It is here that the complexities of Balinese identity in the 21st century are revealed, untangling how the PTS broadcasts enable the Balinese to retain local adat customs while also fulfilling nationalist religious requirements. The music and sounds used to accompany the PTS are argued to infuse the invented display of religiosity with authority and facilitate a mediation between technology, space, and local identity. This article also analyzes the sonic components of the Puja Tri Sandhya (when it is sounded, the vocal style, and the gender wayang and genta bell accompaniment), as “the distribution of particular sounds, their audibility, and their value-reminds us that configurations of sound have political implications for a public” ( Samuels et al. The Puja Tri Sandhya is then positioned as an example that challenges the religion ver-sus secularism dichotomy in studies of religious nationalism, because although broadcasts are evidence of a state-sponsored form of religiosity, interviews concerning the degree to which individuals practice the Puja Tri Sandhya point to an element of secularism. By comparing the PTS to Muslim and Christian soundings of religion in the archipelago, the function of PTS broadcasts is asserted to sonically reify the national motto Bhinneka Tunggal Ika (“Unity in Diversity”) and mark participation in a sounding of religious nationalism-albeit a pluralistic one. It begins with an overview of the religious politics of post-independence Indonesia, which describe how the Balinese religion was forced to reform and adopt the PTS as a condition for religious legitimacy in the new nation. To answer these questions, this article examines the development of the Puja Tri Sandhya and demonstrates how PTS broadcasts play a multifaceted role in sounding religiosity, national solidarity, and local identity. 1 Given this relatively recent addition to the Balinese soundscape, several questions arise: What is the function and impact of this Balinese “call to prayer?” How does the PTS relate to other technologically-aided soundings of religion in the archipelago? What role do music and sound in PTS broadcasts play in mediating technology, space, and the expression of national and local identities? Since 2001, the Puja Tri Sandhya (hereafter PTS), a Balinese Hindu mantra accompanied by gender wayang music and a genta bell, has been broadcast from loudspeakers on village meeting halls ( banjar) during the three transition times of the day (6 a.m., 12 p.m., and 6 p.m.). While the practices of sounding the azan and Angelus are centuries-old, a distinctly modern form of sounding religion has arisen on the Hindu island of Bali. Catholic regions in Indonesia use loudspeakers and other media to broadcast church news, Bible readings, and the Angelus prayer, a set of recited devotions to the Virgin Mary sounded three times a day. The Islamic call to prayer, or azan, is broadcast five times a day from mosques, TV stations, radios, and cell phone apps, and is a prevalent indicator of religious identity that fills the soundscape in many parts of the nation-but it is not the only one. ![]() Exploration of the gender wayang accompaniment in particular, further confirms the contrived nature of the Puja Tri Sandhya and demonstrates how technologies used to broadcast the prayer have had a significant impact on the gender wayang musical tradition.Īlthough religiously diverse, Indonesia is home to the world’s single largest population of Muslims. This article also examines the sonic components of the Puja Tri Sandhya (when it is sounded, the vocal style, and the gender wayang and genta bell accompaniment), to argue how these elements infuse this invented display of religiosity with authority and facilitate a mediation between technology, space, and local identity. Although these broadcasts are evidence of a state-sponsored form of religiosity, interviews concerning the degree to which individuals practice the Puja Tri Sandhya point to an element of secularism and position the prayer as an example that challenges the religion versus secularism dichotomy in studies of religious nationalism. The Puja Tri Sandhya is likened to a Balinese “call to prayer” and compared to Muslim and Christian soundings of religion in the archipelago to assert how these broadcasts sonically reify the national motto, Bhinneka Tunggal Ika (“Unity in Diversity”), and participate in a sounding of religious nationalism. By charting the development of the prayer, this paper summarizes the religious politics of post-independence Indonesia, which called for the Balinese to adopt the Puja Tri Sandhya as a condition for religious legitimacy in the new nation. This article examines the Puja Tri Sandhya, a Balinese Hindu prayer that has been broadcast into the soundscape of Bali since 2001.
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