Southeast Asia in the age of jazz: Locating popular culture in the colonial Philippines and Indonesia

Keppy, Peter

doi:10.1017/s0022463413000350

Cited by 12 publications

(8 citation statements)

References 16 publications

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“…Keterlepasan antara ruang dan waktu serta disembedded-nya interaksi sosial dalam level lokal misalnya termanifestasi pada semakin beragamnya bentuk dan ekspresi budaya kaum muda Indonesia baik yang bercorak global maupun perpaduan yang berwujud glokal (Ritzer, 2003). Dalam hal musik, kaum muda Indonesia dari lapisan sosial tertentu sejak jaman kolonial telah mempunyai selera kosmopolitan misalnya melalui musik jazz ala Eropa, Amerika maupun Filipina (Keppy, 2013). Kecenderungan ini pada titik tertentu juga berlanjut pada rezim Orde Baru dan era setelahnya dimana musik rock, jazz dan metal tidak hanya dikonsumsi namun juga turut dimainkan oleh kaum muda (Hurley, 2006;Harnish and Wallach, 2013;Baulch 2020).…”

Section: Lanjutunclassified

Musisi Muda, Refleksivitas Diri Dan Karier Diy Di Era Modernitas Lanjut

Sutopo¹

2022

Jurnal Analisa Sosiologi

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This article examines the practice of self-reflexivity among young Indonesian musicians in the era of late modernity. In particular, young musicians’ musical practice from amateur phase into Do It Yourself (DIY) career become an important temporal and spatial dimensions of the analysis. This article applies self-reflexivity theory from Anthony Giddens as a tool of analysis. In addition, I also synthesis Giddens’ theory with youth culture and youth transition perspectives. This article makes use of qualitative method specifically life biographies as a tool to capture wider narrative of young musicians throughout their life course. This research finds that young Indonesian musicians are able to reflexively adaptive during transition from amateur into DIY carrier. Narratives of young musicians also reveal the empowering effect during their process of formulation and re-formulation of reflexive self. Young musicians are able to achieve self-actualization based on their individual’s aspiration. Thus, the self-reflexive characteristic as shown by young Indonesian musicians in this article can be a positive example for young people to maintain their transition in the era of late modernity. Keywords: Young Musicians, Self-Reflexivity, Youth Culture, DIY Career <h2>Abstrak</h2>Artikel ini membahas mengenai refleksivitas diri musisi muda Indonesia dalam era modernitas lanjut. Secara spesifik, praktik bermusik dalam perjalanan dari fase amatir menjadi karier Do It Yourself (DIY) menjadi dimensi temporal dan spasial yang penting. Teori refleksivitas diri dari Anthony Giddens digunakan sebagai alat bantu dalam melakukan analisis. Selain itu, teori tersebut juga disintesiskan dengan perspektif budaya kaum muda dan transisi. Secara metodologis, artikel ini menggunakan metode kualitatif dengan pendekatan life biographies untuk melihat narasi yang lebih luas dalam daur hidup kaum muda. Berdasarkan temuan penelitian ditunjukkan bahwa musisi muda secara refleksif mampu adaptif baik pada fase amatir maupun pada fase karier DIY. Disisi lain, narasi musisi muda menunjukkan bahwa pembentukan dan penataan ulang diri secara refleksif justru bersifat memberdayakan dikarenakan baik dalam fase amatir maupun karier DIY mereka mampu melakukan aktualisasi diri sebagaimana yang diinginkannya. Karakteristik refleksivitas diri dari musisi muda dalam artikel ini dapat menjadi contoh positif dalam menjalani transisi kepemudaan di era modernitas lanjut.Kata Kunci: Musisi Muda, Refleksivitas Diri, Budaya Kaum Muda, Karier DIY

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Section: Lanjutunclassified

Musisi Muda, Refleksivitas Diri Dan Karier Diy Di Era Modernitas Lanjut

Sutopo¹

2022

Jurnal Analisa Sosiologi

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“…Watkins (2010) suggests that mimicry is a step for Filipino musicians on the way to achieving specific creative and artistic goals. An interesting historical example of this is Borromeo Lou (aka Luis Borromeo), who was born in Cebu province and in 1915 traveled to the US as a pianist in vaudeville acts, returning to the Philippines in 1921 to establish a musical style known as bodabil , a localization of vaudeville (Keppy, 2013). In more recent times, researchers have recognized the skills of Filipinos in the US hip-hop market particularly in DJing (e.g.…”

Section: The Filipino Brand Of Mimicrymentioning

confidence: 99%

Mimicking the mimics: problematizing cover performance of Filipino local music on social media

Anacin

Baker

Bennett

2021

Media, Culture & Society

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The performance of cover songs in popular music has long been a subject of critical discussion and debate due to the artistic, social, cultural, and commercial issues that covers raise. In non-Western societies, most popular songs covered by artists are Anglo-American, a situation which implicitly privileges Western music and reinforces both the “west and the rest” trope and the cultural imperialism thesis. Taking American amateur artists and their online videos performing Filipino popular music as case studies, this article examines how social media platforms facilitate and problematize center-periphery relations in popular music through a diffusion of cultural products “from the rest to the west.” Moreover, we show that more than the promise of audience reach, the phenomenon reflects how these cover artists embody cultural and social situatedness in Filipino culture. As they mimic the mimics, they also embody an identity in motion.

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“…UP's location, which would supposedly isolate the campus from the urban distractions of downtown, actually brought students closer to infamous cabarets such as those in Caloocan. 71…”

Section: Contradiction and Corruption In The Citymentioning

confidence: 99%

Quezon's City: Corruption and contradiction in Manila's prewar suburbia, 1935–1941

Panté¹

2017

J. Southeast Asian stud.

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Quezon City was founded in 1939 as a planned city and envisioned as the future capital of the Philippines, which was anticipating its independence in a few years. Led by President Manuel Quezon, Philippine politicians conferred upon the city narratives of nationhood and social justice to make it the best spatial representation of a nation-in-waiting. However, underneath these state-centric ideologies was the authoritarianism of the Quezon regime, which used urban politics to centralise power. But far from being a symbol of the President's undisputed dominance, Quezon City's inherent contradictions became weak points in the city's official narrative.

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Southeast Asia in the age of jazz: Locating popular culture in the colonial Philippines and Indonesia

Cited by 12 publications

References 16 publications

Musisi Muda, Refleksivitas Diri Dan Karier Diy Di Era Modernitas Lanjut

Musisi Muda, Refleksivitas Diri Dan Karier Diy Di Era Modernitas Lanjut

Mimicking the mimics: problematizing cover performance of Filipino local music on social media

Quezon's City: Corruption and contradiction in Manila's prewar suburbia, 1935–1941

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