Performing for Touri...
Performing for TouristsRedefining Performances, Performers and Audiences by: Shiva Rijal
The book is a study of traditional Balinese performance culture with special focus on dance and drama forms thriving in the present, their links with tourists, the economy of performing for tourists, and the role of state-run institutions in the performance culture.
Year Of Publication: 2010
Pages : xxi, 182
Bibliographic Details : 16 pages of 25 coloured photographs; Glossary; Bibliography; Index
Language : English
Binding : Hardcover
Publisher: D.K. Printworld Pvt. Ltd.
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.
Front: 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.
List of Illustrations
1. Route to Bali
Traditional Dance, Drama and Tourists
Research Route to Bali
Cross-cultural Theatre and Beyond
2. Tourists, Researchers and the Ubudian Performance Culture
Tourists as Audience
Balinese Performance Culture: Continuity and Change
Performing for Gods and Tourists
Economy of Performing for Tourists
Performing a Research on Ubuds 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
Performing for Tourists: Blamed
Performing for Tourists: Defended
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 Ubuds Performance Culture
Abud as Zones of Learning
Women Performers in Ubud
University Graduates and Local Performers
Future of Ubuds 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