Keroncong Music and Social Identity in Surakarta, Indonesia


This article aims at exploring how keroncong (folk music) musicians construct identity in community contexts. Performing music is not free from contexts rather it authorizes their position and role in that society. Being on stage they want to confirm statuses and validate world-views in public. They intend to present ideals and thoughts in larger settings. With that process, they strengthen meanings and legitimize organic structure of the community. They interact and negotiate thoughts resulting in the formation of identity among the musicians. Leading to the construction of identity musicians formulate a social group guided by three social categories: individuality, originality, and adaptability. In the implementation of individuality musicians forge social cohesion as a social group. In that process this category is intensified by originality in which the second enhances the quality of the first. Finally, the musicians empower these categories by contextualizing their adaptability in performance settings. These processes synthesize elements of social categories that eventually lead to specific musicians’ identity.

Author Information
Santosa Soewarlan, Indonesia Institute of the Arts, Indonesia

Paper Information
Conference: ACAH2020
Stream: Performing Arts Practices: Theater

This paper is part of the ACAH2020 Conference Proceedings (View)
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To cite this article:
Soewarlan S. (2020) Keroncong Music and Social Identity in Surakarta, Indonesia ISSN: 2186-229X – The Asian Conference on Arts & Humanities 2020 Official Conference Proceedings
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Posted by James Alexander Gordon