Creating a scene

Abstract

A B S T R A C T qThe promotion of alternative music by deregulated television and recording industries, together with the increasingly felt presence of the metropolis, converged on Balinese cultural and physical landscapes in the 1990s. Mirroring developments in broader society, a regionalist discourse, which polarized notions of 'centre' and 'periphery', emerged among Balinese youth in the context of the local band scene. For certain musicians, musical authenticity was firmly rooted in a cultural and geographical locale, and was articulated by their abhorrence for socializing at shopping malls. In contrast, these Balinese alternative (including punk) musicians sought authenticity in a metropolitan elsewhere. This article is a case study of the indigenization of a 'global' code in a non-western periphery. It contests arguments for the 'post-imperial' nature of globalization, and demonstrates the continued salience of centre-periphery dialectics in local discourses. At the same time, the study attests to the progressive role a metropolitan superculture can play in cultural renewal in the periphery. q K E Y W O R D S q 'alternapunk' q authenticity q Bali q globalization q identity politics q metropolis q regionalist discourse q shopping malls q social spatialization q subculture q youth

Subculture Community Against Disharmony: Denpasar Kolektif Community on Bali Tolak Reklamasi Movement

“…The collective started with an interest in Hardcore Punk and has continued with the belief that Hardcore Punk is not limited music. It actively organizes gigs, picnics, film screenings, discussions, community stalls or markets, workshops, online radio broadcasts, zine libraries, and distribution of work from all over Bali [14]. Denpasar Kolektif remains open to other interesting things and learning outside of Punk.…”

“More Metal than Metal”: Preliminary Reflections on Imagined Genealogies

“…and offering a language to discuss issues such as folklorisation and tourism. 14 When it comes to réak, albeit not the majority, metalheads are regular attendees of the performance, who sometimes dub the messy and chaotic nature of the show as 'the original metal' or 'more metal than metal'. 15 Coherently with the show's lower-class aesthetics linked to masculinity, the average réak enjoyer is a male rakyat (the people) 16 blue-collar worker and the same goes for Bandung's metalheads.…”