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Wayang Hip Hop: Java’s Oldest Performance Tradition Meets Global Youth Culture

Wayang Hip Hop: Java’s Oldest Performance Tradition Meets Global Youth Culture Wayang Hip Hop is a group led by dalang Ki Catur “Benyek” Kuncoro that combines Javanese <i>wayang kulit</i> conventions and hip hop music. This article traces the history of the group in relation to key developments in <i>wayang kontemporer</i>, while exploring controversies in its reception. Wayang Hip Hop is analyzed as an important new version of <i>wayang</i> that has garnered substantial attention from young spectators. Five reasons for the appeal of the performance are identified: (1) its complex musical intersections, (2) the radical adaptation of classical <i>wayang</i> stories to address contemporary problems, (3) the extension of the conventions of the <i>gara-gara</i> comic interlude into a full performance, (4) the adaption of Javanese wisdom to new settings, and (5) the adaptability of the production, which can has been presented in very diverse contexts. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Wayang Hip Hop: Java’s Oldest Performance Tradition Meets Global Youth Culture

Asian Theatre Journal , Volume 31 (2) – Sep 23, 2014

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

Wayang Hip Hop is a group led by dalang Ki Catur “Benyek” Kuncoro that combines Javanese <i>wayang kulit</i> conventions and hip hop music. This article traces the history of the group in relation to key developments in <i>wayang kontemporer</i>, while exploring controversies in its reception. Wayang Hip Hop is analyzed as an important new version of <i>wayang</i> that has garnered substantial attention from young spectators. Five reasons for the appeal of the performance are identified: (1) its complex musical intersections, (2) the radical adaptation of classical <i>wayang</i> stories to address contemporary problems, (3) the extension of the conventions of the <i>gara-gara</i> comic interlude into a full performance, (4) the adaption of Javanese wisdom to new settings, and (5) the adaptability of the production, which can has been presented in very diverse contexts.

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Sep 23, 2014

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