2002
DOI: 10.1163/22134379-90003781
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Would the real Undagi please stand up? On the social location of Balinese architectural knowledge

Abstract: Would the Real Undagi Please Stand up? On the Social Location of Balinese Architectural KnowledgeThe 'beautiful structures of wood and stone' (Lansing 1983:51) which constitute the traditional architecture of Bali are one of the more visible signs of the tenacity of tradition on the island, and a consistent source of pride to locals, delight to visitors and profit to tourism operators. While there is a substantial body of literature on the other arts in Bali, that on architecture is surprisingly sparse. Such l… Show more

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Cited by 12 publications
(14 citation statements)
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“…Such folksy tokens of the traditional, 'the sweetness and sentimentality that often accompanies power' (Easterling 2005: 8), also flourished routinely, almost ritually, often by government decree, as surface decoration on otherwise undistinguished government buildings and tourist hotels (Nas 2003: 142). Apart from these tokens, traditional architecture worlds survived only in minority enclaves such as Bali, Toraja and parts of Sumatra, often (but not always) in symbiotic relationship with culture-focused tourism (MacRae and Parker 2002;Reid 2002;Allerton 2003;Vellinga 2003). This gap between modernist practice and traditionalist decoration was rarely recognized, let alone consciously articulated or bridged.…”
Section: The Architecture World Of the New Ordermentioning
confidence: 99%
“…Such folksy tokens of the traditional, 'the sweetness and sentimentality that often accompanies power' (Easterling 2005: 8), also flourished routinely, almost ritually, often by government decree, as surface decoration on otherwise undistinguished government buildings and tourist hotels (Nas 2003: 142). Apart from these tokens, traditional architecture worlds survived only in minority enclaves such as Bali, Toraja and parts of Sumatra, often (but not always) in symbiotic relationship with culture-focused tourism (MacRae and Parker 2002;Reid 2002;Allerton 2003;Vellinga 2003). This gap between modernist practice and traditionalist decoration was rarely recognized, let alone consciously articulated or bridged.…”
Section: The Architecture World Of the New Ordermentioning
confidence: 99%
“…This paper is an outcome of a larger research project that I have conducted using the methodological tools of sociology, that is, ethnographic data collection and analysis, participation in events with and for architects in Cairo, interviews and participant observation at a sample of homes in various neighbourhoods to investigate construction and maintenance practices in ordinary residential buildings in Cairo. My aim was to research the intermediaries who take part in an architectural project, in line with the work of Graeme Macrae and Samuel Parker (2002) on the undagi in Balinese architecture. These scholars have demonstrated that rather than involving one person embodying architectural knowledge, architectural practice is dynamic and includes individuals with changing skills and status.…”
Section: Discussionmentioning
confidence: 99%
“…Graeme MacRae describes how, throughout this history, Puri Ubud has been an active player, encouraging local artists, restoring temples, commissioning new temple masks, organizing cultural performances, and subsidizing festivals. Ubud Cokordas have also been instrumental in and major beneficiaries of Ubud real estate and tourism development, and more recently some of them have become active in politics ( MacRae 1997MacRae , 2005MacRae , 2016MacRae and Parker 2002;MacRae and Darma Putra 2008; see also Sukawati and Hilbery 1979:40-41). MacRae argues that the purely "symbolic kingdom" of twenty-first century Ubud more nearly matches Clifford Geertz' characterization of a Southeast Asian theater state legitimized through lavish ritual displays of spiritual power than was ever the case in pre-colonial times ( MacRae 2005).…”
Section: The Setting: the Mask In A Tourist Meccamentioning
confidence: 99%