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Performing for Tourists

Redefining Performances, Performers and Audiences

This book is about the culture of performing traditional dance, drama and musical forms for tourists, and is based on the research carried out at Ubud (Bali/Indonesia). This book argues that the achievements made by the custodians of the Balinese performance culture in Ubud need to be given a greater consideration because of: (a) existence and condition of traditional dance, drama and musical forms in several geo-cultural spaces throughout the world, (b) emergence of eco-cultural tourism, and (c) exigency of practising art and knowledge of performing and managing traditional dance and drama forms in changed social and cultural contexts.

This book argues that religious and cultural faith associated with certain traditional dance, drama and musical forms alone cannot help the later ones to flourish in their multiple forms. To carve out a secure future for such cultural art forms, individual talents need to invent and intervene from within.

This book makes a suggestion that the people of the Asian countries should not only live with feelings of sharing similar traditional art forms of the olden days but should also look at the present reality of the times when transformations are taking place in such traditional art forms because of the cross-cultural movements of people, especially those of the tourists.

Cover illustrations

Front: A moment when audiences find themselves intensely watching a performance.

: A moment when audiences find themselves intensely watching a performance.

Back: A board mentioning about the schedule for performance put in front of the Banjar building in the Monkey Forest area.

: A board mentioning about the schedule for performance put in front of the Banjar building in the Monkey Forest area.

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About This Book

This book is about the culture of performing traditional dance, drama and musical forms for tourists, and is based on the research carried out at Ubud (Bali/Indonesia). This book argues that the achievements made by the custodians of the Balinese performance culture in Ubud need to be given a greater consideration because of: (a) existence and condition of traditional dance, drama and musical forms in several geo-cultural spaces throughout the world, (b) emergence of eco-cultural tourism, and (c) exigency of practising art and knowledge of performing and managing traditional dance and drama forms in changed social and cultural contexts.

This book argues that religious and cultural faith associated with certain traditional dance, drama and musical forms alone cannot help the later ones to flourish in their multiple forms. To carve out a secure future for such cultural art forms, individual talents need to invent and intervene from within.

This book makes a suggestion that the people of the Asian countries should not only live with feelings of sharing similar traditional art forms of the olden days but should also look at the present reality of the times when transformations are taking place in such traditional art forms because of the cross-cultural movements of people, especially those of the tourists.

Cover illustrations

Front: A moment when audiences find themselves intensely watching a performance.

: A moment when audiences find themselves intensely watching a performance.

Back: A board mentioning about the schedule for performance put in front of the Banjar building in the Monkey Forest area.

: A board mentioning about the schedule for performance put in front of the Banjar building in the Monkey Forest area.

  • Binding: : Hardbound
  • 13 Digit ISBN : 9788124605431
  • 10 Digit ISBN : 8124605432
  • Edition : 1st edition
  • Year : 2010
  • Pages : xxi, 182 + [16] p.
  • Size : 23
  • Weight (approx.) : 500
  • Bibliographic Details : 16 pages of 25 coloured photographs; Glossary; Bibliography; Index

Preface 
Aknowledgements 
List of Illustrations
 
1. Route to Bali 

Traditional Dance, Drama and Tourists 
Framework 
Research Route to Bali 
Cross-cultural Theatre and Beyond 
Limitations 

2. Tourists, Researchers and the Ubudian Performance Culture

Tourists as Audience 
Glocal Ubud  
Balinese Performance Culture: Continuity and Change 
Images Bombed 
Performing for Gods and Tourists 
Economy of Performing for Tourists 
Performing a Research on Ubud's Performance Culture 

3. Makers and Maintainers of Images of Balinese Performance Culture

Balipedia and Tourism 
The Importance of Being Image Creators 
Kebyar Images of the Balinese Performance Culture
Locals as Image Maintainers 
Canonisers of Balinese Dance and Drama 
Old and New Images? 

4. Performing for Tourists: Blamed and Defended

History 
Performing for Tourists: Blamed 
Performing for Tourists: Defended 
Verities Happen 
Performing in a Different Manner  
Kecak Means Kecaks 
Changes but Slow 
Some Needed Transformations 

5. Past, Present and Future of the Culture of Performing for Tourists in Ubud

Tourism and the Ubudians 
The Past and the Present of Performing for tourists in Ubud
Banjar and Ubud's Performance Culture 
Abud as Zones of Learning 
Women Performers in Ubud 
University Graduates and Local Performers 
Future of Ubud's Performance Culture 

6. Redefining Audience, Performances and Performers

Tourist and the Performance Culture 
Problematics of Canon 
Anthropologists and Tourists 
Expatriates and Tourists 
Tourists of the Past and the Present 
Local Audience and Tourists 
Nature of Art and the Importance of Performing for Tourists
Performers and Tourists 

7. Performing for Tourists and Beyond 

Exigency of Performing 
Redefining Tourists, Performances and Artists 
But why Tourism? 
Traditional Performance Cultures in the Republic Nepal

Glossary  
Bibliography 
Index

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