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Dancing on the mass grave: Cultural reconstruction post Indonesian massacres.

机译：在万人冢上跳舞：印度尼西亚大屠杀后的文化重建。

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摘要

This writing analyzes how the post-1965 cultural reconstruction in Indonesia functioned as a form of domination to maintain control over women's cultural identity formation and how that has been reflected within performing arts in Indonesia. I will focus on how state narratives of the 1965-1966 massacres were reproduced in the society, both through sustained reproduction of a "fabricated memory" and through the suppression of any contesting or dissenting forms of memory by intimidation. In an effort to trace the interventions of the government into the lives and memories of civilians, we can explore their treatment of the female dancing body, which has been traditionally viewed as outside the realm of politics. I will examine state interventions into cultural practices to further discuss how state terror has been encoded in the female body. I address the state's appropriation of the female body during reconstruction as a manipulation of memory and will emphasize the paradox inherent within their response: on the one hand, demonizing and marginalizing the female dancing body and on the other hand offering a refined, state aligned body as an ideal representation of the nation. The performance of "Indonesian Dance" as a reconstruction of the identity of the nation state contributes to cultural and institutional amnesia of the historical violence and clearly systematizes erasure and the production of "replicas." Therefore, I would like to argue that the presence of a "nationalized dance form" functions locally as a form of violence to the body, and when presented on the global stage as part of the multiculturalism project becomes an extension of that violence, while solidifying the erasure and amnesia project of the Nation State.
机译：本书分析了1965年后印度尼西亚的文化重建如何作为一种统治形式来维持对女性文化身份形成的控制，以及印度尼西亚的表演艺术如何体现这一点。我将集中讨论如何通过持续复制“虚构的记忆”以及通过恐吓制止任何有争议或不同形式的记忆，来在社会中再现1965-1966年大屠杀的国家叙述。为了将政府的干预活动追溯到平民的生活和记忆中，我们可以探索他们对女性舞蹈机构的对待，而传统上，女性舞蹈机构被视为政治领域之外。我将研究国家对文化习俗的干预，以进一步讨论如何在女性体内编码国家恐怖。我将重建过程中国家对女性身体的挪用作为对记忆的操纵，并将强调其反应中固有的悖论：一方面，妖魔化和边缘化女性舞蹈身体，另一方面提供一种精致的，与状态保持一致的身体作为国家的理想代表。 “印度尼西亚舞蹈”作为民族身份重建的表演，有助于历史暴力的文化和体制性失忆，并明确地将擦除和“复制品”的生产系统化。因此，我想指出，“民族舞蹈形式”的存在在当地是对身体的一种暴力形式，当在全球舞台上作为多元文化主义项目的一部分出现时，就成为暴力的延伸，同时巩固了这种暴力。民族国家的消除和健忘项目。

著录项

  • 作者

    Larasati, Rachmi Diyah.;

  • 作者单位

    University of California, Riverside.;

  • 授予单位 University of California, Riverside.;
  • 学科 Anthropology Cultural.;Womens Studies.;Dance.
  • 学位 Ph.D.
  • 年度 2006
  • 页码 250 p.
  • 总页数 250
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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