ダンドゥットの成立と発展 (I)

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書誌事項

タイトル別名
  • The Formation and Development of <i>Dangdut</i> (I):
  • ダンドゥットの成立と発展(1)近代演劇の成立とオルケス・ムラユ
  • ダンドゥット ノ セイリツ ト ハッテン 1 キンダイ エンゲキ ノ セイリツ
  • ――近代演劇の成立とオルケス・ムラユ――
  • Modern Theatre and <i>Orkes Melayu</i>

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抄録

The origin of dangdut, the most popular music in Indonesia, is said to be musik Melayu, which was played by orkes Melayu in the 1950s. But it has not been clarified how musik Melayu, which was only played in the Malay Peninsula, the east coast of Sumatera, and West Kalimantan, became popular and firmly established in Jawa, particularly in Batavia before the 1950s. <br> This paper highlights the change and development of orkes Melayu in the late 19th century and early decades of the 20th century through the development of bangsawan and Komedi Stamboel, pre-modern theatre in Indonesia and Malaysia. In the late 19th century, bangsawan was not widely popular among the Javanese in Jawa because of its high Malay language and musik Melayu. But in the early 20th century, musik Melayu began to spread among Javanese people through Komedi Stamboel and other troupes which imitated the style of Komedi Stamboel. Under these conditions, samrah Betawi, which was greatly influenced by bangsawan, was formed at Batavia in 1918. Because Malay language called Melayu Betawi had been used as a common language among the inhabitants of Batavia, it was relatively easy for them to accept and enjoy Malay theatre and music. Musik samrah played in samrah Betawi was also influenced by musik Melayu in terms of the composition of musical instruments, scale and rhythm. The characteristic of musik samrah was the use of the harmonium, a typical Indian musical instrument, as a result of which musik samrah was often called orkes harmonium. <br> It is likely that this orkes harmonium was the same as orkes Melayu which was often called orkes harmonium in the 1930s.

収録刊行物

  • 東南アジア研究

    東南アジア研究 35 (1), 136-155, 1997

    京都大学東南アジア地域研究研究所

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