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Dangdut Stories: A Social and Musical History of Indonesia's Most Popular Music
A keen critic of culture in modern Indonesia, Andrew N. 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. 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. Despite dangdut's tremendous popularity in Indonesia and other parts of Asia, it has seldom received the serious critical attention it deserves.
Dangdut 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). 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.
Dangdut 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. Throughout the book the voices and experiences of musicians take center stage in shaping the book's narrative. 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.
Dangdut 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). 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.
Dangdut 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. Throughout the book the voices and experiences of musicians take center stage in shaping the book's narrative. 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.
272 pages, Paperback
First published January 1, 2010
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Displaying 1 - 13 of 13 reviews
September 19, 2016
Maybe I expected too much of this book, due to my newly found interest in the interpretation of (Indonesian) popular culture, marked by my love towards Ariel Heryantos book "identity and pleasure". Weintraub's attempt on dissecting Dangdut was not as exciting as I thought it would be, given its class association with the underprivileged half of Indonesia. Although it tried to explore Dangduts "excessive" esthetic by narrating it through its historical context over the years, at many parts the book was too slow, with lack of imagination and somehow still with a tone of romanticizing "Indonesian" culture. I felt I wanted more grip and more drama, while the book delivered soft narratives of the most colorful music I know.
If someone is interested to read more on popular culture, probably better to look for Heryanto, he certainly is the better writer.
If someone is interested to read more on popular culture, probably better to look for Heryanto, he certainly is the better writer.
June 14, 2018
Dangdut menjadi obat bagi kaum protelar Indonesia melepas penat dan peluh. Bahkan di periode 1970-an dangdut dipandang oleh kalangan kelas-menengah keatas sebagai musik miskin dan dangkal. Hingga 1980-an dangdut di politisasi untuk menggerakan massa dan bahkan dijadikan mesin pencari uang yang bagi kalangan tertentu. Tentu yang menjadi bahan ekploitasi adalah rakyat.
Dari kacamata industri musik "rakyat" adalah konsumen. Bagi negara, "rakyat" adalah subjek politik yang dapat digalang melalui kampanye politik yang kerap menampilkan musik favorit mereka. Dari persfektif mubalig, perilaku personal dan moral "rakyat" menjadi kepentingan utama. Dan bagi kelas-menengah dan elite, dangdut adalah tanda simbolis untuk menciptakan apa yang disebut oleh Pierre Bourdieu sebagai "distingsi atau pembeda" [kelas].
Dari kacamata industri musik "rakyat" adalah konsumen. Bagi negara, "rakyat" adalah subjek politik yang dapat digalang melalui kampanye politik yang kerap menampilkan musik favorit mereka. Dari persfektif mubalig, perilaku personal dan moral "rakyat" menjadi kepentingan utama. Dan bagi kelas-menengah dan elite, dangdut adalah tanda simbolis untuk menciptakan apa yang disebut oleh Pierre Bourdieu sebagai "distingsi atau pembeda" [kelas].
August 6, 2020
Dangdut selalu berubah. Sebelum Dangdut ada proto-dangdut, setelahnya lahir cabang dangdut spesifik seperti dangdut koplo. Yang tidak berubah, dangdut merupakan pertunjukan paling partisipatif dan menubuh. Ini dibuktikan dari cara bermusik, komposisi lirik, hingga interaksi biduan dangdut dengan penonton. Saweran dan ajakan dangdutan, masih eksklusif milik acara dangdut.
Mulai dari Oma Irama sampai Inul Daratista, dangdut mengandung banyak fungsi, mulai dari suara rakyat kecil, medium pembentuk moral, komoditas internasional, hingga sasaran politik tubuh. Relasi antara dangdut, kelas, dan kuasa ternyata begitu kompleks.
Saya suka kehati-hatian Weintraub dalam melakukan risetnya. Pada pengantar buku ia mawas diri sebagai peneliti USA dengan kecenderungan bias selera dan selektif. Mungkin karena itu tulisannya terasa lambat, tetapi adil dan penuh detail. Buku dibagi menjadi 9 bab dengan susunan diakronis, pada awal bab dimulai dengan proposisi, dan setiap bab muncul tokoh yang dirasa mewakili zeitgeist jaman. Ini mempermudah pembacaan bagi pembaca pertama maupun yang pelaku riset.
Narasinya hambar? Nggak sih.
Mulai dari Oma Irama sampai Inul Daratista, dangdut mengandung banyak fungsi, mulai dari suara rakyat kecil, medium pembentuk moral, komoditas internasional, hingga sasaran politik tubuh. Relasi antara dangdut, kelas, dan kuasa ternyata begitu kompleks.
Saya suka kehati-hatian Weintraub dalam melakukan risetnya. Pada pengantar buku ia mawas diri sebagai peneliti USA dengan kecenderungan bias selera dan selektif. Mungkin karena itu tulisannya terasa lambat, tetapi adil dan penuh detail. Buku dibagi menjadi 9 bab dengan susunan diakronis, pada awal bab dimulai dengan proposisi, dan setiap bab muncul tokoh yang dirasa mewakili zeitgeist jaman. Ini mempermudah pembacaan bagi pembaca pertama maupun yang pelaku riset.
Narasinya hambar? Nggak sih.
May 12, 2012
410 - 2012
February 8, 2026
“In a society that was getting richer, the poor were getting poorer. Under these circumstances, it is understandable that people would want to ‘avoid hassles’ (tidak mau ambil pusing) or ‘look the other way.’ As narrated in the song ‘Sampai Pagi’ (Until the Morning Hours, rather than ‘thinking about debts piling up, it's better to just have a good time’ (mili utang numpuk segudang, lebih baik kita senang-senang). At least a night of pleasure would allow people to ‘throw problems far away’ (buang masala jauh-jauh). And yet, the mechanism of pleasure tempering people's pain does not adequately explain the types of meanings that emerged in the songs of this era. Dangdut opened up interpretive possibilities rather than neatly closing them off. Dangdut did not provide answers to problems. Rather, it pushed the limits of what was allowable in order to expose an excess of possibilities.
Beyond the invisible fictions about dangdut audiences constructed in texts inscribed by commercial, government, and critical institutions, however, lies the wild exuberance and pleasure of dangdut. In this temporal register, dangdut does not look forward (as in ‘mournful songs are not good for the nation’ or ‘songs about drugs will not lead to the production of good ethical citizens,’ or ‘pornographic songs are not good for our children’). It does not look backward, as in ‘our lives are so wretched that we need some plea. sure to make life worth living.’ Rather, dangdut exists in the present, as
‘structure of feeling,’ in the unresolved contradictions of everyday life. These contradictions are signified by mournful lyrics and joyous dancing: hyper-commercialism and strong identification with stars; and entertaining escapist fantasies vs. the banal existence of overcrowded living conditions, oppressively meager working wages, and lack of representation in the public sphere.
Beyond the powerful apparatuses that regulate and monitor people's behavior lies an undomesticated space where people can do all sorts of things that would be considered unacceptable according to middle class and elite standards of behavior. In dangdut, this is the space of exaggeration and excess, whether it is the garishness of your outfit, the teasingly erotic way you swing your hips, the vulgar language you use, or the articulation of social issues that cannot be broached in the public sphere. Elites might describe these practices as [overacting] because they cross over the boundaries of acceptable behavior. But for dangdut audiences active participation—in a music and dance form that emphasizes openness. spontaneity, playfulness, and passion—represents the heart and soul of what dangdut is all about.”
Beyond the invisible fictions about dangdut audiences constructed in texts inscribed by commercial, government, and critical institutions, however, lies the wild exuberance and pleasure of dangdut. In this temporal register, dangdut does not look forward (as in ‘mournful songs are not good for the nation’ or ‘songs about drugs will not lead to the production of good ethical citizens,’ or ‘pornographic songs are not good for our children’). It does not look backward, as in ‘our lives are so wretched that we need some plea. sure to make life worth living.’ Rather, dangdut exists in the present, as
‘structure of feeling,’ in the unresolved contradictions of everyday life. These contradictions are signified by mournful lyrics and joyous dancing: hyper-commercialism and strong identification with stars; and entertaining escapist fantasies vs. the banal existence of overcrowded living conditions, oppressively meager working wages, and lack of representation in the public sphere.
Beyond the powerful apparatuses that regulate and monitor people's behavior lies an undomesticated space where people can do all sorts of things that would be considered unacceptable according to middle class and elite standards of behavior. In dangdut, this is the space of exaggeration and excess, whether it is the garishness of your outfit, the teasingly erotic way you swing your hips, the vulgar language you use, or the articulation of social issues that cannot be broached in the public sphere. Elites might describe these practices as [overacting] because they cross over the boundaries of acceptable behavior. But for dangdut audiences active participation—in a music and dance form that emphasizes openness. spontaneity, playfulness, and passion—represents the heart and soul of what dangdut is all about.”
July 15, 2020
There are only few Indonesia's musical genres that having discourses as vast as dangdut has.
.
The debates already started from the land of origin spectacles to the Government ambivalences (or maybe hypocrisy?) on seeing dangdut as nods rather than gems.
.
Beyond the conscience of many people, dangdut has brought many taboos of the voiceless up to the surfaces.
.
From the politics of body (remember Inul? Yeah "that goyang ngebor, iman bocor" controversies) to the "recurring establishment" of rural people as "kampungan" by them who believed they were more civilized since they were living at "gedongan".
.
Praise to the top for Weintraub for his thorough field research.. .
.
The debates already started from the land of origin spectacles to the Government ambivalences (or maybe hypocrisy?) on seeing dangdut as nods rather than gems.
.
Beyond the conscience of many people, dangdut has brought many taboos of the voiceless up to the surfaces.
.
From the politics of body (remember Inul? Yeah "that goyang ngebor, iman bocor" controversies) to the "recurring establishment" of rural people as "kampungan" by them who believed they were more civilized since they were living at "gedongan".
.
Praise to the top for Weintraub for his thorough field research.. .
October 26, 2018
Weintraub menulis sejarah dangdut secara kronologis, dan memaki pendekatan beragam disiplin. Dalam pendahuluan di buku ini, sejarawan William Frederick menyatakan bahwa genre dangdut merupakan "prisma yang peka dan berguna untuk memandang masyarakat Indonesia". Dangdut tak hanya mencerminkan keadaan politik dan budaya nasional. Sebagai praktik ekonomi, politik dan ideologi, dangdut telah membantu membentuk gagasan tentang kelas, gender dan etnisitas di negara Indonesia modern.
August 21, 2022
Good job
March 13, 2017
Andrew, seorang yang tinggal di Amerika, beliau adalah profesor musik di Pittsburg Unibersity. Penelitian musik tentang dangdut dalam kemasan buku, detail dan mengupas cukup dalam mengenai kontekstual dangdut di Indonesia tentu sangat jarang.
Buku ini sangat penting, mengingat begitu jarangnya buku penelitian musik. Bagi saya buku ini cukup membantu untuk mengenali masyarakat kita melalui musik.
Buku ini sangat penting, mengingat begitu jarangnya buku penelitian musik. Bagi saya buku ini cukup membantu untuk mengenali masyarakat kita melalui musik.
June 23, 2012
Sesuai dengan judulnya, Dangdut: Musik, Identitas, dan Budaya Indonesia, buku ini membahas tentang dangdut. Weintraub memulainya dengan menjelaskan darimana dangdut itu bermula. Meski terjadi perbedaan pendapat antara Rhoma Irama dan Elvy Sukaesih tentang asal mula dangdut, toh seiring perjalanan dangdut yang dulunya hanya dianggap sebagai lagu kelas bawah, rupanya ia juga bisa diterima masyarakat kelas menengah dan atas republik ini.
Kemudian Weintraub menjelaskan perjalanan musik dangdut di tanah air. Dimulai dari era orkes Melayu di tahun 1950-an hingga dangdut di tahun 1970-an, sampai dangdut di tahun 2000-an ketika waktu itu kita sedang heboh dengan goyang ngebor-nya Inul Daratista. Di dalam buku ini juga dibahas penyanyi yang dianggap tokoh penting dangdut di Indonesia. Ada Rhoma Irama, Elvy Sukaesih, Ellya Khadam, dan lainnya. Beberapa lagu pun dibahas secara teknis, yang tentu saja saya tidak paham.
Sumber tulisan buku ini adalah pengamatan langsung Weintraub, wawancara dengan penyanyi dan musisi dangdut, dan dari sumber sekunder. Meski ini buku tentang dangdut, yang dianggap sebelah mata oleh kebanyakan orang, Weintraub menuliskannya dengan menarik dan tidak membosankan. Data-data yang ia sudah dapatkan, dielaborasikannya dengan baik, sehingga saya yang tidak suka dangdut mau dan bisa membaca buku ini sampai habis. :D
Satu hal yang pasti, sebagai orang awam yang tidak begitu paham musik (kapasitas saya hanya sebagai penikmat musik), apalagi musik dangdut, buku ini membuka wawasan baru untuk saya. Bahwasanya dangdut tidak seremeh atau sedangkal yang dibayangkan kebanyakan orang. Dangdut tetap memiliki nilai-nilai filosofisnya sendiri. Tapi, tetap sih dangdut bukan selera saya. ^^;
Kemudian Weintraub menjelaskan perjalanan musik dangdut di tanah air. Dimulai dari era orkes Melayu di tahun 1950-an hingga dangdut di tahun 1970-an, sampai dangdut di tahun 2000-an ketika waktu itu kita sedang heboh dengan goyang ngebor-nya Inul Daratista. Di dalam buku ini juga dibahas penyanyi yang dianggap tokoh penting dangdut di Indonesia. Ada Rhoma Irama, Elvy Sukaesih, Ellya Khadam, dan lainnya. Beberapa lagu pun dibahas secara teknis, yang tentu saja saya tidak paham.
Sumber tulisan buku ini adalah pengamatan langsung Weintraub, wawancara dengan penyanyi dan musisi dangdut, dan dari sumber sekunder. Meski ini buku tentang dangdut, yang dianggap sebelah mata oleh kebanyakan orang, Weintraub menuliskannya dengan menarik dan tidak membosankan. Data-data yang ia sudah dapatkan, dielaborasikannya dengan baik, sehingga saya yang tidak suka dangdut mau dan bisa membaca buku ini sampai habis. :D
Satu hal yang pasti, sebagai orang awam yang tidak begitu paham musik (kapasitas saya hanya sebagai penikmat musik), apalagi musik dangdut, buku ini membuka wawasan baru untuk saya. Bahwasanya dangdut tidak seremeh atau sedangkal yang dibayangkan kebanyakan orang. Dangdut tetap memiliki nilai-nilai filosofisnya sendiri. Tapi, tetap sih dangdut bukan selera saya. ^^;
April 5, 2011
dangdut is the music of my country :)
July 26, 2014
Finally an insight of our root music from different and interesting point of view.
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March 12, 2019mantab
Displaying 1 - 13 of 13 reviews