This thesis is about the continuing life of Balinese culture and traditions currently under threat from unregulated economic development, mass tourism, and migration. Critical to this study are considerations surrounding the control of land and its improvements, as well as the success and failure of urban planning within the sphere of cultural conservation. The thesis argues that ???State planning systems as imposed by the Indonesian government are inappropriate in the Balinese context.??? While this statement seems fairly straightforward on the surface, it involves a complex understanding of the forces mentioned above, of their interaction and their effects on local culture. This study adopts a hermeneutic approach to theory seeking greater depth of meaning rather than discovering new facts, and embodies three main strategies. The first explains the relationship between society and space using a cultural matrix derived from anthropologist E.T.Hall. The second strategy deploys qualitative research method using focus groups, and third, it uses in-depth personal surveys at physical sites. The thesis therefore reveals the eroding impacts of tourism on local culture. Focusing on territoriality, it embraces two contradicting sets of values represented in the traditional Balinese system of Adat, and those of the market-based system of the Indonesian State. Resulting conflicts are demonstrated through specific and generic case studies. Here, the dominant position of modern state planning establishes the legal foundation on which capitalist practices, the dominating role of private enterprise, corruption, and collusionary attitudes are nourished. While the role of the government in promoting tourism, and the economic significance of the industry are acknowledged, the study measures these against the costs of such advantages to the Balinese way of life. Overall, the thesis reflects upon ongoing territorial problems that have been experienced in Bali for more than forty years. It provides an in depth analysis of how state imposed planning systems are locked in critical conflict with the proven and functioning traditional Balinese Adat. Finally, the necessary features of future planning systems are proposed in order to revitalize local culture. Hence the thesis demonstrates that modern systems of planning are inappropriate to Balinese cultural conservation.

This research discusses the tourism crisis management approach used in handling the recovery of Bali as a tourism destination after the first Bali bombings in 2002 and second Bali bombings in 2005. It acknowledges the importance of a crisis management especially in a situation where the crisis repeatedly occurs in the same place and targeted the similar target. This research examines the crisis management approach through the tourism public policy formulated and implemented by the government of Indonesia. An external perspective from the industry private sector is also investigated as many scholars note that other observations and opinion from senior executives following every episode are necessary because they have different perceptions of the crises. Finally, an investigation of any existence of organisational learning the first and second Bali bombings is also presented. This research concludes in three new findings. First, the Indonesian government did not present any crisis management framework after the first and second Bali Bombings; rather they established a National Recovery Program that lacks few main aspects of crisis management. Second, although the Indonesian government initiated the recovery program after the first Bali Bombings it was the private sector (Bali Tourism Board) who initially instigated the recovery program after the second Bali Bombings. Third, the absence of an organisational learning was also discovered after the first and second Bali Bombings incidents

This thesis is about the continuing life of Balinese culture and traditions currently under threat from unregulated economic development, mass tourism, and migration. Critical to this study are considerations surrounding the control of land and its improvements, as well as the success and failure of urban planning within the sphere of cultural conservation. The thesis argues that ???State planning systems as imposed by the Indonesian government are inappropriate in the Balinese context.??? While this statement seems fairly straightforward on the surface, it involves a complex understanding of the forces mentioned above, of their interaction and their effects on local culture. This study adopts a hermeneutic approach to theory seeking greater depth of meaning rather than discovering new facts, and embodies three main strategies. The first explains the relationship between society and space using a cultural matrix derived from anthropologist E.T.Hall. The second strategy deploys qualitative research method using focus groups, and third, it uses in-depth personal surveys at physical sites. The thesis therefore reveals the eroding impacts of tourism on local culture. Focusing on territoriality, it embraces two contradicting sets of values represented in the traditional Balinese system of Adat, and those of the market-based system of the Indonesian State. Resulting conflicts are demonstrated through specific and generic case studies. Here, the dominant position of modern state planning establishes the legal foundation on which capitalist practices, the dominating role of private enterprise, corruption, and collusionary attitudes are nourished. While the role of the government in promoting tourism, and the economic significance of the industry are acknowledged, the study measures these against the costs of such advantages to the Balinese way of life. Overall, the thesis reflects upon ongoing territorial problems that have been experienced in Bali for more than forty years. It provides an in depth analysis of how state imposed planning systems are locked in critical conflict with the proven and functioning traditional Balinese Adat. Finally, the necessary features of future planning systems are proposed in order to revitalize local culture. Hence the thesis demonstrates that modern systems of planning are inappropriate to Balinese cultural conservation.

Le rituel de l'offrande domestique, petite cérémonie intégrée aux activités quotidiennes de la quasi-totalité des familles balinaises permet, par une analyse approfondie puis une mise en rapport avec d'autres niveaux, rituels et non-rituel, de la culture balinaise, d'éclairer certains principes structurants les rites balinais. L'espace domestique balinais est une unité fortement structurée par des principes déterminant la culture balinaise et c'est un noeud essentiel de leur transmission et maintien. La tournée d'offrandes quotidienne y met en valeur une série d'éléments en créant une atmosphère spécifique qui présuppose l'attention d'une entité invisible. Sur cette pratique ininterrompue viennent s'ajouter des rites ponctuels. Une partie essentielle de ce qui fait la culture balinaise est ancrée dans l'espace domestique et rappelé par les offrandes au quotidien. C'est la cas des principes hiérarchiques cruciaux que sont l'oppositions haut/bas et les directions cardinales hiérarchisées, qui se reflètent même dans les pratiques non rituelles comme l'orientation ou la direction du sommeil. L'homologie entre microcosme du corps et macrocosme de Bali passe par le microcosme de l'espace domestique. Le principe d'ancestralité, socle de l'appartenance à toute une série de groupes sociaux et à l'île de Bali est ancré par l'autel des ancêtres, et la relation émotionnelle aux défunts y est intégrée par des rituels funéraires complexes. Le style esthétique et la structure des offrandes balinaises et de la danse se retrouvent dès les petites offrandes canang déposées. Cette exploration révèle une vie rituelle d'une richesse et complexité fascinantes ancrées dans des espaces domestiques urbains abritant des personnes respectables n'étant pas des professionnels de la religion. / The daily offering ritual, small ceremony integrated into the daily lives of most Balinese families, by its thorough analysis and comparison with other ritual and non-ritual levels of Balinese culture, helps shed light on some basic structuring principles of Balinese ritual life. The Balinese domestic space is a structured unit strongly determined by Balinese culture's essential principles, and it is also the knot that unites these principles and hence allows their transmission and maintenance. The daily domestic offerings create a specific atmosphere that presupposes the attention of invisible entities. An essential part of what constitutes Balinese culture is anchored into the domestic unit, and brought into attention by daily rituals. It is the case with the crucial hierarchical oppositions of high and low and the hierarchised cardinal directions, that are reflected even in non-ritual practice like daily orientation or the direction people turn when sleeping. The homology between the microcosm of the body and the microcosm of Bali or the Universe is mediated through the microcosm of the domestic space. The principle of ancestrality, the base through which Balinese are connected with a large series of social groups and even to the island, this principle is also anchored into the domestic space through the ancestor shrine, and the emotional bond connecting with the deceased ones is also integrated to it through complex funeral rituals. The aesthetic style and the structure of the offerings is there from the smallest canang offering, as is there the principle that leads to dance in larger ceremonies. This exploration reveals an incredibly rich and complex ritual life lead by ordinary respectable people who are not professionals in religion.

The Hindu island of Bali is a patriarchal society and the Balinese people’s everyday tasks are woven together with their many cultural and religious rituals and actions. Bali is one of the most famous and most visited islands of the wide spread island nation of Indonesia. Here, the concept of cultural tourism is established – a concept which regards the rich Balinese culture as a tourist draw, something that motivates the Balinese people to safeguard their regional identity and culture. These strives although tends to collide with the strives towards a more gender equal society. This study investigates the role of the Balinese female journalist – both within the newsrooms and in the society in general. It is based mainly upon in-depth interviews with women journalists in Bali. The theoretical framework orbits around a gendered approach to the theory of Journalism Culture, which combines concepts such as doxa and social fields to explain the dynamic and dichotomizations within the professional field. Masculine domination theories are also used. The results of this study reveal a complex situation where the female journalists perform a challenging balance act in order to perform their very best both at work, at home and in the society.

The central interest of this thesis is the nature of the transmission of musical knowledge, and its meaning and purpose to different societies and within different contemplations of life and beliefs. In my case, I will specifically refer to what I learnt from the fieldwork I carried out in Southern Italy (2004), in some South African contexts (2005), and in the village of Batuan (Bali, Indonesia; 2006, 2007). All such experiences will be put, so to say, in a 'dialogue' with each other in order to suggest a few considerations. The methodological tools employed to sustain my argument are Clifford Geertz's concept of thick description, and the audio-visual material collected throughout my fieldwork, which will further support my commentary. Using Clifford Geertz's approach, I suggest that in exploring the relationship between human beings and the various practices of 'music' existing, as well as their contents and aims, we need to look at music not as an isolated element on its own, as mostly conceived of in the West, but rather as an integral aspect of life itself. The facts and observations reported from my fieldwork show that what in the West is called music and music education can elsewhere be experienced and thought of in very dissimilar ways. In the village of Batuan, for example, music is not a special event, but an ingredient of the local community's life and its spirituality. The final ruminations will speculate on the fact that in the West the fragmentation through which life is understood, and that has destroyed the bond between life and the arts, is also reflected in the educational system. In modern Western societies, the detachment of arts from life has created a craving and a need for artistic exclusivity, which celebrates the individualistic rather than the communal, and aesthetics rather than spirituality, unlike Bali, for example. As a starting point, we are asked to ponder whether, and how, in the West we can still entertain the hope to reconcile such a fragmentation with a more holistic approach, where music becomes equal to the other daily activities taking place within our community.

The representation of Balinese people and culture within scholarship throughout the 20th century and into the most recent 21st century studies is examined. Important questions are considered, such as: What major themes can be found within the literature?; Which scholars have most influenced the discourse?; How has Bali been presented within undergraduate anthropology textbooks, which scholars have been considered; and how have the Balinese been affected by scholarly representation? Consideration is also given to scholars who are Balinese and doing their own research on Bali, an area that has not received much attention. The results of this study indicate that notions of Balinese culture and identity have been largely constructed by “Outsiders”: 14th-19th century European traders and early theorists; Dutch colonizers; other Indonesians; and first and second wave twentieth century scholars, including, to a large degree, anthropologists. Notions of Balinese culture, and of culture itself, have been vigorously critiqued and deconstructed to such an extent that is difficult to determine whether or not the issue of what it is that constitutes Balinese culture has conclusively been answered.

The Jew’s harp is unique among instruments, and in its apparent simplicity it is deceptive. It has been adapted to a wide array of cultural contexts worldwide and a diverse range of playing techniques, which, upon closer examination, reveal much about the cultures that generate them. Drawing on perspectives from organology, ethnomusicology, comparative musicology, ethnography, material culture, and the anthropology of the body, I situate my approach to the study of musical instruments as one that examines the object on three levels: physically (the interaction between the human body and the body of the instrument), culturally (the contexts in which it is used), and musically (the way it is played and conceptualized as a musical instrument). Integrating written, ethnographic, and musical evidence, this study begins broadly and theoretically, then gradually sharpens focus to a general examination of the Jew’s harp, finally looking at a single Jew’s harp tradition in detail. Using a case study of the Balinese Jew’s harp genggong, I demonstrate how the study of musical instruments is a untapped reservoir of information that can enhance our understanding of the human relationship with sound.

The representation of Balinese people and culture within scholarship throughout the 20th century and into the most recent 21st century studies is examined. Important questions are considered, such as: What major themes can be found within the literature?; Which scholars have most influenced the discourse?; How has Bali been presented within undergraduate anthropology textbooks, which scholars have been considered; and how have the Balinese been affected by scholarly representation? Consideration is also given to scholars who are Balinese and doing their own research on Bali, an area that has not received much attention. The results of this study indicate that notions of Balinese culture and identity have been largely constructed by “Outsiders”: 14th-19th century European traders and early theorists; Dutch colonizers; other Indonesians; and first and second wave twentieth century scholars, including, to a large degree, anthropologists. Notions of Balinese culture, and of culture itself, have been vigorously critiqued and deconstructed to such an extent that is difficult to determine whether or not the issue of what it is that constitutes Balinese culture has conclusively been answered.

The Jew’s harp is unique among instruments, and in its apparent simplicity it is deceptive. It has been adapted to a wide array of cultural contexts worldwide and a diverse range of playing techniques, which, upon closer examination, reveal much about the cultures that generate them. Drawing on perspectives from organology, ethnomusicology, comparative musicology, ethnography, material culture, and the anthropology of the body, I situate my approach to the study of musical instruments as one that examines the object on three levels: physically (the interaction between the human body and the body of the instrument), culturally (the contexts in which it is used), and musically (the way it is played and conceptualized as a musical instrument). Integrating written, ethnographic, and musical evidence, this study begins broadly and theoretically, then gradually sharpens focus to a general examination of the Jew’s harp, finally looking at a single Jew’s harp tradition in detail. Using a case study of the Balinese Jew’s harp genggong, I demonstrate how the study of musical instruments is a untapped reservoir of information that can enhance our understanding of the human relationship with sound.