碩士 / 國立臺南藝術大學 / 民族音樂學研究所 / 106 / In the research of Indonesian Chinese musical culture, wacinwa, the abbreviation of Wayang Cina Jawa, is still a new topic. After Soeharto staged a coup to wrest the presidency from the former president, Soekarno, in 1965 and became the president of Indonesia in 1967, the Soeharto government passed Presidential instruction No. 14, which damaged the culture, arts, beliefs, and language of Indonesian Chinese.
Wacinwa, created by Gan Twan Sing, is the hybridity of wayang kulit and Chinese shadow play. Due to the anti-Chinese laws, wacinwa is dwindling. The Indonesian government treats Indonesian Chinese better to maintain ethnic harmony. Another external factor is the rising of China in the post-presidency of Soeharto. Wacinwa also revives in this context. After disappearing for a half century, from 1965-2014, wacinwa finally shows up again by the efforts of scholars and puppeteers.
This paper aims to describe and analyze the musical and performing pattern of wacinwa by observing the different period of wacinwa. To view the interaction between wacinwa, Chinese community, and Java community and clarify questions like cultural identity, rights to say, and boundary blur and reconstruction through literature review and field research combined with diaspora studies, Homi K. Bhabha’s hybridity, and Timothy Rice’s “Time—Place—Metaphor” model.
| Identifer | oai:union.ndltd.org:TW/106TNCA5750011 |
| Date | January 2018 |
| Creators | Chen, Sheng-Yuan, 陳聖元 |
| Contributors | Tsai, Tsung-Te, 蔡宗德 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 87 |
Page generated in 0.0009 seconds