EUR  â¬184.63EUR  â¬175.00 excl. VAT
Music of the Baduy People of Western Java
Singing is a Medicine
Series:
Author:
Music of the Baduy People of Western Java: Singing is a Medicine by Wim van Zanten is about music and dance of the indigenous group of the Baduy, consisting of about twelve-thousand people living in western Java. It covers music for rice rituals, for circumcisions and weddings, and music for entertainment. The book includes many photographs and several discussed audio-visual examples that can be found on DOI: 10.6084/m9.figshare.c.5170520.
Baduy are suppposed to live a simple, ascetic life. However, there is a shortage of agricultural land and there are many temptations from the changing world around them. Little has been published on Baduy music and dance. Wim van Zantenâs book seeks to fill this lacuna and is based on short periods of fieldwork from 1976 to 2016.
Baduy are suppposed to live a simple, ascetic life. However, there is a shortage of agricultural land and there are many temptations from the changing world around them. Little has been published on Baduy music and dance. Wim van Zantenâs book seeks to fill this lacuna and is based on short periods of fieldwork from 1976 to 2016.
Wim van Zanten (1942) obtained his PhD from Leiden University in 1987. He has published on the music of Malawi, Africa, and West Java, Indonesia, including âSundanese music in the Cianjuran styleâ (Foris, Verhandelingen 140, 1989).
Preface
Orthography
List of Illustrations
Audio-Visual Examples (AV) and Music Transcriptions (Tr)
1 Introduction
1.1âThe Baduy People of Kanékés Village and Their Music and Dance
â1.1.1âThe Name of the Indigenous Group
1.2âOverview of Baduy Music and Dance
1.3âOutline of the Book
2 Social Organization and Economic Situation
2.1âSocio-Political Organization and Major Spiritual and Secular Officials
2.2âDangka Hamlets and Their Role in the Delineation of Baduy Culture
2.3âAgricultural Land, Non-Irrigated Fields and Religion
2.4âRelations with Indonesian Authorities and Cultural Tourism
2.4.1âHand Phones
2.4.2âSéba
2.5 Non-Governmental Organisations:Â Trust, Social Justice and Environment
2.6 Weaving, Clothes and Production of Textiles for Sale
2.7 Production of Other Goods
2.7.1âPalm Sugar (gula kawung)
2.7.2âKnives
3 Methodological Issues and Theoretical Starting Points
3.1 Historical Sources and Earlier Publications on Music and Dance
3.2 Restrictions for Researchers and Other Methodological Issues
3.3 Visits to the Holy Places in Kanékés between 1822 and 1931
3.3.1âBlume (1822)
3.3.2âVan Hoëvell (1845)
3.3.3âKoorders (1864)
3.3.4âCriticism by Jacobs and Meijer (1891) and Pennings (1902)
3.3.5âKoolhoven (1931)
3.3.6âVan Tricht (1928)
3.4âFieldwork Periods Present Author
3.5âSome Theoretical Issues and Definitions
4 Seasons for Music and Major Rituals
4.1âAgricultural Calendar and Musical Seasons
4.2âAngklung Music for the Engagement Ritual of the Goddess of Rice
4.3âCircumcisions and Weddings
4.4âCircumcision in Kadujangkung
4.5âCircumcision in Cicakal Leuwi Buleud
4.6âWeddings and Other Rituals; Some General Observations
5 Tone Systems, angklung, keromong, Dancing and Gender Aspects
5.1âGeneral Musical Concepts:Â Tone Systems, Modes and Styles of Playing
â5.1.1âTranscription of Music for Analysis
â5.1.2âTone Systems
5.2âAngklung for Rituals and for Entertainment
5.3âKeromong (gamelan)
5.4âThe History of a Baduy Gamelan between 1976 and 2019
5.4.1âCommentary
5.5âDancing
5.6âGender Aspects and Gendék Ceremonial Pounding of Rice
5.6.1âMusicians and Gender
5.6.2âGendék
6 Carita Pantun Storytelling
6.1âBaduy Oral Literature in the Larger Sundanese Context
6.2âBaduy Pantun Stories
6.3âPantun Texts and Audio-Visual Recordings since 1905
6.4âOwn Recordings and Observations of pantun Storytellers
â6.4.1âDirection that the Pantun Performer Should Be Facing
6.5âRecited Text and Performing Aspects of pantun Recitation
7 Song Texts in Music for Entertainment
7.1âEarlier Publications of Song Texts
7.2âFormal Aspects of the Song Texts
7.3âSong Texts Used in Performance by Female Singer Raidah in 2003
â7.3.1âKidung Rahayu
â7.3.2âTepang Sono
â7.3.3âDaun Hiris
â7.3.4âJalan
â7.3.5âGunjaér Mundur
â7.3.6âKacang Asin
â7.3.7âBayu-Bayu
â7.3.8âPoho Kabalik
â7.3.9âKapergok
â7.3.10âDaun Puspa
â7.3.11âUcing-Ucingan
7.4âMajor Themes in Other Song Texts
â7.4.1âMoral Advice
â7.4.2âHurt by Outsiders
â7.4.3âDirty Words
â7.4.4âReferences to Music and Dance
â7.4.5âFalse Instruments and Social Order
8 Wind, String and Other Instruments
8.1âKumbang Flute
8.2âTarawélét Flute
8.3âLamus Flute and Elét
8.3.1âElét
8.4 String Instruments
8.4.1âKacapi Pantun
8.4.2âSiter and Falsetto Voice
8.4.3âRendo
8.4.4âViol
8.4.5âRebab
8.5 Xylophones and Jewâs Harp
8.5.1âGambang or Gambang Kayu
8.5.2âCalung
8.5.3âKarinding
Concluding Remarks
9.1âNegotiating Rules and Mutual Respect
â9.1.1âThe 2003 unesco Convention on Living Culture
9.2âSafeguarding, Cultural Tourism and Future Research
Appendix 1 A Map of Kanékés and a List of Its Hamlets
Appendix 2 The Baduy Calendar
Appendix 3 List of People Interviewed and/or Recorded
Appendix 4 Song Texts for Entertainment
Glossary
References
Index
Orthography
List of Illustrations
Audio-Visual Examples (AV) and Music Transcriptions (Tr)
1 Introduction
1.1âThe Baduy People of Kanékés Village and Their Music and Dance
â1.1.1âThe Name of the Indigenous Group
1.2âOverview of Baduy Music and Dance
1.3âOutline of the Book
2 Social Organization and Economic Situation
2.1âSocio-Political Organization and Major Spiritual and Secular Officials
2.2âDangka Hamlets and Their Role in the Delineation of Baduy Culture
2.3âAgricultural Land, Non-Irrigated Fields and Religion
2.4âRelations with Indonesian Authorities and Cultural Tourism
2.4.1âHand Phones
2.4.2âSéba
2.5 Non-Governmental Organisations:Â Trust, Social Justice and Environment
2.6 Weaving, Clothes and Production of Textiles for Sale
2.7 Production of Other Goods
2.7.1âPalm Sugar (gula kawung)
2.7.2âKnives
3 Methodological Issues and Theoretical Starting Points
3.1 Historical Sources and Earlier Publications on Music and Dance
3.2 Restrictions for Researchers and Other Methodological Issues
3.3 Visits to the Holy Places in Kanékés between 1822 and 1931
3.3.1âBlume (1822)
3.3.2âVan Hoëvell (1845)
3.3.3âKoorders (1864)
3.3.4âCriticism by Jacobs and Meijer (1891) and Pennings (1902)
3.3.5âKoolhoven (1931)
3.3.6âVan Tricht (1928)
3.4âFieldwork Periods Present Author
3.5âSome Theoretical Issues and Definitions
4 Seasons for Music and Major Rituals
4.1âAgricultural Calendar and Musical Seasons
4.2âAngklung Music for the Engagement Ritual of the Goddess of Rice
4.3âCircumcisions and Weddings
4.4âCircumcision in Kadujangkung
4.5âCircumcision in Cicakal Leuwi Buleud
4.6âWeddings and Other Rituals; Some General Observations
5 Tone Systems, angklung, keromong, Dancing and Gender Aspects
5.1âGeneral Musical Concepts:Â Tone Systems, Modes and Styles of Playing
â5.1.1âTranscription of Music for Analysis
â5.1.2âTone Systems
5.2âAngklung for Rituals and for Entertainment
5.3âKeromong (gamelan)
5.4âThe History of a Baduy Gamelan between 1976 and 2019
5.4.1âCommentary
5.5âDancing
5.6âGender Aspects and Gendék Ceremonial Pounding of Rice
5.6.1âMusicians and Gender
5.6.2âGendék
6 Carita Pantun Storytelling
6.1âBaduy Oral Literature in the Larger Sundanese Context
6.2âBaduy Pantun Stories
6.3âPantun Texts and Audio-Visual Recordings since 1905
6.4âOwn Recordings and Observations of pantun Storytellers
â6.4.1âDirection that the Pantun Performer Should Be Facing
6.5âRecited Text and Performing Aspects of pantun Recitation
7 Song Texts in Music for Entertainment
7.1âEarlier Publications of Song Texts
7.2âFormal Aspects of the Song Texts
7.3âSong Texts Used in Performance by Female Singer Raidah in 2003
â7.3.1âKidung Rahayu
â7.3.2âTepang Sono
â7.3.3âDaun Hiris
â7.3.4âJalan
â7.3.5âGunjaér Mundur
â7.3.6âKacang Asin
â7.3.7âBayu-Bayu
â7.3.8âPoho Kabalik
â7.3.9âKapergok
â7.3.10âDaun Puspa
â7.3.11âUcing-Ucingan
7.4âMajor Themes in Other Song Texts
â7.4.1âMoral Advice
â7.4.2âHurt by Outsiders
â7.4.3âDirty Words
â7.4.4âReferences to Music and Dance
â7.4.5âFalse Instruments and Social Order
8 Wind, String and Other Instruments
8.1âKumbang Flute
8.2âTarawélét Flute
8.3âLamus Flute and Elét
8.3.1âElét
8.4 String Instruments
8.4.1âKacapi Pantun
8.4.2âSiter and Falsetto Voice
8.4.3âRendo
8.4.4âViol
8.4.5âRebab
8.5 Xylophones and Jewâs Harp
8.5.1âGambang or Gambang Kayu
8.5.2âCalung
8.5.3âKarinding
Concluding Remarks
9.1âNegotiating Rules and Mutual Respect
â9.1.1âThe 2003 unesco Convention on Living Culture
9.2âSafeguarding, Cultural Tourism and Future Research
Appendix 1 A Map of Kanékés and a List of Its Hamlets
Appendix 2 The Baduy Calendar
Appendix 3 List of People Interviewed and/or Recorded
Appendix 4 Song Texts for Entertainment
Glossary
References
Index
Ethnomusicologists and anthropologists, especially those interested in ethnic minority groups. It is also meant for scholars, NGOs and administrators of intangible cultural heritage and people of Baduy descent.