participation in the transformations associated with the tourism-dominated provincial economy, the growth of communications and mass media, and the incursions of the nation-state trough its imperatives of economic development and rationalist discourses. New forms of traditional hegemony, status struggles over the priesthood, contestation about cultural authenticity by marginal groups within the island itself, women's work, the performing arts, and television watching, are all considered in this light, providing a highly nuanced and "local" perspective of global processes in Bali. Contributors: Linda Connor, Mark Hobart, Brett Hough, Graeme MacRae, Ayami Nakatani, Michel Picard, I Gde Pitana, Thomas Reuter, Raechelle Rubinstein, Putu Suasta, Margaret Wiener
A collection of re-evaluative essays on Marshall McLuhan and his critical and theoretical legacy; from intellectual adventurer creating a complex architecture of ideas to cultural icon standing in line in Woody Allen's Annie Hall.
What makes a particular performance 'great'? The Greatest Shows on Earth offers an address that focuses sharply on theatre as performance: as an event that can stir the blood, the spirit and the brain like nothing else. The result is a book about fourteen outstanding theatre events from a dozen countries. In discrete, production-focused chapters, work from Peter Brook's King Lear through to the Sydney Olympics Opening Event is approached by a team of international scholars and practitioners, each describing in print that which existed in time and space and, most significantly, within specific contexts. What binds these chapters together is the conviction that whilst liveness disappears in a moment, spectatorship can translate into documentation that adds something to a work's value ... even as so much else can never be captured in words. In wrestling with ephemerality and memory, The Greatest Shows on Earth does more than make a case for what makes certain theatre great, it foregrounds analysis with emotion and writing with the type of first-person engagement that is usually edited out rather than invited in. John Freeman lectures in Performance Studies at Curtin University, Perth, Western Australia. He has written extensively on theatre, art, pedagogy and research for numerous international journals, newspapers, magazines, books, government and funding agencies, galleries, festivals and consultancy panels. The Greatest Shows on Earth is his fifth book.
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.
For decades almost the only social scientists who visited Indonesia’s provinces were anthropologists. Anybody interested in politics or economics spent most of their time in Jakarta, where the action was. Our view of the world’s fourth largest country threatened to become simplistic, lacking that essential graininess. Then, in 1998, Indonesia was plunged into a crisis that could not be understood with simplistic tools. After 32 years of enforced stability, the New Order was at an end. Things began to happen in the provinces that no one was prepared for. Democratization was one, decentralization another. Ethnic and religious identities emerged that had lain buried under the blanket of the New Order’s modernizing ideology. Unfamiliar, sometimes violent forms of political competition and of rentseeking came to light. Decentralization was often connected with the neo-liberal desire to reduce state powers and make room for free trade and democracy. To what extent were the goals of good governance and a stronger civil society achieved? How much of the process was ‘captured’ by regional elites to increase their own powers? Amidst the new identity politics, what has happened to citizenship? These are among the central questions addressed in this book. This volume is the result of a two-year research project at KITLV. It brings together an international group of 24 scholars – mainly from Indonesia and the Netherlands but also from the United States, Australia, Germany, Canada and Portugal.
Ethnomusicologists have journeyed from Bali to Morocco to the depths of Amazonia to chronicle humanity's relationship with music. Margaret Sarkissian and Ted Solís guide us into the field's last great undiscovered country: ethnomusicology itself. Drawing on fieldwork based on person-to-person interaction, the authors provide a first-ever ethnography of the discipline. The unique collaborations produce an ambitious exploration of ethnomusicology's formation, evolution, practice, and unique identity. In particular, the subjects discuss their early lives and influences and trace their varied career trajectories. They also draw on their own experiences to offer reflections on all aspects of the field. Pursuing practitioners not only from diverse backgrounds and specialties but from different eras, Sarkissian and Solís illuminate the many trails ethnomusicologists have blazed in the pursuit of knowledge. A bountiful resource on history and practice, Living Ethnomusicology is an enlightening intellectual exploration of an exotic academic culture.
Promoting an interdisciplinary examination of Indonesia, this volume goes beyond a mere political and legal approach to reconciliation. It offers new understandings of bottom-up reconciliation approaches and the cultural dimension of reconciliation.
Grounded in ethnographic and archival research on the Indonesian island of Bali, More Than Words challenges conventional understandings of textuality and writing as they pertain to the religious traditions of Southeast Asia. Through a nuanced study of Balinese script as employed in rites of healing, sorcery, and self-defense, Richard Fox explores the aims and desires embodied in the production and use of palm-leaf manuscripts, amulets, and other inscribed objects. Balinese often attribute both life and independent volition to manuscripts and copperplate inscriptions, presenting them with elaborate offerings. Commonly addressed with personal honorifics, these script-bearing objects may become partners with humans and other sentient beings in relations of exchange and mutual obligation. The question is how such practices of "the living letter" may be related to more recently emergent conceptions of writing—linked to academic philology, reform Hinduism, and local politics—which take Balinese letters to be a symbol of cultural heritage, and a neutral medium for the transmission of textual meaning. More than Words shows how Balinese practices of apotropaic writing—on palm-leaves, amulets, and bodies—challenge these notions, and yet coexist alongside them. Reflecting on this coexistence, Fox develops a theoretical approach to writing centered on the premise that such contradictory sensibilities hold wider significance than previously recognized for the history and practice of religion in Southeast Asia and beyond.
This book traces the particularities of music migration and tourism in different global settings, and provides current, even new perspectives for ethnomusicological research on globalizing musics in transit. The dual focus on tourism and migration is central to debates on globalization, and their examination—separately or combined—offers a useful lens on many key questions about where globalization is taking us: questions about identity and heritage, commoditization, historical and cultural representation, hybridity, authenticity and ownership, neoliberalism, inequality, diasporization, the relocation of allegiances, and more. Moreover, for the first time, these two key phenomena—tourism and migration—are studied conjointly, as well as interdisciplinary, in order to derive both parallels and contrasts. While taking diverse perspectives in embracing the contemporary musical landscape, the collection offers a range of research methods and theoretical approaches from ethnomusicology, anthropology, cultural geography, sociology, popular music studies, and media and communication. In so doing, Musics in Transit provides a rich exemplification of the ways that all forms of musical culture are becoming transnational under post-global conditions, sustained by both global markets and musics in transit, and to which both tourists and diasporic cosmopolitans make an important contribution.
This original and innovative book challenges many of our long-held assumptions about traditional Balinese religion. Drawing on data from visual art, mythology, esoteric texts, and public rituals, Michele Stephen identifies a core of important mystical themes at the heart of Balinese religion and demonstrates the striking parallels between these and Indian Tantric thought. Desire, Divine and Demonic begins with an introduction to the problems of defining mysticism in Bali, a discussion of prevailing scholarly views concerning the nature of Balinese religion, and a brief description of the link between art and religion in Balinese culture. What follows is an intriguing analysis of two series of paintings by contemporary Balinese artists I Ketut Budiana and I Gusti Nyoman Mirdiana, who specialize in mystical and mythological scenes.