In the Face of Industri: Alternative Populisms in Indonesian Musik kontemporer

Abstract

Indonesian musik kontemporer (contemporary art music) has been contradistinguished from pop since its beginnings in the 1970s. The senior figures who directed the institutions through which musik kontemporer developed spoke, in terms reminiscent of Adorno, of the need to counter the flood of commercialized popular culture, whether foreign or indigenous. However, both the work and the discourse of the composers who emerged from these institutions increasingly demonstrate a more complex response. Djaduk Ferianto engages with “industri, ” both as a source of subsidy for more “idealis” work and as a model to learn from. For others, industri remains anathema, yet many of them have also turned in more populist directions. Yasudah practices “mixophony, ” a combination of “explorophony ” and “beatophony. ” Wayan Sadra jams with an eclectic group of young musicians, while continuing rebellious gestures such as dragging gongs on the floor. Sutanto has all but abandoned urban concertizing in favor of developing folk arts with Javanese villagers. Iwan Hasan has sought refuge in progressive rock from the money-oriented classical and jazz scenes in Jakarta. Concern about the dominance of

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