KENDRA STEPPUTAT is Assistant Professor and currently Head of the Institute of Ethnomusicology at the University of Music and Performing Arts (KUG) Graz (Austria).
Inhaltsangabe
Introduction Part 1: the Presence Chapter 1. Kecak -- The Music Rhythmic structures: juru klempung, juru gending (first part), pola cak Intermission: scales in kecak Melodic elements: juru gending (second part), juru tembang, and pangalang The lead: juru tarek and dalang Use of stage space by the jurus and pengecaks Chapter 2. Kecak -- The Dance Movements of the pengecak group Genre influences on the solo characters' movements Balinese dance characterization: halus, keras, and kasar The solo characters' individual dance styles Choreomusical interrelations between pengecaks and soloists in music and dance Chapter 3. Kecak -- The Drama Ramayana kakawin Ramayana adaptations in Balinese performing arts The kecak compromise: stage design, story, entrances The Kecak Ramayana " Kepandung Sita" kecak performance Chapter 4. The Social Organization of Kecak Aims and structures of kecak organizations and groups The members of a kecak group Teaching a kecak group Performance quality and performance quantity Chapter 5. Kecak -- The Tourist Performance The study of tourism and culture The development of cultural tourism on Bali Kecak in cultural tourism Tourists' perspectives The authenticity issue Some concluding remarks on kecak in tourism Part 2: The History Chapter 6. From Sanghyang Dedari to Kecak Ritual structures Musical structures Dance structures S anghyang dedari in the early twenty-first century Performing sanghyang dedari on film and on stage Sanghyang dedari in performance at the end of the twentieth century Chapter 7. The First Kecak 1931: Kecak in "Insel der Dämonen"? 1926 to 1931: Changes in setting, choreography, and music Related kecak experiments in the 1920s and 1930s: Janger 1935: Kecak documented by Vicki Baum Villages and organizations: Bedulu and Bona Balinese artists: I Wayan Limbak and I Nengah Mudarya Expatriates: Walter Spies and Katharane Mershon Colonial power structures Who created the kecak? Chapter 8. Almost a Century of Kecak 1930s-1940s: Kecak becomes a tourist attraction Development in Bona and Bedulu Early tourists' conceptions of the kecak During and after the Second World War: Kecak deadlocked After the coup d'état and political persecution: Kecak standardization The early twenty-first century: The Bali bombings An alternative kecak approach: Kecak kreasi Some concluding remarks: Does the kecak have a future? Appendixes 1. Kecak dan Wisata Budaya di Bali (Indonesian Summary) 2. Kecak Groups of Bali in 2000-2001 (Badung and Gianyar) 3. Facsimile of a letter from Walter Spies to Leo Spies, 1932 Glossary Bibliography Index
Introduction Part 1: the Presence Chapter 1. Kecak -- The Music Rhythmic structures: juru klempung, juru gending (first part), pola cak Intermission: scales in kecak Melodic elements: juru gending (second part), juru tembang, and pangalang The lead: juru tarek and dalang Use of stage space by the jurus and pengecaks Chapter 2. Kecak -- The Dance Movements of the pengecak group Genre influences on the solo characters' movements Balinese dance characterization: halus, keras, and kasar The solo characters' individual dance styles Choreomusical interrelations between pengecaks and soloists in music and dance Chapter 3. Kecak -- The Drama Ramayana kakawin Ramayana adaptations in Balinese performing arts The kecak compromise: stage design, story, entrances The Kecak Ramayana " Kepandung Sita" kecak performance Chapter 4. The Social Organization of Kecak Aims and structures of kecak organizations and groups The members of a kecak group Teaching a kecak group Performance quality and performance quantity Chapter 5. Kecak -- The Tourist Performance The study of tourism and culture The development of cultural tourism on Bali Kecak in cultural tourism Tourists' perspectives The authenticity issue Some concluding remarks on kecak in tourism Part 2: The History Chapter 6. From Sanghyang Dedari to Kecak Ritual structures Musical structures Dance structures S anghyang dedari in the early twenty-first century Performing sanghyang dedari on film and on stage Sanghyang dedari in performance at the end of the twentieth century Chapter 7. The First Kecak 1931: Kecak in "Insel der Dämonen"? 1926 to 1931: Changes in setting, choreography, and music Related kecak experiments in the 1920s and 1930s: Janger 1935: Kecak documented by Vicki Baum Villages and organizations: Bedulu and Bona Balinese artists: I Wayan Limbak and I Nengah Mudarya Expatriates: Walter Spies and Katharane Mershon Colonial power structures Who created the kecak? Chapter 8. Almost a Century of Kecak 1930s-1940s: Kecak becomes a tourist attraction Development in Bona and Bedulu Early tourists' conceptions of the kecak During and after the Second World War: Kecak deadlocked After the coup d'état and political persecution: Kecak standardization The early twenty-first century: The Bali bombings An alternative kecak approach: Kecak kreasi Some concluding remarks: Does the kecak have a future? Appendixes 1. Kecak dan Wisata Budaya di Bali (Indonesian Summary) 2. Kecak Groups of Bali in 2000-2001 (Badung and Gianyar) 3. Facsimile of a letter from Walter Spies to Leo Spies, 1932 Glossary Bibliography Index
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