By Andrew N. Weintraub
A willing critic of tradition in smooth Indonesia, Andrew N. Weintraub indicates how a style of Indonesian tune known as dangdut advanced from a denigrated kind of city well known song to a trendy position in Indonesian cultural politics and the economic song undefined. Dangdut-named onomatopoetically for the music's attribute drum sounds "dang" and "dut"-is Indonesia's hottest tune, heard in streets and houses, public parks and slender alleyways, shops and eating places, and all types of public transportation. regardless of dangdut's great acceptance in Indonesia and different components of Asia, it has seldom obtained the intense severe cognizance it merits. Dangdut tales is a social and musical heritage of dangdut inside quite a number broader narratives approximately classification, gender, ethnicity, and state in post-independence Indonesia (1945-present). Quoted fabric from interviews, exact research of track and track texts, and ethnography of functionality remove darkness from the stylistic nature of the tune and its centrality in public debates approximately Islam, social category family, and the position of ladies in postcolonial Indonesia. Dangdut tales is the 1st musicological learn to check the stylistic improvement of dangdut song itself, utilizing vocal variety, melody, rhythm, shape, and tune texts to articulate symbolic struggles over that means. through the booklet the voices and studies of musicians take heart degree in shaping the book's narrative. Dangdut was once first built in the course of the early Seventies, and an ancient therapy of the genre's musical kind, functionality perform, and social meanings is lengthy late.
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Additional resources for Dangdut Stories: A Social and Musical History of Indonesia's Most Popular Music
An example of Melayu songs accompanied by the Special Singapore Malay Orchestra includes “Sayang Manis” (Sweetheart) and “Sinar Malacca” (Shining Malacca), accompanied by violin, ﬂute, bass, piano, and gendang (Odeon A206109). The strident vocal style is similar to ronggeng performers, and an accompanying male chorus adds calls and yells to encourage the singer. In a 1940 recording of a Melayu Deli song called “Gunong Deli” (Deli Mountain) under the rubric of ronggeng Medan (ronggeng songs of Medan) (HMV P22811), the male and female vocalists trade pantun verses over a Melayu dance rhythm, and the song is harmonized by piano and accompanied by violin, bass, and gendang.
Marawis). Immigrants from the Hadramaut region (Yemen) presumably brought the gambus and marwas with them to Indonesia (Capwell 1995, 82–83). They played for wedding parties and other community celebrations among Muslim patrons. The instrumentation included gambus, harmonium, violin, ﬂute, string bass (stand-up bass or “bass betot”; betot = “to snatch, pull off ”), rebana, and tambourine. Orkes gambus, labeled “gambus Malay” or “gambus Melayu” on 78 rpm discs and in radio logs of the period, played a mixed repertoire.
The women may or may not engage in sexual acts with men. Their interactions with men within the realm of music and dance events reminds me of the “ronggeng image” (Spiller 2007): a representation of attractive and ﬂirtatious Sundanese female singer/dancers which appears in a variety of performance genres and supports a structure of gendered power and difference in Sundanese society (“gender ideology”). Scenes like the one described above have become dominant in video recordings, circulated on VCDs and via the Internet, in which female performers are ﬁlmed dancing in sexually provocative ways.