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Indonesian Cultural Diplomacy and the First International Gamelan Festival and Symposium at Expo 86

Indonesian Cultural Diplomacy and the First International Gamelan Festival and Symposium at Expo 86 JONATHAN GOLDMAN AND JEREMY STRACHAN Indonesian Cultural Diplomacy and the First International Gamelan Festival an d Symposium at Expo 86 In 1986 the city of Vancouver celebrated its centenary by hosting what would be the last world exposition to take place in North America. From May to October, Expo 86 occupied a seventy- hectar e site along False Creek in the city’s downtown core, attracting some twenty- two million visitors, who flocked to a lavish event that ran a deficit of nearly C$250 million. Its theme of “World in Motion—World in Touch” was conceived, like many world expos, to celebrate human achievement in innovation, technology, and communication. Particular to Vancouver ’s Expo 86 was its focus on transportation and, more so, its grandiose marketing strat - egy to sell the city as a critical node on the cultural and commercial axis of the Pacific Rim. While Expo 86 was, as Eleanor Wachtel mordantly observed, a summarily regional affair aimed at bolstering Vancouver ’s declining economy—created, she wrote shortly after the conclusion of the fair, “with no real program at all, conceived by persons with essen - tially no interest in world’s fairs”—it offered a space for the kind of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Indonesian Cultural Diplomacy and the First International Gamelan Festival and Symposium at Expo 86

American Music , Volume 38 (4) – Mar 2, 2021

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

JONATHAN GOLDMAN AND JEREMY STRACHAN Indonesian Cultural Diplomacy and the First International Gamelan Festival an d Symposium at Expo 86 In 1986 the city of Vancouver celebrated its centenary by hosting what would be the last world exposition to take place in North America. From May to October, Expo 86 occupied a seventy- hectar e site along False Creek in the city’s downtown core, attracting some twenty- two million visitors, who flocked to a lavish event that ran a deficit of nearly C$250 million. Its theme of “World in Motion—World in Touch” was conceived, like many world expos, to celebrate human achievement in innovation, technology, and communication. Particular to Vancouver ’s Expo 86 was its focus on transportation and, more so, its grandiose marketing strat - egy to sell the city as a critical node on the cultural and commercial axis of the Pacific Rim. While Expo 86 was, as Eleanor Wachtel mordantly observed, a summarily regional affair aimed at bolstering Vancouver ’s declining economy—created, she wrote shortly after the conclusion of the fair, “with no real program at all, conceived by persons with essen - tially no interest in world’s fairs”—it offered a space for the kind of

Journal

American MusicUniversity of Illinois Press

Published: Mar 2, 2021

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