The rich history of dangdut music in Indonesia provides captivating insights into the diverse musical tapestry that resonates with the broader community even today. At the forefront of this genre stands Rhoma Irama, the undisputed king of world dangdut, who continues to wield influence in Indonesia’s vibrant music industry. His recent performance at the anniversary celebration of a private television station, where he skillfully interpreted the contemporary K-Pop hit “Butter” by BTS with his iconic electric guitar, underscores the enduring appeal and adaptability of dangdut.
The roots of dangdut music can be traced back to the 1940s when it emerged as a distinctive Malay orchestra. As detailed in the book “Cultural Messages of Pop Dangdut Songs and Their Influence on the Social Behavior of Urban Youth” (1995) by Dloyana Kesumah et al., this musical form initially incorporated elements from the Malay Peninsula. Operating in village settings, the Malay Orchestra found favor among the less privileged segments of society during that era.
The genre experienced significant development in the Medan and Padang areas, recognized as the Deli Malay songs. Ellya Khadam, a singer from Jakarta, played a pivotal role in shaping dangdut by developing a singing style that paid homage to the Malay Orchestra while infusing new rhythms and sounds. Drawing inspiration from Indian films, Khadam introduced elements from Indian, Arabic, and Indonesian drum instruments, as well as bamboo flutes. His rendition of “Boneka dari India” in 1956, with lyrics penned by Husein Bawafie, is widely considered the first pure dangdut song in the Indonesian music scene.
Dangdut’s distinctive dynamism and sensuality, exemplified in its pulsating beats and rhythmic dance (joget), quickly gained popularity. The genre reached its zenith during the New Order period, particularly from 1975 to 1981, leaving an indelible mark on the Indonesian music landscape. With its rhythm dominated by dance and populist messages, dangdut became a cultural force aimed at the youth, especially teenagers.
A defining characteristic of dangdut lies in its unique musical elements, notably the swaying crouches synchronized with the beat of the drum, known as blenggo. The lyrics and melody impart a lilting quality, characterized by crooked patterns and elongated indentations at the end of sentences. The term “dangdut” itself made its debut in 1972, forming a linguistic blend that mimics the drum’s resonant sound – a fusion of “dang” and “dut” with an expressive depth that captures the essence of the genre.
The spirit of dangdut traces its origins back to the early Colonial period when a blend of Indonesian, Arabic, and Western instruments coalesced in the tanjidor, the Betawi Mobile Small Orchestra. This early fusion set the stage for the evolution of dangdut, a genre that continues to captivate audiences with its dynamic rhythms, cultural influences, and timeless appeal.
In conclusion, the journey of dangdut music from its humble beginnings as a Malay orchestra to its current status as a cultural phenomenon reflects the dynamic nature of Indonesia’s musical heritage. Rhoma Irama, as the king of world dangdut, symbolizes the genre’s enduring legacy, seamlessly bridging the past and the present. Dangdut’s ability to evolve while preserving its cultural roots makes it a fascinating subject that continues to enrich the musical landscape of Indonesia.