Tourist destination Bali is internationally known for its dynamic culture and the resilience it has shown over the years with the increase of mass tourism from all corners of the globe. The...Show moreTourist destination Bali is internationally known for its dynamic culture and the resilience it has shown over the years with the increase of mass tourism from all corners of the globe. The Balinese people are often praised for their ability to adapt perfectly and at the same time not losing grip over their own cultural identity, despite the demanding environment due to the large influx of foreigners. The relatively new, yet popular philosophy of Tri Hita Karana (aspiring harmonious relationships) lies at the basis of the versatile attitude towards tourism of the Balinese people. The now omnipresent and most famous brands Facebook, Twitter, Instagram have worked their way into everyday life and have become a vast medium for the spread of information, entertainment and various other forms of content and are therefore widely represented in the tourist industry. It is through these social media networks that representations about a certain tourist destination are created and shared with a mass audience. Tourists often seek authentic experiences of traditional culture that are intensively promoted by government institutions, local tourist offices and other social media platforms such as travel blogs made by tourists from all over the world. “How does social media contribute to the construction of (staged) authenticity within Balinese culture and what is the significance of this in light of the Balinese philosophy Tri Hita Karana?”. The answer is best seen in the creation of the Kecak dance and the developments of the Tirta Empul temple. While the Kecak dance has been created as entertainment for tourists, it is very often presented as a traditional, cultural and historic performance, which becomes evident through the Instagram and travel blogs of tourists. The Balinese are thus effectively staging the dance as something authentic to their culture. However, it serves as good example of the Balinese Tri Hita Karana, by adapting in order to create a harmonious relationship between tourists and Balinese. Thus, one could in turn suggest that the Kecak dance can be seen as something authentic Balinese. The Tirta Empul temple is subject to the same process of harmonization, where tourists are allowed to enter and partake in the temple’s rituals. However, this temple is something inherently authentic, traditional, cultural, historic and sacred to Bali from the start, making the acceptance of unknowing tourists, who prioritize the aesthetic over substantive meaning, into this place a source of de-authentication. This also becomes clear when looking at the Instagram posts and travel blogs. Nevertheless, the same process of Tri Hita Karana that allows these tourists in this place, can be argued to turn such adaptation to foreigners into something authentically Balinese.Show less
Bujangga Manik is a fifteenth-century story from Sundanese-speaking West Java about an ascetic who travels around Java and Bali before ascending to heaven. Its central narrative trope, of narrating...Show moreBujangga Manik is a fifteenth-century story from Sundanese-speaking West Java about an ascetic who travels around Java and Bali before ascending to heaven. Its central narrative trope, of narrating the ascetic's journey through a recitation of place names, has no clear parallels in South Asian literature, and I argue that it derives from an ancient Malayo-Polynesian tradition, similar to what the anthropologist J. J. Fox named the 'topogeny'. I attempt to show this through a dissection of Bujangga Manik and detailed comparison with ethnographic data from the Malayo-Polynesian-(Austronesian-)speaking world.Show less
