<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0185-1276</journal-id>
<journal-title><![CDATA[Anales del Instituto de Investigaciones Estéticas]]></journal-title>
<abbrev-journal-title><![CDATA[An. Inst. Investig. Estét]]></abbrev-journal-title>
<issn>0185-1276</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0185-12762020000300077</article-id>
<article-id pub-id-type="doi">10.22201/iie.18703062e.2019.mono1.2705</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Shaping Barong Dance Drama in Paradise Bali: Oriental Discourse by Miguel Covarrubias and his Networks]]></article-title>
<article-title xml:lang="es"><![CDATA[Moldear la danza-drama barong en el Bali paradisiaco: discursos orientalistas de Miguel Covarrubias y sus redes]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Bosnak]]></surname>
<given-names><![CDATA[Judith E.]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Goethe Universität, Frankfurt am Main Department of Southeast Asian Studies ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Germany</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2020</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2020</year>
</pub-date>
<volume>42</volume>
<numero>116</numero>
<fpage>77</fpage>
<lpage>105</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0185-12762020000300077&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0185-12762020000300077&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0185-12762020000300077&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract In the 1930s Mexican artist Miguel Covarrubias carried out fieldwork in Bali, an island of the Dutch East Indies. A few years before his arrival, the colonial government had implemented cultural and educational policies, known as "balinization," meant to preserve Balinese "unique" culture and to ward off external influences like Islam and nationalism. Efforts to Balinize the Balinese by Dutch Orientalist scholar-administrators went hand in hand with creative endeavours of a group of bohemian expatriates to promote Bali and to promote themselves to the world as quintessentially different. Cosmopolitan Covarrubias was at the basis of the romantic image making of "paradise" Bali by dedicating himself to ethnographic recording of a world that might soon be lost. Eager to register "pure" Balinese culture, he actively participated in shaping performing arts. Covarrubias and his networks turned barong dance into a cultural icon.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen En los años treinta del siglo pasado, el artista mexicano Miguel Covarrubias realizó trabajo de campo en Bali, una isla de las Indias Orientales Neerlandesas. Algunos años antes de su llegada, el gobierno colonial había implementado una política cultural y educativa, conocida como "balinización", dirigida a la preservación de la cultura balinesa "única" para protegerla de influencias externas como el islam y el nacionalismo. Los esfuerzos de los investigadores-administradores orientalistas holandeses por balinizar a los balineses coincidieron con las actividades creadoras de un grupo de bohemios expatriados de pro-mocionar a Bali y de promocionarse a sí mismos al mundo como esencialmente diferentes. El cosmopolita Covarrubias colaboró de manera importante en la construcción de la imagen romántica del "paraíso" de Bali mediante la elaboración de un registro etnográfico de un mundo que pronto podría desaparecer. Ansioso de registrar la cultura balinesa "pura" participó activamente en el desarrollo de las artes escénicas. Covarrubias y sus redes transformaron el baile de barong en un icono cultural.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[Performing arts]]></kwd>
<kwd lng="en"><![CDATA[paradise Bali]]></kwd>
<kwd lng="en"><![CDATA[orientalism]]></kwd>
<kwd lng="en"><![CDATA[Miguel Covarrubias]]></kwd>
<kwd lng="en"><![CDATA[balinization]]></kwd>
<kwd lng="en"><![CDATA[Barong]]></kwd>
<kwd lng="es"><![CDATA[Artes escénicas]]></kwd>
<kwd lng="es"><![CDATA[paraíso de Bali]]></kwd>
<kwd lng="es"><![CDATA[orientalismo]]></kwd>
<kwd lng="es"><![CDATA[Miguel Covarrubias]]></kwd>
<kwd lng="es"><![CDATA[balinización]]></kwd>
<kwd lng="es"><![CDATA[Barong]]></kwd>
</kwd-group>
</article-meta>
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<given-names><![CDATA[Willem F.]]></given-names>
</name>
<name>
<surname><![CDATA[Holt]]></surname>
<given-names><![CDATA[Claire]]></given-names>
</name>
</person-group>
<source><![CDATA[Indian Influences in Old-Balinese Art]]></source>
<year>1935</year>
<page-range>XI</page-range><publisher-loc><![CDATA[London ]]></publisher-loc>
<publisher-name><![CDATA[The India Society]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
