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Multiple forces vie to control the narratives of the Lingsar festival, a major annual event initiated about 350 years ago that uniquely brings together the indigenous Muslim Sasak and the migrant Hindu Balinese on Lombok, an island east of Bali in Indonesia. This attention to the festival is not surprising because governments, political and religious figures, commercial interests, and tourist industries compete to define and benefit from such events worldwide. Since 1983, I have noticed a variety of changes in religious beliefs, ritual personnel and protocol, interreligious relationships, sociocultural identities, founding narratives, and performing arts over time. Once, this festival featured beliefs and performing arts that were localized, neither truly Hindu nor Islamic, and ingrained into the natural, ancestralized environment. However, the festival had to Islamize and Sasakize (that is, become more Sasak) to retain relevance among the Sasak, and had to Hinduize and Balinize to remain relevant among the Balinese. Despite these changes and increasing pressures from reformist organizations, the festival continues; in fact, it has grown in popularity and, by 2019, attracted up to 50,000 people. A tolerance of ambiguity—allowing for changing and contradictory artistic narratives, multiple ritual positions and interpretations, new positionings of interreligious relationships, and deviation from public rhetoric—has been crucial to maintain the Lingsar festival into the 21st century.

Tolerance of Ambiguity: Negotiating Religion and Sustaining the Lingsar Festival and Its Performing Arts in Lombok, Indonesia