Court dance in Java has changed from a colonial ceremonial tradition into a national artistic classicism. Central to this general transformation has been dance’s role in personal transformation, developing appropriate forms of everyday behaviour and strengthening the powers of persuasion that come from the skillful manipulation of both physical and verbal forms of politeness. This account of dance’s significance in performance and in everyday life draws on extensive research, including dance training in Java, and builds on how practitioners interpret and explain the repertoire. The Javanese case is contextualized in relation to social values, religion, philosophy, and commoditization arising from tourism. It also raises fundamental questions about the theorization of culture, society and the body during a period of radical change.
Inhoudsopgave
List of Figures and tables
Preface and Acknowledgements
A Note on Spelling and Other Matters
Abbreviations
Chapter 1. Introduction: Dance, Culture, and Embodiment
Chapter 2. Before the Nation: The Heyday of Court Dance
Chapter 3. From Colony to Nation: Dance in the Reign of Haengkubuwana IX
Chapter 4. Embodying Culture: Dance as Education
Chapter 5. Performance and Symbolism: Bedhaya and the Poetics of Power
Chapter 6. The Art of Dancing: Joged Matatam
Chapter 7. Changing Styles of Patronage: Tourism and Commoditization
Chapter 8. Conclusion: Embodies Communities in the Nation State
Appendices I
Appendices II
Appendices II
Glossary
Bibliography
Index
Over de auteur
Felicia Hughes-Freeland is an anthropologist and filmmaker. She is a Reader in Anthropology, Dept of Geography, School of the Environment and Society, Swansea University. She has done extensive research in Indonesia on Javanese dance over a period of nearly thirty years and her articles have been widely published. Her edited books and ethnographic films include Ritual, Performance, Media and The Dancer and the Dance.
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