Ethnomusiological education for a humane society: ethical issues in the post-colonial, post-apartheid era

In this paper I want initially to discuss some ethical problems which we educators have on the whole somewhat neglected: firstly, ethical issues that need to be incorporated into the education of students of the traditional and popular musics of the world at the secondary and tertiary level in this post-colonial and post-apartheid era, and secondly, the related ethical issues affecting the work of ethnomusicologists as they study and record the musics of traditional communities throughout the world, and especially the recent transformation of field recordings made by ethnomusicologists and others into the commercial product which we know as 'world music', or music that is, or is claimed to be, based on traditional music but has been adapted to a popular musical idiom and has thereby been made 'palatable' for commercial exploitation

Performance, Music and Meaning of Réyog Ponorogo

Page range: 85-13

Gamelan Digul di Balik Sosok Seorang Pejuang : Hubungan Antara Australia dengan Revolusi Indonesia

Buku Kartomi tentang gamelan buatan di kamp tawanan dan pembuatnya ini berbicara tentang masalah-maslah yang tidak hanya sekedar gamelan berkotak kayu kasar, yang dibuat di kamp tawanan para tapol di Indonesia di Papua tahun 1930-an. Gamelan digul telah menjadi metonim untuk perlawanan indonesia terhadap kekuasaan kolonial Belanda, dan akhirnya juga dukungan australia para kemerdekaan Indonesia. Pontjopangrawit, pembuat gamelan ini, tidak hanya mewakili barisan kaum nasionalis antikolonial yang nama-namanya hilang dari sejarah, tetapi juga seorang ahli musik kraton jawa yang besar dari masa lalu, yang riwayatnya tidak tercatat karena kehidupannya sebagai hamba kraton tidak pernah memerlukan inskripsi

BUNDENGAN: SOCIAL MEDIA AS A SPACE FOR COLLABORATION IN THE CONSERVATION AND REVIVAL OF AN ENDANGERED MUSICAL INSTRUMENT

The widespread use of social media in cultural heritage and conservation projects principally makes use of its capacity for public-facing engagement and the promotion of cultural institutions and events. Its potential as an inclusive, accessible and dynamic research output is less well-established. This paper focuses upon the potential of social media as a complementary form of conservation documentation, in response to the use of interdisciplinary and cross-cultural collaboration between source communities and collecting institutions as a means to preserve both material and intangible cultural heritage. Using the conservation of a rare and endangered musical instrument called bundengan as a case study, this paper will assess the uses of social media platforms in both documenting and enabling collaboration between the source community in Wonosobo, Java, Indonesia, and academic researchers based in Indonesia and Australia

PROCEEDINGS Arts in History, Culture, Philosophy, Education, and Heritage

It is a great pleasure to welcome all of you to the beautiful city of Surakarta. Surakarta is a historic city with two great palaces located at the north and south of the city. It is a place for the International and Interdisciplinary Conference on Arts Creation and Studies (IICACS) since 2016. This is the second year of the conference. In this occasion we would like to thank to the many people involved in the planning of the events over the past years, from members of Organizing Committee, to Steering committee, and professional researchers and academic who made efforts to participate in this event. We also would like to offer special thanks to the guest speakers Phakamas Jirajarupat, Ph.D (Thailand) and - Prof. Jose S. Buenconsejo, Ph.D (Philippines) who travelled from far a way to dedicate their presentations, to the speakers from Indonesia, Malaysia, Australia,and from Mexico to whom we cannot mention them individually. This conference has significant meanings to all of us who made endeavor in our career. We provide opportunity to these people to exchange ideas, reflections, and findings in order to develop our fields. By attending this conference, we hope that we can strengthen network that will be beneficial for the better future. More specifically, we expect that this conference can facilitate all of participants to develop international forum that will foster better understanding to conduct collaborative works. In the spirit of friendship and international collaborations, and with the expectation of your active participation, I would like to express the warmest regards to you

Sigalegale

For male participants. Puppet-dance theatre genre of the Batak Toba ethnic group: a performance of sigalegale in Tomok. This theatre form was traditionally part of the elaborate funeral ceremonies of the parbegu (animist) religion. Sigalegale uses one of two life-size puppets carved from the wood of the banyan tree. Legend has it that the first sigalegale was made in a man's image by his widow mourning his death. She is said to have hired a dukun (shaman) to bring his soul to heaven and a dalang (puppeteer/storyteller) to manipulate the sigalegale puppet. The custom spread and at funerals a puppet was decorated with the deceased's possessions, after which the puppeteer invited the soul of the deceased to enter it. Nowadays, however, performances are given at weddings, and only rarely at funerals. Sigalegale is accompanied by an ensemble comprising a xylophone and drum, with optional flute and gongs