Abstract

Government efforts to monitor, regulate, and control the art of wayang dramatically increased during Soeharto's New Order regime (1966-1998). State-sponsored wayang competitions, as well as the aesthetic categories used for evaluating performers, became important sites for merging wayang performance with the goals of the state. Government-sanctioned performance standards were at odds with popular practice, however, which tended to emphasize entertainment, innovation, and communication with audiences.

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Additional Information

ISSN
1527-2109
Print ISSN
0742-5457
Pages
pp. 87-104
Launched on MUSE
2001-03-01
Open Access
No
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