Rachmi Diyah Larasati
- Published in print:
- 1969
- Published Online:
- August 2015
- ISBN:
- 9780816679935
- eISBN:
- 9781452948577
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816679935.001.0001
- Subject:
- Anthropology, Social and Cultural Anthropology
Larasati elucidates the complex, often paradoxical relationships between the dancing body and the Indonesian state since 1965. In the brief period from late 1965 to early 1966, approximately 1 ...
More
Larasati elucidates the complex, often paradoxical relationships between the dancing body and the Indonesian state since 1965. In the brief period from late 1965 to early 1966, approximately 1 million Indonesians, including a large percentage of the country’s musicians, dancers, and artists were killed, arrested, or disappeared as then-general Suharto took control of the nation, implanting his “New Order” regime, which would rule for the next thirty years. Looking back on the New Order from the context of the present, Larasati interrogates the specific ways in which female dancing bodies have been dealt with by the state: vilified, punished, then replaced with idealized, state aligned bodies. Drawing on critical ethnography and the theorization of dance as methodological approaches, the book analyses the relationship of corporeal punishment and the political economics of display to cultural production in the context of East-West cultural exchange, tourism, state diplomatic “culture missions,” and world/ ethnic dance as defined by its peripheral relationship to Europe and the US. Within this framework, Larasati seeks to expand understandings of the moving, dancing body as deployed by state power: a dual-edged rhetorical strategy that enacts the erasure of historical violence, while simultaneously providing access to mobility and a certain space for the negotiation of identity and female citizenship.Less
Larasati elucidates the complex, often paradoxical relationships between the dancing body and the Indonesian state since 1965. In the brief period from late 1965 to early 1966, approximately 1 million Indonesians, including a large percentage of the country’s musicians, dancers, and artists were killed, arrested, or disappeared as then-general Suharto took control of the nation, implanting his “New Order” regime, which would rule for the next thirty years. Looking back on the New Order from the context of the present, Larasati interrogates the specific ways in which female dancing bodies have been dealt with by the state: vilified, punished, then replaced with idealized, state aligned bodies. Drawing on critical ethnography and the theorization of dance as methodological approaches, the book analyses the relationship of corporeal punishment and the political economics of display to cultural production in the context of East-West cultural exchange, tourism, state diplomatic “culture missions,” and world/ ethnic dance as defined by its peripheral relationship to Europe and the US. Within this framework, Larasati seeks to expand understandings of the moving, dancing body as deployed by state power: a dual-edged rhetorical strategy that enacts the erasure of historical violence, while simultaneously providing access to mobility and a certain space for the negotiation of identity and female citizenship.
Rachmi Diyah Larasati
- Published in print:
- 1969
- Published Online:
- August 2015
- ISBN:
- 9780816679935
- eISBN:
- 9781452948577
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816679935.003.0005
- Subject:
- Anthropology, Social and Cultural Anthropology
Chapter five critically explores the potential for agency among various groups of nationally and internationally mobilized female “labor”–including state dancers and expatriate academics–through the ...
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Chapter five critically explores the potential for agency among various groups of nationally and internationally mobilized female “labor”–including state dancers and expatriate academics–through the theoretical lens of Aihwa Ong’s “flexible citizenship” and the concept of privileged “free trade zones” for certain classes of workers abroad.Less
Chapter five critically explores the potential for agency among various groups of nationally and internationally mobilized female “labor”–including state dancers and expatriate academics–through the theoretical lens of Aihwa Ong’s “flexible citizenship” and the concept of privileged “free trade zones” for certain classes of workers abroad.
Rachmi Diyah Larasati
- Published in print:
- 1969
- Published Online:
- August 2015
- ISBN:
- 9780816679935
- eISBN:
- 9781452948577
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816679935.003.0001
- Subject:
- Anthropology, Social and Cultural Anthropology
Chapter one analyzes the Cold War-inspired massacres of up to one million accused communists in Indonesia in 1965-67 during the rise of president Suharto’s “New Order” regime. Further, it explains ...
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Chapter one analyzes the Cold War-inspired massacres of up to one million accused communists in Indonesia in 1965-67 during the rise of president Suharto’s “New Order” regime. Further, it explains and questions the regime’s particular targeting of female dancers, artists, and members of Gerwani, a progressive, proto-feminist women’s organization.Less
Chapter one analyzes the Cold War-inspired massacres of up to one million accused communists in Indonesia in 1965-67 during the rise of president Suharto’s “New Order” regime. Further, it explains and questions the regime’s particular targeting of female dancers, artists, and members of Gerwani, a progressive, proto-feminist women’s organization.
Rachmi Diyah Larasati
- Published in print:
- 1969
- Published Online:
- August 2015
- ISBN:
- 9780816679935
- eISBN:
- 9781452948577
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816679935.003.0003
- Subject:
- Anthropology, Social and Cultural Anthropology
Chapter three examines strategic transmission of “folk” dance technique within villages and family compounds as a coded distribution of alternate historical narratives. Entering the context of ...
More
Chapter three examines strategic transmission of “folk” dance technique within villages and family compounds as a coded distribution of alternate historical narratives. Entering the context of national display or global arts organizations like Smithsonian and UNESCO, such forms become commodified, yet potentially function to sublimate otherwise suppressed political perspectives.Less
Chapter three examines strategic transmission of “folk” dance technique within villages and family compounds as a coded distribution of alternate historical narratives. Entering the context of national display or global arts organizations like Smithsonian and UNESCO, such forms become commodified, yet potentially function to sublimate otherwise suppressed political perspectives.
Rachmi Diyah Larasati
- Published in print:
- 1969
- Published Online:
- August 2015
- ISBN:
- 9780816679935
- eISBN:
- 9781452948577
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816679935.003.0004
- Subject:
- Anthropology, Social and Cultural Anthropology
Chapter Four employs detailed ethnographic descriptions of traditional dance in the context of diplomacy and aid in Cambodia. Unlike Indonesia, because the genocide under Pol Pot was condemned by the ...
More
Chapter Four employs detailed ethnographic descriptions of traditional dance in the context of diplomacy and aid in Cambodia. Unlike Indonesia, because the genocide under Pol Pot was condemned by the anti-communist international community, the commoditized, tourist-friendly national forms are generally viewed as a critical commemoration and triumph over political violence.Less
Chapter Four employs detailed ethnographic descriptions of traditional dance in the context of diplomacy and aid in Cambodia. Unlike Indonesia, because the genocide under Pol Pot was condemned by the anti-communist international community, the commoditized, tourist-friendly national forms are generally viewed as a critical commemoration and triumph over political violence.
Rachmi Diyah Larasati
- Published in print:
- 1969
- Published Online:
- August 2015
- ISBN:
- 9780816679935
- eISBN:
- 9781452948577
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816679935.003.0002
- Subject:
- Anthropology, Social and Cultural Anthropology
Chapter two interrogates the New Order’s post-1965 cultural reconstruction as a form of ideological domination and self-legitimation: the commemoration of a set of depoliticized, “ancient” national ...
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Chapter two interrogates the New Order’s post-1965 cultural reconstruction as a form of ideological domination and self-legitimation: the commemoration of a set of depoliticized, “ancient” national traditions was strictly enforced, while recollections of mass murder and loss in the course of recent history were violently suppressed, effecting an “Amnesia Project.”Less
Chapter two interrogates the New Order’s post-1965 cultural reconstruction as a form of ideological domination and self-legitimation: the commemoration of a set of depoliticized, “ancient” national traditions was strictly enforced, while recollections of mass murder and loss in the course of recent history were violently suppressed, effecting an “Amnesia Project.”
Christina Adamou
- Published in print:
- 2013
- Published Online:
- January 2015
- ISBN:
- 9780719082399
- eISBN:
- 9781781707302
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719082399.003.0005
- Subject:
- Film, Television and Radio, Television
This chapter offers an analysis of the aesthetics and meanings within This One and That One (Εκείνος και… Εκείνος), a satirical drama series from the era of the Colonels’ dictatorship, drawing on ...
More
This chapter offers an analysis of the aesthetics and meanings within This One and That One (Εκείνος και… Εκείνος), a satirical drama series from the era of the Colonels’ dictatorship, drawing on surviving fragments of the only remaining episode (‘The Egg’) and interviews with its author. Despite its Beckettian character, based on surreal dialogues between its two characters and minimalist aesthetics, the author argues that the series was surprisingly popular because, in an era of strict television censorship, its form allowed it to smuggle an implicit message of opposition to the status quo past the censors. She shows that open meanings laden with metaphor that could be read as mocking social convention enabled the series to challenge officially-sanctioned expectations about work, discipline, thrift and anti-communism, and argues that the series remains a unique, experimental object and represents an important site for cultural resistance.Less
This chapter offers an analysis of the aesthetics and meanings within This One and That One (Εκείνος και… Εκείνος), a satirical drama series from the era of the Colonels’ dictatorship, drawing on surviving fragments of the only remaining episode (‘The Egg’) and interviews with its author. Despite its Beckettian character, based on surreal dialogues between its two characters and minimalist aesthetics, the author argues that the series was surprisingly popular because, in an era of strict television censorship, its form allowed it to smuggle an implicit message of opposition to the status quo past the censors. She shows that open meanings laden with metaphor that could be read as mocking social convention enabled the series to challenge officially-sanctioned expectations about work, discipline, thrift and anti-communism, and argues that the series remains a unique, experimental object and represents an important site for cultural resistance.
