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「劇場国家」から「旅行者の楽園」へ : 20世紀バリにおける「芸術 文化システム」としての観光
https://doi.org/10.15021/00004250
https://doi.org/10.15021/0000425066679e89-97ef-458e-b6d7-9b75e5cafc81
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
KH_017_1_001.pdf (3.0 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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| 公開日 | 2010-02-16 | |||||
| タイトル | ||||||
| タイトル | 「劇場国家」から「旅行者の楽園」へ : 20世紀バリにおける「芸術 文化システム」としての観光 | |||||
| タイトル | ||||||
| タイトル | From “Theatre State” to “Tourist Paradise” : An Analysis of Tourism as the Art Cultures Systems in Twentieth Century Bali | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | バリ｜観光｜芸能｜ナショナリズム｜歴史 | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Bali｜tourism｜art｜nationalism｜history | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| ID登録 | ||||||
| ID登録 | 10.15021/00004250 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
山下, 晋司
× 山下, 晋司 |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | In 1908 the royal family of Klungkung, the oldest and the last kingdom of Bali, by then part of Dutch East India, committed the to tourism. It aims to make a contribution to the historical anthropology of the Island as well as to the anthropology of tourism. The main part of the paper consists of four sections. The first section describes the birth of Bali as the "tourist paradise" in the 1920s to the 1930s. In this setting, the roles played in the old theatre state of Bali, such as those of sponsors (kings) , director (priests) and actors/audience (peasants) had to change drastically. Now the "theatre" acted as hosts to tourists within the colonial state. The second section pays special attention to the role of artists, scholars and anthropologists—Walter Spies, a German artist and musician, and Margaret Mead, the American anthropologist, among others—who stayed in Bali in the 1930s, and who helped creat the Western perception of Bali as the exotic, oriental "last paradise." Related to this, the third section examines the re-creation of traditional Balinese art—dance in particular—under the influence of the tourist, a Balinese version of the "invention of tradition" to quote Eric Hobsbawm. The final section analyses the present situation in which the "tourist paradise" has been transformed further into the "national park of beautiful Indonesia" as part of Indonesia's nation building process. Both tourism and nationalism necessarily empasise the beauty of the Indonesian nation, and particularly that of Bali as its foremost tourist attraction. By examining the Balinese cultural dynamics in relation to tourism, I am analysing the Balinese version of what James Clifford has called the "modern art -culture system." Following Clifford, I mean by the "artculture system" the way in which the West adopts, transforms and consumes non-Western cultural elements. In the twentieth century, objects from "primitive" societies have been re-evaluated both as "works of arts" by artists (and also, importantly, by tourists) , and as "scientific cultural materials" by anthropolgists. In this system artists, tourists and anthropologists play complementary and in some ways, similar, roles, each in establishing the "authenticity" of cultures. It is within this modern art-culture system that the Balinese tourism is embedded. In other words, as is the case with museums which Clifford analyses, it is this modern system which the anthropology of tourism must really analyse. In this sense the anthropology of tourism must be the anthropology of modernity and/or of post-modernity. The Balinese case considered here is just one example which demonstrates this thesis. puputan, mass suicide, by marching helplessly and almost in a state of trance against the invading Dutch colonial army. It was literally the death of negara, the theatre state of nineteenth-century Bali, analysed by Clifford Geertz. After the old state died out, however, Bali was discovered by Western pioneer tourists and was reborn again as "the last paradise" under the Dutch colonial regime. By the 1930s Balinese tourism was well developed, to the extent that in 1931 Miguel Covarrubias, a Mexican artist and traveller and the writer of the now classic Island of Bali wrote of the Island: "we were disappointed; the tourist rush was in full swing." After a break during the World War II and following the Indonesian Independence Revolution period, tourism in Bali reappeared again in the late 1960s as part of the development policy of the government of the independent Republic of Indonesia. It goes without saying that the Island has now gained worldwide fame as an international tourist site. The number of tourists in 1991 is reported as amounting to over 600,000. This paper describes the historical transformation of Bali from the nineteenth-century "theatre state" to the twentieth-century "tourist paradise," and examines the dynamism of Balinese culture with reference |
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| 書誌情報 |
国立民族学博物館研究報告 en : Bulletin of the National Museum of Ethnology 巻 17, 号 1, p. 1-33, 発行日 1992-07-31 |
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| 出版者 | ||||||
| 出版者 | 国立民族学博物館 | |||||
| 出版者（英） | ||||||
| 出版者 | National Museum of Ethnology | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 0385-180X | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN00091943 | |||||
| 著者版フラグ | ||||||
| 出版タイプ | VoR | |||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
