The Artistic Representation of Globalization in the Electronic Media of West Java
Like other groups in Southeast Asia, the Kayan have elaborate death rituals. The traditional Kayan religion ( adat Dipuy) was characterized by ritual head-hunting, animal omens, and a multiplicity of taboos. In the 1940s, a prophet revealed a new religion ( adat Bungan) in Central Borneo, with particular success in the Baluy area. In its initial stage, adat Bungan was a radical rejection of the old religion. However, in just a few years, a kind of counter-reformation occurred, led by aristocrats and priests, who reinstated most of the old rituals in a simplified and less onerous form.
Chinese Foreign Policy Elites Discuss Emerging Trends in International Politics
Edited by SHAO Binhong
2013 was China’s first year under new leadership, and there is a consensus amongst researchers of China’s international affairs that the diplomatic practices China undertook to a great extent demonstrated new characteristics, perspectives, and requirements of the new leadership.
Herman L. Beck
:199). Vice-chairman Fachruddin energetically engaged in realizing the aims of the Muhammadiyah, the reformation and strengthening of Islam in Central Java, as had not yet been done before him (Bakker 1925:163). This apparently implied a harsh anti-colonial and anti-Christian stance. As long as Ahmad Dahlan
The Language and Affect of Belief
reformation in Botswana . Berkeley: University of California Press.
divided into two parts: Adat Dipui, the Kayan religion practiced prior to the adoption of Bungan, and Adat Bungan, a religious reformation that gained credibility from the claim that it was a return to an earlier religion which had been corrupted by the deity for which Adat Dipui was named. Baling wrote
Cross-gender dance in East Java has captivated me as a strategy that performers use to negotiate multiple ideas about manhood and womanhood as well as tensions between official ideologies and social realities, expectations about performers’ onstage personas and offstage lives, and competing aesthetic sensibilities. Drawing on ethnographic fieldwork in the regency of Malang and analysis of performers’ verbal discourse, I address issues of the body, perception, agency, and senses of self, foregrounding performers’ insights into their practices’ meanings, the cultural impact they have as artists, and reasons behind multiple perceptions of gender. To examine relationships between larger cultural forces and performers’ views, I use generation as an analytical framework. I consider performers in three generations – the 1940s-1960s, the 1970s-1990s, and the 1990s to the present. That these generations correlate closely to three political periods in Indonesian history – Old Order (1945-1965/6), New Order (1966-1998), and Reformation Era (1998-present) – has led me to make three related arguments. First, the political and cultural climate has affected the discourse through which musicians and dancers expressed their perceptions about the performance of gender. Second, performers have rearticulated larger cultural and political discourses in their own ways, thereby asserting their own senses of gender. Third, performers have affected the political and cultural climate by pushing at the boundaries of maleness and femaleness onstage and in their daily lives, making on- and offstage spaces fluid and complementary sites of cultural and ideological production.
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Ahmad Nuril Huda
’s film policies and practices interferes with the spirit of the Reformation era. Exploring issues through the lens of cinematic practices, the author exposes elements of the struggle of Indonesian society to define its collective identity and social reality after the fall of the dictator Soeharto