Download Heirs to World Culture: Being Indonesian, 1950-1965 by Jennifer Lindsay, Maya Liem PDF
By Jennifer Lindsay, Maya Liem
This quantity brings jointly new scholarship through Indonesian and non-Indonesian students on Indonesia's cultural background from 1950-1965. in the course of the new nation's first decade and a part, Indonesia's hyperlinks with the realm and its experience of nationhood have been vigorously negotiated at the cultural entrance. Indonesia used cultural networks of the time, together with these of the chilly battle, to announce itself at the international level. foreign hyperlinks, post-colonial aspirations and nationalistic fervour interacted to supply a thriving cultural and highbrow existence at domestic. Essays speak about the alternate of artists, intellectuals, writing and concepts among Indonesia and numerous nations; the advance of cultural networks; and methods those networks interacted with and encouraged cultural expression and discourse in Indonesia. With contributions via Keith Foulcher, Liesbeth Dolk, Hairus Salim HS, Tony Day, Budiawan, Maya H.T. Liem, Jennifer Lindsay, Els Bogaerts, Melani Budianta, Choirotun Chisaan, I Nyoman Darma Putra, Barbara Hatley, Marije Plomp, Irawati Durban Ardjo, Rhoma Dwi Aria Yuliantri and Michael Bodden. complete textual content (Open entry)
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Additional resources for Heirs to World Culture: Being Indonesian, 1950-1965
Being culturally modern was also to participate in new forms of popular entertainment. Jakarta was not yet seen as the single epitome of cosmopolitanism or source of this new entertainment. Marije Plomp’s essay on Medan gives a vivid picture of cultural life in the ‘capital of pulp fiction’, where in the mid-1950s almost half of all publications found throughout Indonesia were printed. Malay, Indian and Hollywood films were standard fare, and Plomp notes that the remarkable level of attendance is revealed by the fact that local taxes on cinema tickets provided one third of the total municipal budget.
Apart from occasional black and white photographs, it was liberally illustrated with vignettes and full page pen and ink drawings in the modernist style of the period. 2 Not unlike the conditions faced by similar ‘little magazines’ all over the world, at that time and since, circulation figures appear to have been small, and became of particular concern in the later years of the journal’s life (K 27:1, 28:1). ), by Soedjatmoko, the prominent PSI intellectual and diplomat who was a key member of the Konfrontasi group.
While primarily a statement about ‘People’s Culture’ (‘Kebudajaan Rakjat’ ) and LEKRA’s policy of revolution against feudal and imperialist culture, the declaration also stressed interaction with the world in this struggle. 14 From the outset, Indonesian national culture was thus perceived, even with contrasting ideological approaches, in terms of international interaction. models of modernity Over the 1950s and 1960s, as was the case with other recently decolonized societies in Asia – and would occur in African nations emerging from European colonialism – a self-conscious process of ‘decolonizing the mind’ was essential for Indonesia’s autonomous, postcolonial identity.