Wim van Zanten (1942) obtained his PhD from Leiden University in 1987. He has published on the music of Malawi, Africa, and West Java, Indonesia, including ‘Sundanese music in the Cianjuran style’ (Foris, Verhandelingen 140, 1989).

• PrefaceOrthographyList of IllustrationsAudio-Visual Examples (AV) and Music Transcriptions (Tr)1 Introduction1.1 The Baduy People of Kanékés Village and Their Music and Dance1.1.1 The Name of the Indigenous Group1.2 Overview of Baduy Music and Dance1.3 Outline of the Book2 Social Organization and Economic Situation2.1 Socio-Political Organization and Major Spiritual and Secular Officials2.2 Dangka Hamlets and Their Role in the Delineation of Baduy Culture2.3 Agricultural Land, Non-Irrigated Fields and Religion2.4 Relations with Indonesian Authorities and Cultural Tourism2.4.1 Hand Phones2.4.2 Séba2.5 Non-Governmental Organisations: Trust, Social Justice and Environment2.6 Weaving, Clothes and Production of Textiles for Sale2.7 Production of Other Goods2.7.1 Palm Sugar (gula kawung)2.7.2 Knives3 Methodological Issues and Theoretical Starting Points3.1 Historical Sources and Earlier Publications on Music and Dance3.2 Restrictions for Researchers and Other Methodological Issues3.3 Visits to the Holy Places in Kanékés between 1822 and 19313.3.1 Blume (1822)3.3.2 Van Hoëvell (1845)3.3.3 Koorders (1864)3.3.4 Criticism by Jacobs and Meijer (1891) and Pennings (1902)3.3.5 Koolhoven (1931)3.3.6 Van Tricht (1928)3.4 Fieldwork Periods Present Author3.5 Some Theoretical Issues and Definitions4 Seasons for Music and Major Rituals4.1 Agricultural Calendar and Musical Seasons4.2 Angklung Music for the Engagement Ritual of the Goddess of Rice4.3 Circumcisions and Weddings4.4 Circumcision in Kadujangkung4.5 Circumcision in Cicakal Leuwi Buleud4.6 Weddings and Other Rituals; Some General Observations5 Tone Systems, angklung, keromong, Dancing and Gender Aspects5.1 General Musical Concepts: Tone Systems, Modes and Styles of Playing5.1.1 Transcription of Music for Analysis5.1.2 Tone Systems5.2 Angklung for Rituals and for Entertainment5.3 Keromong (gamelan)5.4 The History of a Baduy Gamelan between 1976 and 20195.4.1 Commentary5.5 Dancing5.6 Gender Aspects and Gendék Ceremonial Pounding of Rice5.6.1 Musicians and Gender5.6.2 Gendék6 Carita Pantun Storytelling6.1 Baduy Oral Literature in the Larger Sundanese Context6.2 Baduy Pantun Stories6.3 Pantun Texts and Audio-Visual Recordings since 19056.4 Own Recordings and Observations of pantun Storytellers6.4.1 Direction that the Pantun Performer Should Be Facing6.5 Recited Text and Performing Aspects of pantun Recitation7 Song Texts in Music for Entertainment7.1 Earlier Publications of Song Texts7.2 Formal Aspects of the Song Texts7.3 Song Texts Used in Performance by Female Singer Raidah in 20037.3.1 Kidung Rahayu7.3.2 Tepang Sono7.3.3 Daun Hiris7.3.4 Jalan7.3.5 Gunjaér Mundur7.3.6 Kacang Asin7.3.7 Bayu-Bayu7.3.8 Poho Kabalik7.3.9 Kapergok7.3.10 Daun Puspa7.3.11 Ucing-Ucingan7.4 Major Themes in Other Song Texts7.4.1 Moral Advice7.4.2 Hurt by Outsiders7.4.3 Dirty Words7.4.4 References to Music and Dance7.4.5 False Instruments and Social Order8 Wind, String and Other Instruments8.1 Kumbang Flute8.2 Tarawélét Flute8.3 Lamus Flute and Elét8.3.1 Elét8.4 String Instruments8.4.1 Kacapi Pantun8.4.2 Siter and Falsetto Voice8.4.3 Rendo8.4.4 Viol8.4.5 Rebab8.5 Xylophones and Jew’s Harp8.5.1 Gambang or Gambang Kayu8.5.2 Calung8.5.3 KarindingConcluding Remarks9.1 Negotiating Rules and Mutual Respect9.1.1 The 2003 unesco Convention on Living Culture9.2 Safeguarding, Cultural Tourism and Future ResearchAppendix 1 A Map of Kanékés and a List of Its HamletsAppendix 2 The Baduy CalendarAppendix 3 List of People Interviewed and/or RecordedAppendix 4 Song Texts for EntertainmentGlossaryReferencesIndex