POINTS
FOR DEVELOPMENT BY STUDENTS
1.
Outside towns, most performance is ritual rather than social: there is a
ceremonial function, it is not simply for entertainment.
2.
Staged performance often encourages group conformity, but can be a protest by a
small group against the state: there may be anti-government jokes in wayang; or
tayubans may be held without permission.
3.
With the exception of the female singer-dancers, most performers are not
professional and do not expect to earn a living from their craft. In palace
contexts, it is considered shameful to exchange performance for money: one
should dance as an honour, not for commercial gain.
4.Commercialisation
however is coming in, and there is a fine borderline between living and new
traditions. Balinese shadow theatre is being produced in short forms in English
or Japanese for tourists; Javanese palace dancers perform in stately homes for
elite tour groups, and rehearsals at palaces are open to tourists. Professional
female dancers who can earn a living from tayuban are being discouraged. Instead
they are enjoined to perform in acceptable state-sponsored performance venues.
5.
When people talk about authenticity, they are often taking about recent
traditions, which serve ideological interests -- at the level of the state, or
of particular groups, ethnic or otherwise. Performance plays an important role
in both self definition and cultural definition. Authenticity can demonstrate
the dominance of one ethnic group over another: Javanese over Sumatran, etc.
BIBLIOGRAPHY AND
FURTHER READING
Shelf marks refer to the main library, University of Wales Swansea.
I Made Bandem 1995 Balinese dance in transition [GV1703 B3 BAN]
V M Clara van Groenendael 1985 The dalang behind the wayang [HN710 J2 GRO]
Coville 1989 ‘Centripetal ritual in a decentered world' in SD Russell & CE Cunningham (eds) Changing lives, changing rites [HN703CHA]
K Foley 1985 ‘The dancer and the danced: trance dance and theatrical performance in West Java' Asian Theatre Journal 2,1 [Library photocopy 391]
K Foley (ed.) 1992 Essays on Southeast Asian performing art Chs by K Foley and R Trimillos [Foley : ask FHF; Library photocopies: 1270]
A Hobart 1987 Dancing shadows of Bali Chs 1 and 5 [HN710 B2 HOB]
F Hughes-Freeland 1993 ‘Golek Menak and Tayuban' in (ed) B Arps Performance in Java and Bali, also Ch by J Hellwig [HN710 J2 PER]
F Hughes-Freeland 1997 'Consciousness and performance' Social Anthropology 5,1:55-68 [HN1 S511]
F. Hughes-Freeland 2001 ‘Dance, dissimulation and identity in Indonesia’ in (eds) J Hendry and CW Watson An anthropology of indirect communication
E MAMD Nor 1993 Zapin: folk dance of the Malay world [HN761 M2 MOH]
SA Ness 1992 Body, movement, and culture: kinesthetic and visual symbolism in a Philippine community [GV1796 S57 NES]
J Peacock 1968 Rites of modernisation [HN710 J2PEA]; see also JL Peacock/H Bouvier ‘Ludruk revisited: an epistolatory interview with JL Peacock' [Library photocopy 392]
A Rein 1998
'Dancing Rejang and being maju
['progressive'] Canberra Anthropology
21,1: 63-83 [Library photocopy 91]
Tan Sooi Beng 1993 Bangsawan: A social and stylistic history of popular Malay opera [HN761 M2 TAN]
S Yamashita 1994 'Manipulating ethnic tradition: the funeral ceremony, tourism, and television among the Toraja of Sulawesi' [Library photocopy 1272]
Reading for level three students
1995 Bijdragen 151, 4: performance in Southeast Asia [HN1 B34]
J Brandon 1974 Theatre in South East Asia [HN663 BRA]
H Bouvier 1995 'Clowning about modernization in Madurese theatre' [Library photocopy 1262]
J Emigh 1996 Masked performance (sections on Bali) [HM873 EMI]
E van Erven 1992 The playful revolution Chs 1-3 & 8 PN2860 ERV]
H Geertz (ed) 1991 State and society in Bali Chs by Vickers & Geertz [HN713 STA]
K Heider 1991 Indonesian cinema: national culture on screen [PN1993 5 I84 HEI]
F Hughes-Freeland 1997 'Balinese on television: representation and response', pp 120-138 in (eds) M Banks and H Morphy, Rethinking Visual Anthropology [HM747 RET]
F Hughes-Freeland 1998 'From temple to television: the Balinese case' in (eds) F. Hughes- Freeland and M. Crain Recasting Ritual[HM873 REC]
F Hughes-Freeland 1992 'Representation by the Other', pp 242-256, in (eds) PI Crawford & D Turton, Film as Ethnography [HM747 FIL]
F Hughes-Freeland 1997 'Art and politics' J. Roy Anth. Instit. 3,3.
P Kitley 2000 Television, nation and culture in Indonesia [on order]
R McVey 1986 'The wayang controversy in Indonesian Communism' in( eds) R Taylor & M Hobart Context, power and meaning [DS509 3 CON];
P Nilan 2001 ‘Representing culture and politics (or is it just entertainment?): watching Indonesian TV in Bali RIMA 34,1:119-82
LJ Sears 1996 Shadows of Empire: colonial discourse and Javanese tales Ch 6 [Library photocopy 1271]
R Schechner 1993 ‘Wayang kulit in the colonial margin' in The future of ritual [HM863 SCH]
K Sen 1995 Indonesian cinema: framing the New Order [PN1993 5 I84 SEN]
N J Smith-Hefner 1992 ‘Boundaries of the text.' Pacific Affairs 65,3 [DS1 P11]
A Vickers (ed) 1996 Being modern in Bali Chs by Vickers, Picard, DeBoer [DS647 B2 BEI]
B de Zoete 1973 Dance and drama in Bali [Folios GV 1703 B3 ZOE]