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"Due to the emergence of what in Indonesian is called industri rekaman daerah ?Indonesian regional recording industries?, which has developed significantly since the 1980s, many regional recording companies have been established in Indonesia. As a consequence, more and more aspects of Indonesian regional culture have appeared in commercial recordings. Nowadays commercial cassettes and Video Compact Discs (VCDs) of regional pop and oral literature genres from different ethnic groups are being produced and distributed in provincial and regency towns, even those situated far from the Indonesian capital of Jakarta. Considering the extensive mediation and commodification of ethnic cultures in Indonesia, this paper investigates the impact of the rise of a regional recording industry on Minangkabau oral literature in West Sumatra. Focussing on recordings of some Minangkabau traditional verbal art genres on commercial cassettes and VCDs by West Sumatran recording companies, this paper attempts to examine the way in which Minangkabau traditional verbal art performers have engaged with electronic communication, and how this shapes technological and commercial conditions for ethnic art and performance in one modernizing society in regional Indonesia."

"Land is a society?s potent symbol of wealth, social power, and culture. A long time ago, when extensive jungles and forests still abounded, there were probably no serious conflicts over land ownership. Groups were free to roam about and to open up land to extend their farming area in accordance to their needs. Groups in society marked the land they had cultivated to proclaim their ownership. These marks could be very simple and could simply be a tree, a big stone, or a piece of iron hammered into the soil, or they used the physical condition of the land itself such as rivers, lakes, hills etcetera as borders to distinguish their land from that of others. Minangkabau traditional society never recorded these borders in writing on paper, leaves, or stones or any other means as many peoples in other parts of the world do. Rather, they deemed it sufficient to use natural symbols to demarcate the important agreements they had made between them orally."

"The article discusses Malay oral traditions and emphasizes the shamanistic aspects of these traditions. Shamans often recite mantras in the execution of their role in society. The role of the shaman, their self proclaimed knowledge, shamans and their economic activities, black magic and healthcare in Malay society are discussed, as well as the shaman?s role in Dayak ritual. Each aspect is discussed in combination with the mantra the shaman utters."

"As a means of communicating thoughts, gamelan performances affect the way audiences construct their worldview. More than that, listeners in villages believe that performances can affect people?s behaviour. Performances may be deeply influential in the creation of fundamental social values such as in-group integrity, feelings of unity and peace in the community. All this demonstrates that in villages, arts are not autonomous entities; people value the arts as an integral domain with other social activities."

"This article deals with traditional literature of the Pakpak-Dairi and Karo peoples in North Sumatra, who are speakers of closely related Batak languages and have many common features in their language and culture. Their traditional life-style, based on agriculture and the use of forest products, requires the regular performance of community rituals featuring songs, dance, music and other oral traditions including storytelling. The songs, prayers, and stories belonging to their literary tradition have characteristic features that are intimately connected with the social context in which they are created and performed. Karo and Pakpak-Dairi oral genres often contain information about the natural environment, local customs and religious concepts. They may also reflect perceptions of relationships with neighbouring groups, such as the Minangkabau and the Malays who live in the coastal areas."

"Artikel ini mempertanyakan sejauh mana masyarakat Belanda Progresif di bidang norma banhasa, kesusahan, dan gender. Dinilai dengan diskusi tentang norma bahasa di kamus Van dale dan resepsi terhadap kamus tersebut di Indonesia serta pandangan terhadap penulis wanita dan statusnya dalam masyarakat Belanda. Artikel ini berkesimpulan bahwa kebudayaan Belanda tidaklah seprogresif yang dibayangkan orang. Dalam hal gender, pandangan terhadap status dan kemampuan perempuan yang agak miring mungkin ini disebabkan oleh perempuan itu sendiri. Dalam hal kesusasteraan, misalnya, perempuan akan diperlakukan sama seperti laki-laki jika mereka menulis dan bertingkah laku berbeda dari yang sekarang"

"ABSTRAKThis dissertation is a study in diachronic perspective on the impact of recording technologies, more specifically cassette and video compact disc (VCD), on Indonesian local cultures and societies. It examines how modern reproduced sound, which is constantly proliferating and multiplying up to today through various (social) media, but initially facilitated by recording media technology through the agency of regional recording industries, has influenced the contours of Indonesian local cultures. The study relates Indonesia?s first encounter with recording technology, examines the nature and cultural ramifications of the expansion of recording technology among Indonesia?s ethnic groups, and looks at its engagement with other media. As a case study, the West Sumatran recording industry is explored, along with the commercial cassettes and VCDs it has produced."

"On the basis of the theoretical notions of discursive ambience and ambientdiscourse, this article examines the recent history of language and ethnicity inBanyuwangi in the far east of Java. Over the last three decades (with roots goingback to the 1920s and earlier) a redefinition of the language and culture of the?autochthonous? inhabitants of Banyuwangi has been occurring. Their status andconstitution have been changing from a variety of Javanese into an autonomouslanguage and ethnicity, called, after the name given to the language or dialect,Osing. At the same time, an idyllic and heroic picture of the regional past isbeing constructed and maintained. Prominent among the factors and agenciesinvolved in these two ongoing processes is popular media culture. The regencyof Banyuwangi and especially its capital (also named Banyuwangi) are beingcast ? albeit sporadically and incidentally and sometimes controversially ? asan Osing region. At the centre of this historical process, people publicly renderthemselves ? also sporadically and temporarily ? Banyuwanginese by listeningto and especially by singing, in karaoke-style, a genre of pop music with Osinglyrics and musical characteristics perceived as local."

"Known as pantun to the Malays in Brunei, Malaysia, Pattani, Riau, Singapore, and Southern Phillipines, it is called peparikan to the Javanese, sesindiran to the Sundanese and many other different names in different ethnic groups in the different parts of the Indo-Malay world, which is made up of Brunei, Indonesia, Malaysia, Singapore, Pattani in southern Thailand, and Mindanao in the southern Philippines. In almost every settlement that sprang up along the major rivers and tributaries in the Indo-Malay world, the pantun blend well with their natural and cultural surroundings. In this article, the geographical extent of the pantun family in the Indo-Malay world is likened to a mighty river that has a complex network of tributaries all over the Indo-Malay world. Within the Indo-Malay world, it is the movement of the peoples help the spread of pantun from one area to the other and makes it an art form of immensely rich and intricate as can be seen from the examples given."

"Onya Darat is a language spoken, with great dialectal variation, in the interiorof western Borneo. It is the southernmost member of Land Dayak, a branchof the Austronesian language family. This article reports on the developmentof a writing system for Onya Darat. In addition to five vowels and 19 simpleconsonants, Onya Darat also exhibits three series of complex oral-nasalsegments: prenasalized oral stops, preoralized nasals, and postoralized nasals.An analysis of the Onya Darat sound system reveals that of these three seriesonly postoralized nasals are distinctive and therefore need to be representedin the writing system. The proposed orthography, developed with the aid ofnative speakers, represents all and only the phonemes of Onya Darat withoutresorting to diacritics or special characters."