Universitas Indonesia Conferences, The 8th International Symposium of Journal Antropologi Indonesia

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Perempuan Komponis: Forum & Lab; New Network and Self-Actualization
Halida Bunga Fisandra

Last modified: 2022-05-31


Contemporary music in Indonesia is generally characterized by its emergence since Slamet Abdul Sjukur (1935-2015) composed music in 1958. Musical activities in Indonesia which later developed rarely brought up the names of women composers, even though the reproduction of music composers continued through formal and non-formal educational institutions. Only Trisutji Kamal (1936-2021) – who composed music since 1969, is the only female canon composer in discourse, and several records of musical knowledge production circulate in Indonesia. The death of the pioneering woman composer of contemporary music urged, ignited, and prompted several young women composers to question the position, existence, and role of women composers in the underrepresented Indonesian music landscape after Trisutji Kamal. This article describes the process of women composers redefining themselves, through efforts to move together and form a new online network, formulate values, and visioning new self-actualization spaces for women composers in the middle of the crisis of COVID-19 pandemic and the large-scale social restrictions (Pembatasan Sosial Berskala Besar or PSBB) that took place in Indonesia.

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