Music of the Baduy People of Western Java

Preface

Orthography

List of Illustrations

Audio-Visual Examples (AV) and Music Transcriptions (Tr)

1 Introduction

1.1 The Baduy People of Kanékés Village and Their Music and Dance

 1.1.1 The Name of the Indigenous Group

1.2 Overview of Baduy Music and Dance

1.3 Outline of the Book

2 Social Organization and Economic Situation

2.1 Socio-Political Organization and Major Spiritual and Secular Officials

2.2 Dangka Hamlets and Their Role in the Delineation of Baduy Culture

2.3 Agricultural Land, Non-Irrigated Fields and Religion

2.4 Relations with Indonesian Authorities and Cultural Tourism

2.4.1 Hand Phones

2.4.2 Séba

2.5 Non-Governmental Organisations: Trust, Social Justice and Environment

2.6 Weaving, Clothes and Production of Textiles for Sale

2.7 Production of Other Goods

2.7.1 Palm Sugar (gula kawung)

2.7.2 Knives

3 Methodological Issues and Theoretical Starting Points

3.1 Historical Sources and Earlier Publications on Music and Dance

3.2 Restrictions for Researchers and Other Methodological Issues

3.3 Visits to the Holy Places in Kanékés between 1822 and 1931

3.3.1 Blume (1822)

3.3.2 Van Hoëvell (1845)

3.3.3 Koorders (1864)

3.3.4 Criticism by Jacobs and Meijer (1891) and Pennings (1902)

3.3.5 Koolhoven (1931)

3.3.6 Van Tricht (1928)

3.4 Fieldwork Periods Present Author

3.5 Some Theoretical Issues and Definitions

4 Seasons for Music and Major Rituals

4.1 Agricultural Calendar and Musical Seasons

4.2 Angklung Music for the Engagement Ritual of the Goddess of Rice

4.3 Circumcisions and Weddings

4.4 Circumcision in Kadujangkung

4.5 Circumcision in Cicakal Leuwi Buleud

4.6 Weddings and Other Rituals; Some General Observations

5 Tone Systems, angklung, keromong, Dancing and Gender Aspects

5.1 General Musical Concepts: Tone Systems, Modes and Styles of Playing

 5.1.1 Transcription of Music for Analysis

 5.1.2 Tone Systems

5.2 Angklung for Rituals and for Entertainment

5.3 Keromong (gamelan)

5.4 The History of a Baduy Gamelan between 1976 and 2019

5.4.1 Commentary

5.5 Dancing

5.6 Gender Aspects and Gendék Ceremonial Pounding of Rice

5.6.1 Musicians and Gender

5.6.2 Gendék

6 Carita Pantun Storytelling

6.1 Baduy Oral Literature in the Larger Sundanese Context

6.2 Baduy Pantun Stories

6.3 Pantun Texts and Audio-Visual Recordings since 1905

6.4 Own Recordings and Observations of pantun Storytellers

 6.4.1 Direction that the Pantun Performer Should Be Facing

6.5 Recited Text and Performing Aspects of pantun Recitation

7 Song Texts in Music for Entertainment

7.1 Earlier Publications of Song Texts

7.2 Formal Aspects of the Song Texts

7.3 Song Texts Used in Performance by Female Singer Raidah in 2003

 7.3.1 Kidung Rahayu

 7.3.2 Tepang Sono

 7.3.3 Daun Hiris

 7.3.4 Jalan

 7.3.5 Gunjaér Mundur

 7.3.6 Kacang Asin

 7.3.7 Bayu-Bayu

 7.3.8 Poho Kabalik

 7.3.9 Kapergok

 7.3.10 Daun Puspa

 7.3.11 Ucing-Ucingan

7.4 Major Themes in Other Song Texts

 7.4.1 Moral Advice

 7.4.2 Hurt by Outsiders

 7.4.3 Dirty Words

 7.4.4 References to Music and Dance

 7.4.5 False Instruments and Social Order

8 Wind, String and Other Instruments

8.1 Kumbang Flute

8.2 Tarawélét Flute

8.3 Lamus Flute and Elét

8.3.1 Elét

8.4 String Instruments

8.4.1 Kacapi Pantun

8.4.2 Siter and Falsetto Voice

8.4.3 Rendo

8.4.4 Viol

8.4.5 Rebab

8.5 Xylophones and Jew’s Harp

8.5.1 Gambang or Gambang Kayu

8.5.2 Calung

8.5.3 Karinding

Concluding Remarks

9.1 Negotiating Rules and Mutual Respect

 9.1.1 The 2003 unesco Convention on Living Culture

9.2 Safeguarding, Cultural Tourism and Future Research

Appendix 1 A Map of Kanékés and a List of Its Hamlets

Appendix 2 The Baduy Calendar

Appendix 3 List of People Interviewed and/or Recorded

Appendix 4 Song Texts for Entertainment

Glossary

References

Index