Some of my papers by Emma Baulch
Ross Tapsell and Edwin Jurriens Digital Indonesia: Connectivity and Divergence Singapore and Canberra: ISEAS and ANU Press, 2017
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Indonesia, 2016
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Bart Barendregt (ed) Sonic Modernities in Southeast Asia Leiden: Brill , pp: 187-216, 2014
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International Journal of Cultural Studies May 2013 16: 289-302, 2013
Abstract
This article enquires into the contextual dimensions of Indonesian consumerism by prese... more Abstract
This article enquires into the contextual dimensions of Indonesian consumerism by presenting the rise to national fame of provincial boy band, Kangen (Longing) Band. The case of Kangen Band suggests that Indonesian consumerism entails new ways of heralding the masses that rely on and play with old generic terms, kampungan (hick-ish) and ‘Melayu’ (Malay). It also reveals some of the specificities of the Indonesian consumerist environment, in which ring back tones, pirate recordings and corporatized fandom are important resources in the formation of consumer subjectivities.
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Perfect Beat, 2011
This article discusses the production of an Indonesian rock past through a case study of
the 197... more This article discusses the production of an Indonesian rock past through a case study of
the 1970s rock band God Bless, which has been gradually ‘coming back’ since the middle of the 2000s. In doing so, the article documents this comeback, analyses shifts in the band’s position vis-à-vis nationality, and places these shifts in the context of the industrial and aesthetic transformation of Indonesian popular music over the past decade or so. Furthermore, it considers how the range of nostalgic productions associated with the comeback might be understood not only in light of the scholarship on nostalgia, but also the political environment it inhabits.
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Journal of Indonesian Social Sciences and Humanities , 2010
This paper presents Rolling Stone Indonesia (RSI) and places it in an historical context to tease... more This paper presents Rolling Stone Indonesia (RSI) and places it in an historical context to tease out some changes and continuities in Indonesian middle-class politics since the beginning of the New Order. Some political scientists have claimed that class interests were at the core of the transition from Guided Democracy to the New Order, and popular music scholars generally assert that class underlies pop genre distinctions. But few have paid attention to how class and genre were written into Indonesian pop in the New Order period; Indonesian pop has a fascinating political history that has so far been overlooked. Placing RSI in historical perspective can reveal much about the print media’s classing of pop under New Order era political constraints, and about the ways these modes of classing may or may not have endured in the post-authoritarian, globalised and liberalised media environment.
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Jeroen de Kloet and Edwin Jurriens (eds) Cosmopatriots: Globalization, Patriotism, Cosmopolitanism in Contemporary Asian Culture/s, Amsterdam, Rodopi, 2007
In this article, cosmopatriotism is seen to describe an effect of transnational capitalism’s
nee... more In this article, cosmopatriotism is seen to describe an effect of transnational capitalism’s
need to “settle down” in particular localities. The self-imaging of female
singer Krisdayanti and punk band Superman is Dead serve as agentive forces in the
working out of novel, post-New Order modernities. The body, in particular, is an important
site to inscribe a sense of authenticity and social mobility, as well as to work out
a sense of post-Suharto Indonesian-ness.
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Popular Music, 2003
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Inter-asia Cultural Studies, 2002
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International Journal of Cultural Studies, 2002
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Others' reviews of my book by Emma Baulch
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Some of my papers by Emma Baulch
This article enquires into the contextual dimensions of Indonesian consumerism by presenting the rise to national fame of provincial boy band, Kangen (Longing) Band. The case of Kangen Band suggests that Indonesian consumerism entails new ways of heralding the masses that rely on and play with old generic terms, kampungan (hick-ish) and ‘Melayu’ (Malay). It also reveals some of the specificities of the Indonesian consumerist environment, in which ring back tones, pirate recordings and corporatized fandom are important resources in the formation of consumer subjectivities.
the 1970s rock band God Bless, which has been gradually ‘coming back’ since the middle of the 2000s. In doing so, the article documents this comeback, analyses shifts in the band’s position vis-à-vis nationality, and places these shifts in the context of the industrial and aesthetic transformation of Indonesian popular music over the past decade or so. Furthermore, it considers how the range of nostalgic productions associated with the comeback might be understood not only in light of the scholarship on nostalgia, but also the political environment it inhabits.
need to “settle down” in particular localities. The self-imaging of female
singer Krisdayanti and punk band Superman is Dead serve as agentive forces in the
working out of novel, post-New Order modernities. The body, in particular, is an important
site to inscribe a sense of authenticity and social mobility, as well as to work out
a sense of post-Suharto Indonesian-ness.
Others' reviews of my book by Emma Baulch
This article enquires into the contextual dimensions of Indonesian consumerism by presenting the rise to national fame of provincial boy band, Kangen (Longing) Band. The case of Kangen Band suggests that Indonesian consumerism entails new ways of heralding the masses that rely on and play with old generic terms, kampungan (hick-ish) and ‘Melayu’ (Malay). It also reveals some of the specificities of the Indonesian consumerist environment, in which ring back tones, pirate recordings and corporatized fandom are important resources in the formation of consumer subjectivities.
the 1970s rock band God Bless, which has been gradually ‘coming back’ since the middle of the 2000s. In doing so, the article documents this comeback, analyses shifts in the band’s position vis-à-vis nationality, and places these shifts in the context of the industrial and aesthetic transformation of Indonesian popular music over the past decade or so. Furthermore, it considers how the range of nostalgic productions associated with the comeback might be understood not only in light of the scholarship on nostalgia, but also the political environment it inhabits.
need to “settle down” in particular localities. The self-imaging of female
singer Krisdayanti and punk band Superman is Dead serve as agentive forces in the
working out of novel, post-New Order modernities. The body, in particular, is an important
site to inscribe a sense of authenticity and social mobility, as well as to work out
a sense of post-Suharto Indonesian-ness.
published in Inside Indonesia (www.insideindonesia.org) October-December 2010
Routledge, Oxford and New York
published in Bulletin of Indonesian Economic Studies, 2010 (?)
Durham, Duke University Press, 2006
The Asia Pacific Journal of Anthropology Vol. 10, No. 1, March 2009, pp. 5066