Performing arts in most parts of Maritime Southeast Asia are seen as an entity, where music and dance, sound and movement, acoustic and tactile elements intermingle and complement each other. Although this fact is widely known and referenced, most scholarly works in the performing arts so far have either focused on "music" or "dance" rather than treating the two in combination. The authors in this book look at both aspects in performance, moreover, they focus explicitly on the interrelation between the two, on both descriptive-analytical and metaphorical levels. The book includes diverse examples of regional performing art genres from Indonesia, Malaysia and the Philippines. All case studies are composed from the perspective of the relatively new approach and field of ethno-choreomusicology. This particular compilation gives an exemplary overview of various phenomena in movement-sound relations, and offers for the first time a thorough study of the phenomenon that is considered essential for the performing arts in Maritime Southeast Asia - the inseparability of movement and sound.
List of Figures List of Tables Notes on Contributors Preface 1. Understanding Performance in Maritime Southeast Asia: Re-thinking Paradigms and Discourses, an Introduction (Ricardo D. Trimillos) 2.Sonic and Tactile Dimensions of Sundanese Dance (Henry Spiller) 3. The Balinese Kecak – An Exemplification of Sonic and Visual (Inter-)relations (Kendra Stepputat) 4. Persistent Mutualisms: Energizing the Symbiotic Relationship Between Balinese Dancer and Drummer (Made Mantle Hood) 5. Cari….Cari….Cari!: Filling the Interstices of Music and Dance in Zapin Johor (Mohd Anis Md Nor) 6. Necessary (Re)Unions: Revisiting and Revising Studies on the Sama Igal Dance and Kulintangan Ensemble Music Traditions (MCM Santamaria) 7. Playing the Body: Female versus Male Elements in Aceh’s Sitting Song-Dances with Body Percussion (Margaret Kartomi) 8. The Body as Intersection: Interaction and Collaboration of Voice, Body, and Music in Balinese Arja (Ako Mashino) 9. Shadow Puppets, Drums and Gongs: Movement-Music Relationships in a Theatrical Genre (Patricia Matusky) 10. Dancing the Sound, Musicking the Movement–Contextual Dialogues between Music and Dance in Northern Borneo (Jacqueline Pugh-Kitingan) 11. Performing Community, Identity, and Change: The Chinese Dragon Leaps to the Beat (Tan Sooi Beng) 12. Gendang Beleq: The Negotiation of a Music/Dance Form in Lombok, Indonesia (David Harnish) 13. The Orak Lawoi Pelacak Festival: How Music and Movement Connects an erstwhile Semi-nomadic People to Their Vanishing History, Environment, and Culture (Lawrence Ross) 14. Moving Music: The Performing Arts, Space and Travel among the Sama Dilaut (Birgit Abels)
Series editor: Keith Howard, SOAS, University of London, UK
The study of the world’s many and diverse music cultures has become an important part of the discipline of musicology. Often termed ‘ethnomusicology’, the resulting studies share the fundamental recognition that music is cherished by every society in the world. Like language, music is a universal means of individual and cultural expression. It is also infinitely varied. Music in any society has intrinsic value in its own right, and can tell us much about the culture in which it developed. The core of the SOAS Musicology Series comprises studies of different musics, analysed in the contexts of the societies of which they are part, and exploring repertories, performance practice, musical instruments, and the roles and impacts of individual composers and performers. Studies which integrate music with dance, theatre or the visual arts are encouraged, and contextualised studies of music within the Western art canon are not excluded.
Reflecting current ethnomusicological theory and practice, the editors recognize the value of interdisciplinary and collaborative research. Volumes may utilize methodologies developed in anthropology, sociology, linguistics and psychology to explore music; they may seek to create a dialogue between scholars and musicians; or they may primarily be concerned with the evaluation of historical documentation. Monographs that explore contemporary and popular musics, the effect of globalization on musical production, or the comparison of different music cultures are also welcomed.