Paper short abstract:

The Javanese performing arts have a prominent role in contemporary Indonesian politics. The paper analyses the 'thin', purified aesthetics of these politicized performances, and argues that the semiotic ideologies of interpretation in Java partially undermine their intended function.

Paper long abstract:

This paper analyses Javanese dance and music performances from two election campaign rallies that took place in East Java during 2013. They were both part of East Java's gubernatorial election, one held by a nationalist party and the other by an Islamic party. In these events, traditional performing arts were featured in an ostensibly purified form, their aesthetics in accordance with the exigencies of contemporary politics. However, like in the archetypical ritual of Javanese society, the slametan, each participant is free to interpret the performances as they see fit, while being particularly conscious of the fact that there is not a consensus of their meaning.

The Javanese performing arts have played a major role in Indonesian politics since the emergence of the national consciousness at the beginning of the last century. During president Suharto's New Order (1966-1998), politicized art was deemed dubious and the government severely restricted the public performance of arts. In contemporary times, the links between Javanese art forms and party politics are again flourishing, particularly during election campaigning.

I argue that due to the historical layers of the art forms and the semiotic ideologies of interpreting them, there is no authoritative understanding of their symbolism or performativity. This ambiguity can be used strategically by the politicians to widen their potential political base, but it also allows for a variety of politically subversive meanings to be mediated in public, something that was not possible in New Order politics.