The Indonesian dubbing of Bajirao Mastani is a masterclass in transcultural negotiation. It reveals how AVT can reshape a film’s cultural identity without altering its visual narrative. For future Indian productions seeking entry into Southeast Asian markets, this case suggests that linguistic adaptation is not merely about translation—it is about recalibrating cultural registers to fit local norms of power, piety, and passion. Further research should compare this dubbing to the Thai or Malay versions to understand regional variations.
Bajirao Mastani (2015) tells the story of the Maratha Peshwa Bajirao I and his relationship with the warrior-princess Mastani. Upon its release, the film was dubbed into several languages for international markets, including Turkish, Arabic, and Indonesian. Indonesia represents a unique market: a nation with a rich history of Hindu-Buddhist classical epics (e.g., the Ramayana and Mahabharata adaptations) but a contemporary majority-Muslim population. This paper asks: How did the Indonesian dubbing of Bajirao Mastani navigate the tension between historical Hindu-Maratha culture and contemporary Indonesian linguistic and religious norms? Bajirao Mastani Dubbing Indonesia
Note: This is a draft for illustrative purposes. If you need a shorter summary or a different focus (e.g., technical dubbing process, market analysis), please specify. The Indonesian dubbing of Bajirao Mastani is a
The Indonesian dubbing of Bajirao Mastani demonstrates a . Unlike China, where some Indian films are heavily cut for religious content, or the Middle East, where romantic scenes may be trimmed, Indonesia allowed most visuals to remain intact. However, the audio track was systematically “desacralized” of explicit Hindu references. This aligns with Indonesia’s Pancasila state ideology, which recognizes six official religions but discourages public proselytization of one faith over another. By neutralizing Hindu-specific terms, the dubbers avoided potential controversy from hardline groups while preserving the film’s essence as a tragic romance. Further research should compare this dubbing to the