As prior chapters in this compilation have demonstrated, Islam infuses many aspects of daily life, traditions of performance, and popular culture in Indonesia and in Malaysia. The Regency of Malang in East Java, where I conducted fieldwork on gamelan music, dance, and theater spanning from 2005 to 2007 was no exception. By far, most of the gamelan musicians and dancers I consulted were Muslim, albeit of different degrees of piety. Muslims sponsored performances for Muslim celebrations such as circumcisions to celebrate a boy’s transition into adulthood. Performances were also sometimes held in explicitly Muslim spaces. For example, I attended a performance of ludruk—a type of theater that includes a series of opening acts, such as dancing, singing, and comic routines, as well as a main play or drama—at an Islamic boarding school. Furthermore, the Muslim call to prayer consistently reinforced the presence of Islam as it permeated sonic space five times a day through the loudspeakers attached to numerous mosques and prayer rooms (see also Rasmussen 2010:38-73), marking different times of the day and, to a certain extent, regulating some types of activity. In many cases, lessons, rehearsals, and performances were scheduled so as not to conflict with the call to prayer after sunset, at nightfall, and before sunrise.
Weitere Kapitel dieses Buchs durch Wischen aufrufen
Bitte loggen Sie sich ein, um Zugang zu diesem Inhalt zu erhalten
Sie möchten Zugang zu diesem Inhalt erhalten? Dann informieren Sie sich jetzt über unsere Produkte:
- Complicating Senses of Masculinity, Femininity, and Islam through the Performing Arts in Malang, East Java
- Palgrave Macmillan US