�� ��� Th e following examines how children and teenagers in Bali, Indonesia, indigenize local, national, and global forms of popular music in disco dance performances. Th e article focuses on disco dance performances as just one element in a much broader argument about adaptation and change in Balinese society that includes the introduction of popular modes of activity, including television, radio, fi lm, and discos. Appadurai (1996) suggests the overlap of people, places, and economic mechanisms has led to a compression of time and space, a factor Appadurai sees as a hallmark of globalization. Th roughout I highlight how Balinese children and teenagers respond to global infl uences, in particular the infl uences of television and popular music, through their disco dance performances. I do this to illustrate some of the ways in which young people in Bali incorporate and give meaning to popularization modalities in their everyday lives. To begin, I briefl y outline theoretical approaches to globalization before moving on to discuss important studies that focus upon globalization within ethnomusicological research. Having provided this overview, I then move on to consider studies of popular music in Indonesia, in general, and Bali, in particular, to situate the current paper within the context of previous research in my fi eldwork area. By recounting a series of conversations with informants, I then examine the role of popular music in the lives of children and teenagers in Bali to show how television and radio provide young people with access to various forms of local, national, and global popular music and their associated dance forms. Th rough ethnographic descriptions and an application of Foucault’s (1986) concept of heterotopia, I investigate how, by performing their disco dance routines in contexts more associated with traditional Balinese dance, children and teenagers actively fuse external music and dance infl uences with traditional performance practices. Th us, in conclusion, I show how such routines allow children and teenagers to create dance performances that are simultaneously new, modern, and “Balinese.” Before going any further it is important to inform the reader that during fi eldwork, children, teenagers, and adults frequently used the English term “disco dance” when talking among themselves and with the author. Th e same term, therefore, is used throughout the following to denote the particular performance genre under discussion.