The Kecak and Cultural Tourism on Bali

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Introduction
Part 1 : the Presence
Chapter 1 . Kecak -- The Music Rhythmic structures: juru klempung, juru gending (first part), pola cak Intermission: scales in kecak Melodic elements: juru gending (second part), juru tembang, and pangalang The lead: juru tarek and dalang Use of stage spa
Chapter 2 . Kecak -- The Dance Movements of the pengecak group Genre influences on the solo characters' movements Balinese dance characterization: halus, keras, and kasar The solo characters' individual dance styles Choreomusical interrelations between pe
Chapter 3 . Kecak -- The Drama Ramayana kakawin Ramayana adaptations in Balinese performing arts The kecak compromise: stage design, story, entrances The Kecak Ramayana "Kepandung Sita" kecak performance
Chapter 4 . The Social Organization of Kecak Aims and structures of kecak organizations and groups The members of a kecak group Teaching a kecak group Performance quality and performance quantity
Chapter 5 . Kecak -- The Tourist Performance The study of tourism and culture The development of cultural tourism on Bali Kecak in cultural tourism Tourists' perspectives The authenticity issue Some concluding remarks on kecak in tourism
Part 2 : The History
Chapter 6 . From Sanghyang Dedari to Kecak Ritual structures Musical structures Dance structures Sanghyang dedari in the early twenty-first century Performing sanghyang dedari on film and on stage Sanghyang dedari in performance at the end of the twentiet
Chapter 7 . The First Kecak 1931: Kecak in "Insel der Damonen"? 1926 to 1931: Changes in setting, choreography, and music Related kecak experiments in the 1920s and 1930s: Janger 1935: Kecak documented by Vicki Baum Villages and organizations: Bedulu and
Chapter 8 . Almost a Century of Kecak 1930s-1940s: Kecak becomes a tourist attraction Development in Bona and Bedulu Early tourists' conceptions of the kecak During and after the Second World War: Kecak deadlocked After the coup d'etat and political perse
Glossary
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Examines the history of one of the best known dramatic dance performance practices on Bali and its connection with cultural tourism. The kecak is one of the best-known dramatic dance performance practices on Bali. Based on the ancient Indian Ramayana epic, it is performed by an ensemble of male and female solo dancers and accompanied by a hundred men who function as both musicians and living scenery. Since its creation in the 1930s, the kecak has been primarily a tourist performance. Drawing on over twenty years of fieldwork and meticulous archival study, Kendra Stepputat provides here a comprehensive study of the history, form, and cultural significance of the kecak. The first part of the book focuses on the kecak in its present form, including musical, choreographic, and dramatic elements. The connection between cultural tourism on Bali and kecak performance practice is analyzed in detail, including the dependency between tourism professionals and artists and ways of promoting the kecak. Tourists' perspectives on the kecak are addressed separately. The second part deals with the genesis and development of the kecak from the 1930s onward, exploring how it became and stayed a tourist genre for more than eighty years.

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