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Genre of Indonesian folk and traditional popular music
Dangdut () is a genre of Indonesian folk music that is partly derived and fused from Hindustani, Arabic, and, to a lesser extent, Malay, Minangkabau, Javanese, Sundanese and local folk music.[1][2][3] Dangdut is the most popular musical genre in Indonesia[1] and very popular in other Maritime Southeast Asian countries because of its melodious instrumentation and vocals.[4][5] Dangdut features a tabla and gendang beat.[1]
Several popular dangdut singers include Rhoma Irama, Mansyur S., Elvy Sukaesih, Camelia Malik and now Iyeth Bustami, Ayu Ting Ting, Lesti Kejora and Via Vallen as Indonesian dangdut divas. Their music includes strong Indian music influences as the basis of harmony, theme, and beat. A dangdut musical group typically consists of a lead singer, backed by four to eight musicians. Instruments usually include a tabla, gendang, flute, mandolin, guitars, sitar, drum machines, and synthesisers.[6] Modern dangdut incorporates influences from Middle Eastern pop music, Western rock, reggae, disco, contemporary R&B, hip-hop, house, and electronic dance music.[1][7]
The popularity of dangdut peaked in the 1970s and 1980s but emerged in the late 1960s.[8] By 2012, it was still largely popular in Western Indonesia, but the genre was becoming less popular in the eastern parts, apart from Maluku.[9] Meanwhile, more regional and faster-paced forms of dangdut (as opposed to slower, Bollywood-influenced dangdut) have risen in popularity.
The term dangdut is an onomatopoeia for the sound of the tabla (also known as gendang) drum, which is written dang and ndut.[10] Putu Wijaya initially mentioned in the 27 May 1972 edition of Tempo magazine that the doll song from India was a mixture of Malay songs, desert rhythms, and Indian "dang-ding-dut". It was reportedly coined by the music magazine Aktuil, although Rhoma Irama stated that it was coined as a term of derision by the rich to the music of the poor. Despite its derogatory intent, it was seized upon by those playing it, and the term appears in Rhoma's 1973 dangdut classic.
Dangdut, as a term, distinguished the music of Javanese people from the Orkes Melayu (Malay orchestra) of North Sumatran Malays. Modern Minangkabau music is also the forerunner of dangdut, along with Malay music. Besides orkes Melayu, the primary musical influence on dangdut was Indian Bollywood music (filmi).
Orkes Melayu singer Ellya Khadam switched to dangdut in the 1970s, and by 1972, she was the number-one artist in Indonesia. Her success, along with that of Rhoma Irama, meant that by 1975, 75 per cent of all recorded music in Indonesia was of the dangdut genre, with pop bands such as Koes Plus adopting the style.
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Culture and controversy
Dangdut has become "contemporary folk music" in Indonesia. Its popularity surpasses those of other music genres:[1][2] people love to sing its songs with karaoke, both for themselves and during family celebrations, employees in central government offices exercise to its music before starting work, and so on. Political party campaign stages also do not miss out on utilising the popularity of dangdut to attract the masses.[11]
Most major cities, especially on Java, have one or more venues with a dangdut show several times a week. Concerts of major dangdut stars are also broadcast on television.[1][2] Because of the genre's popularity, some movies and TV shows have dangdut-centered themes, such as Rhoma Irama's movies and Rudy Soedjarwo's Mendadak Dangdut.
As scholars note, dangdut is the most controversial genre regarding its relation to Indonesian Islamic morality,[12] and few popular music genres around the world are more focused on women's bodies than dangdut,[13] whose lyrics often portray women as sexual objects.[14]
On the one side, within dangdut, a religious current (spiritual dangdut) emerged. While most dangdut songs tell about relationships with boy(girl)friends, spiritual works are directed to God. The main contribution to the emergence of spiritual dangdut was made by Rhoma Irama (albums Hak Azazi, Judi, Takbir Lebaran, Haji, Haram, Baca, and Shalawat Nabi), who made dangdut as a tool for his preaching, which can be seen from the lyrics of the songs he created and from the statements he issued himself.[15]
On the other side, beginning in 2003, certain dangdut musicians became the focus of a national controversy in Indonesia regarding performances by koplo dangdut singer Inul Daratista, which religious conservatives described as erotic and sexually suggestive. Protests led by dangdut megastar and devout Muslim Rhoma Irama called for Daratista to be banned from television, and legislation was passed in 2008 by the People's Consultative Assembly that introduced a broad range of activities described as pornography.[16][17]
The flamboyant performances at some dangdut shows also attracted collateral attention in May 2012 when a row broke out in Indonesia over a planned performance by international star Lady Gaga in Jakarta due to be held in early June 2012. In the face of opposition from conservative Muslim groups[which?] in Indonesia, the planned show was cancelled. This cancellation led numerous commentators to note that opposition to Lady Gaga's performances was surprising given the nature of some dangdut shows.[18]
Dangdut remains an integral part of Indonesian life and pop culture despite conservative Muslim concerns over the supposed vulgarity of some performances (such as by Dewi Persik and Julia Perez).[19]
Due to national laws, dangdut performers seek a balance of perceived womanhood, sexuality, and morality.[13]
