No full-text available
To read the full-text of this research,
you can request a copy directly from the author.
Alternative Conceptions of Modernity in the History of Iban Popular Music
Abstract
This paper examines how modernity has historically shaped developments in the industry of Iban popular music. The Iban make up one third of the Sarawakian population and are the largest indigenous ethnic group in Sarawak, Malaysia. As with other ethnicities in the nationstate, modernity has presented challenges for socio-cultural development and lifestyle of Iban people. Historically, the Iban are a cultural group located geographically and politically on the periphery of the multi-cultural nation of Malaysia. Throughout much of the 20th century, the music industry has experienced a rapid embrace of modernity through the nation to the detriment of traditional practices in culture in order to adapt themselves in the era of modernization. Iban society had gone through a state of flux where people have gone through the process of readapting themselves in meeting the demanding challenges of Malaysian nationalism. Drawing upon Barendregt’s (2014) ‘alternative conceptions of modernity’ this paper examines how the Iban reference both a national as well as a local music industry particularly through their use of language as an expression of Iban. First the paper will examine changes in Iban society through political and economic modernization. Then I look at differential transformation within Iban music industry because of relative exposure to agents of change such as the influence through Christian missionary and education. This reflects how the Iban react and reflect in adaptation of modern demands of change as a result of the effects of historical processes on the social, cultural and physical environments.
ResearchGate has not been able to resolve any citations for this publication.
In early 2015, a billboard advertisement of cigarette product Sampoerna A Mild titled “Mula Mula Malu-Malu, Lama Lama Mau” or in English means “Initially Feel Shy, Gradually Want” were protested by the majority of Indonesian people. Protests were stated on the website www.change.org, with a petition asking for the billboard to be removed immediately. Shortly after, Sampoerna A Mild company responded to the protest by apologizing to the people of Indonesia and removing the billboard. This case raises several questions for the author: Why was Sampoerna A Mild’s billboard removed?; What were the communicative sign contained in the illustrations that causes the billboard to be removed?; What was the idelogical background of Indonesian society which causes them to reject the billboard of Sampoerna A Mild? To answer these questions, this research based on a case study uses the methods of art critic as described by E.B Feldman. Data collection was done based on the study of literature, then the findings were analyzed inductively. Results of research revealed that the billboard was removed because it was considered a pornographic illustration. Pornography as seen in the communicative sign illustration of a young couple hugging each other, as well pornography in the illustration which includes the text that reads “Mula Mula Malu-Malu, Lama Lama Mau” or “Initially Feel Shy, Gradually Want”. The majority of Indonesian society rejected the billboard of Sampoerna A Mild and considered the billboard illustration to contain pornography due to their ideological background which is based on ethics and morality of Indonesian culture. Therefore, that rejection of the billboard is mainly due to an illustration displaying things that are in violation of Indonesian culture.
The research’s aim is to notice the music acculturation in the rhythm of female dance of Bedhaya and Srimpi dances in the Kingdom of Yogyakarta on the line-movement on-to the stage or leaving it (kapang-kapang). Besides, the research is going to discuss a West music instrument acculturation phenomenon with Javanese Traditional Gamelan Orchestra on the rhythm of female dance of Bedhaya and Srimpi dances that are still exist nowadays. The case study is focus on the usage of some West music instrument such as drum (percussion section), woodwind (woodwind section), brass-wind (brass-wind section), and stringed (stringed section) in the rhythm of the dances which are being mentioned above. The method which is being used first is by doing the quality data analysis. The result of the research are two mainly findings; those are 1) the inclusion of various elements of the palace ceremonial ritual by The Netherlands Indies government which were the impact of the European Colonization in the island of Java, especially in Yogyakarta; it has made a mentally structure of the people of Yogyakarta that would have created culture capitalized and which are being used in the context of Yogyakarta as the city of culture. 2) European military music for marching is being the inspiration of the palace to create Gendhing Mars which is being used as the rhythm in the marching movements of female dancers (kapang-kapang) together along with the ensemble of Javanese Traditional Gamelan Orchestra and the European music instruments which are being played in one sound (unisono).
This study aims to find a technique solution behind the Far interval and Octave interval in Brahms Cello sonata no.1 opus 38 and Shostakovich cello sonata op. 40 through literature and Discography approach. The fingering problems may poses special difficulties to any cellists. According to the author’s assessment, there are two problems that warrant special attentions of the cellist. Both intervals may cause serious problems on the performance of short fingers cellists. The size of the fingerboard on the cello as compared to other string instruments are longer, resulting in harder difficulties regarding obtaining tone (Stowell, 1999). From the results of the Far Interval and Octave Interval and active involvement of the researchers, the results show that, what is shown that every cellist are anatomically different. The fingers of the cellists are naturally very flexible. It cannot be converted to another cellists. So flexibly that it is possible to overcome the problem in a simple and convenient.
With the end of the Cold War and the proliferation of civil wars and "regime changes," the question of nation building has acquired great practical and theoretical urgency. From Eastern Europe to East Timor, Afghanistan and recently Iraq, the United States and its allies have often been accused of shirking their nation-building responsibilities as their attention - and that of the media -- turned to yet another regional crisis. While much has been written about the growing influence of television and the Internet on modern warfare, little is known about the relationship between media and nation building. This book explores, for the first time, this relationship by means of a paradigmatic case of successful nation building: Malaysia. Based on extended fieldwork and historical research, the author follows the diffusion, adoption, and social uses of media among the Iban of Sarawak, in Malaysian Borneo and demonstrates the wide-ranging process of nation building that has accompanied the Iban adoption of radio, clocks, print media, and television. In less than four decades, Iban longhouses ('villages under one roof') have become media organizations shaped by the official ideology of Malaysia, a country hastily formed in 1963 by conjoining four disparate territories.
Thesis (M.A.)--University of Queensland, 1976. Includes bibliographical references.
The Secret of Brahms Cellos Sonata No
- Asep Hidayat
Asep Hidayat Wirayudha, The Secret of Brahms Cellos Sonata No. 1 Op. 38...
R. M. Surtihadi, Music Acculturation in Rhythm of...
Periodization and Politics in the Postmodern
- B S Turner
Turner, B. S. (1990). Periodization and Politics in the Postmodern. In Theories of
Modernity and Postmodernity (pp. 1-13). London: Sage Publications Ltd.