Suchergebnisse

Preliminary Material /Bart Barendregt -- Sonic Histories in a Southeast Asian Context /Bart Barendregt -- Music on Dutch East Indies Radio in 1938: Representations of Unity, Disunity, and the Modern /Philip Yampolsky -- 'Dirty Dancing' and Malay Anxieties: The Changing Context of Malay Ronggeng in the First Half of the Twentieth Century /Jan van der Putten -- Disquieting Degeneracy: Policing Malaysian and Singaporean Popular Music Culture From the Mid-1960s to Early-1970s /Adil Johan -- Pop Goes Melayu: Melayu Popular Music in Indonesia, 1968–1975 /Andrew N. Weintraub -- Pop Melayu vs. Pop Indonesia: New Interpretations of a Genre into the 2000s /Emma Baulch -- Worlds of Sparkling Lights: Popular Music and Youth Cultures in Solo, Central Java /Lars Gjelstad -- Seductive Pleasures, Eluding Subjectivities: Some Thoughts on Dangdut's Ambiguous Identity /Bettina David -- Notes on Dangdut Music, Popular Nationalism, and Indonesian Islam /Jeremy Wallach -- Politicians who Love to Sing and Politicians who Detest Singing /Kees van Dijk -- Musical Aspects of Popular Music and Pop Sunda in West Java /Wim van Zanten -- Modernizing Songs of the Forest: Indigenous Communities Negotiate Tensions of Change in Malaysia /Tan Sooi Beng -- Index /Bart Barendregt.

List of FiguresContributorsForewordRichard Wilk, Indiana University, USA1. The Paradoxes of Eco-Chic Bart Barendregt, Leiden University, The Netherlands, and Rivke Jaffe, University of Amsterdam, The NetherlandsPart I : From Production to Consumption2. Adversaries into Partners? Brand Coca-Cola® and the Politics of Consumer-CitizenshipRobert J. Foster, University of Rochester, USA3. Peopling the Practices of Sustainable Consumption: Eco-Chic and the Limits to the Spaces of Intention Raymond L. Bryant and Michael K. Goodman, King's College London, UK4. Global Gold Connections: Ethical Consumption and the Beauty of Bonding ArtisansSabine Luning, Leiden University, The Netherlands and Marjo De Theije, Vu University Amsterdam, The NetherlandsPart II: Spatialities and Temporalities 5. Marketing the Mountain: The Emergence and Consequences of Eco-chic Practices in the Basque RegionSeth Murray, North Carolina State University, USA and Meredith Welch-Devine,University of Georgia, USA 6. Green is the New Green: Eco-Aesthetics in SingaporeChris Hudson, RMIT University, Australia7. The Caring, Committed Eco-Mom: Consumption Ideals and Lived Realities of Toronto MothersKate Cairns, Kim de Laat, Josée Johnston and Shyon Baumann, University of Toronto, CanadaPart III: Bodies and Beauty8. Afro-Chic: Beauty, Ethics and "Locks Without Dread" in GhanaAnna-Riikka Kauppinen, LSE, UK and Rachel Spronk, University of Amsterdam, The Netherlands9. Ital Chic: Rastafari, Resistance and the Politics of Consumption in JamaicaRivke Jaffe, University of Amsterdam, The Netherlands10. Tropical Spa Culture and the Face of New Asian BeautyBart Barendregt, Leiden University, The NetherlandsAfterword: From Eco-Chic to Eco-SmartSharon Zukin, CUNY, USANotesBibliographyIndex

Much has been said regarding the global flows of information that are characteristic of modernity; it has been frequently stressed that these conduits are so deeply embedded that local or national environments may be imagined as having a global span. Thus, while we are now well aware that the imagination is integral to global cultural processes, questions still arise about how the imagination of life with a global span is made possible at the level of everyday social practices. This book examines performative interventions that can generate a re-imagining of local publics — both spatially grounded and mediatized — and help to renegotiate the connection between the local and the global. After the 'performative turn' of the 1960s, it has been understood that shared experience of performance as event or spectacle can transform interpretations of the global and the local and create new meanings, and this book continues in the direction of this important tradition, while also fully expanding on its consequences.

This series focuses on visual cultures that are produced, distributed and consumed in Asia and by Asian communities worldwide. Visual cultures have been implicated in creative policies of the state and in global cultural networks (such as the art world, film festivals and the Internet), particularly since the emergence of digital technologies. Visual communication and innovation is also thriving in transnational networks and communities at the grass-roots level. This series seeks to explore how the texts and contexts of Asian visual cultures shape, express and negotiate new forms of creativity, subjectivity and cultural politics. It specifically aims to probe into the political, commercial and digital contexts in which visual cultures emerge and circulate, and to trace the potential of these cultures for political or social critique. Bart Barendregt is an associate professor at the Leiden Institute of Cultural Anthropology and Development Sociology.

Over time Dutch and Indonesian musicians have inspired each other and they continue to do so. Recollecting Resonances offers a way of studying these musical encounters and a mutual heritage one today still can listen to.

Abstract
This article introduces the special issue on 'Digital Activism' by exploring some of the trends in social media activism and scholarship thereof. The authors ask to what extent this literature helps us understand Asian forms of online activism, which forms of activism have relatively done well, and whether Asian activism requires its own theorizing. Most of all, it is a plea for a careful and ethnographically informed approach to digital activism. Although outwardly they look similar and use the same templates, manuals, or even similar media strategies, not all forms of online activism promote democratic values. Furthermore, we argue that much of what happens under the banner of digital activism is not necessarily politics with a capital P but, rather, consists of everyday forms of engagement, with sometimes seemingly vulgar contents and often familiar routines and natural forms, yet in their impact such 'banal activism' may have political implications.

Abstract
This article introduces the special issue 'Online Publics in Muslim Southeast Asia: In Between Religious Politics and Popular Pious Practices' by discussing prominent approaches in the study of media and the public sphere in light of the specific history of digital media's rise in Muslim Southeast Asia. It focuses on earlier and current expressions of mobile and Islamic modernity as well as on changing moralities and forms of Islamic authority. Referencing the other contributions to this special issue, it particularly emphasizes the (discursive and visual) contestations and social dramas that take place in the region's media spaces providing for a variety of Islamic forms, practices, and socialities that can best be grasped, the authors argue, by considering politics, the pious, and the popular not as separate, but as mutually constitutive domains.

The emergence of modernity has typically focused on Western male actors and privileged politics and economy over culture. The contributors to this volume successfully unsettle such perspectives by emphasizing the social history, artistic practices, and symbolic meanings of female performers in popular music of Asia.Women surfaced as popular icons in different guises in different Asian countries through different routes of circulation. Often, these women established prominent careers within colonial conditions, which saw Asian societies in rapid transition and the vernacular and familiar articulated with the novel and the foreign. These female performers were not merely symbols of times that were rapidly changing. Nor were they simply the personification of global historical changes. Female entertainers, positioned at the margins of intersecting fields of activities, created something hitherto unknown: they were artistic pioneers of new music, new cinema, new forms of dance and theater, and new behavior, lifestyles, and morals. They were active agents in the creation of local performance cultures, of a newly emerging mass culture, and the rise of a region-wide and globally oriented entertainment industry.Vamping the Stage is the first book-length study of women, modernity, and popular music in Asia, showcasing cutting-edge research conducted by scholars whose methods and perspectives draw from such diverse fields as anthropology, Asian studies, cultural studies, ethnomusicology, and film studies. Led by an impressive introduction written by Weintraub and Barendregt, fourteen contributors analyze the many ways that women performers supported, challenged, and transgressed representations of existing gendered norms in the entertainment industries of China, Japan, India, Indonesia, Iran, Korea, Malaysia, and the Philippines. Placing women's voices in social and historical contexts, the essays explore salient discourses, representations, meanings, and politics of "voice" in Asian popular music.Historicizing the artistic sounds, lyrical texts, and visual images of female performers, the essays reveal how women used popular music to shape the ideas, practices, and meanings of modernity in various Asian contexts and time frames. The ascendency of women as performers paralleled, and in some cases generated, developments in wider society such as suffrage, social and sexual liberation, women as business entrepreneurs and independent income earners, and particularly as models for new life styles. Women's voices, mediated through new technologies of film and the phonograph, changed the soundscape of global popular music and resonate today in all spheres of modern life.

Cover -- Table of Contents -- Introduction -- Muted sounds, obscured histories -- Living the modern life -- Four eras -- Research project Articulating Modernity -- 1. Oriental Foxtrots and Phonographic Noise, 1910s-1940s -- New markets -- The rise of female stars and fandom -- Jazz, race, and nationalism -- Box 1.1 Phonographic noise -- Box 1.2 Dance halls -- Box 1.3 The modern woman -- 2. Jeans, Rock, and Electric Guitars, 1950s-mid-1960s -- Youth culture -- Moral indignation -- Local industry -- Beat goes local -- Box 2.1 Gangs -- Box 2.2 Blue Jeans -- Box 2.3 Tremolo guitar -- 3. The Ethnic Modern, 1970s-1990s -- Modern music for the Muslim Malay masses -- Pop history, as we know it -- Subversive sounds -- Making noise in the big melting pot -- What is so modern about the ethnic? -- The sound of longing for home: pop Minang -- Village girl and big city pop diva: The story of Elly Kasim -- Box 3.1 Disco -- Box 3.2 Dangdut -- Box 3.3 Going abroad (in two songs) -- 4. Doing it Digital, 1990s-2000s -- Musical revolutions: Finally indie-pendent? -- Pop, politics, and piety -- Asia around the corner -- Doing it Digital: Three apparent paradoxes -- The Malay Muslim girl-next-door: A deeper conversation with Yuna -- Box 4.1 - JKT48 -- Box 4.2 - An Indonesian indie song -- Box 4.3 - Karaoke discs -- Box 4.4 - SoundCloud communities -- Selected Bibliography -- List of Illustrations -- Illustration 1 – A Malay dondang sayang song recorded in Singapore by Pagoda Record, subsidiary of Deutsche Grammophon, c. 1935 -- Illustration 2 – Quranic text interpretation (tafsir) and translation from Arabic to Malay by a female religious expert (ustazah) recorded by Extra Records (His Master's Voice) in Indonesia, c. 1938 -- Illustration 3 – Rajuan Irama, an Malay orchestra, c. 1935.

From the 1920s on, popular music in Southeast Asia was a mass-audience phenomenon that drew new connections between indigenous musical styles and contemporary genres from elsewhere to create new, hybrid forms. This book presents a cultural history of modern Southeast Asia from the vantage point of popular music, considering not just singers and musicians but their fans as well, showing how the music was intrinsically bound up with modern life and the societal changes that came with it. Reaching new audiences across national borders, popular music of the period helped push social change, and at times served as a medium for expressions of social or political discontent.

Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- List of figures -- List of contributors -- Chapter 1: Audiovisual and digital ethnography at Leiden -- The nature of this book: A practical and theoretical guide -- The content of this book -- Notes -- References -- Chapter 2: Learning to see -- Learning to see in the field -- Anthropologies of vision -- Learning to see is "enskilment" -- Learning to see is a social activity -- The phenomenology of enskilment in maritime carpentry -- Learning to see 'evidence' -- Learning to see is situated sensing -- Conclusion -- Acknowledgement -- Notes -- References -- Chapter 3: Sonic Ethnography -- Introduction -- A (very) brief history of sonic ethnography -- Sonic ethnography as ontological poetics -- Microphones, recorders and how to operate them -- Exercises in listening and recording -- The poetics of editing -- Conclusion -- Notes -- Bibliography -- Mediagraphy -- Chapter 4: Graphic anthropology: a foundation for multimodality -- Introduction: graphophobia -- Homo scribens, a monomodal existence -- The multimodality of grapho -- Graphic methodologies: thinking, seeing, doing -- Putting drawing into practice -- Graphic scholarship -- Unthinkable -- Notes -- References -- Chapter 5: Dialoguing events: An audiovisual toolkit for extended participatory observation -- Exploring the unknown -- The funeral of Nangseng: confusion, clarity and contradiction -- Multiple observations, multiple interpretations -- Engaging, participating, learning in Garo Hills -- Dialoguing events -- A toolkit for extended participatory observation -- Conclusions: co-creating ethnographic interpretations -- Notes -- References -- Chapter 6: Observational cinema as process, skill and method -- Introduction -- Writing ethnography vis-à-vis audiovisual ethnography -- Ways of knowing.