This ethnography explores how Balinese citizens produce postcolonial intimacy-a complex interaction of claims to proximity and mutuality between themselves and the Dutch under colonialism that continues today. Such claims, Ana Dragojlovic explains, are crucial for the diasporic reconfiguration of kebalian, or Balinese-ness, a concept that encompasses the personal, social, and cultural complexities involved in Balinese identity in Dutch postcolonial society. This identity enables Balinese migrants to see themselves as carriers of unique cultural traditions both promoted by and in disagreement with Dutch cultural values.
- Table of Contents
- Foreword
- Acknowledgments
- Preface
- Tension-Ridden Proximity
- Naming and Research Language
- The Book Outline
- Introduction
- Method of Inquiry
- A Glimpse at History
- Kebalian and Foreigners
- Balinese Subaltern Citizens: Translocal Belonging
- Foreigners, Foreignness, and the Post-Colonial State
- Corrective Citizenship: Foreigners and Technologies of Cultural Integration
- Citizens with a Background in the Dutch Former Colonies
- Terms of Discussion: Foreignness and Intimacy in Post-Coloniality
- ‘Shared’ Heritage
- Home and ‘Homing’
- ‘Menjajah kota den Haag’ – Colonizing the City of The Hague
- 1 Kebalian, Long-Distance Nationalism, and the Balinese Left in Exile
- The Events of 1965-68 and Exilic Migratory Trajectories
- Kebalian and Long-Distance Nationalism
- Mourning, the Aesthetics of Loss, and a Shift in Political Orientation
- Post-Coloniality, Exiles, and Home-Making
- 2 Balinese Post-Colonial Pedagogies and Contested Intimacies
- Active Citizenship
- The Historical Positioning of Balinese Arts
- Balinese Long-Distance Cultural Specialists
- Lessons in Balinese Culture
- An Ethnic Dutch Family’s Balinese Shrine and Balinese Long-Distance Cultural Specialists
- Post-Colonial Pedagogies and the Authentication of Balineseness
- The Normalization of Ethnicized Service Labour and the ‘Intention to Resist’
- 3 ‘Shared Cultural Heritage’ and the Visible and Invisible World Overseas
- The Colonial Collection, ‘Shared Cultural Heritage’, and ‘History Turn’
- The Exhibition: Indonesia, The Discovery of the Past
- The Colonial Conquest and the Visible and Invisible Worlds Overseas
- The Kris
- ‘To me, you are not an allochtoon’: Citizens’ Integration and ‘Appropriate’ Ways of Knowing
- ‘Shared Cultural Heritage’ and Translocal Kebalian
- 4 A Balinese Colonial Drama without the Balinese?
- Interethnic Dynamics in Post-Colonial Commemorations
- Post-Colonial Politics of Remembering
- The Performance: Puputan, Val van Bali
- Intentionality and Struggles over Representation
- Balinese Reception
- Interethnic Dynamics in Post-Colonial Commemorations
- 5 My Home is Your Home
- The Possibilities, Challenges, and Failures of Home Making
- I Komag Suaka – Balinese Artist in Dutch Post-Coloniality
- Foreignness, the Arts, and Citizenship
- The Installation My Home is Your Home
- Anxieties about Marginality
- ‘Being Balinese Opens Many Doors’ (Balinees zijn opent vele deuren)
- Bibliography
- Author’s Biography
- Index
- List of Illustrations
- Image 1 – Balinese dancers at the performance of Puputan, Val van Bali
- Image 2 – Balinese dancers at the performance of Puputan, Val van Bali
- Image 3 – Komang Suaka in his studio
- Image 4 – ‘The origins’ (De oorsprong), My home is your home installation
- Image 5 – ‘The beginning’ (Het begin), My home is your home installation
- Image 6 – ‘The road’ (De weg), My home is your home installation
- Image 7 – ‘The day’ (De Dag), My home is your home installation
- Image 8 – ‘The fantasy’ (De fantasie), My home is your home installation
- Image 9 – ‘The memory’ (De herinnering), My home is your home installation
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