[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-45549-en":3,"doc-seo-45549-105":29,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":13,"seo_description":14,"update_tm":27,"read_time":28},45549,16904993612988,"Olivia Brown","https://ap-avatar.wpscdn.com/davatar_a8503ba1806abce46bf441b54a3ca4cd",8,"Research & Report","Dislocating Sounds: The Deterritorialization of Indonesian Indie Pop","Examines the Bandung indie pop band Mocca as a case of cultural deterritorialization, showing how Indonesian indie pop strips away overt ethnic signifiers while targeting an international audience. Through English-language lyrics blending jazz, swing, folk and lo-fi indie rock, Mocca resists easy classification as “world music.” The analysis contrasts the “local” promoted by Mocca with school- and state-constructed notions of region, emphasizing how youth reinterpret local identity via transnational popular culture tropes.","Dislocating Sounds:The Deterritorialization of Indonesian Indie Pop  \nAuthor(s):Brent Luvaas  \nSource:Cultural Anthropology,Vol.24,No.2(May,2009),pp.246-279  \nPublished by:Wiley on behalf of the American Anthropological Association  \nStable URL:https://www.jstor.org/stable/20484539  \nAccessed:23-10-201908:36 UTC  \nJSTOR is a not-for-profit service that helps scholars,researchers,and students discover,use,and build upon a widerange of content in a trusted digital archive.We use information technology and tools to increase productivity andfacilitate new forms of scholarship.For more information about JSTOR,please contact support@jstor.org.  \nYour use of the JSTOR archive indicates your acceptance of the Terms &Conditions of Use,available athttps://about.jstor.org/terms  \nAmerican Anthropological Association,Wiley are collaborating with JSTOR to digitize,preserve and extend access to Cultural Anthropology  \n# DISLOCATING SOUNDS:The Deterritorializationof Indonesian Indie Pop\n\nBRENT LUVAASUniversity of California-Los Angeles  \nThe Bandung-based “indie pop”band Mocca(see Figure 1)has accomplishedsomething few other Indonesian recording artists have managed to do:they'vereached an international audience,selling over 150,000 copies of their first albumalone,and touring through Singapore,Malaysia,Thailand,and Japan,without eithersigning onto a major label or marketing themselves as an “ethnic,”\"traditional,\"or\"world music\"act.In fact,listening to their sugary,English-language songs,whichcombine elements of crooner jazz,swing,and folk with lo-f indie rock,there islittle to identify them as Indonesian at all.Songs like \"Dear Diary”or \"Once Upona Time,\"which propelled them to fame in their home country and beyond,couldhave been written nearly anywhere by nearly anyone.  \nLike a number of contemporary pop and rock bands to emerge out of theIndonesian indie scene in recent years,²Mocca have stripped their sound and theirimage of overt ethnic signifiers.They experiment with a wide range of musicalsources,but never those associated with their own backgrounds.They sing inEnglish.Their lyrics stick principally to broad human themes unspecific to timeand place.And in so doing,they defy easy categorization for consumption bya niche audience of world music fans.They don't play up their ethnicity;theydrop it altogether like a bad habit or an outdated trend.And why not?these youngmusicians assert.It's not like kids in Bandung grow up listening to degung anymore.³These are children of a globalized world,raised on MTV and the Internet,and theyinsist on being taken seriously on the same terms as other international pop artists.  \nFIGURE 1.Mocca,Indonesia's biggest indie band (from their MySpace page)  \nIf Swedish pop bands are not expected to sing in Swedish and play the nyckelharpa,then why should Mocca don sarongs and play kettle gongs?  \nIt's not as if Mocca are ashamed of who they are or where they come from,though.Over the last decade,they have stepped forward as the face of the Indonesianindie scene,a loose conglomerate ofteenagers and twentysomethings committed toproducing music and media\"on their own terms,\"that is,apart from the commercialor political interests of major corporations and state-financed institutions.Theyhave done more than just about any other band to instill local pride in Bandung'smusic and through their tours of Southeast Asia and beyond,Indonesian musicmore generally.They have,in fact,become something of informal ambassadorsfor an Indonesian “buy local”movement,participating in events,expositions,andworkshops that incite youth from all over the archipelago to “support the localbrand revolution!”  \nBut let's not confuse our terms.The “local\"Mocca advocates is not the “local”they grew up with,the construction of region and ethnicity taught in schools,paraded in public festivals,or broadcast on government television channels.Their\"local”is not the “local\"of a continuous indigenous tradition,a conception ofspace and place passe","cbCaiuWBu8j62vYH","https://ap.wps.com/l/cbCaiuWBu8j62vYH","pdf",4164979,1,35,"English","en",105,"# Mocca and the International Indie Pop Positioning\n## Stripping Ethnic Signifiers and Singing in English\n## Reinventing “Local” Through Transnational Culture\n# Anthropological Debates on Locality and Resistance\n## Localization as Resistance in Scholarship\n## “Moment of Colonization” in Locality Building","[{\"question\":\"What makes Mocca stand out among Indonesian indie artists in reaching an international audience?\",\"answer\":\"Mocca reached a broad international audience without signing to a major label or marketing themselves as ethnic, traditional, or world music. 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Their English-language pop blends multiple musical styles that are not easily tied to an Indonesian label.","Answer",{"name":78,"@type":73,"acceptedAnswer":79},"How does Mocca’s music challenge traditional expectations of ethnic or national representation?",{"text":80,"@type":76},"Their sound and image avoid overt ethnic signifiers, and their lyrics focus on broad human themes rather than time- and place-specific references. This defies niche world-music categorization and rejects ethnicity as something to emphasize for consumption.",{"name":82,"@type":73,"acceptedAnswer":83},"How does the article define the difference between Mocca’s “local” and the “local” promoted by the nation-state and schools?",{"text":84,"@type":76},"Mocca’s “local” is not the same as continuous indigenous tradition or the region/ethnicity framework taught and broadcast by state institutions. 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