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INTRODUCTION

In early 2009, Ahmad Heryawan, the new governor of West Java, Indonesia, gave comments on jaipong[1241] dancers that triggered controversy and debate among West Java citizens, especially Sundanese artists.[1242] He criticised jaipong dance as an erotic, impolite and non-Islamic perform­ance genre, especially for its performers’ dance movements known as ‘3G’ (gitek, geol, goyang, referring to types of hip movements).

He also called attention to jaipong dancers’ costumes and their transgression of moral values. The governor’s statements immediately became a contro­versial issue, especially among Sundanese artists, by whom a jaipong dance has long been considered ‘a cultural icon’ of the West Java region. The case became all the more sensitive given the governor’s political background with the Justice and Prosperous Party (Partai Keadilan Sejahtera/PKS), known for its strong Islamic basis. Although this case has been solved in ‘a political way’ following a meeting between the governor and local artists, it remains emblematic of the problematic issues that can arise between Islam and performing arts.[1243]

Among different types of performance, music has been placed as a particular issue, which has attracted long debate in Islamic jurisprudence as well as its important position in cultural expressions of Indonesia, as this chapter will be discussed.

The way in which music is defined reflects how Islamic life is portrayed in Muslim-majority nations in which music is considered as one of the most debatable issues.[1244] To explore how music is defined and contextualised in contemporary Indonesia, I provide discussion into four sections. First, I provide the picture of music debate in Indonesia, especially by describing how the lawfulness of music is used to support the development programme of the country. Second, I present particular views how music among Islamic communities (pesantren) is perceived in which they are considered as a place where Islamic music is rooted.[1245] Third, I discuss the concept of ‘Islamic music’ (musik Islam) and ‘music inspired by Islam’ (musik Islami) that are defined in the Indonesian context. And fourth, I provide discussion on how the concept of musik Islami is discussed in the specific context of West Java.

As noted, discourses about music are inseparable from discussions on the lawfulness of music. In the Indonesian setting, this lawfulness of music is also placed and contextualised in broader themes, including academic opinions that support government programmes, as I shall explore in the next section.

II.

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Source: Hosen Nadirsyah (ed.). Research Handbook on Islamic Law and Society. Edward Elgar Publishing,2018. — 474 p.. 2018
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