Women, the Recited Qur’an, and Islamic Music in Indonesia
Publication Year: 2010
Published by: University of California Press
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Title Page, Copyright, Dedication
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List of Illustrations
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Note on Transliteration and Translation
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Th is text makes frequent reference to terms in both Bahasa Indonesia, the Indo-nesian national language, and Arabic. Unless otherwise indicated, all transla-tions are my own. Readers should be cautioned that Indonesian words derived from Arabic may not follow Arabic singular, plural, or gendered forms and may be spelled diff erently than terms transliterated from Arabic using the widely rec-...
Preface and Acknowledgments
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Th is is a book about musical religious praxis in Indonesia. Th e work began almost accidentally in the spring of 1996. Before I left for Indonesia to join my husband in Jakarta for the year, I bought a copy of the Holy Qur’an, with the original Arabic and an En glish translation by Zafrulla Khan (1991), at a book-store in Dearborn, Michigan, where I was conducting ethnographic research ...
1. Setting the Scene
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During a visit to Indonesia in October of 2004, I was trying to make the most of my last day in the country. Aft er a week in the relative calm of East and Central Java, where I had toured with the Kiai Kanjeng ensemble, the return to Jakarta assaulted my senses. Although I had lived there for two years (1995– 96 and 1999) and had returned for shorter visits on several occasions in 2003 and 2004, the ...
2. Hearing Islam in the Atmosphere
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During my two years in Jakarta (1995– 96 and 1999), I learned about the world through its noises. Th e broom salesman, the ice cream cart, the saté man, and the bakso (soup) vendor all made their passage known by their distinctive calls or by the honking and clanging and clacking of the horns or idiophones that were mounted on the carts they wheeled. As I worked at my desk in my ...
3. Learning Recitation: The Institutionalization of the Recited Qur’an
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Th e Qur’an is known throughout the world as a written document that can be read and studied as a text; however, it is its active manifestation in daily life through the channels of aurality and orality that is the focus of this study. Aural-ity implies not only hearing the Qur’an recited but also, in Sells’s words, “taking it to heart” (1999, 11) in the multisensory and kinesthetic way that sound— ...
4. Celebrating Religion and Nation: The Festivalization of the Qur’an
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With celebrated protagonists and established guidelines, religious festivals and competitions are busy intersections of dogma and information, ritual and per-for mance, piety and politics. Religious praxis framed as public spectacle, or the “festivalization of religion,” as I have referred to the phenomenon elsewhere, in-volves many of the con sul tants for this project and occurs with predictable regu-...
5. Performing Piety through Islamic Musical Arts
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As Indonesia negotiates its way through the pro cess of reform (reformasi) and development (pembagunan), expressions of religious, cultural, and po liti cal identity, whether global or local, traditional or modern, emerge through the per-for mance of Islamic musical arts. Th is chapter illustrates the ways in which healthy if sometimes heated debate about tradition and modernity as it applies to ...
6. Rethinking Women, Music, and Islam
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Th e voices of women are one of the distinctive strains in the Islamic soundscape, and as they perform, teach, study together, and practice alone, women contribute to the creation of messages of great beauty, power, and potency. Th ey not only have access to the divine, but they also help to create it both for themselves and for others. Th eir voices, loud, strident, and authoritative, are heard by all and of-...
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Page Count: 336
Publication Year: 2010