@article{oai:minpaku.repo.nii.ac.jp:00004258,
 author = {山下, 晋司 and Yamashita, Shinji},
 issue = {1},
 journal = {国立民族学博物館研究報告, Bulletin of the National Museum of Ethnology},
 month = {Jul},
 note = {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},
 pages = {1--33},
 title = {「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},
 volume = {17},
 year = {1992},
 yomi = {ヤマシタ, シンジ}
}