Abstract
Dangdut, the style of music here defended by contemporary Indonesia's bestknown popular entertainer, has been of enormous influence in much of the postSukarno period, especially the years 1975-1981. Aimed directly at youth, it is dominated by a pulsating dance rhythm, and a populist message, with both Islamic and secular variants. It has produced Indonesia's first true entertainment superstars;3 played a large role in creating a market for the mass media in Indonesia (not only cassette tapes but radio, movies, and television); made a mark on other areas of cultural activity, especially literature; sparked open and often heated debate over the state of Indonesian culture; and given Indonesian Islam a new kind of public identity. And while dangdut has been criticized on various grounds, it has been
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