mana di atas dunia Banyak orang bermain musik Bermacam-macam warna jenis musik Dari pop sampai yang klasik If you are anti-dangdut Hate it but don't make trouble Just leave us alone to sing Sing our Melayu songs Bagi pemusik yang anti-Melayu Boleh benci, jangan mengganggu Biarkan kami mendendangkan lagu Lagu kami lagu Melayu Rhoma Irama2 Dangdut, the style of music here defended by contemporary Indonesia's bestknown popular entertainer, has been o f enormous influence in much of the post-Sukarno period, especially the years 1975-1981. Aimed directly at youth, it is dominated by a pulsating dance rhythm, and a populist message, with both Islamic and secular variants. It has produced Indonesia's first true entertainment superstars ; 3 played a large role in creating a market for the mass media in Indonesia (not only cassette tapes but radio, movies, and television) ; made a mark on other areas of cultural activity, especially literature; sparked open and often heated debate over the state of Indonesian culture; and given Indonesian Islam a new kind of pub lic identity. And while dangdut has been criticized on various grounds, it has been

ForewordThis volume is one in a continuing series of books prepared by the Federal Research Division of the Library of Congress under the Country Studies/Area Handbook Program sponsored by the Department of Army. The last page of this book lists the other published studies.Most books in the series deal with a particular foreign country, describing and analyzing its political, economic, social, and national security systems and institutions, and examining the interrelationships of those systems and the ways they are shaped by cultural factors. Each study is written by a multidisciplinary team of social scientists. The authors seek to provide a basic understanding of the observed society, striving for a dynamic rather than a static portrayal. Particular attention is devoted to the people who make up the society, their origins, dominant beliefs and values, their common interests and the issues on which they are divided, the nature and extent of their involvement with national institutions, and their attitudes toward each other and toward their social system and political order.The books represent the analysis of the authors and should not be construed as an expression of an official United States government position, policy, or decision. The authors have sought to adhere to accepted standards of scholarly objectivity. Corrections, additions, and suggestions for changes from readers will be welcomed for use in future editions.

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From at least the early sixteenth century, when Tomé Pires acclaimed the marvels of Malacca, Westerners have evinced an interest in the cities of Southeast Asia, though for different reasons and from varying perspectives. Travellers like Cesare Fredrici, Ralph Fitch, and Gasparo Balbi were generally impressed with what they saw and compared it favourably in many respects with Europe of the 1580s. In the course of the two hundred years, however, this appreciation altered markedly. Western authors after the late eighteenth century took a less sanguine view and tended to describe towns and cities rather disparagingly as little more than collections of villages. During the late 1920s, the panorama made possible by the advent of air travel in Southeast Asia distinguished clearly between rural and urban areas, but showed the latter as thoroughly Europeanized enclaves. In the popular aerial photographs of the day, these cities appeared slick in their new tropical-colonial architectural style and uncomplicated by large or even particularly visible non-European populations.