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This research is focused on the newly packaged tourist performing arts; they are anew concept and seem to be different from the general tourist performing arts. They arepackaged from various components of Balinese arts and managed as large scale-touristperforming arts in terms of materials, space, and time of their performances. The researchercalls them new types of Bali tourist performing arts because how they are presented isnew and different from the traditional tourist performing arts which are simply performed.In this research, the newly-packaged performing arts are analyzed in the perspective ofcultural studies.The research was carried out at three palaces in Bali; they are Mengwi Palace inBadung regency, Anyar Palace at Kerambitan, Tabanan regency, and Banyuning Palace atBongkasa, Badung regency. There are three main problems to be discussed: firstly, how dothe tourist performing arts emerge in all the palaces? Secondly, are they related to thetourist industry developed in the palaces?, thirdly, what is the impact and meaning of themfor the sake of the palaces, society, and Balinese culture? The researcher uses a qualitativemethod and an interdisciplinary approach as characteristics of cultural studies. The theoriesused are hegemony, deconstruction, and structuration.The result shows that the tourism development at all the palaces has made the localsociety become more critical. The money-oriented economy based on the spirit of gettingbenefit has made the emergence of comodification in all sectors of life. The emergence oftourist industry at the palaces has led to the idea of showing all of the useful art and culturalpotentials which at the palaces and their surroundings. Theoretically, the palaces can bestated to have deconstructed the concept of presenting the Bali tourist performing arts into anew one, that is, “the newly packaged Bali tourist performing arts”.It has been observed that all the palaces have developed t “Newly packaged Balitourist Performing Arts” but they are different in themes. At Mengwi Palace the theme is‘procession of religious rituals’, at Anyar Palace, Kerambitan, the theme is “ritualprocession of welcoming the kingdom’s guests” and at Banyuning Palace, Bongkasa, thetheme is “ritual procession of wedding”. The differences can be seen in the componentspresented in the performances.

At the dawn of this third millennium, growing numbers of forums worldwide are focused on the issue of how to sustain the diversity of the nature and of cultures for the well-being of the Earth and humanity. Concurrently, intercultural and interreligious dialogue is deemed essential for social cohesion. This dissertation advances the contributions of religiosity in art through a qualitative reflective account and chronicle of the art and dialogues offered by people of diverse cultures and faiths from 1999 to 2004 during Sharing Art & Religiosity in the vicinity of Pura Samuan Tiga in Bedulu, Bali and Sharing Art Ocean– Mountain at the seacoast village of Tejakula, North Bali; seen in tandem with creative transformations that occurred through Sharing Art in and with other cultural environments of the world. Methodologically this study stemmed from and demonstrates the merits of public participatory practice-based art programs whereby activities are conceived by and implemented with the people of a locale. Participants generated the data and interpretations via mutual cooperation, dialogue, and creative praxis. The Balinese principle of Tri Hita Karana, that aims toward a harmonious human-nature-God/Source of Life relationship in accord with the place-time-conditions, provided a holistic perspective to analyze and derive meaning from the results. Findings indicate sharing in the arts, religiosity, and nature fosters a common field such that traditional and modern cultures can study and engage in creative dialogue together. Moreover, interreligious innovations that have continued to develop since the seminal deliberation of reconciliation between Bali Aga, Çiwaist, and Buddhist faith groups at Samuan Tiga circa CE 989 to 1011 and intercultural egalitarian innovations since the seventeenth century dialogue of indigenous and migrant mountain and maritime cultures in Tejakula – constitute a model for furthering bhinneka tunggal ika unity in diversity in the world today. Recommendations outline how the findings can be used for cooperative exchanges between villages and between villages and cities of diverse regions and countries to support interculture in cultural environments. Appendices provide two video compact discs; seventy- nine reflective essays by artists, religious/spiritual leaders, scholars, and educators from across the world; and nine transcriptions of initial public dialogues.

Jika telah disepakati bahwa Ikonologi adalah ilmu pengetahuan mengenai ikon, yaitu area pemujaan, maka perlu diperinci lebih lanjut, hal-hal apa saja di sekitar area pemujaan atau pemujaan area yang dapat diketahui dari prasasti. Dari tinjauan menyeluruh atas prasasti-prasasti Indonesiacakan terlihat bahwa keterangan-keterangan tertentu dapat dihubungkan, secara langsung ataupun tidak, dengan pemujaan area. Karena area pada dasarnya mewakili pengertian "dewata" yang dilambangkannya, maka segala keterangan yang bersangkut-paut dengan dewata ini pun dapat digolongkan ke dalam data ikonologi. Data tersebut dapat dikelompokkan menjadi dua, yaitu pertama, yang menyangkut konsep kedewataan, dan kedua, yang menyangkut peribadatan. Di bawah ini adalah suatu pembahasan, yang karena terbatasnya tempat, memusatkan perhatian pada konsep kedewataan, dan khususnya dilihat pada prasasti-prasasti Jawa Kuna Hindu.