Chapter Seven: Sundanese Dance Music
Sundanese Popular Music Forms Dangdut -- mixes rock and Indian film song Jaipongan -- ndigenous Sundanese sounds
Drum “Grooves” Dangdut – –“dang dut dang dut...” Jaipongan –“ja - i - pong ja - i - pong …”
Which is more “Traditional” / “Authentic”? Dangdut may be more “traditional” Despite dangdut’s Western sound Because the ideas and behaviors behind dangdut are more “traditional”
Four Sundanese Dance Genres Ketuk tilu Bajidoran –modern ketuk tilu
Four Sundanese Dance Genres (cont.) Jaipongan –“cleaned-up” version –presentational, staged Dangdut
Ketuk Tilu Dance party –Men dance with ronggeng and each other –Ronggeng: female singer/dancer/prostitute
Ketuk Tilu (cont.) Musical ensemble –Goong –Three ketuk (small gongs) –Rebab (spike fiddle) –Drums
Three elements in Ketuk Tilu Ronggeng (female singer-dancer) Drumming that animates dancers “Freedom” in dance movements
Bajidoran (modern ketuk tilu) Ronggeng on a high stage Innovations in music and dance Egot (holding hands with ronggeng) Triping (“tripping”)
Jaipongan Combined features of –Ketuk tilu / bajidoran –Disco –“Classical” dance
Jaipongan (cont.) Includes –Separate female singer and female dancer –Wild drumming –Choreographed dancing on stage
Dangdut dance events Ketuk tilu ideas grafted onto dangdut –Ronggeng (female singer/dancer) –Drumming that animates dancers –“freedom” in dance movements
What’s “Traditional” / “Authentic”? Western approach: sounds / instruments –Continuity in sound, instruments, and appearances –Contexts and meanings can change
What’s “Traditional” / “Authentic”? (cont.) Sundanese approach: ideas / behaviors –Continuity in interactions, roles, and meanings –Sound, instruments, and appearances can change
Summary “Tradition” –Connected to the past –Relevant to the present –Helps articulate identity
Summary (cont.) Various “traditional” Sundanese forms –Ketuk tilu, jaipongan, bajidoran, dangdut Three “traditional” elements focus on ideas and behaviors (vs. sounds) Ronggeng, drumming, “free” dancing