Academic literature on the topic 'Modernism (Art) Indonesia'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Modernism (Art) Indonesia.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Modernism (Art) Indonesia"
1
Tan, Li Wen Jessica. "Unfinished Revolutions." Prism 18, no. 2 (October 1, 2021): 479–500. http://dx.doi.org/10.1215/25783491-9290688.
Full textAbstract:
Abstract This article examines Wei Beihua's modernist works, which have receded into the shadows of Sinophone Malayan (Mahua) literary history, in relation to Indonesian poet Chairil Anwar, to excavate a neglected route of transculturation at the height of Southeast Asia's nationalist movements during the 1950s. Unlike Anwar's modernist poems that thrive in Indonesia, Wei Beihua's works were considered outliers during a period when realist literature was deemed an effective tool for social mobilization in postwar Malaya. Nonetheless, it is critical for us to recognize that Wei Beihua did not reject realism or underestimate the role of literature in nation building. This article argues that Wei Beihua's idea of modernism is premised on an artist's affective and self-reflexive engagement with realism, which gives rise to a dialectical tension. The tension between his advocacy of an artist's individualism, which is inspired by Anwar, and the impetus of responding to nationalism manifests in his meta-fictional short stories that reflect on the varying motivations behind art creation. His works offer a productive perspective to reconsider the modernist artist's role during revolution and “the limits of realism” of revolutionary works when art was deemed integral to nation building in postwar Southeast Asia.
2
Bodden, Michael H. "‘Tradition’, ‘Modernism’, and the Struggle for Cultural Hegemony in Indonesian National Art Theatre." Indonesia and the Malay World 35, no. 101 (March 2007): 63–91. http://dx.doi.org/10.1080/13639810701233854.
Full text
3
Putra, I. Dewa Alit Dwija, and Sarena Abdullah. "Early Symptoms of Modernism in Traditional Balinese Painting Began in Northern Bali." Idealogy Journal 5, no. 2 (September 28, 2020): 59–72. http://dx.doi.org/10.24191/idealogy.v5i2.226.
Full textAbstract:
The history of significant changes in traditional Balinese art towards modern art took place in the 1930s in the village of Ubud, South Bali. Visual changes in Balinese art are unlike changes in modern art in the West or in Indonesian modern art. The visuals show a strong traditional style, although signs of modernity as this paper will argue, can be found. Modern Balinese art in Ubud in the 1930s actually started in North Bali in the 1870s. It was the role of two Dutchmen named Van der Tuuk and W.O.J. Nieuwenkamp, a linguist and academic artist, who contributed to the introduction of modern art to North Balinese artists. The interaction between the two Dutchmen and the local artists gave birth to arts that are slightly different from traditional arts in Bali. This paper will discuss the shift from traditional to modern painting done by Balinese artists in this early period that resulted in the transition of traditional to modern art through the changes in techniques and media; and themes and functions of these visuals. As such, this marks a shift from art that are no longer spiritual but lean more towards the profane.
4
Asmudjo J. Irianto. "Pameran Tunggal Syakieb Sungkar: Retro Expressionism, Painting Reenactment." Dekonstruksi 5, no. 01 (December 26, 2021): 156–70. http://dx.doi.org/10.54154/dekonstruksi.v5i01.83.
Full textAbstract:
Dalam estetika otonom modernis, seni lukis menduduki peranan utama, apa yang disebut seni rupa modern tak lain adalah seni lukis. Kendati setelah itu, seni lukis berkali-kali dinyatakan “mati”—karena kehadiran fotografi, seni instalasi, heppening art, performance art, dan new media art—namun seni lukis membuktikan dirinya dapat terus hidup dan berkembang. Ketika membahas lukisan-lukisan Syakieb Sungkar, Asmudjo J. Irianto mengatakan, pada dasarnya seni lukis menjadi bagian penting dalam praktik seni rupa kontemporer global, demikian pula yang tampak dalam seni rupa kontemporer Indonesia. Seni lukis tetap menjadi primadona.
5
Hakim, Lukman. "Conservative Islam Turn or Popular Islam? an Analysis of the Film Ayat-ayat Cinta." Al-Jami'ah: Journal of Islamic Studies 48, no. 1 (June 18, 2010): 101–28. http://dx.doi.org/10.14421/ajis.2010.481.101-128.
Full textAbstract:
This paper offers a film and cultural studies analysis of the Indonesian religious film Ayat-ayat Cinta. It examines the way in which the film represents Islam in the context of the globalisation of the media industry, the wider cultural transformation and religious context in Indonesia. This paper argues that the film Ayat-ayat Cinta represents “popular Islam”, which resulted from the interaction between the santri religious variants and the film industry, capitalism, market forces and popular culture in Indonesia. Santri religious variants in this film are rooted in traditionalist, fundamentalist, modernist, and liberal Islam in Indonesia, and those Islamic groups which have undergone a process of conformity with capitalism and popular culture. As a result, the representation of Islam in this film is pluralist, tolerant, and fashionable.
6
Tenzer, Michael. "One Fusion Among Many: Merging Bali, India, and the West through Modernism." Circuit 21, no. 2 (July 21, 2011): 77–100. http://dx.doi.org/10.7202/1005274ar.
Full textAbstract:
The relationship between world music traditions and modernist art music in the European tradition is often explored in composers’ musical fusions, but the motivations and aesthetics of such works often receive less notice than those grounded in post-modern (minimalist, popular music) approaches. In this essay the author asserts a particular relationship between rigorous modern composition technique and the highly rational patterning of Indonesian and Indian music, and follow this with analysis of Unstable Centre/Puser Belah (2003) a work composed for two simultaneous Balinese gamelan. The analysis demonstrates fusion at detailed levels of pattern and structure, but the article closes with a self-critical assessment of the venture.
7
Almagribi, Ahmad Bilal, and Muslimah Muslimah. "Implementasi Hubungan Ilmu, Budaya, dan Ekonomi pada Lembaga Pendidikan Islam Indonesia." Anthropos: Jurnal Antropologi Sosial dan Budaya (Journal of Social and Cultural Anthropology) 7, no. 1 (June 24, 2021): 28. http://dx.doi.org/10.24114/antro.v7i1.24265.
Full textAbstract:
ABSTRACTThis research is intended to find the relationship between science, culture, and economics as well as their implementation in Islamic education institutions (IEI). The method used is descriptive qualitative with literature review. The results showed that the relationship between science, culture and economy based on Koentjaraningrat’s cultural elements theory is general and specific, the elements of the knowledge system are the same as science and the livelihood system is the same as the economy. The seven elements of culture have been implemented in the IEI: (1) The language elements used are Indonesian, regional languages, Arabic, English, and other foreign languages. (2) The elements of the knowledge system in the IEI are leaning towards traditionalist or modernist currents. (3) The social organization elements in the IEI can be under the government or foundations with each institution having a member level. (4) Elements of technology owned by IEI consist of laboratories of various types and facilities of different quality at each location. (5) The element of livelihood at IEI is in the form of compulsory contributions, donations, baitul mals, cooperatives, or rental of business stalls. (6) The religious element in each IEI is of course based on Islamic teachings by providing opportunities for non-Muslims to study at several Islamic universities. (7) Art elements implemented by the IEI include calligraphy, tambourine, reading the Qur'an, speech, and nasheed.KEYWORDSScience, Culture, Economy, Implementation, Islamic Education Institution.
8
Hayat, Muhammad Jihadul. "Preaching Islamic Legal Rules on Screen: Conservatism on Islamic Family Law in Digital-Based Dakwah Program Mamah dan Aa Beraksi." Al-Jami'ah: Journal of Islamic Studies 60, no. 2 (November 29, 2022): 427–66. http://dx.doi.org/10.14421/ajis.2022.602.427-466.
Full textAbstract:
Conservatism on Islamic Law has been widely discussed by scholars, be it in printing media (such as fiqh works of traditional ulama, and Islamic self-help books) or in online media (such as on social media platforms containing Islamic dakwah). Their studies portray the diffusion of conservative Islamic thought from one media to another. However, among existing works, it can be said that there has not been much discussion about how this conservatism is transmitted by a mubalig (Muslim preacher) particularly about Islamic law. Considering the function of a preacher in Indonesia is significant because has long been the main mouthpiece of Islamic teaching, this paper discussed the conservatism of Islamic family law in the Mamah dan Aa Beraksi preaching program. By using qualitative content analysis, this paper argues that the sermons in the Mamah dan Aa Beraksi contain conservative view of Islamic family law. This conservatism is indicated by the sermons which tends to refer to traditional fiqh with a gender bias characteristic. This conservatism seems latent through the way the lecturers present her fatwa using short textual interpretations that represent traditional thinking more than modernism. [Konservatisme Hukum Islam telah banyak dibicarakan oleh para ulama, baik di media cetak (seperti literatur karya fikih ulama tradisional, dan buku swabantu Islami) maupun di media online (seperti di platform media sosial yang memuat dakwah Islam). Kajian mereka mempotret difusi konservatisme pemikiran Islam dari satu media ke media lainnya. Namun, di antara karya-karya yang ada, dapat dikatakan bahwa belum banyak pembahasan tentang bagaimana konservatisme itu ditransmisikan oleh seorang mubalig khususnya tentang hukum Islam. Mengingat fungsi mubalig di Indonesia cukup signifikan karena telah lama menjadi corong utama ajaran Islam kepada masyarakat, tulisan ini bertujuan untuk membahas konservatisme Hukum Keluarga Islam dalam program Mamah dan Aa Beraksi. Dengan menggunakan analisis isi kualitatif, tulisan ini berpendapat bahwa ceramah dalam program Mamah dan Aa Beraksi mengandung konservatisme Hukum Keluarga Islam. Konservatisme ini terlihat dari materi ceramah yang cenderung mengacu pada fikih tradisional dengan ciri bias gender. Konservatisme ini tampak laten melalui cara penceramah memaparkan argumentasi hukumnya dengan menggunakan interpretasi secara tekstual yang singkat, nan lebih merepresentasikan pemikiran tradisional daripada modernis.]
9
Bustamam-Ahmad, Kamaruzzaman. "The History of Jama‘ah Tabligh in Southeast Asia: The Role of Islamic Sufism in Islamic Revival." Al-Jami'ah: Journal of Islamic Studies 46, no. 2 (December 26, 2008): 353–400. http://dx.doi.org/10.14421/ajis.2008.462.353-400.
Full textAbstract:
The article examines the history of Jama‘ah Tabligh in Southeast Asia, especially in Kuala Lumpur and Aceh. The author traces the historical background of this religious movement with particular reference to the birth place of Jama‘ah Tabligh , India. The author investigates the major role of Indian in disseminating Islam in Southeast Asia, especially in Malaysia and Indonesia. Many scholars believe that Islam came to Southeast Asia from India (Gujarat), and this is the reason why many Islamic traditions in this region were influenced by Indian culture. However, to analyze Islamic movement in Southeast Asia one should take into consideration the Middle East context in which various Islamic movements flourished. Unlike many scholars who believe that the spirit of revivalism or Islamic modernism in Southeast Asia was more influenced by Islam in the Middle East than Indian, the author argues that the influence of Indian Muslim in Southeast Asia cannot be neglected, particularly in the case of Jama‘ah Tabligh.
10
Rozaki, Abdur. "From Political Clientelism to Participatory Democracy." Engagement: Jurnal Pengabdian Kepada Masyarakat 6, no. 1 (May 29, 2022): 1–16. http://dx.doi.org/10.29062/engagement.v6i1.1185.
Full textAbstract:
The Act of Village has given many opportunities for villages in Indonesia to generate innovation in the local contexts. The governance for village development creates a new way to develop the rural area through visionary leadership innovation. This study showcases two villages that can encourage modernism in innovative leadership, namely Panggungharjo Village and Sayan Village. These villages have been able to promote local democratization from political clientelism to good governance. This study presented social change by the Most Significant Change (MOS) approach that involves two headmen in the site of engagement community. The critical finding of this study is directed into three notions. First, a contestation of village election is free from clientelistic and money politics. Second, the program is oriented toward citizenship. Third, the governing authority in the local village is given by the resources in the form of village funds allocated in a targeted and legal manner to support community empowerment. In this community service, community organizing to realize good governance practices through innovative leadership is a central issue in the sustainable development of the village
Dissertations / Theses on the topic "Modernism (Art) Indonesia"
1
Kent, Ellen. "Entanglement: Individual and Participatory Art Practice in Indonesia." Phd thesis, Canberra, ACT : The Australian National University, 2016. http://hdl.handle.net/1885/117054.
Full textAbstract:
This PhD addresses approaches to art practice that are
simultaneously individual and participatory. It comprises a
research-based dissertation that sets out to understand why
combined practices are so prevalent among contemporary Indonesian
artists (66.66 ̇%), and a practice-led body of work that
investigates the nexus between individual and participatory modes
in my own art practice, accompanied by an exegesis (33.33 ̇%) .
The arguments set out in the dissertation are the result of
research into primary and secondary written resources,
translations, field observations, interviews with artists and
with other experts in Indonesia. This is the first body of
research to address combined individual and participatory art in
Indonesia. Sanento Yuliman described the “artistic ideology”
of Indonesian modernism as simultaneously autonomous and
independent, and heteronomously tied to tradition and society’s
needs. This formed the foundations from which modern art
discourse in Indonesia involved artists in the lives of the
people (rakyat) while also defending artists’ individual
expression: a binding knot of the kind that Jacques Rancière
describes as the “aesthetic regime”. I draw attention to the
way participation consistently features alongside individuality
in discourses from those early artists; during art’s
instrumentalisation in development discourses; and when
contemporary artists begin involving the rakyat in participatory
art. Case studies addressing the work of five contemporary
artists (Arahmaiani Feisal, Made “Bayak” Muliana, I Wayan
“Suklu” Sujana, Tisna Sanjaya, and Elia Nurvista) show how
contemporary artists have extended this continuum to involve
people in the making of art, while still maintaining significant
individual practices. I demonstrate how particular contexts and
networks of production have continued to engage with the early
modernist concepts of autonomy and heteronomy, as well as
exogenous and originary endogenous discourses, to create
conditions which mandate the practice of both participatory and
individual art for many artists. In responding to these
conditions, the work by contemporary artists presented in this
research consciously engages with and reconstructs discourses
from Indonesian and global art histories.
The body of work experiments with variations on participatory and
individual art within community, institutional, educational and
public spaces. I became interested in these spaces in between the
one and the many while observing art and cultural practices in
Indonesia, and working in museum education in Australia.
Consequently, both fields – contemporary art in Indonesia and
my own art practice – are inextricably linked. The mediums used
are responsive to the contexts of those sites and diverse
conversations I seek to generate through the works. They include
fabric remnants, diverse printmaking techniques, wax resist on
paper and a two-channel video installation. The exegesis
addresses the conceptual background, intentions, research
methodologies and results of this practice-led research into the
nexus between individual and participatory modes of practice. In
responding to the different sites (referred to above) and
artistic modes, I examine both links and points of difference,
and demonstrate the continuing role of art as a liminal space of
expression and criticality.
Books on the topic "Modernism (Art) Indonesia"
1
Pepinsky, Thomas B., R. William Liddle, and Saiful Mujani. Islam and the World. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190697808.003.0005.
Full textAbstract:
Recent scholarship on Islam and world politics asks how Muslims relate with the United States, but has conceived of foreign policy preferences in simplistic, pro- or anti-US terms. This chapter examines how Islamic revivalism shapes foreign policy attitudes in Indonesia, introducing a flexible methodology for capturing both the multidimensionality and nonexclusivity of Indonesian Muslims’ views of the West, the Muslim World, East Asia, and Southeast Asia. It shows that pious Muslims in Indonesia are not more likely to be anti-US; they are, rather, more likely to hold cosmopolitan worldviews. These findings are inconsistent with a “clash of civilizations” view of Islamic revivalism in Indonesia. Instead, they support an alternative perspective of Islamic revivalism as marked by modernity and cosmopolitanism rather than fundamentalism or particularism.
2
Verhoeven, Harry, and Anatol Lieven, eds. Beyond Liberal Order. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197647950.001.0001.
Full textAbstract:
What does liberal order actually amount to outside the West, where it has been most institutionalised? Contrary to the Atlantic or Pacific, liberal hegemony is thin in the Indian Ocean World; there are no equivalents of NATO, the EU or the US–Japan defence relationship. Yet what this book calls the "Global Indian Ocean" was the beating heart of earlier epochs of globalisation, where experiments in international order, market integration and cosmopolitanisms were pioneered. Moreover, it is in this macro-region that today's challenges will face their defining hour: climate change, pandemics, and the geopolitical contest pitting China and Pakistan against the USA and India. The Global Indian Ocean states represent the greatest range of political systems and ideologies in any region, from Hindu-nationalist India and nascent democracy in Indonesia and South Africa, to the Gulf's mixture of tribal monarchy and high modernism. These essays by leading scholars examine key aspects of political order, and their roots in the colonial and pre-colonial past, through the lenses of state-building, nationalism, international security, religious identity and economic development. The emergent lessons are of great importance for the world, as the "global" liberal order fades and new alternatives struggle to be born.
3
Pepinsky, Thomas B., R. William Liddle, and Saiful Mujani. Piety and Public Opinion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190697808.001.0001.
Full textAbstract:
Across the Muslim world, religion plays an increasingly prominent role in both the private and public lives of over a billion people. Observers struggle to understand the consequences of this Islamic resurgence. Will democratic political participation by an increasingly religious population lead to victories by Islamists at the ballot box? Will more conspicuously pious Muslims participate in politics and markets in a fundamentally different way than they had previously? Will a renewed attention to Islam lead Muslim democracies to turn away from alignments with the West and toward an Islamic civilizational identity? Piety and Public Opinion presents a fresh new perspective on these issues, based on the simple fact that the answers to these questions depend on what ordinary Muslims think and do. In contrast to most research on Islam and politics which focuses narrowly on the Middle East or the Arab world, it argues that Indonesia—the world’s largest Muslim majority country, with a thriving democratic government, an emerging middle-income economy, and flourishing Islamist movement—is an ideal context to study how politics, markets, globalization, and Islamic revivalism interact. Leveraging original data and cutting-edge methods, the authors find no evidence that pious Muslims are more or less democratic, more or less market-oriented, or more or less cosmopolitan than their less pious peers. Against the common assumption that piety would naturally inhibit any tendencies toward modernity, democracy, or cosmopolitanism, Piety and Public Opinion reveals the complex and subtle links between religion and political beliefs in an important Muslim democracy.
Book chapters on the topic "Modernism (Art) Indonesia"
1
Kersten, Carool. "Bourgeois Islam and Muslims Without Mosques." In Islam after Liberalism, 167–88. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190851279.003.0009.
Full textAbstract:
Within the context of Indonesia’s encounters with liberalism in late colonial and postcolonial times, this chapter examines Muslim discourses that are critical of both Western liberal ideology and its Islamist detractors. After problematizing the existing categories of Islamic neo-modernism, Liberal Islam, and Islamic liberalism, the chapter focuses on alternative discourses formulated by Muslim intellectuals from both traditionalist and modernist-reformist Islamic backgrounds during the Reformasi era when Indonesia transitioned from a military autocracy to a democratic system of governance. Islamic Post-Traditionalists draws on poststructuralism and postcolonial theory to offer an emancipatory trajectory for Indonesian Muslims in the twenty-first century, while modernist-reformist intellectuals have drawn on the social sciences to develop a new paradigm referred to as Transformative Islam. Instead of presenting sweeping ideas, this younger generation is more concerned with translating new regimes of knowledge into applied thinking about concrete issues, such as democratization, development, justice and battling corruption.
2
Errington, Joseph. "A Provincial Indonesian." In Other Indonesians, C2—C2.N15. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197563670.003.0002.
Full textAbstract:
Abstract Residents of Kupang with positions and allegiances closely tied to standard Indonesian much more commonly speak the town’s distinctly substandard, “provincial” vernacular. This situation is described by first considering the ways college students “mix” standard Indonesian and global English with the town’s vernacular. This provides background, in turn, for recognizing the role of nonstandard Indonesians in the interactional bracketing of ethnic differences, and engaging topically with modernity of the nation at large. This in turn helps consider seeming incompatible ways that college students differentiate and value standard and nonstandard Indonesian. Finally, the language of this regional city is considered in relation to infrastructures of mobility that are giving it new roles in the province at large .
3
Rinaldo, Rachel. "Spirituality and Islam." In Situating Spirituality, 297–313. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197565001.003.0016.
Full textAbstract:
Many Muslim societies have long histories of mystical, devotional, and esoteric traditions such as Sufism, which are today commonly referred to as “spiritual” traditions. Yet spirituality within Islamic traditions has an uncertain and marginalized status in many contemporary Muslim societies as a result of local, national, and global political struggles over Islam. In Indonesia, where Sufism has had a major historical influence for much of the twentieth century, there has been a strong trend toward scripturalist Islamic modernism. Yet along with Indonesia’s Islamic revival since the 1990s has come a revival of Sufism, particularly among the urban upper middle class. This chapter explores the Sufist revival as a manifestation of spirituality in Indonesia, examining the recent history of Sufism and the evolving relationship between Sufism and other ways of being Muslim, as well as surveying recent scholarship on the social and political contours of the embrace of Sufism by educated urbanites.
4
Errington, Joseph. "A Plural Unity." In Other Indonesians, C4—C4.N9. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197563670.003.0004.
Full textAbstract:
Abstract Sociolinguistic dynamics in Kupang and Pontianak are examples of Indonesian’s plural unity in the nation at large. Here they can be considered together with other locales, where Indonesian is perceived as a threat to native languages, to locate those nonstandard varieties in a broader condition of linguistic plurality. Then they can be considered as grounds for Indonesians’ broader senses of national belonging with ideas about print-imaged languages discussed by Benedict Anderson, and about cultural intimacy discussed by Michael Herzfeld. Next the lexicons of modernity sketched earlier serve to characterize English as a lingua franca which is comparable with Indonesian, and for that reason an object of both desire and anxiety. Finally, an alternate success story about Indonesian’s internally plural character can be juxtaposed with accounts of sociolinguistic change in western Europe, including the kinds of linguistic superdiversity being attributed to dynamics of globalization.
5
Peterson, William. "Performing Modernity under Sukarno’s ‘Roving Eye’." In Asian Self-Representation at World’s Fairs. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985636_ch07.
Full textAbstract:
Indonesia was one of the first Asian nations to sign up for the 1964-1965 New York World’s Fair, with the country’s participation intimately connected to the downfall of the country’s charismatic leader, President Sukarno. The erratic, brilliant, mercurial Sukarno was personally involved in the form and content of the country pavilion, reputedly selecting the attractive women who served as pavilion guides. The centerpiece of the pavilion was a theatre restaurant, which offered elaborate music and dance performances four times a day. As the US government grew increasingly hostile to Sukarno’s policies and the entire Southeast Asian region became unstable, Sukarno’s health and power began to fail, resulting in the nation’s withdrawal from the second year of the fair.
6
Freedman, Amy L. "Religious Minorities in Southeast Asia." In Secularism, Religion, and Democracy in Southeast Asia, 135–60. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199496693.003.0006.
Full textAbstract:
Chapter five studies the process of successful democratization in Indonesia after 1998. During the transition and consolidation of democracy, Indonesia was rocked by religious and ethnic violence. Despite the levelling off of some kinds of conflict, threats and violence remained high against minority communities in Indonesia, particularly against the Ahmadiyah. Much of the explanation for persisting nature of the violence can be explained by: firstly, the political timidity of elected officials to stand up to religious groups pushing greater intolerance on a range of issues; and secondly, the Ahmadis’ self-identification as Muslims. The Rohingya, as well as Muslims more generally, are scapegoats and viewed as extreme ‘outsiders’ in a society now opening up to the world. The chapter concludes that democratic reforms cannot be considered complete or consolidated until minority rights, human rights more generally, are protected, and that democracy, modernity, and secularism do not necessarily coincide.
7
Rüland, Jürgen. "Introduction." In The Indonesian Way. Stanford University Press, 2017. http://dx.doi.org/10.11126/stanford/9781503602854.003.0001.
Full textAbstract:
This chapter contextualizes the study in current debates on the effects of norm diffusion. Research intellectually influenced by world polity theory projects an increasing similarity of regional organizations as a result of two concurring processes: the promotion of the European model of regional integration by the EU and the model’s imitation by other regional organizations. Highlighting diversity, this book takes a different perspective. It argues that world polity theory overemphasizes structural similarities and underestimates cultural differences, thus lacking context sensitivity. By grounding the research in Eisenstadt’s “multiple modernities” paradigm, the chapter argues that the belief in only one modernity is a myth and that modern institutions are socially and culturally embedded. As culture is diverse and path dependent, terminological and organizational similarities tend to be superficial and often conceal extant normative underpinnings, which do not match the seemingly appropriated model of regional integration.
8
Chia, Jack Meng-Tat. "Coda." In Monks in Motion, 154–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190090975.003.0006.
Full textAbstract:
The preceding chapters have explored the histories of Chinese Buddhist migration, settlement, integration, and networks in the twentieth century. As noted in the introduction, there are two main themes to this study. The first concerns the attempt to write a connected history of Buddhist communities in China and Southeast Asia. The other explores the role of Chinese diasporic monks in the making of Buddhist modernism in the Malay Archipelagic states of Indonesia, Malaysia, and Singapore. This concluding chapter weaves together the threads of each theme and offers some directions for future research.
9
Laffan, Michael. "Conclusion." In The Makings of Indonesian Islam. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691145303.003.0013.
Full textAbstract:
This concluding chapter recounts the overall arc of this book to show how colonial scholarship interpreted the precolonial, and then inflected particular strands of reformist Sufi self-critique into modernist discourse. The introduction of formalized techniques of Sufi learning was often tied to scholarly intolerance of popular variance that perhaps began as emulation of regal prerogatives. By the eighteenth century, increasingly intense connections between Asian courts and Middle Eastern centers of learning engendered appeals to the principle that normative legal practices should define the standard of Islam for most believers. Such appeals were accompanied by the embrace or rejection of foreigners and attempts to restrict Sufi knowledge to a learned elite who could sit in judgement over them.
10
Hoogervorst, Tom G. "Epilogue." In Language Ungoverned, 150–60. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501758225.003.0006.
Full textAbstract:
This chapter argues that vernacular Malay was crucial for Indonesia's public sphere to develop and for its middle classes to catch the pace of modernity. The chapter suggests that vernacular language is fundamental to understand the counterpull people faced — and continue to face — between modernity and tradition, progressivism and conservatism, cosmopolitanism and nationalism, Asia and the West. It propels the interplay of pushing and pulling, accepting and rejecting, ridiculing and fetishizing. By studying the vernacular words, meanings, and messages, the chapter offers glimpses into the knowledge produced and acquired by the so-called common people, in all their heterogeneity, who are by no means as commonly understood as the term would suggest. Ultimately, it concludes with two sets of reflections: first on postcolonial attitudes towards Sino-Malay print culture and then on directions for further research. Amidst the kaleidoscope of Asian studies and institutionalized knowledge production, SinoMalay books and periodicals occupy a nebulous position.
Conference papers on the topic "Modernism (Art) Indonesia"
1
Koesoemadinata, Mohammad. "Sundanese and Modernity in Sci-fi Comic (Case Study:Astahiam Nyasab series of Sundanese Magazine Mangle in 1986)." In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294719.
Full text