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INTERMINGLING OF CONTINUITY AND DISCONTINUITY77the activities of the leading personalities from the twocamps, practitioners of these two highly distinct creativestreams have yet to find a common ground in promotingIndonesian contemporary music.11 Masters such as Pluang Chairatsami at the KalasinDramatic Arts College or Chalerm Maungpraesri of theDramatic Arts College (Bunditpatanasilpa Institute) inBangkok who are employed by formal institutions arerequired to do nothing much but correct and commentwhile the direct teaching is done by instructors.12Such teaching methodologies make the academic operationof these schools a very expensive enterprise. At SMKISolo, there are 180 students and 74 teachers, which givesa high teacher-student ratio of 2.43 students per teacher.13 The sanggars are groups that have been organized underthe broad motivation of preserving traditional culture,especially of the community that they represent or arebased in. What is significant in the sanggar movementis the required presence of master artists who teachand guide the members and act as artistic advisers oreven leaders. The sanggars, although not organized forcommercial purposes, could be invited or commissionedto perform for special events such as fairs and other specialpublic performances.14 The cremation ceremony is not only done when someonedies: bodies are first buried and only cremated on theappropriate dates determined by local elders. Thus, hotelsand tourism offices are able to advertise cremation eventsin advance; the cremations consist of a procession towardsthe beach and setting the body on a watercraft that is seton fire and pushed out to the sea.15 In the proposed curriculum, traditional folk music has beenexcluded in the study areas for the reason that performersof folk traditions earn their living from other activitiessuch as farming, fishing, craft and other “non-musical”occupations.16 The courses run for 12 meetings, ranging between 25 to55 minutes per meeting depending on the number ofpersons in a class. A certificate of completion is givenafter a student successfully passes an examination in eachcourse. The ages of the students in this extension programrange from primary school age to 70. Because there are nofixed music programs in the primary schools, the schoolprovides the instructions that many middle-class familiesnow consider part of the total cultivation of their childrenas modern-day citizens.17 The first school was established some ten years ago inthe Seri Department Store in the east side of Bangkok,followed by the second, established eight years ago in theCentral Department Store.18 Historically, the SMKIs were originally founded as“konservatori,” and later changed to Sekolah MenanggaKarawitan Indonesia in 1976. In 1997, the change ofthe letter “K” from Karawitan (musical arts) to Kejuruan(skills) represented a big ideological shift in its educationalpurpose and social significance.19 This transformation dismayed many leaders in the artsworld, who themselves graduated from these institutionswhen their mission was still based on the developmentof future artists. Such names as Rahayu Supangga, AlSuwardi and H. Soetarno are a few of the long list ofillustrious artists now representing and nurturing thecultural and artistic life of the nation.20 The school has a regular pop band to play at appreciationprograms for school patrons and sponsors. The Directress,Mrs. Pikul Leosiripong, who assumed the Directorshipin 2001, introduced the training in “massage” as wellas music because, before, the blind had only two waysof earning a living—one was to sell lottery tickets andthe other was to beg as musicians. She was the first tointroduce Thai instruments and recruited the presentteacher through her husband, Dr. Prasit Leosiripong, aretired professor of musicology at Rajabhat University.21 The culture of the khru (master-teacher) and its principalmanifestation in the wai khru is practiced in the differentfields of endeavor in which skills are transmitted fromthe master to his/her pupil or disciple. Thus, traditional“crafts” such as massage, carpentry, healing andinstrument making are areas where the transmissionalprocess through pedagogy is considered of high social, ifnot sacred, value.22 While the materiality of respect for teachers is manifestedin the Thai wai khru, respect for the wisdom transmittedby teachers and elders is likewise strongly felt amongcontemporary Indonesian artists in an informal and lessovert manner.23 According to Sri Raharjo who belongs to this family,the entire pedalangan tribe is connected to the family ofRahayu Supangga.24 As told by Surasak Chamnongsam and ManopWisuttipat.25 These schools include: 1) School of Banglam Pu, now headedby master Somchai Duryapranit and Sudjid, which tracesAsian Transformations in ActionThe Work of the 2006/2007 API Fellows
78 INTERMINGLING OF CONTINUITY AND DISCONTINUITYits pedagogical lineage to Praya Sano (b. 1866); 2) BanMai School now headed by Samran Kerdphon (b. 1926)and which traces its lineage to Chang Wangtua (1881);3) School of Luang Pradit (b. 1881), being now nurturedby a foundation established by his niece, Malinee Sagarik;4) School of Praya Prasan, also a famous master, whostudied with Choi, the blind father of Praya Sano; and5) School of Mo Plumpricha, formerly very influential,which recruited the finest players to staff its group andschool and vies with Banglam Pu for prestige.26 National artists enjoy a lifetime salary from thegovernment.27 Although they do not join these competitions (eventhough they are open to any age or social sector), masterartists stake their reputation as masters when they fieldtheir wards as competitors. A teacher’s credentials are notonly enhanced by the number of students but also by thenumber of trophies and awards students have won.28 The first Taman Budaya to be established and laterreplicated in Bandung, Jakarta and Bali.29 Since most of these artists are also active in bothperformance and creative work, one could view thisnew phenomenon as an effort to maintain a reservoirof traditional knowledge that provides the fundamentalingredients for artistic experimentation.of North Sumatra Traditional Music (1 January 2007 - 31December 2008). Bali. 2006.Lembaga Pendidikan Seni Nusantara. Selamat TahunBaru (Happy New Year) 2007. Calendar. Jakarta: LembagaPendidikan Seni Nusantara. 2006.Lenasawat, Rîchat. Thai Notation Book 4. Sakon Nakhorn:Rajabhat, 1992.Miller, Terry. “The Theory and Practice of Thai MusicalNotations.” Ethnomusicology 36 (1992): 197-221.Seelig, Paul. Siamese Music Collection. Bandung: EditionMatatani Bandoeng N.O.J., 1932.Sontong. Collection of Compositions by Luang Pradit inCommemoration of 200 Years of Bangkok. 1973.Sriwilai, Ratree. Hi. My Name is Ratree. Trans. JohnnyOlsen.1994.Sunarto, Bambang. Musico-Artistics Science (Main Disciplineon Ethno-Music Studies). Trans. Solo. 2007.Sutton, R. Anderson, Endo Suanda, and Sean Williams.“Java.” The Garland of World Music: Southeast Asia. New Yorkand London: Garland Publishing, Inc. 1998, 263-728.REFERENCESDansakoon, Nopporn. College of Professional Music: A ProgramProposal. Trans. Nopporn Dansakoon. Songkhla: ThaksinUniversity: 2006.Department of Education and Culture. Culture Building andDevelopment. Pamphlet. Jakarta: Department of Educationand Culture, 1994.Diya, Wayan. Gendhing Murni Gendhing, Materi BelajarMengajar MNP II / Bali, SM. GENAP 2006-2007 (Materialfor Studying Teaching MNP II / Bali, 2006-2007), KSP FSPIKJ. Syllabus. Jakarta: Institute Kesenian Jakarta, 2006.Fry, Gerald W. Synthesis Report: From Crisis to Opportunity,the Challenges of Educational Reform in Thailand. Bangkok:Office of the National Education Commission and the AsianDevelopment Bank, 2002.Hari, Kurniawan. “A Javanese Palace Celebrates Its 250thAnniversary.” The Jakarta Post 25 Mar. 2007.Hutajulu, Rithaony. Proposal for Revitalization ProgramAsian Transformations in ActionThe Work of the 2006/2007 API Fellows
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Asian Transformations in ActionThe
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iiiCONTENTSAbout the BookAcknowledg
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V. APPENDICESCultivation of Transfo
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The Regional Project, entitled “C
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ixTHE CONTRIBUTORS(in alphabetical
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MYFEL JOSEPH PALUGA is a faculty me
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xiiiare common to nations around th
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xvsilence maintained by academe on
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xviiIt is reasonable and necessary,
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xixOVERVIEWCzarina Saloma-Akpedonu,
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xxito retain their identity but at
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xxiiiABOUT THE WORKSHOPThe 6 th API
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2CIRCLES OF POWER AND COUNTERBALANC
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10CIRCLES OF POWER AND COUNTERBALAN
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188 COLLAGES OF BETTERMENTThe repor
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190 COLLAGES OF BETTERMENTregistry
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192 COLLAGES OF BETTERMENTPublic di
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194 COLLAGES OF BETTERMENTConstrain
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196 COLLAGES OF BETTERMENTEmpowerme
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198 COLLAGES OF BETTERMENTshugyou c
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200 COLLAGES OF BETTERMENTSenge and
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208 COLLAGES OF BETTERMENTmonitorin
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210 COLLAGES OF BETTERMENTDevelopme
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212 COLLAGES OF BETTERMENTgovernmen
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214 COLLAGES OF BETTERMENTREDEFININ
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216 COLLAGES OF BETTERMENTthe maxim
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218 COLLAGES OF BETTERMENTwork, to
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220 COLLAGES OF BETTERMENTcontinue
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222 COLLAGES OF BETTERMENTspaces, a
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224 COLLAGES OF BETTERMENTACADEMIC
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228 COLLAGES OF BETTERMENTI took wi
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230 COLLAGES OF BETTERMENTFourth, t
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233Day 3, Tuesday, 27 November 2007
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JOSIE M. FERNANDEZExecutive Council
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237MARY RACELISProfessorial Lecture
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239NAPAT TANGAPIWUTInstitute of Asi
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Persistent problems, promising solu
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Blurred borders and social integrat
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the basis of local identity and exa
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a certain Western perspective while
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strategy found their way into a bus
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