Papers (Part 1)

• Metamorphoses: Re-Appropriation of a Greek Myth by the Royal Ballet of Cambodia Suppya Helene Nut French National Institute for Oriental Languages and Civilizations

  The paper aims to examine the re-appropriation of a Greek mythology by the Royal Ballet of Cambodia. It marked the first collaboration of Princess Norodom Buppha Devi as choreographer with one of the most famous and inspiring figure Perseus. This 2018 project was the first example of intercultural theatre concerning appropriation across lines for the Cambodian national troupe. This re-appropriation was creative process and succeeded to mix the strict codification of court theatre (character types, melodies and gestures) with the authenticity of the narrative.

  I argue that the result went much beyond the seeming cross-fertilization. The choreographer succeeded to create layered narratives that reflected issues of cultural and identity in Cambodia. She turned the adventures of Perseus to an allegory of the traditional imaginary Cambodian world, the humans, the gods and the fabulous animals. The Princess herself explained: « I can see the possibility of adapting this story, because in ancient Greece, people venerated gods as we do. »

• Tango Argentino on Bali?! Researching an Expat Minority Culture Kendra Stepputat Kunstuniversität Graz

  Tango argentino is a cosmopolitan genre, that has its roots in the delta of the Rio de la Plata between Argentina and Uruguay, but is practiced today in almost every city around the world in countries where economic stability allows for such a hobby, 'Western' performing arts are politically and culturally accepted, and physical contact in public between man and woman, woman and woman, man and man, are officially allowed and not culturally frowned upon. This includes parts of Southeast Asia; for instance urban hubs like Kuala Lumpur, Jakarta, Bangkok or Manila have lively tango argentino scenes. On Bali, tango argentino can be practiced in Seminyak and in Ubud, both heavily frequented tourist areas. Each year a tango festival is organized, that lures a national and international crowd of dancers to Bali, to dance socially, learn from renown tango teachers and watch performances.

  Who dances tango argentino on Bali and why? This seemingly simple research question has led into a complex of follow-up questions, tapping into issues of expat cultures and communities on Bali, tourism and the "appeal of exoticism" as well as economic exploitation of a cliché, both in relation to Bali, the "paradise island" and tango argentino, the "most passionate dance".

  Contents and interpretation of my presentation are based on fieldwork in the tango argentino scene on Bali, insights into Balinese performing arts and cultural tourism I gathered during the research for my PhD about the kecak, as well as my knowledge of the international tango argentino scene as an active dancer for more than a decade.

Papers (Part 2)

• Cicadas or Cockroaches? European-Southeast Asian Intercultural Performance Process and Production Catherine Diamond Soochow University

  The Institut Francais and Goethe Institute are among the main European government agencies promoting and fostering local arts in SE Asia. They have been active in supporting the development of certain performing troupes in lieu of local funding. They arrange for their own artists to come to the region to perform, lecture and collaborate, as well as to bring SE Asian artists to their countries to perform. They also subsidize groups that use theatre, puppetry, music, and dance to address social and environmental concerns such as sanitation, ethnic tolerance, and deforestation. They are major facilitators of intercultural work in the SE Asian region, yet such collaborations often reveal cultural difference more than commonality—both in the creative process and in the aesthetics of the final performance.

  I present a general overview of Franco-German sponsorship in the SE Asian region—starting with a sublime performance “Silence of the Insects,” witnessed in Bangkok 2015 to more problematic collaborations in Malaysia, Laos, Taiwan, and Indonesia. I have previously written about the difference between collaborations initiated and carried out by the artists themselves, and those initiated by third parties such as the institutes whose financial incentives can overshadow artistic ones for the cash-strapped SE Asians. The economic disparity between the European and SE Asian participants means that the former usually dictate the parameters of the performance and more subtly influence its resulting aesthetic qualities.

• Islam, Art, and the Streets: Intercultural Identities in Yogyakarta Jenifer Goodlander Indiana University

  Arts scholar and activist Doris Sommer argues that critical thinking “is both a condition of and a complement to art-making.” She draws from the theories of Friedrich Schiller to make the bold statement that “interpreters are cultural agents who explore art as the greatest renewable resource for addressing the world’s fundamental challenges of disease, violence, and poverty.” (2013, 10-11). My work draws from ethnographic methods to explore the role of critical thinking and arts practices for social development, especially around religious expression and identity--arts making and discourses about the arts and society are inextricably linked and complementary.

  This paper will be based on field research in Indonesia from approximately May 12-June 8, 2019. This period is ideal to study the intersections of religion, art, and community because it intersects with the important Muslim holiday of Ramadhan (which will be approximately May 4- June 4 in 2019). The observance of Ramadhan incorporates many arts and performances that stress Muslim identities and themes within the context of Islamic piety enacted through generosity. In spite of the holiday - artists and art spaces remain active, involving both local and foreign artists. This paper will examine how these different identities collide and complement in order to better understand intercultural formation and interactions in Indonesian art.

Abstract

Keywords

• Art
• Identity