Youkongpun 2017 01Thesis.Pdf (3.764Mb)

Total Page:16

File Type:pdf, Size:1020Kb

Youkongpun 2017 01Thesis.Pdf (3.764Mb) The Role of Community-based Media in Strengthening, Preserving and Promoting Identity and Culture: A Case Study of Eastern Thailand Author Youkongpun, Pisapat Published 2017 Thesis Type Thesis (PhD Doctorate) School School of Humanities, Languages and Social Science DOI https://doi.org/10.25904/1912/2856 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/365572 Griffith Research Online https://research-repository.griffith.edu.au The Role of Community-based Media in Strengthening, Preserving and Promoting Identity and Culture: A Case Study of Eastern Thailand Pisapat Youkongpun M Arts (Hons) School of Humanities, Languages and Social Sciences Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy August 2016 ABSTRACT This thesis analyses the role of community-based media in the Riverside community, an old and scenic location in Chanthaburi, Eastern Thailand. After being razed by conflagration and flood, the community has been regenerated by promoting itself as a cultural tourism destination. This community has started to produce its own media, and to use a wide range of media to promote itself to the nation. This study aims to test the various nuances to Habermas’s (1989) concept of the single public sphere represented by the dominant mass media. While the mainstream media act decisively in dealing with issues relating to subordinated groups in every part of the world, community-based media are already deeply implicated in representing the multiple public spheres, which are more preferable in a community environment. Community media are community resources to disseminate highly local community matters and interests. One hundred face-to-face survey participants from a community of one hundred households provide a distinctive research result which thoroughly represents the Riverside community residents and their thoughts on community-based media in their community. By exploring the role of locally produced community media, this study explains the roles the media play in community identity reinforcement, identity promotion, and also community transformation in the Thai public sphere. STATEMENT OF ORIGINALITY This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. (Signed)_____________________________ Pisapat Youkongpun TABLE OF CONTENTS CHAPTER ONE: INTRODUCTION Introduction …………………………………………………………….......... 1 Significance of the study …………………..……………………………........ 2 Scope of the thesis ………………………………………………..................... 5 Previous research …………………………...…………………...................... 5 Central research question and purposes …………………………………… 7 Theoretical considerations: the notion of the public sphere and the media 7 The concept of the public sphere ……………………………………………… 8 The failure of mass media as the public sphere ……………………...……….. 10 Rethinking the public sphere ………………………………………………….. 12 The Thai public sphere ………………………………………………………... 16 Thesis structure ……………………………………………………………. 19 Summary ………………………………………...………………………….... 21 CHAPTER TWO: COMMUNITY AND IDENTITY Introduction …………………………………………………………….......... 23 Community ………………………………………………………………....... 24 Concepts of community ……………………………………………...…........... 24 Media and construction of communities ……………………………...………. 27 Communities and the media’s geographic territory …………………...……... 32 Thai community ……………………………………………….......................... 34 Community development and participation in Thailand ……...…..................... 37 The role of Thai community leaders ……………………………....................... 39 Identity …………………………….................................................................. 41 Community identity ……………………………................................................ 42 Summary ………………...………………………………………………….... 48 CHAPTER THREE: COMMUNITY-BASED MEDIA Introduction ………………………………………………………………...... 51 Community media definitions ………………...…………………………….. 52 Characteristics of community-based media ………………………………... 53 The role of community media ………………………………………...…….. 57 Community-based media role in promoting cultural tourism ………………… 60 Participation in community media in Thailand ………………………….... 64 Community-based media discourse: traditional and new ………...………. 70 Traditional media ……………………………………………………………... 71 New media ………...……………………………….………………………….. 75 Social media ……………………………………….…………………… 80 Citizen journalism ………………………………………………………. 83 Hyperlocal journalism …………………………………...……………... 88 Summary …………………………………………………………………....... 92 CHAPTER FOUR: SOUTHEAST ASIAN MEDIA OVERVIEW Introduction ……………………………………………...………………....... 95 ASEAN ……………………………………………………………….............. 95 Thailand in ASEAN …………………………………………………………. 97 Media and communication in ASEAN ……………………………………... 99 ASEAN media challenges ……………………………………………...……. 102 Press freedom, media monitoring and freedom of media expression in Southeast Asia ………………………………………………………………... 111 Community-based media in Thailand and other Southeast Asian countries ………………………………………………………………............ 116 Challenges of community-based media in Southeast Asian countries …… 124 The growth of new media in the ASEAN sense …………………...……….. 129 Summary ………………………………………………………………........... 133 CHAPTER FIVE: RESEARCH DESIGN Introduction ……………………………………...………………………....... 136 Combination of quantitative and qualitative research ……………...…...... 137 Case study ………………………………………………………………......... 139 Case study selection: the Riverside community and population …….......... 141 The Riverside community information…………………………...……………. 142 Reimagining the Riverside community for tourism …………………...………. 146 Methods of data collection ………………………………………................... 152 Short questionnaire-based surveys by door knocking method ……................... 152 In-depth interviews and key informants ……..................................................... 157 Published information and documentary material ……..................................... 160 Observation and field notes ……........................................................................ 161 Data treatment …….......................................................................................... 163 Delimitations and limitations …….................................................................. 163 Summary ……………………………………………………………..…….... 166 CHAPTER SIX: FINDINGS Introduction ………………………...……………………………………....... 168 Community identity ………………………………………...……………….. 170 The Riverside community’s sense of self ……………………………………… 170 The unique history and story ……………………………...……………. 172 Natural features ………………………………………………………… 174 Culture ……………………...…………………………………………... 175 Sources of community pride …………………………………………….. 177 Community-based media ……………………………………………………. 179 Community-based media activities among the Riverside community residents …………………………………………...………………………….. 179 Community produced media …………………………………………………... 180 Non-community produced media ………………………………...…………… 183 Community-based media with different aspects ………………………………. 186 Comparison of media uses ……………………………...…………………….. 188 Information provided by community-based media ……………………………. 189 New media communication in the Riverside community …………...…….. 190 Community suggestions and perceptions of the role of community-based media ……………………………………………………………………….. 199 Community-based media participation among the Riverside community residents ………………………………………………………………………. 202 Community-based media overviews …………………………………..…… 206 Media produced by community members ……………………………………... 206 Community-based new media ……………………………………..................... 214 Media supported by the government ………………………...…………........... 216 Commercial media ……………………………………..................................... 217 Summary …………………………………..……………………………….... 218 CHAPTER SEVEN: ANALYSIS AND DISCUSSION Introduction ………………………………………………………………...... 221 Analysis of community-based media in the Riverside community ……...... 222 Influential media in the community ……………………………………............ 224 Challenging the mainstream ……………………………………...................... 227 Analysis of new media activities …………………………………….............. 232 Hyperlocal in the Riverside community ………………………………...…….. 239 Analysis of community-based media participation ………………………... 240 Community-based media difficulties ……………………………………...... 248 The Riverside community public sphere …………………………………… 251 The role of community-based media in the Riverside community ……...... 254 The role of community-based media in strengthening and preserving community identity ………...………………………………………………….. 255 The role of community-based media in promoting community identity (tourism) ………………………………………………………………………. 258 Community-based media as community transformation: changing of community communication purpose …………………………………………... 260 Community-based media in the Riverside community and its limited role …… 262 Summary ……………………………………………..…………………….... 263 CHAPTER EIGHT: CONCLUSIONS AND RECOMMENDATIONS Introduction ……………………………………………...…………………... 266 Theoretical implications …………………………………………..….……... 274 Recommendations ……………………………………………...…................. 276 Summary ………………………………………………………...………........ 279 REFERENCES ………………………………………………………………. 281 APPENDICES ………………………………………………...……………... 304 LIST OF FIGURES Figure Page Figure 1: Administrative
Recommended publications
  • Glossary.Herbst.Bali.1928.Kebyar
    Bali 1928 – Volume I – Gamelan Gong Kebyar Music from Belaluan, Pangkung, Busungbiu by Edward Herbst Glossary of Balinese Musical Terms Glossary angklung Four–tone gamelan most often associated with cremation rituals but also used for a wide range of ceremonies and to accompany dance. angsel Instrumental and dance phrasing break; climax, cadence. arja Dance opera dating from the turn of the 20th century and growing out of a combination of gambuh dance–drama and pupuh (sekar alit; tembang macapat) songs; accompanied by gamelan gaguntangan with suling ‘bamboo flute’, bamboo guntang in place of gong or kempur, and small kendang ‘drums’. babarongan Gamelan associated with barong dance–drama and Calonarang; close relative of palégongan. bapang Gong cycle or meter with 8 or 16 beats per gong (or kempur) phrased (G).P.t.P.G baris Martial dance performed by groups of men in ritual contexts; developed into a narrative dance–drama (baris melampahan) in the early 20th century and a solo tari lepas performed by boys or young men during the same period. barungan gdé Literally ‘large set of instruments’, but in fact referring to the expanded number of gangsa keys and réyong replacing trompong in gamelan gong kuna and kebyar. batél Cycle or meter with two ketukan beats (the most basic pulse) for each kempur or gong; the shortest of all phrase units. bilah Bronze, iron or bamboo key of a gamelan instrument. byar Root of ‘kebyar’; onomatopoetic term meaning krébék, both ‘thunderclap’ and ‘flash of lightning’ in Balinese, or kilat (Indonesian for ‘lightning’); also a sonority created by full gamelan sounding on the same scale tone (with secondary tones from the réyong); See p.
    [Show full text]
  • Term-List-For-Ch4-Asian-Theatre-2
    Asian Theatre: India, China, Korea, Japan, Indonesia, & Cambodia Cultural Periods and Events Theatrical Developments Persons Aryan migration & caste system Natya-Shastra (rasas & the Bharata Muni & Abhinavagupta Vedic & Gandhara Periods spectator’s liberation) Shūdraka & Kalidasa Hinduism & Sanskrit texts Islamic invasions actor-manager (sudtradhara) Buddhism (promising what?) shamanic rituals jester (vidushaka) Hellenistic influence court entertainments with string-puller (sudtradhara) Classical Period & Ashoka Jester Ming sheng, dan, jing, & chou (meanings) Theravada & Mahayana wrestling & Baixi men & women who played across gender Gupta golden age impersonations, dances, & women who led troupes Medieval Period acrobatics, sword tricks Guan Hanqing Muslim invasions small plays of song and dance Tang Xianzu Chola Dynasty Pear Garden & adjutant Li Yu Early Modern Period plays Kan’ami & Zeami Mughal Empire red light districts with shite & shite-tsure (across gender), waki, Colonial Period with British East southern dramas & waki-tsure, & kyogen India Company variety show musicals chorus of 8 men, musicians, & onstage British Raj with one star singing per stagehand (kuroko) Dramatic Performances Act act Okuni Contemporary Period complex, poetic dramas onnagata Shang, Zhou, Qin, Han, Jin, kun operas with plaintive Chikamatsu Northern & Southern, Sui, Tang, music & flowing Danjuro I Song, Yuan, Ming, & Qing melodies/dancing chanter, 3 puppeteers per puppet, & Dynasties Beijing Opera (jingju) as shamisen player nationalist & communist rulers
    [Show full text]
  • The Origins of Balinese Legong
    STEPHEN DAVIES The origins of Balinese legong Introduction In this paper I discuss the origin of the Balinese dance genre of legong. I date this from the late nineteenth century, with the dance achieving its definitive form in the period 1916-1932. These conclusions are at odds with the most common history told for legong, according to which it first appeared in the earliest years of the nineteenth century. The genre Legong is a secular (balih-balihan) Balinese dance genre.1 Though originally as- sociated with the palace,2 legong has long been performed in villages, espe- cially at temple ceremonies, as well as at Balinese festivals of the arts. Since the 1920s, abridged versions of legong dances have featured in concerts organized for tourists and in overseas tours by Balinese orchestras. Indeed, the dance has become culturally emblematic, and its image is used to advertise Bali to the world. Traditionally, the dancers are three young girls; the servant (condong), who dances a prelude, and two legong. All wear elaborate costumes of gilded cloth with ornate accessories and frangipani-crowned headdresses.3 The core 1 Proyek pemeliharaan 1971. Like all Balinese dances, legong is an offering to the gods. It is ‘secu- lar’ in that it is not one of the dance forms permitted in the inner yards of the temple. Though it is performed at temple ceremonies, the performance takes place immediately outside the temple, as is also the case with many of the other entertainments. The controversial three-part classification adopted in 1971 was motivated by a desire to prevent the commercialization of ritual dances as tourist fare.
    [Show full text]
  • 04 Days Bali Exploration
    Booth no: 7H12 NATAS offer -200/- Per couple Tour Code: E3N-DPS Incredible Odyssey 04 Days Bali exploration Bali: Indonesia’s most famous island, is located to the west of Java in the Lesser Sunda Islands. It is world-renowned for its scenic rice terraces, fragrant cuisine, stunning beaches and a galore of culture and tradition. With its elaborate temples, endless coastline, some of the world's best coral reefs, waterfalls and retreats, Bali combines leisure and adventure, spiritual awakening and hard-partying all into one island that people from all over the world come to lose themselves in. The island boasts some of the best sunsets and sunrises, enough to captivate and entice you into never leaving this place. Home to the coral reefs of Tulamben, the mountain peaks of Kintamani, the beaches and scenic routes of Seminyak and Kuta, with ancient temples and traditional village life of Ubud, Bali's charm is boundless, as are its opportunities for fun. I T I N E R A R Y Day 01: ARRIVE BALI INTERNATIONAL FLIGHT + SUN SET TOUR D Arrive Bali airport and met by your English-speaking driver. Meet & greet and transfer to your land transport to reach your hotel for freshening up. Depending upon the landing time of your flight, we may proceed directly to Uluwatu for the majestic Sun set. Visit the Uluwatu temple or known as the rock cliff temple in the southern Bali islands. You will admire the beautiful view of sunset view and the Indian ocean. Further we will enjoy and be apart of the dance performance of Kecak dance near the temple.
    [Show full text]
  • Bali 1928: Gamelan Gong Kebyar Music from Belaluan, Pangkung
    Bali 1928: Gamelan Gong Kebyar Music from Belaluan, Pangkung, Busungbiu 2 Introduction 6 A Sketch of the Time Period of these Recordings 11 Emergence of Kebyar 29 The Balinese Gamelan Recordings from Bali, 1928: a track–by–track discussion: 33 Gamelan Gong Kebyar of Belaluan, Denpasar 46 Gamelan Gong Kebyar of Pangkung, Tabanan 50 Gamelan Gong Kebyar of Busungbiu, Northwest Bali 57 List of Silent Archival Films 58 Acknowledgments 61 References Cited and Further Readings * Glossary on Separate PDF File1 1 The spellings in this article follow modernized Balinese orthography of dictionaries such as Kamus Bali Indonesia, by I Nengah Medera et.al. (1990). Although this system was proposed as early as 1972 it has been applied irregularly in writings on the arts, but we have chosen to adhere to it so as to reflect a closer relationship to actual Balinese aksara ‘letters of the alphabet, language’. For instance, many words with prefixes frequently spelled pe or peng are spelled here with the prefixes pa and pang. 1 Introduction These historic recordings were made in 1928 as part of a collection of the first and only commercially–released recordings of music made in Bali prior to World War II. This diverse sampling of new and older Balinese styles appeared on 78 rpm discs in 1929 with subsequent releases for international distribution. The records were sold worldwide (or not sold, as it happened) and quickly went out of print. It was a crucial time in the island’s musical history as Bali was in the midst of an artistic revolution with kebyar as the new dominant style of music.
    [Show full text]
  • Event Detail
    SPECIAL EVENT FOR THE ASIA SOCIETY PHILIPPINES FOUNDATION AT THE BALI PURNATI CENTER FOR THE ARTS 1. WELCOME music is played for the arriving guests from Jalan Gunung Abang to the Purnati. 2. In the entrance area a white “wall” of fabric is a stage for a PUPPET SHADOW SHOW and puppet performers with attractions involving about10 children-actors. 3. Single BARIS Dance by a12 years old performer is followed by six KAKANG-KAKANG dancers coming down the stairs and dancing at the entrance area while guests enjoy a welcome drink 4. After finishing Kakang-Kakang the dancers are guiding the guests up the stairs followed by KODOK, twenty FROG DANCERS (wearing frog masks), guiding everyone through the gardens to the pool side for a cocktail party 5. The cocktail party is accompanied by a KERONCONG singer. The guests are then slowly lead by the pavilion to hear instrumental music similar to that composed for I La Galigo 6. Flute music for PAKARENA dance from Makassar and Pencak Silat (of South Sulawesi) is then coming from the amphitheatre, accompanied by traditional drums with new composition for this famous, traditional female dance with fans 7. A male traditional fire dance from Makassar, TUTU-PEPEKA RI MAKKAH is then performing on the wooden covers over the small river as guests are coming down from the amphitheater followed by a procession of musicians 8. Balinese BARONG dance is staged atop a small hill next to the pavilion 9. Barong is followed by BARIS GEDE Dance of ten male dancers at the amphitheater and the show is continued with a grand finale, a contemporary new dance that includes all the PAKARENA dancers 10.
    [Show full text]
  • Bali Introduction
    UNIMA CONGRESS & WORLD PUPPETRY FESTIVAL 13-19 APRIL 2020, GIANYAR-BALI INTRODUCTION The official Website of Indonesia Tourism. Bali is a popular tourist destination, which has seen a significant rise in tourists since the 1980s.Tourism-related business marks 80% of its economy. It is renowned for its highly developed arts, including puppetry, traditional and modern dance, sculpture, painting, leather, metalworking and music. In March 2017, TripAdvisor named Bali as the world's top destination in its Traveler's Choice award (source: Wikipedia) For further information, please visit the official website of Tourism Wonderful Indonesia: www.Indonesia.travel MAP OF BALI CONGRESS UNIMA Congress in Bali 2020 will be held at PRIME PLAZA HOTEL in Sanur Bali, 4-Star Hotel with 329 rooms (30 minute-drive from Ngurah Rai airport, Denpasar Bali) I.PROGRAM- CONGRESS –SEMINAR FESTIVAL • 13 April - Executive Committee Meeting • 13 April - Opening Ceremony at Astina Square • 14 to 18 April - Congress • 16 April - Gala Dinner (free of charge for the registered participants) • 17 April - Anniversary of Gianyar (Parade) • 17 April - Excursion • 18 April – 8:00-11:00 Congress 15:00-21:00 Seminar • 19 April: Seminar @ Indonesian Art Institute, Denpasar New Executive Committee meeting • 19th April - Closing Ceremony at Astina Square SEMINAR SEMINAR at Indonesian Art Institute Denpasar{ISI} The seminar theme: - Puppetry Uniting/Unifying People. - Puppetry as an Imagined Community or - Puppetry as Community of Hope . Possible sub themes include: 1. Affiliation, friendship, and love among puppeteers. 2. Conflict negotiation and resolution through puppetry. 3. Formulating and implementing multiculturalism and humanistic values through puppetry. 4. Puppetry in pursuit of world peace and universal communities.
    [Show full text]
  • Place Attachment, Place Identity and Tourism in Jimbaran and Kuta
    Place Attachment, Place Identity and Tourism in Jimbaran and Kuta, Bali Luh Micke Anggraini Thesis submitted to fulfil the requirements of the degree of Doctor of Philosophy Institute for Culture and Society University of Western Sydney July 2015 This thesis is dedicated to Bali and the Balinese people, and to the geographically bounded communities whose places have been exposed to tourism ii Acknowledgements Praise Ida Sang Hyang Widhi Wasa the Creator, the Universe, and the Sacred Spirits. Many people have made this study possible. One person who has been pivotal is my husband Gde Prasetiawan, for enriching my life in many ways, providing the opportunity for me to advance my knowledge by giving his kind agreement to undertake further education overseas (noting that this chance rarely happens to a married woman within a Balinese family). The journey that has brought me to this point began in 2006 when I studied my Masters in Tourism Planning at the University of Western Sydney lectured by Associate Professor Robyn Bushell, who is now also my Principal PhD Supervisor. Since then I developed much interest in the field of tourism planning, as this subject is also an important issue in tourism development in Bali and Indonesia. Robyn encouraged and supported me in the Australian Development Scholarship (Australia Awards Scholarship) application to undertake the PhD program in 2010, and eventually this scholarship brought me back to Australia. Her role in directing me to the research topic on values-based approach to tourism planning is significant, and I would say that this thesis was very much inspired by her scholarly works.
    [Show full text]
  • A Third Balinese Journal 1980 and 1983 Rosemary Hilbery Southeast
    A Third Balinese Journal 1980 and 1983 by Rosemary Hilbery Southeast Asia Paper No. 29 Southeast Asian Studies Center for Asian and Pacific Studies University of Hawaii 1986 ~ 1986 Rosemary Hilbery Published by the Southeast Asian Studies Program Center for Asian and Pacific Studies University of Hawaii at Manoa Honolulu, Hawaii ii Contents List of Illustrations v ~bp of Puri Saren Complex vi Glossary vii Foreword ix Introduction 3 Part I: 1980, The Second Cremation Ceremonies for Tjokorda Gde Agung Sukawati .5 Part II: J983, The Wedding of Tjokorda Gde Putra Sukawati and Tjokorda Istri Sri Tjandrawati. 29 Appendix: The Royal Wedding, Napi Orti Newspaper, Ubud, Bali 89 Hi List of Illustrations PART 1: 1980 The Purl Saren-the main gateway as seen from the outer courtyard 2 Man carrying coconuts 4 Two small offerings made by children 7 The Puri Saren as seen from the wantilan opposite 8 ~~ng molded rice offerings in the temple 10 1be Pergembal offering of rice cakes 13 1~oth filing 17 l)edandas praying on the high 18 Flooded rice fields at Campuan 22 1be back verandah of Agung's palace 24 Pemangku making offerings to the evil spirits 26 PART II: 1983 Pm offering of flowers and cakes 30 1be gateway from Agung's courtyard to the middle courtyard 32 The market at Ubud 34 A very large Balinese pig 40 Temple in the rice fields on the way to Saren 44 1be Baris Gde in the temple at Batur 46 P~gda and the Barong at Batubulan 50 A dancer in the Barong Dance at Batubulan 52 1be Barong displayed in the temple 54 ~Bn carrying a symbol in a cremation procession 58 1be Pura Saraswati at Sangsit 62 1be wedding invitation of Tj.
    [Show full text]
  • Music As Episteme, Text, Sign & Tool: Comparative Approaches To
    I would like to dedicate this work firstly to Sue Achimovich, my mother, without whose constant support I wouldn’t have been able to have jumped across the abyss and onto the path; I would also like to dedicate the work to Dr Saskia Kersenboom who gave me the light and showed me the way; Finally I would like to dedicate the work to both Patrick Eecloo and Guy De Mey who supported me when I could have fallen over the edge … This edition is also dedicated to Jaak Van Schoor who supported me throughout the creative process of this work. Foreword This work has been produced thanks to more than four years of work. The first years involved a great deal of self- questioning; moving from being an active creative artist—a composer and performer of experimental music- theatre—to being a theoretician has been a long journey. Suffice to say, on the gradual process which led to the ‘composition’ of this work, I went through many stages of looking back at my own creative work to discover that I had already begun to answer many of the questions posed by my new research into Balinese culture, communicating remarkable information about myself and the way I’ve attempted to confront my world in a physically embodied fashion. My early academic experiments, attending conferences and writing papers, involved at first largely my own compositional work. What I realise now is that I was on a journey towards developing a system of analysis which would be based on both artistic and scientific information, where ‘subjective’ experience would form an equally valid ‘product’ for analysis: it is, after all, only through our own personal experience that we can interface with the world.
    [Show full text]
  • “Mr. Tepis” to Balinese Topeng Masked Dance Theatre I Wayan
    71 I Wayan Dibia Experimenting the Modern Story “Mr. Tepis” to Balinese Topeng Masked Dance Theatre I Wayan Dibia, Taipei National University of the Arts, Taipei, Taiwan [email protected] © 2016 University of Malaya. All rights reserved. Malaysian Journal of Performing and Visual Arts, Volume 2, 2016 Abstract Topeng, one of Bali’s most important theatrical forms, has always been identified as a masked dance theatre enacting Balinese chronicles (babad). Some have perceived the babad story as the most essential element and the cultural identity of topeng more than the use of masks. Using the production of Topeng “Mr. Tepis” as a focus of discussion, this paper presents an artistic endeavor to experiment a modern story to Balinese topeng masked dance theatre. The primary goal of this paper is to show that introducing modern stories into traditional theatre such as topeng may change the old image of the art form without destroying its aesthetic principle and cultural identity. 1 The use of modern story may help topeng to maintain its popularity amidst the ever changing culture of Bali. Keywords: Wayang topeng, Topeng “Mr. Tepis”, Balinese theatre, masked dance, experimental theatre Introduction The island of Bali is home to various theatrical forms using masks. Presently, there are five major art forms featuring masks still actively performed on the island. This includes wayang wong (Ramayana masked dance drama), topeng masked dance theatre, barong dance drama, legong topeng dance, telek and jauk dance. Enacting stories derived from different resources, each form utilizes wooden masks representing different figures and characters, ranging from gods and spirits, to human beings, animals, and demons.
    [Show full text]
  • Barong Brutuk: Dance Tradition Trunyan
    Bali Tourism Journal (BTJ) 2017, Volume 1, Number 1, January-December: 12-16 P-ISSN. 2580-913X, E-ISSN. 2580-9148 Barong Brutuk: dance tradition Trunyan A.A. Ayu Ari Andriani1 ABSTRACT The island of Bali, not only offers beautiful tourist objects, but also tradition; deceased people is placed only under a tree. Also, Trunyan culture and traditions. Every culture activities that exist here could Village has an Ancient art known as Barong Brutuk. It is said, the be acted as a special attraction, for instance in Trunyan Village. ancient art even already existed before Hinduism enters to Bali. This place is a unique tourist destination, and famous of its funeral Keyword: Barong Brutuk, Trunyan, Bali Cite This Article: A.A. Ayu Ari Andriani, Barong Brutuk: dance traditional Trunyan. Bali Tourism Journal (BTJ)2017, 1 (1): 12-16 INTRODUCTION STORY OF BARONG BRUTUK Not everyone knows the ancient art of Barong Barong brutuk dance is a sacred dance that Brutuk is passed down through the generations by performs when Odalan Day in Pura Ratu Pancering the local ancestors. But if you hear about Barong Jagat. Barong Brutuk is unen - unen or guardian dance, almost everyone knows, even the tourists. of Bhatara Ratu Pancaring Jagat in the village of Many of them are interested to watch the Barong Trunyan. The old village known as Bali Aga does art performance in Batubulan, Ubud, and GWK.1 have some unique cultures and traditions, so it The type of Barong used is Barong Ket or ketet. serves as one of the mainstay attractions in Bangli Barong is one of the Balinese dance that allegedly Regency.
    [Show full text]