To time. They are quite but I and continue with the Peronde Arts Group from time live in Central Sulawesi,activestill coordinate to create songs, generate Artsvideos, and perform. time. are pondering critically and continue to create songs, build are Group from time to They They may be incredibly active regarding the future of their culture and videos, and carry out. They are thinking genres. As soon as, they future of their culture and are making decisions to shape fusion critically about the heard the Dayak sape performed creating choices it would be an exciting addition to their ensemble. A performed and and decided to shape fusion genres. After they heard the Dayak sape member described decided it could be an interesting addition with theensemble, a member described to me to me the vital connection he felt to their Dayak as yet another ethnic minority group in Indonesia, and wanted to add the Dayak as another of a sense of solidarity (Sanggar the essential connection he felt with these new sounds out ethnic minority group in InSeni Peronde 2016). Peronde new sounds out of a sense of solidarity (Sanggar cultural donesia, and wanted to add thesehas also founded a children’s arts group to pass onSeni understanding Peronde new generations about Tado clothing, dance, to pass on cultural Peronde 2016). and teach has also founded a children’s arts group and song designs (Sanggar Seni Peronde 2017). know-how and teach new generations about Tado clothes, dance, and song styles (Sanggar As new fusions are produced and musical localization requires root in Christian communiSeni Peronde 2017). ties,new Christian faith is translated and localization requires root in Christian neighborhood culture, As the fusions are developed and musical retranslated more deeply into the commuresulting inside a dynamic and completely neighborhood Christian identity. Having the ability to innovate nities, the Christian faith is translated and retranslated more deeply into the local culture, their within a dynamic and completely regional Christian identity. Getting the potential to innovate resulting arts permits regional Christian communities to flex their identities as well within a swiftly theirchanging globe. The previous thirty years into flex theirhave noticed a renewed interest in traarts enables local Christian communities Indonesia identities at the same time within a rapditional languageThe past thirty the pendulum has swung from 3 decades of intense idly changing globe. and culture as years in Indonesia have seen a renewed interest in nationalism under Suharto (Davidson and Henley 2007; Amin 2021). In the very same time, increased communication, less complicated transportation, and Indonesian transmigration applications have spread global and national culture for the far reaches of the archipelago.Religions 2021, 12,15 ofIn some approaches, the predicament is comparable to the folk revivals of the 1960s and 70s in America. Writing about these events, Schnell states, “Whereas the nationalists were thinking about developing a sense of Orexin A Agonist nationhood, a sense of common identity beyond the bounds on the individual’s neighborhood, the objective [of modern day folk revivalists] should be to break away from the Fasiglifam Epigenetic Reader Domain broader national culture and to reconnect with all the local” (Schnell 2003, p. 24). Within the case of Indonesia, it can be not as much to “break away” since it is actually a movement toward national recognition when celebrating the plurality and diversity of Indonesia. Hall comments, “Perhaps instead of considering of identity as an currently achieved reality, which the new cultural practices then represent, we ought to t.