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In this book leading social scientists from many countries analyze the extent to which we are seeing a globalization of culture. Is a unified world culture emerging? And if so, how does this relate to existing cultural divisions and to the autonomy of the nation state? Differing explanations are offered for trends towards global unification and their relation to an economic world-system. Will the intensification of global contact produce increasing tolerance of other cultures? Or will an integrating culture produce sharper reactions in the form of fundamentalist and nationalist movements? The contributors explore the emergence of `third cultures', such as international law, the financial markets and media conglomerates, as
Indonesia, with its mix of ethnic cultures, cosmopolitan ethos, and strong national ideology, offers a useful lens for examining the intertwining of tradition and modernity in globalized Asia. In Inventing the Performing Arts, Matthew Isaac Cohen explores the profound change in diverse arts practices from the nineteenth century until 1949. He demonstrates that modern modes of transportation and communication not only brought the Dutch colony of Indonesia into the world economy, but also stimulated the emergence of new art forms and modern attitudes to art, disembedded and remoored traditions, and hybridized foreign and local. In the nineteenth century, access to novel forms of entertainment, such as the circus, and newspapers, which offered a new language of representation and criticism, wrought fundamental changes in theatrical, musical, and choreographic practices. Musical drama disseminated print literature to largely illiterate audiences starting in the 1870s, and spoken drama in the 1920s became a vehicle for exploring social issues. Twentieth-century institutions—including night fairs, the recording industry, schools, itinerant theatre, churches, cabarets, round-the-world cruises, and amusement parks—generated new ways of making, consuming, and comprehending the performing arts. Concerned over the loss of tradition and "Eastern" values, elites codified folk arts, established cultural preservation associations, and experimented in modern stagings of ancient stories. Urban nationalists excavated the past and amalgamated ethnic cultures in dramatic productions that imagined the Indonesian nation. The Japanese occupation (1942–1945) was brief but significant in cultural impact: plays, songs, and dances promoting anti-imperialism, Asian values, and war-time austerity measures were created by Indonesian intellectuals and artists in collaboration with Japanese and Korean civilian and military personnel. Artists were registered, playscripts censored, training programs developed, and a Cultural Center established. Based on more than two decades of archival study in Indonesia, Europe, and the United States, this richly detailed, meticulously researched book demonstrates that traditional and modern artistic forms were created and conceived, that is "invented," in tandem. Intended as a general historical introduction to the performing arts in Indonesia, it will be of great interest to students and scholars of Indonesian performance, Asian traditions and modernities, global arts and culture, and local heritage.
Global Modernities is a sustained commentary on the international character of the most microcosmic practices. It demonstrates how the global increasingly informs the regional, so deconstructing ideas like the `nation state′ and `national sovereignty′. The spatialization of social theory, hybridization and bio-politics are among the critical issues discussed.
Drawing on historical sociology, transnational histories and Asian traditions, Duara seeks answers to the pressing global issue of environmental sustainability.
At first glance, the remote villages of the Kabre people of northern Togo appear to have all the trappings of a classic "out of the way" African culture—subsistence farming, straw-roofed houses, and rituals to the spirits and ancestors. Arguing that village life is in fact an effect of the modern and the global, Charles Piot suggests that Kabre culture is shaped as much by colonial and postcolonial history as by anything "indigenous" or local. Through analyses of everyday and ceremonial social practices, Piot illustrates the intertwining of modernity with tradition and of the local with the national and global. In a striking example of the appropriation of tradition by the state, Togo's Kabre president regularly flies to the region in his helicopter to witness male initiation ceremonies. Confounding both anthropological theorizations and the State Department's stereotyped images of African village life, Remotely Global aims to rethink Euroamerican theories that fail to come to terms with the fluidity of everyday relations in a society where persons and things are forever in motion.
'Local Histories/Global Designs' is an extended argument about the '"coloniality' of power. In a shrinking world where sharp dichotomies, such as East/West and developing/developed, blur and shift, Walter Mignolo points to the inadequacy of current practices in the social sciences and area studies.
This brilliantly original book dismantles the underlying assumptions that drive the decisions made by companies and governments throughout the world, to show that our shared narrative of the global economy is deeply flawed. If left unexamined, they will lead corporations and countries astray, with dire consequences for us all. For the past fifty years or so, the global economy has been run on three big assumptions: that globalization will continue to spread, that trade is the engine of growth and development, and that economic power is moving from the West to the East. More recently, it has also been taken as a given that our interconnectedness—both physical and digital—will increase without limit. But what if all these ideas are wrong? What if everything is about to change? What if it has already begun to change but we just haven't noticed? Increased automation, the advent of additive manufacturing (3D printing, for example), and changes in shipping and environmental pressures, among other factors, are coming together to create a fast-changing global economic landscape in which the rules are being rewritten—at once a challenge and an opportunity for companies and countries alike.
Mapping Modernisms brings together scholars working around the world to address the modern arts produced by indigenous and colonized artists. Expanding the contours of modernity and its visual products, the contributors illustrate how these artists engaged with ideas of Primitivism through visual forms and philosophical ideas. Although often overlooked in the literature on global modernisms, artists, artworks, and art patrons moved within and across national and imperial borders, carrying, appropriating, or translating objects, images, and ideas. These itineraries made up the dense networks of modern life, contributing to the crafting of modern subjectivities and of local, transnationally inflected modernisms. Addressing the silence on indigeneity in established narratives of modernism, the contributors decenter art history's traditional Western orientation and prompt a re-evaluation of canonical understandings of twentieth-century art history. Mapping Modernisms is the first book in Modernist Exchanges, a multivolume project dedicated to rewriting the history of modernism and modernist art to include artists, theorists, art forms, and movements from around the world. Contributors. Bill Anthes, Peter Brunt, Karen Duffek, Erin Haney, Elizabeth Harney, Heather Igloliorte, Sandra Klopper, Ian McLean, Anitra Nettleton, Chika Okeke-Agulu, Ruth B. Phillips, W. Jackson Rushing III, Damian Skinner, Nicholas Thomas, Norman Vorano