Perspectives on Maritime Southeast Asian Performing Arts

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MD NOR, M. / K. STEPPUTAT, EDS.: SOUNDING THE DANCE, MOVING THE MUSIC. CHOREOMUSICOLOGICAL PERSPECTIVES ON MARITIME SOUTHEAST ASIAN PERFORMING ARTS Preface 1. Understanding Performance in Maritime Southeast Asia: Re-thinking Paradigms and Discourses, an Introduction (Ricardo D. Trimillos) 2.Sonic and Tactile Dimensions of Sundanese Dance (Henry Spiller) 3. The Balinese Kecak – An Exemplification of Sonic and Visual (Inter-)relations (Kendra Stepputat) 4. Persistent Mutualisms: Energizing the Symbiotic Relationship Between Balinese Dancer and Drummer (Made Mantle Hood) 5. Cari….Cari….Cari!: Filling the Interstices of Music and Dance in Zapin Johor (Mohd Anis Md Nor) 6. Necessary (Re)Unions: Revisiting and Revising Studies on the Sama Igal Dance and Kulintangan Ensemble Music Traditions (MCM Santamaria) 7. Playing the Body: Female versus Male Elements in Aceh’s Sitting Song-Dances with Body Percussion (Margaret Kartomi) 8. The Body as Intersection: Interaction and Collaboration of Voice, Body, and Music in Balinese Arja (Ako Mashino) 9. Shadow Puppets, Drums and Gongs: Movement-Music Relationships in a Theatrical Genre (Patricia Matusky) 10. Dancing the Sound, Musicking the Movement–Contextual Dialogues between Music and Dance in Northern Borneo (Jacqueline Pugh-Kitingan) 11. Performing Community, Identity, and Change: The Chinese Dragon Leaps to the Beat (Tan Sooi Beng) 12. Gendang Beleq: The Negotiation of a Music/Dance Form in Lombok, Indonesia (David Harnish) 13. The Orak Lawoi Pelacak Festival: How Music and Movement Connects an erstwhile Semi-nomadic People to Their Vanishing History, Environment, and Culture (Lawrence Ross) 14. Moving Music: The Performing Arts, Space and Travel among the Sama Dilaut (Birgit Abels) .

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