By Craig Lockard
No matter what its present position and importance in Anglo-American society, renowned tune has been and is still an enormous social and cultural strength in lots of elements of the realm. this article explores the connections among well known tune genres and politics in Southeast Asia, with specific emphasis on Indonesia, the Philippines, Thailand, Malaysia and Singapore. over the last few a long time, the international locations of Southeast Asia have reverberated to the tune of superstars like Indonesia's Rhoma Irama. Articulating the perspectives of powerless electorate, they supplied a serious discourse on nationwide and overseas affairs. a few have been even pointed out with mass-based sociopolitical events looking switch.
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Extra resources for Dance of Life: Popular Music and Politics in Southeast Asia
62 16 POPULAR CULTURE AND MUSIC If the seminal Frankfurt theorists were too far removed from mass culture to understand it, some of their opponents are too enmeshed in it to maintain critical distance, hence exaggerating the freedom of the consumer to create their own meanings. 63 Schiller to the contrary, popular culture may contain the possibility of its own transformation, perhaps even the transformation of the society. It contains these possibilities both by including them and limiting them.
90 POPULAR CULTURE AND MUSIC 21 In surveying the varied roles of popular music, Ennis concludes: Music is one of fantasy’s best helpers. . Music is a way of holding off time, making the present fill all space. It joins us with others yet defends our privacy. It lifts the spirit, assuages grief, and sometimes teaches us as well. 91 While accepting the view that mass mediation and commercialization have generally been integral components of popular music, I prefer in this study to discuss not only the obvious music fitting that category.
35 In the nonindustrialized world, including most Asian societies, there were also distinctions between urban and rural cultural hierarchies. The cultural landscape of the countryside usually lacked the “high culture” pretensions of the cities and courts, and was seen as a reciprocal of the “national cultures” or “mass cultures” being devised by the political and economic elites. 36 Pop culture generally accords greater emphasis to the communicative capacity of its performances and products than to their critical appreciation; it follows the aesthetics of reception more than of creation, hence normally producing cultural products designed and made less from the creative drives within the artist than for the tastes and needs of the audience.
Dance of Life: Popular Music and Politics in Southeast Asia by Craig Lockard