美国民众如何看待爪哇和巴厘的表演艺术?

Rafngi Mufidah, D. Puguh, S. T. Sulistiyono
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摘要

宣布独立后,印度尼西亚必须处理其民族认同的问题。这是关于民族文化,特别是艺术的辩论。由于印尼拥有多种多样的传统艺术,这场辩论陷入了两难境地。许多人不同意传统艺术是否成为民族认同。与此同时,印尼的传统艺术,特别是爪哇和巴厘岛的传统艺术,也得到了国外的欣赏。在苏加诺执政期间,印尼派出了几个艺术代表团向世界展示自己。他们表演的大多是来自爪哇和巴厘岛等几个地区的传统艺术。本研究以史学方法探讨爪哇与巴厘在美国的表演艺术。重要的是,从1950年代到1960年代,印度尼西亚不得不适应冷战,冷战迫使发展中国家在其外交政策中选择西方集团或东方集团。直到20世纪60年代初,印尼还倾向于与东方集团站在一起。随后,出现了与另一个集团站在一起的趋势。因此,本文分析了两个时代之后美国对爪哇和巴厘岛表演艺术的反应。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
How the Public in the US Responded to Javanese and Balinese Performing Arts?
After declared independent, Indonesia had to deal with the question of its national identity. It was pertaining to the debate on the national culture, particularly arts. As Indonesia had diverse traditional arts, the debate was a dilemma. Many people disagreed if the traditional arts became the national identity. Meanwhile, Indonesian traditional arts, especially Javanese and Balinese ones, had been appreciated abroad. During Sukarno's regime, Indonesia sent several art missions to present itself to the world. They performed mostly traditional arts from several regions, including Java and Bali. By employing the historical method, this study aims to discuss Javanese and Balinese performing arts shows in the United States. It is of importance that from 1950s to 1960s, Indonesia had to adapt to the Cold War, which forced the developing countries to choose the Western or Eastern bloc in their foreign policy. Until the beginning of the 1960s, Indonesia tended to be with the Eastern bloc. Subsequently, there was a tendency to be with the other bloc. Therefore, in this article the response to the Javanese and Balinese performing arts shows in the US after two eras was analyze.
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