A keen critic of culture in modern Indonesia, Andrew N. Weintraub shows how a genre of Indonesian music called dangdut evolved from a debased form of urban popular music to a prominent role in Indonesian cultural politics and the commercial music industry. Dangdut Stories is a social and musical history of dangdut within a range of broader narratives about class, gender, ethnicity, and nation in post-independence Indonesia (1945-present).

Genre Publics is a cultural history showing how new notions of 'the local' were produced in context of the Indonesian 'local music boom' of the late 1990s. Drawing on industry records and interviews, media scholar Emma Baulch traces the institutional and technological conditions that enabled the boom, and their links with the expansion of consumerism in Asia, and the specific context of Indonesian democratization. Baulch shows how this music helped reshape distinct Indonesian senses of the modern, especially as 'Asia' plays an ever more influential role in defining what it means to be modern.

Made in Nusantara serves as a comprehensive introduction to the history, sociology, ethnography, and musicology of historical and contemporary popular music in maritime Southeast Asia. Each essay covers major figures, styles, and social contexts of genres of a popular nature in the Nusantara region including Malaysia, Indonesia, Brunei, Singapore, and the Philippines. Through a critical investigation of specific genres and their spaces of performance, production, and consumption, the volume is organised into four thematic areas: 1) issues in Nusantara popular music; 2) history; 3) artists and genres; and 4) national vs. local industries. Written by scholars working in the region, Made in Nusantara brings local perspectives to the history and analysis of popular music and critically considers conceptualisations developed in the West, rendering it an intriguing read for students and scholars of popular and global music.

Sounding Out the State of Indonesian Music showcases the breadth and complexity of the music of Indonesia. By bringing together chapters on the merging of Batak musical preferences and popular music aesthetics; the vernacular cosmopolitanism of a Balinese rock band; the burgeoning underground noise scene; the growing interest in kroncong in the United States; and what is included and excluded on Indonesian media, editors Andrew McGraw and Christopher J. Miller expand the scope of Indonesian music studies. Essays analyzing the perception of decline among gamelan musicians in Central Java; changes in performing arts patronage in Bali; how gamelan communities form between Bali and North America; and reflecting on the "refusion" of American mathcore and Balinese gamelan offer new perspectives on more familiar topics. Sounding Out the State of Indonesian Music calls for a new paradigm in popular music studies, grapples with the imperative to decolonialize, and recognizes the field's grounding in diverse forms of practice.

Entertainment media now comprise one of the worlds largest industries, yet they remain one of the least studied aspects of contemporary mass media. Every day hundreds of millions of people watch television programs that might broadly be described asentertainment notably in the rapidly developing countries of Asia. However we still have little

This 4th ICON LATERALS proceeding consisted of 27 reviewed papers under the following subthemes of (1) foreign language teaching and learning (2) innovation in language teaching and learning, (3) macrolinguistics: Pragmatics, Sociolinguistics, Psycholinguistics, Discourse Analysis, Forensic Linguistics, and Linguistic Landscapes, (4) Translation, and (5) Literature. Prior to this publication the selected papers have been reviewed by three different reviewers to provide more comprehensive and in-depth perspectives for the intended respected readers in the respected areas. The keynote speakers invited to the conference, Prof. Heather Zwicker from University of Queensland, Prof. Hsueh-Hua Chuang, Ph.D. from Institute of Education, Center for Teacher Education National Sun Yat-sen University, Prof. Ogasawara Hiroki from Kobe University, Ismatul Khasanah, S.Pd., M.Pd., M.Ed., Ph.D. from Universitas Brawijaya, Syariful Muttaqin, M.A., Ph.D. from Universitas Brawijaya, Han-Chin Liu, Ph.D. Associate Professor from Sun Yat-sen University, Yu-Hui Chang, Ph.D. Assistant Professor from National Sun Yat-sen University, and Asri Saraswati, Ph.D. from Universitas Indonesia, have provided some insightful ideas for enriching the multidisciplinary perspectives of the selected articles in this proceeding. We are also indebted to the support and the encouragement from Universitas Brawijaya and Faculty of Cultural Studies for proving all means to the success of the event. Finally, we are thankful for the excellent work from the organizing committee who have been working very hard, effectively and efficiently before, during, and after the conference. Finally, it is our honour and pleasure to present this conference proceeding to our respected readers with the hope that the papers are inspiring and stimulating for the development of the knowledge in the field of language, literary, and cultural studies.

Sonic Modernities analyses the interplay between the production of popular music, shifting ideas of the modern and, in its aftermath, processes of social differentiation in twentieth-century Southeast Asia.

Musical Worlds in Yogyakarta is an ethnographic account of a vibrant Indonesian city during the turbulent early post-Soeharto years. The book examines musical performance in public contexts ranging from the street and neighbourhood through to commercial venues and state environments such as Yogyakarta's regional parliament, its military institutions, universities and the Sultan's palace. It focuses on the musical tastes and practices of street workers, artists, students and others. From street-corner jam sessions to large-scale concerts, a range of genres emerge that cohere around notions of campursari ("mixed essences") and jalanan ("of the street"). Musical worlds addresses themes of social identity and power, counterpoising Pierre Bourdieu's theories on class, gender and nation with the author's alternative perspectives of inter-group social capital, physicality and grounded cosmopolitanism. The author argues that Yogyakarta is exemplary of how everyday people make use of music to negotiate issues of power and at the same time promote peace and intergroup appreciation in culturally diverse inner-city settings.

This book explores Indonesian cinema, focusing on moments of unique creativity by Indonesian film artists who illuminate important but less-widely-known aspects of their multi-dimensional society. It begins by exploring early 1950s ‘Indonesian neorealist films’ of the Perfini group, which depict the ethos and emerging moral issues of the period of struggle for independence (1945–49). It continues by discussing four audacious political allegories produced in four discrete political eras—including the Sukarno, Suharto and Reformasi periods. It also surveys the main approaches to Islam in both popular cinema and auteur films during the Suharto New Order. One chapter celebrates the popular songs and B-movies of the Betawi comedian, Benyamin S, which dramatize the experience of the poor in ‘modernizing’ Jakarta. Another examines persisting Third World dimensions of Indonesian society as critiqued in two experimental features. The concluding chapter highlights innovation in a renewed Indonesian cinema of the post-Suharto Reformasi period (1999–2020), including films by an unprecedented generation of women writer-directors

A source of profound insights into human existence and the nature of lived experience, phenomenology is among the most influential intellectual movements of the last hundred years. The Oxford Handbook of the Phenomenology of Music Cultures brings ideas from the phenomenological tradition of Continental European philosophy into conversation with theoretical, ethnographic, and historical work from ethnomusicology, anthropology, sound studies, folklore studies, and allied disciplines to develop new perspectives on musical practices and auditory cultures. With sustained theoretical meditations and evocative ethnography, the book's twenty-two chapters advance scholarship on topics at the heart of the study of music and culture today--from embodiment, atmosphere, and Indigenous ontologies, to music's capacity to reveal new possibilities of the person, the nature of virtuosity, issues in research methods, the role of memory, imagination, and states of consciousness in musical experience, and beyond. Thoroughly up-to-date, the handbook engages with both classical and contemporary phenomenology, as well as theoretical traditions that have drawn from it, such as affect theory or the German-language literature on cultural techniques. Together, these essays make major contributions to fundamental theory in the study of music and culture.