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Focus: Gamelan Music of Indonesia, Third Edition, introduces the
emblematic music of Southeast Asia's largest country, as sound and
as cultural phenomenon, highlighting the significant role gamelan
music plays in the national culture while teaching of Indonesian
values and modern-day life. Despite Indonesia's great diversity-a
melting pot of indigenous, Hindu, Buddhist, Islamic, Portuguese,
Dutch, British, and modern global influences-a forged national
identity is at its core. This volume explores that identity,
understanding present-day Javanese, Balinese, Cirebonese, and
Sundanese gamelan music through ethnic, social, cultural, and
global perspectives. New to the third edition: Updated content
throughout to reflect current Indonesian history and geography, as
well as revivals of gamelan ensembles by the Cirebonese courts
Modern examples of Indonesian musics, along with new uses of
gamelan and other traditional musics An examination of school
gamelan and ISBI as a center of innovation Expanded discussion on
dangdut and its current status in Indonesia, along with Islam's
effect on dangdut Listening examples now posted as online
eResources
Archaic Bamboo Instruments explores how current residents of
Bandung, Indonesia, have (re-) adopted bamboo musical instruments
to forge meaningful bridges between their past and present-between
traditional and modern values. The book grapples with ongoing
issues of global significance, including musical environmentalism,
heavy metal music, the effects of first-world hegemonies on
developing countries, and cultural "authenticity." Bamboo music's
association with the Sundanese landscape, old agricultural
ceremonies, and participatory music making, as well as its
adaptability to modern society, make it a fertile site for an
ecomusicological study.
Focus: Gamelan Music of Indonesia, Third Edition, introduces the
emblematic music of Southeast Asia's largest country, as sound and
as cultural phenomenon, highlighting the significant role gamelan
music plays in the national culture while teaching of Indonesian
values and modern-day life. Despite Indonesia's great diversity-a
melting pot of indigenous, Hindu, Buddhist, Islamic, Portuguese,
Dutch, British, and modern global influences-a forged national
identity is at its core. This volume explores that identity,
understanding present-day Javanese, Balinese, Cirebonese, and
Sundanese gamelan music through ethnic, social, cultural, and
global perspectives. New to the third edition: Updated content
throughout to reflect current Indonesian history and geography, as
well as revivals of gamelan ensembles by the Cirebonese courts
Modern examples of Indonesian musics, along with new uses of
gamelan and other traditional musics An examination of school
gamelan and ISBI as a center of innovation Expanded discussion on
dangdut and its current status in Indonesia, along with Islam's
effect on dangdut Listening examples now posted as online
eResources
In West Java, Indonesia, all it takes is a woman's voice and a
drumbeat to make a man get up and dance. Every day, men there - be
they students, pedicab drivers, civil servants, or businessmen -
breach ordinary standards of decorum and succumb to the rhythm at
village ceremonies, weddings, political rallies, and nightclubs.
The music the men dance to varies from traditional gong ensembles
to the contemporary pop known as dangdut, but they consistently
dance with great enthusiasm. In "Erotic Triangles", Henry Spiller
draws on decades of ethnographic research to explore the reasons
behind this phenomenon, arguing that Sundanese men use dance to
explore and enact contradictions in their gender identities.
Framing the three crucial elements of Sundanese dance - the female
entertainer, the drumming, and men's sense of freedom - as a
triangle, Spiller connects them to a range of other theoretical
perspectives, drawing on thinkers from Eve Kosofsky Sedgwick,
Levi-Strauss, and Freud to Euclid. By granting men permission to
literally perform their masculinity, Spiller ultimately concludes,
dance provides a crucial space for both reinforcing and resisting
orthodox gender ideologies.
Musical sounds are some of the most mobile human elements, crossing
national, cultural, and regional boundaries at an ever-increasing
pace in the twentieth and twenty-first centuries. Whole musical
products travel easily, though not necessarily intact, via
musicians, CDs (and earlier, cassettes), satellite broadcasting,
digital downloads, and streaming. The introductory chapter by the
volume editors develops two framing metaphors: "traveling musics"
and "making waves." The wave-making metaphor illuminates the ways
that traveling musics traverse flows of globalization and
migration, initiating change, and generating energy of their own.
Each of the nine contributors further examines music-its songs,
makers, instruments, aurality, aesthetics, and images-as it crosses
oceans, continents, and islands. In the process of landing in new
homes, music interacts with older established cultural
environments, sometimes in unexpected ways and with surprising
results. They see these traveling musics in Hawai'i, Asia, and the
Pacific as "making waves"-that is, not only riding flows of
globalism, but instigating ripples of change. What is the nature of
those ripples? What constitutes some of the infrastructure for the
wave itself? What are some of the effects of music landing on,
transported to, or appropriated from distant shores? How does the
Hawai'i-Asia-Pacific context itself shape and get shaped by these
musical waves? The two poetic and evocative metaphors allow the
individual contributors great leeway in charting their own course
while simultaneously referring back to the influence of their
mentor and colleague Ricardo D. Trimillos, whom they identify as
"the wave maker." The volume attempts to position music as at once
ritual and entertainment, esoteric and exoteric, tradition and
creativity, within the cultural geographies of Hawai'i, Asia, and
the Pacific. In doing so, they situate music at the very core of
global human endeavors.
Fragrant tropical flowers, opulent batik fabrics, magnificent
bronze gamelan orchestras, and, of course, aromatic coffee. Such
are the exotic images of Java, Indonesia's most densely populated
island, that have hovered at the periphery of North American
imaginations for generations. Through close readings of the careers
of four ""javaphiles"" -individuals who embraced Javanese
performing arts in their own quests for a sense of belonging-
Javaphilia: American Love Affairs with Javanese Music and Dance
explores a century of American representations of Javanese
performing arts by North Americans. While other Asian cultures made
direct impressions on Americans by virtue of firsthand contacts
through immigration, trade, and war, the distance between Java and
America, and the vagueness of Americans' imagery, enabled a few
disenfranchised musicians and dancers to fashion alternative
identities through bold and idiosyncratic representations of
Javanese music and dance. Javaphilia's main subjects-Canadian-born
singer Eva Gauthier (1885-1958), dancer/painter Hubert Stowitts
(1892-1953), ethnomusicologist Mantle Hood (1918-2005), and
composer Lou Harrison (1917-2003)-all felt marginalized by the
mainstream of Western society: Gauthier by her lukewarm reception
as an operatic mezzo-soprano in Europe, Stowitts by his
homosexuality, Hood by conflicting interests in spirituality and
scientific method, and Harrison by his predilection for prettiness
in a musical milieu that valued more anxious expressions. All four
parlayed their own direct experiences of Java into a defining
essence for their own characters. By identifying aspects of
Javanese music and dance that were compatible with their own
tendencies, these individuals could literally perform
unconventional-yet coherent-identities based in Javanese music and
dance. Although they purported to represent Java to their fellow
North Americans, they were in fact simply representing themselves.
In addition to probing the fascinating details of these javaphiles'
lives, Javaphilia presents a novel analysis of North America's
first significant encounters with Javanese performing arts at the
1893 World's Columbian Exposition in Chicago. An account of the
First International Gamelan Festival, in Vancouver, BC (at Expo
86), almost a century later, bookends the epoch that is the focus
of Javaphilia and sets the stage for a meditation on North
Americans' ongoing relationships with the music and dance of Java.
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