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Balinese Art versus Global Art Adrian Vickers
Jurnal Kajian Bali (Journal of Bali Studies) Vol 1 No 2 (2011): BALI DALAM GLOBALISASI DAN GLOKALISASI
Publisher : Pusat Kajian Bali Universitas Udayana

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Abstract

AbstractThere are two reasons why “Balinese art” is not a global art form, firstbecause it became too closely subordinated to tourism between the 1950sand 1970s, and secondly because of confusion about how to classify“modern” and “traditional” Balinese art. The category of ‘modern’ artseems at first to be unproblematic, but looking at Balinese paintingfrom the 1930s to the present day shows that divisions into ‘traditional’,‘modern’ and ‘contemporary’ are anything but straight-forward. Indismantling the myth that modern Balinese art was a Western creation,this article also shows that Balinese art has a complicated relationship toIndonesian art, and that success as a modern or contemporary artist inBali depends on going outside the island.
Bali Membangun kembali Industri Pariwisata: 1950-an Adrian Vickers
Jurnal Kajian Bali (Journal of Bali Studies) Vol 3 No 2 (2013): PARIWISATA BALI DAN WARISAN BUDAYA
Publisher : Pusat Kajian Bali Universitas Udayana

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AbstractThe period of nation-building following Indonesia’sindependence is still little documented. The creationof Bali’s tourist industry during the colonial period isbetter documented that the re-creation of the industry inthe post-War period. This period is important because itwas Balinese who became the main agents of the rebornindustry. The industry was built on three main pillars, theprovision of accommodation, the creation of souvenirsthrough the “Artshops”, and the creation of itineraries.Building on the remnants of the colonial period, Balineseresponded to interactions with a number of key Westernfigures, using them as guides to Western tastes and needs.Although the strategy of “Cultural Tourism” is usuallyascribed to the Suharto era, it was a product of Balineseagency in the period between 1950 and 1971.