![]() ![]() ![]() ![]() The New Order insistence on “proper roles” for women as wives, and mothers meant that qasidah became part of the apparatus of the gender arrangement of New Order Era in which the performing arts were not exempt. It is worth noting a prominent figure in qasidah development Tuti Alawiyah, a former leader of Asyafiiyah pesantren, who played a great role in setting up Lasqi movement. Zulkarnain (2004, xviii) noted that in the middle of the 1960s, Nur Aisyah Djamil from North Sumatra established the first qasidah group which she named “nasyid”, the acronym of her name. Early in Indonesian qasidah history, the significant female role cannot be overlooked, recalling the relatively important role of women as musicians in traditional Southeast Asian ritual. It has a goal (and to some extent, still is) to present government programs so that they were in accordance with the norms and values of Islam for Indonesia. Dangdut was first developed during the early 1970s, and an historical treatment of the genre's musical style, performance practice, and social meanings is long overdue.Lasqi (Lembaga Seni Qasidah Indonesia) as a movement has a patron-client relationship with the New Order in supporting the Islamizing of Indonesia. Throughout the book the voices and experiences of musicians take center stage in shaping the book's narrative. Quoted material from interviews, detailed analysis of music and song texts, and ethnography of performance illuminate the stylistic nature of the music and its centrality in public debates about Islam, social class relations, and the role of women in postcolonial Indonesia.ĭangdut Stories is the first musicological study to examine the stylistic development of dangdut music itself, using vocal style, melody, rhythm, form, and song texts to articulate symbolic struggles over meaning. Despite dangdut's tremendous popularity in Indonesia and other parts of Asia, it has seldom received the serious critical attention it deserves.ĭangdut Stories is a social and musical history of dangdut within a range of broader narratives about class, gender, ethnicity, and nation in post-independence Indonesia (1945-present). Dangdut-named onomatopoetically for the music's characteristic drum sounds dang and dut-is Indonesia's most popular music, heard in streets and homes, public parks and narrow alleyways, stores and restaurants, and all forms of public transportation. Weintraub shows how a genre of Indonesian music called dangdut evolved from a denigrated form of urban popular music to a prominent role in Indonesian cultural politics and the commercial music industry. ![]() A keen critic of culture in modern Indonesia, Andrew N. ![]()
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