On the origin of the Komedie Stamboel. Popular culture, colonial society, and the Parsi theatre movement

Cohen, Matthew Isaac

doi:10.1163/22134379-90003811

Cited by 19 publications

(10 citation statements)

References 10 publications

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“…Parsi theatre became popular even in the Malay world during the last third of the nineteenth century through creating many imitative theatre genres such as 'Bangsawan' in Peninsula Malaya and Komedie Stamboel [9][10][11] on Java. Long-established genres and practices of India must have been introduced to the people in the Malay world through Parsi theatre.…”

Section: Parsi Theatre Re-modeling In Malaya and Indonesiamentioning

confidence: 99%

Maritime Mobility of Music Features within South and Southeast Asia

Jähnichen¹

2022

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The maritime routes in and between South and Southeast Asia were the main routes of the first interconnections leading to current globalization effects among different locations in the area using the sea as transportation basis. It is very important to not only follow migration routes, but mainly trade routes to understand these first steps. This joint paper is based on intense field and literature research on the given topic and various examples. It is rather describing the historical outline and gives an overview on existing statements. The main focus is the emerging transcendency between people living in this region and their deriving outcomes over a longer period of time.

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Section: Parsi Theatre Re-modeling In Malaya and Indonesiamentioning

confidence: 99%

Maritime Mobility of Music Features within South and Southeast Asia

Jähnichen¹

2022

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“…At the beginning of the appearance of Gambang Semarang, there were two types of the repertoire of songs contained in the Gambang Kromong tradition, namely the lagu lama and the lagu sayur [12]. Lagu lama is a Chinese song that is often presented at the beginning of Gambang Kromong's existence, consisting of old instrumental songs (phobins) and vocal songs [13]. The two types of old songs combine Chinese and Indonesian music [14], [15].…”

Section: Gambang Semarang Development Historymentioning

confidence: 99%

The dramaturgy of gambang semarang art company (GSAC) a strategy towards tourism art

Afrianto¹,

Santiko

2021

Int. J. Vis. Perform. Arts

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This research answers how the dramaturgical innovation of the Gambang Semarang Art Company (GSAC) performance is to go to tourism. The main objective is to explain GSAC's strategy in dealing with the tourism industry through dramaturgical innovation. This study uses a qualitative interpretive research method. Data were obtained through interviews and performance observations. The results showed that the Dadung Kepuntir story GSAC performance-inspired innovation and brought out new creativity. In addition, it gave rise to a form of presentation to enrich the repertoire of Gambang Semarang performances. The GSAC community is fully aware of the need for the arts for tourism. This can be seen from the approach to the show, which uses an aesthetic approach to commercialism. The aesthetics of commercialism is stated as the principles of managing the art forms of Gambang Semarang performed by the Gambang Semarang Art Company based on the attractiveness, fascination, and provocation of the attention of the mass audience of Gambang Semarang

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“…Kassim's Indra Zanibar Theatrical Company, popularly known as Wayang Kassim, seems to have been established in the late 1890s. 4 Prior to this, as a member of Pushi's Indra Bangsawan company, Kassim had travelled to Batavia, where the troupe was dissolved and he joined Auguste Mahieu's komedie stamboel troupe in Surabaya (Cohen 2001). However, the celebration party of the 26th anniversary of his company in 1909 suggests that Bai Kassim established a company in 1883.…”

Section: Trends and Developments In The Early 1900smentioning

confidence: 99%

“…In the last decades of the 19th century there was a distinct and rapid increase in European, Australian, South and East Asian troupes touring the Malay world, introducing a commercial popular culture in the settlements that mesmerised substantial crowds of settlers and sojourners (cf. Cohen 2001). These troupes introduced shows that were performed on a proscenium stage in a confined space, something which enabled the troupe to limit the number of spectators and charge entrance fees (see Tan 1993: 21-3).…”

Section: Introductionmentioning

confidence: 99%