バリ島村落社会における芸能集団の組織化とその実践 : アダットとビスニスを中心に(<特集>文化人類学の現代的課題)
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概要
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特集文化人類学の現代的課題論文はじめに1. 芸能による名声の獲得と観光市場への参入2. ビスニス : その錯覚の構造と両義性3. 芸能の実践母体スカとその組織上の特色4. 芸能におけるアダットとビスニスの活動5. 金銭的利害をめぐる衝突と文化的自己反省おわりに付記This paper examines the on-going process of cultural self-reflexivity in Balinese village society by analyzing art performance activities. The field data collected in a village I call P which is a mecca for tourists who enjoy performing arts (performing arts is one of the core representation elements of "Balinese Culture") suggests that the villagers of Bali have never been passive to the development of tourism on the island since the colonial era. On the contrary, they have actively sought to enter into the growing tourist market by organizing themselves as art performance groups-seka. The seka has been organized in accordance with local traditional criteria and engaged in commercial activities. The number of seka has been on rise, especially rapidly since the 1980s, following the increase of tourists. Today's phenomena called "Cultural Involution" or "Balinization" is rather a consequence of the local people's intentional involvement in Capitalism by manipulating "Balinese Culture" in the eyes of tourists for their monetary benefit. In P village, people divide and exe cute their wide-ranging performance activities by using two categories, bisnis (i.e., commercial activities intended for profit making for oneself) and adat (i. e., local customary practices), which are opposed to each other in their everyday discourse on art performance. These two forms of practice show striking contrast, in terms of aesthetic value placed upon, emphasis on individual artistic skills, and the method of money distribution among the members of seka, for instance. Moreover, the practice of art performance by local groups is characterized by conflicts arising from money troubles, where adat has been objectified and redefined as tradition opposed to bisnis. I instantiate this process of reconstructing social practice of art performance, which reflects active incorporation into the capitalist economy, by making reference to seka's social organization, localizing concept of art, and their relations with cultural policies.