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E-RESOURCE

Title Contemporary Balinese dance spectacles as national ritual [electronic resource] / Brett Hough.

Published Clayton, Vic. : Monash University Press, 1992.
Dates of Publication 1992.

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 UniM INTERNET resource    AVAILABLE
Physical description 40 p.
Summary The New Order period has been characterised by State intervention in cultural production throughout the archipelago. The co-option or appropriation of specific ethnic cultural forms to a national context appears to be a conscious effort by the State to enhance its own position and promote its economic and social programmes of development. Seen within a framework of ideological control, particularly in terms of creating a national identity, there is a general process of "homogenising" and "sanitising" of cultural expression. Certain forms are chosen as being representative of a group and then appropriated out of their specific context ( decontextualised) to become part of the national culture 'as matters of kesenian, or ethnic art'. As part of that recontextualising process the forms have to be sanitised (i.e. divested of any elements which may offend those outside the form's original context, as well as, of 'any potentially dangerous political ideas') and then developed in accordance with current notions of Indonesian (or Balinese/ Javanese/Batak, etc) identity. The process is complex, problematic and at times seemingly contradictory. Research among a number of ethnic groups indicates a dialectical process of having to 'invent a notion of "having a culture"' and then define it within the context of a modern nation state that is in turn seeking to define itself in terms of 'unified diversity'. In a simplified manner the process is twofold, that is of finding those elements of ethnic traditions which can be seen as being representative of the group (i.e. pan-Balinese, -Batak, - Torajan, etc) and then further finding among those elements those which can also be considered pan-Indonesian. Such a process involves exclusion, codification, and "sanctification". The process necessitates excluding other forms, or versions of a dance, song, style of dress, and so on, then codifying the acceptable form in such a way that it can be easily reproduced, and finally "sanctified" by inclusion within, among other things, official ceremonies, compilations (books, recordings, T.V. programmes, etc) of ethnic and national culture, and educational curricula.| n this paper I will discuss the process of appropriation and recontextualisation of cultural forms within rituals of state as one means of maintaining and reinforcing ideological control. The use of music, dance, stylised gesture and language in such rituals is a very potent means of conveying to those involved the message or agenda of a given ritual's sponsor. Modern nation states, like Indonesia, have at their disposal considerable economic and institutional resources allowing for the production of exceptionally grand and dazzling ritual displays.
Other formats Also available in printed form.
Reproduction Report-Series Melbourne, Vic RMIT Publishing 2011.
Other author Monash University. Centre of Southeast Asian Studies.
Monash University. Monash Asia Institute.
Subject Dance -- Political aspects -- Indonesia.
Politics and culture -- Indonesia.
Indonesia -- Cultural policy.
ISBN 0732604141