He equated refusing an invitation to perform with rejecting the government, which could have serious repercussions for his career. If he did not know his guests, Asep would play a Sundanese genealogy game called pancakaki to establish some sort of relationship with strangers through a common relative or friend. These cultural institutions did not work consistently, efficiently, or without internal conflict. The reputation of the Sunarya family of dalang is a source of Sundanese regional pride. This tension between correctness and popularity was precisely why I chose his performance style—and its place within wider discourses about culture in contemporary Indonesia—as the analytical focus of this book.
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