Abstract:

This article examines spiritual knowledge or ilmu that performers imparted or encouraged me to obtain while I conducted fieldwork on gamelan music and dance in the regency of Malang in the cultural region of east Java spanning 2005–2007 and subsequent visits. Thinking through ideological implications of pedagogy—that is, “[w]hat’s at stake politically in any given pedagogical model” (Wong 2001: 6), I focus on performers’ beliefs and discourses about ilmu as a form of pedagogy and system of knowledge. I extend Kathy Foley’s (1985) and Sarah Weiss’s (2003) discussions of an “empty vessel” approach to performance that is valued in different parts of Java to explore the preparation of a performer’s body to serve as a suitable container for ilmu. I contend that through their beliefs, practices, and verbal discourse about ilmu, musicians and dancers in Malang were maintaining and producing local systems of knowledge, transmission, and competence in a context of globalization, urbanization, and increasing expressions of Islamic orthodoxy and piety in Indonesia. Continuing such knowledge systems was part of performers’ ideological and cultural work to uphold local culture and identity as Javanese people, more broadly speaking, and as east Javanese in particular.

 抽象的：

本文探讨了 2005 年至 2007 年我在东爪哇文化区玛琅摄政区以及随后的访问期间对加美兰音乐和舞蹈进行实地考察时表演者传授或鼓励我获得的精神知识或伊尔穆。通过思考教育学的意识形态含义，即“在任何给定的教学模式中，政治上都存在哪些问题”（Wong 2001：6），我关注表演者关于ilmu作为一种教育学和知识体系形式的信念和话语。 。我扩展了 Kathy Foley (1985) 和 Sarah Weiss (2003) 对“空容器”表演方法的讨论，这种方法在 Java 的不同部分都受到重视，以探索表演者身体的准备工作，以作为ilmu 的合适容器。我认为，在全球化、城市化以及伊斯兰正统观念和虔诚的表达不断增加的背景下，玛琅的音乐家和舞蹈家通过他们的信仰、实践和关于伊尔穆的口头话语，维持和创造了当地的知识、传播和能力体系。印度尼西亚。延续这样的知识体系是表演者思想和文化工作的一部分，以维护当地文化和爪哇人的身份，更广泛地说，特别是东爪哇人。