By Andrew N. Weintraub
A willing critic of tradition in smooth Indonesia, Andrew N. Weintraub indicates how a style of Indonesian track known as dangdut developed from a denigrated kind of city renowned tune to a sought after 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 song, heard in streets and houses, public parks and slim alleyways, shops and eating places, and all different types of public transportation. regardless of dangdut's super recognition in Indonesia and different components of Asia, it has seldom obtained the intense serious cognizance it merits. Dangdut tales is a social and musical heritage of dangdut inside quite a number broader narratives approximately category, gender, ethnicity, and country in post-independence Indonesia (1945-present). Quoted fabric from interviews, designated research of tune and tune texts, and ethnography of functionality remove darkness from the stylistic nature of the song and its centrality in public debates approximately Islam, social category relatives, and the function of girls in postcolonial Indonesia. Dangdut tales is the 1st musicological learn to envision the stylistic improvement of dangdut track itself, utilizing vocal variety, melody, rhythm, shape, and track texts to articulate symbolic struggles over which means. through the ebook the voices and reviews of musicians take middle level in shaping the book's narrative. Dangdut was once first built throughout the early Nineteen Seventies, and an old remedy of the genre's musical sort, functionality perform, and social meanings is lengthy late.
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Additional info for Dangdut Stories: A Social and Musical History of Indonesia's Most Popular Music
Dangdut is embedded in social struggles over meanings of class, gender, ethnicity, and nation in modern Indonesia. But dangdut songs do not present solutions to social problems. Dangdut stories encompass the everyday realities of modern life, as well as imagined realms of 30 DANGDUT STORIES pleasure, desire, and fantasy. Songs compel people to listen to these stories, no matter how mundane or trivial. Everyone has a story to tell, even though no one may ever hear it. These are the stories I will narrate in the following pages.
Orkes gambus, labeled “gambus Malay” or “gambus Melayu” on 78 rpm discs and in radio logs of the period, played a mixed repertoire. For example, a radio log for Surabaya in East Java lists S. Albar’s (Syech Albar’s) orkes gambus performing Arabic songs (“El iftitah marsch,” “Lativil roeh,” “Ellama,” “Waslel habib,” “Sadjija altarf ”) in addition to Melayu tunes (“extra Melayu”); (Surabaya Programma, 11 August 1937). Syech Albar and his orchestra also recorded a Hindustani tune entitled “Janasib I & II” (Fate I & II) around 1939 (Canary HS 258).
We turned somersaults onstage. The audience went wild. The sound was different but the “sense of music” was based on orkes Melayu. (Rhoma Irama, pers. 4 Deli is important for understandings of Melayu identity for two reasons: (1) the concern with royal lineage, and (2) the concern for a core culture based in Islam, in which a “sense of music” emerged from an ethnic group with shared ideas, beliefs, values, and symbols (Reid 2001, 304). This genealogizing grounds the heavily Islamic nature of Rhoma Irama’s music in the religious past, and it links a Melayu kingdom (albeit a minor one) to the contemporary “king” of dangdut.