From a colonial reinvention to postcolonial heritage and a global commodity: performing and re-enacting Angkor Wat and the Royal Khmer Ballet
From a colonial reinvention to postcolonial heritage and a global commodity: performing and re-enacting Angkor Wat and the Royal Khmer Ballet
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从殖民改造到后殖民遗产和全球商品：表演和重演吴哥窟和皇家高棉芭蕾舞团
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发表时间：
2014
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通讯作者：
Michael Falser
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作者：
Michael Falser
众所周知，文化遗产不仅是一个备受争议的现代概念，充满民族主义色彩、文化陈规定型观念和过去的辉煌和持久的文化纯洁等本质主义主题。文化遗产也成为当今全球旅游业最容易、最有利可图的猎物。这些观察结果尤其适用于年轻的新兴后殖民民族国家，这些国家拥有丰富的建筑（有形）和表演（无形）文化-特别是如果这些文化被称为“联合国教科文组织世界遗产”而不考虑其有争议的形成历史。很少有其他标志性遗产遗址比吴哥寺庙遗址更能展示这些观察结果，通过法国殖民改造，后殖民/民族主义本质化和全球商品化的过程绘制柬埔寨遗产建设的跨文化轨迹。本文重点介绍了“皇家高棉芭蕾舞团”作为文化表演和遗产再现，结合十二世纪的吴哥窟寺庙作为建筑舞台。在（后）殖民荷属东印度群岛（现在的印度尼西亚）类似的“遗产化”过程的参考将有助于锚这种跨文化的调查。
It is a commonplace that cultural heritage is not only a highly contested concept of modern times, full of nationalistic undertones, cultural stereotypes and essentialist topoi such as past grandeur and enduring cultural purity. Cultural heritage has also become the easiest and most profitable prey for today’s global tourism industry. These observations apply with particularly dramatic consequences to young emerging, postcolonial nation states with a rich repertoire of built (tangible) and performed (intangible) culture – especially if elements of this repertoire are branded ‘UNESCO World Heritage’ without considering their contested formation histories. Few other iconic heritage sites are more instructive in showcasing these observations than the temple site of Angkor, by charting the transcultural trajectories of Cambodia’s heritage construction through the processes of French colonial reinvention, postcolonial/nationalist essentialisation, and global commodification. This paper focuses on the ‘Royal Khmer Ballet’ as cultural performance and heritage re-enactment in combination with the twelfth-century temple of Angkor Wat as architectural stage. References to similar ‘heritagisation’ processes in the (post)colonial Dutch East Indies (now Indonesia) will help to anchor this transcultural enquiry.