Dance of Life: Popular Music and Politics in Southeast Asia by Craig Lockard

By Craig Lockard

No matter what its present position and importance in Anglo-American society, renowned song has been and is still an immense social and cultural strength in lots of components of the area. this article explores the connections among renowned track genres and politics in Southeast Asia, with specific emphasis on Indonesia, the Philippines, Thailand, Malaysia and Singapore. over the last few many years, the international locations of Southeast Asia have reverberated to the track of superstars like Indonesia's Rhoma Irama. Articulating the perspectives of powerless electorate, they supplied a severe discourse on nationwide and foreign affairs. a few have been even pointed out with mass-based sociopolitical hobbies looking swap.

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Apala and several related styles clearly affirm anti-Western nationalism while defiantly marking off Muslims from other Yoruba. Fuji is more modernized and danceable, with a particular following among underclass youth in the slums of Lagos and other cities. 95 POPULAR CULTURE AND MUSIC 23 Manoa, and the Brothers Cazimero are a far cry from hapa haole musicians like Hilo Hattie, Webley Edwards, and Don Ho, they are also subject to commercialization and co-optation because hotels and tourist nightclubs provide most of the venues for live music.

A continuous and necessarily uneven and unequal struggle is waged by the dominant culture to disorganize and reorganize popular culture; to enclose and confine its forms and definitions within a more inclusive range of dominant forms: There are points of resistance; there are also moments of supersession. This is the dialectic of cultural struggle. . It goes on continuously, in the complex lines of resistance and acceptance, refusal and capitulation, which makes the field of culture a sort of constant battlefield.

Each found a niche among a particular Yoruba religious or class group but also gained a wider audience in Nigeria as a whole. Juju emerged in cosmopolitan Lagos, a mix of Yoruba folk musics with Afro-American and European influences. Closely tied to the animistic religious traditions still strong among many Yoruba, juju was linked with Yoruba cultural nationalism and ethnic identity in the 1950s, constituting part of a process of reindigenization; the music allowed the Yoruba to reaffirm their identity and language in a more modern guise.

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