David D. Harnish, PhD (1991), University of San Diego, is Professor and Chair of Music at USD. He has published book chapters, articles, and Bridges to the Ancestors: Music, Myth, and Cultural Politics at an Indonesian Festival (U-Hawaii Press, 2006).

"It is not every day that a book on Lombok sees the light and certainly not a book that looks at its subject from so many different angles and over such a long period of time. [...] This book is a must for those who wish to understand Lombok but also to understand Indonesian national phenomena seen from the relatively micro-environment of Lombok." – Dick van der Meij, Digital Repository of Endangered and Affected Manuscripts in Southeast Asia (DREAMSEA), University of Hamburg

• AcknowledgementsList of Figures and TablesNotes on Orthography, Terms, and NamesIntroductionSetting the Scene1 Histories and Religions2 Musics of Lombok3 People and Places4 Fieldwork Histories5 Organizing Music and Identity1 Change, Religion, and Identity in Music Cultures1 Religion, Religious Identities, and Interreligious Relationships2 Constructing and Dismantling Pluralism and Tolerance3 Modernity and Change4 Politicizing Identities and Musics5 Changing Islams and a Sasak Movement6 Music and Identity7 Sonic Identities and Situating ‘Tradition’8 Exploring Change on Lombok2 ‘Traditional’ MusicsFunctions, Contestations, Interpretations1 Gamelan-type Ensembles2 Gamelan Gong Sasak/Gong Kebyar3 Vocal Music4 Sacred Forms5 Other Dance and Theatre6 Summary3 The Phenomenon of Gendang Beleq1 From Ritual to Stage2 Transitions3 Analysis of Chapter4 Wayang SasakShadowplay, Practices, Elements, and Narratives1 Symbolism, Characters, and Identity2 Accompaniment3 Government Interventions4 Situating Puppeteers and Processes5 The Situation Today and Tomorrow5 Music, Islam, and Islamization1 Islam on Lombok2 Issues of Music and Islam3 Musik Islam4 Zikrsamman5 Marawis6 Tongkek7 Realizations of Burdah, Hadrah, and Rebana Burdah8 Synthesis6 Popular Musics and ‘Musik Rakyat’1 Weddings2 Musik Rakyat: Gambus, Cilokaq, Kecimol Asli, and Amaq Sadar3 Musik Rakyat on the Street: Gula Gending and Selober4 Popular Musics: Cultural and Gender Identities, and Erni Ayuningsih5 Global Styles and Novi Bhavan6 Synthesis: Intersections and Divergences of Folk and Popular Musics7 Minority Musics of Lombok1 Overview of Other Musics of Minority Populations2 Sasak Buddhists, Rituals, and Musics3 Lombok Balinese Music Culture4 Summary of Chapter8 Nexus of Sasak/Balinese InteractionThe Lingsar Festival1 Reflective Takes on the Site, the Festival, and the Participants2 Agamaization3 Bridges to the Ancestors4 Politicizing Lingsar: Contestation, Narratives, and the State5 Tolerance of Ambiguity6 A Long View9 Performing Arts Education and Issues of Sustainability1 Between Apathy and Sustainability2 Indonesian Nation-building3 Mochammad Yamin and lpsn4 The Bidang Kesenian5 Arts Education in the 21st Century6 Contextualizing Benefits of Music Sustainability7 Concluding Thoughts10 ConclusionMaking Sense of All of This1 Musics as Representation2 Histories of Change3 Ambivalence, Sociopolitical Identities, and the Arts4 Final Thoughts on Musics and IdentitiesBibliographyIndex

David D. Harnish, PhD (1991), University of San Diego, is Professor and Chair of Music at USD. He has published book chapters, articles, and Bridges to the Ancestors: Music, Myth, and Cultural Politics at an Indonesian Festival (U-Hawaii Press, 2006).

"It is not every day that a book on Lombok sees the light and certainly not a book that looks at its subject from so many different angles and over such a long period of time. [...] This book is a must for those who wish to understand Lombok but also to understand Indonesian national phenomena seen from the relatively micro-environment of Lombok." – Dick van der Meij, Digital Repository of Endangered and Affected Manuscripts in Southeast Asia (DREAMSEA), University of Hamburg

• AcknowledgementsList of Figures and TablesNotes on Orthography, Terms, and NamesIntroductionSetting the Scene1 Histories and Religions2 Musics of Lombok3 People and Places4 Fieldwork Histories5 Organizing Music and Identity1 Change, Religion, and Identity in Music Cultures1 Religion, Religious Identities, and Interreligious Relationships2 Constructing and Dismantling Pluralism and Tolerance3 Modernity and Change4 Politicizing Identities and Musics5 Changing Islams and a Sasak Movement6 Music and Identity7 Sonic Identities and Situating ‘Tradition’8 Exploring Change on Lombok2 ‘Traditional’ MusicsFunctions, Contestations, Interpretations1 Gamelan-type Ensembles2 Gamelan Gong Sasak/Gong Kebyar3 Vocal Music4 Sacred Forms5 Other Dance and Theatre6 Summary3 The Phenomenon of Gendang Beleq1 From Ritual to Stage2 Transitions3 Analysis of Chapter4 Wayang SasakShadowplay, Practices, Elements, and Narratives1 Symbolism, Characters, and Identity2 Accompaniment3 Government Interventions4 Situating Puppeteers and Processes5 The Situation Today and Tomorrow5 Music, Islam, and Islamization1 Islam on Lombok2 Issues of Music and Islam3 Musik Islam4 Zikrsamman5 Marawis6 Tongkek7 Realizations of Burdah, Hadrah, and Rebana Burdah8 Synthesis6 Popular Musics and ‘Musik Rakyat’1 Weddings2 Musik Rakyat: Gambus, Cilokaq, Kecimol Asli, and Amaq Sadar3 Musik Rakyat on the Street: Gula Gending and Selober4 Popular Musics: Cultural and Gender Identities, and Erni Ayuningsih5 Global Styles and Novi Bhavan6 Synthesis: Intersections and Divergences of Folk and Popular Musics7 Minority Musics of Lombok1 Overview of Other Musics of Minority Populations2 Sasak Buddhists, Rituals, and Musics3 Lombok Balinese Music Culture4 Summary of Chapter8 Nexus of Sasak/Balinese InteractionThe Lingsar Festival1 Reflective Takes on the Site, the Festival, and the Participants2 Agamaization3 Bridges to the Ancestors4 Politicizing Lingsar: Contestation, Narratives, and the State5 Tolerance of Ambiguity6 A Long View9 Performing Arts Education and Issues of Sustainability1 Between Apathy and Sustainability2 Indonesian Nation-building3 Mochammad Yamin and lpsn4 The Bidang Kesenian5 Arts Education in the 21st Century6 Contextualizing Benefits of Music Sustainability7 Concluding Thoughts10 ConclusionMaking Sense of All of This1 Musics as Representation2 Histories of Change3 Ambivalence, Sociopolitical Identities, and the Arts4 Final Thoughts on Musics and IdentitiesBibliographyIndex

David D. Harnish, PhD (1991), University of San Diego, is Professor and Chair of Music at USD. He has published book chapters, articles, and Bridges to the Ancestors: Music, Myth, and Cultural Politics at an Indonesian Festival (U-Hawaii Press, 2006).

"It is not every day that a book on Lombok sees the light and certainly not a book that looks at its subject from so many different angles and over such a long period of time. [...] This book is a must for those who wish to understand Lombok but also to understand Indonesian national phenomena seen from the relatively micro-environment of Lombok." – Dick van der Meij, Digital Repository of Endangered and Affected Manuscripts in Southeast Asia (DREAMSEA), University of Hamburg

• AcknowledgementsList of Figures and TablesNotes on Orthography, Terms, and NamesIntroductionSetting the Scene1 Histories and Religions2 Musics of Lombok3 People and Places4 Fieldwork Histories5 Organizing Music and Identity1 Change, Religion, and Identity in Music Cultures1 Religion, Religious Identities, and Interreligious Relationships2 Constructing and Dismantling Pluralism and Tolerance3 Modernity and Change4 Politicizing Identities and Musics5 Changing Islams and a Sasak Movement6 Music and Identity7 Sonic Identities and Situating ‘Tradition’8 Exploring Change on Lombok2 ‘Traditional’ MusicsFunctions, Contestations, Interpretations1 Gamelan-type Ensembles2 Gamelan Gong Sasak/Gong Kebyar3 Vocal Music4 Sacred Forms5 Other Dance and Theatre6 Summary3 The Phenomenon of Gendang Beleq1 From Ritual to Stage2 Transitions3 Analysis of Chapter4 Wayang SasakShadowplay, Practices, Elements, and Narratives1 Symbolism, Characters, and Identity2 Accompaniment3 Government Interventions4 Situating Puppeteers and Processes5 The Situation Today and Tomorrow5 Music, Islam, and Islamization1 Islam on Lombok2 Issues of Music and Islam3 Musik Islam4 Zikrsamman5 Marawis6 Tongkek7 Realizations of Burdah, Hadrah, and Rebana Burdah8 Synthesis6 Popular Musics and ‘Musik Rakyat’1 Weddings2 Musik Rakyat: Gambus, Cilokaq, Kecimol Asli, and Amaq Sadar3 Musik Rakyat on the Street: Gula Gending and Selober4 Popular Musics: Cultural and Gender Identities, and Erni Ayuningsih5 Global Styles and Novi Bhavan6 Synthesis: Intersections and Divergences of Folk and Popular Musics7 Minority Musics of Lombok1 Overview of Other Musics of Minority Populations2 Sasak Buddhists, Rituals, and Musics3 Lombok Balinese Music Culture4 Summary of Chapter8 Nexus of Sasak/Balinese InteractionThe Lingsar Festival1 Reflective Takes on the Site, the Festival, and the Participants2 Agamaization3 Bridges to the Ancestors4 Politicizing Lingsar: Contestation, Narratives, and the State5 Tolerance of Ambiguity6 A Long View9 Performing Arts Education and Issues of Sustainability1 Between Apathy and Sustainability2 Indonesian Nation-building3 Mochammad Yamin and lpsn4 The Bidang Kesenian5 Arts Education in the 21st Century6 Contextualizing Benefits of Music Sustainability7 Concluding Thoughts10 ConclusionMaking Sense of All of This1 Musics as Representation2 Histories of Change3 Ambivalence, Sociopolitical Identities, and the Arts4 Final Thoughts on Musics and IdentitiesBibliographyIndex