Ethnomusicology
Bandem is the first Indonesian to accomplish the Ph.D title in ethnomusicology from Wesleyan University, Middletown, Connecticut (1980). As a scholar in the field of world music, Bandem fathoms and advances a school of thought popularly termed as the “bi-musicality” that was initially promoted by Prof. Dr. Mantle Hood. Bandem refers bi-musicality as a conception that music is a universal language and every ethnomusicologist must comprehend more than one genre of world music.
During his studies in the USA, Bandem learnt and came to terms with sounds and rhythms from around the world including music genre of Japan, Thailand, Korea, as well as China. In return, such experience gave Bandem the capabilities and firmness to conduct in-depth research of various Nusantara (Indonesian) music including Kalimantan, Sulawesi, Java, and Bali. Aside from immersing himself in the studies of world music, Bandem also mastered the integral aspects of dance and theatre – all influencing his scientific approaches.
As an ethnomusicologist, Bandem has published plenty of books and scientific articles pertaining arts and culture, both nationally and internationally. One of his writing that is highly regarded as a classic by artists of music, dance, and theatre is the book Kaja and Kelod: Balinese Dance in Transition (1981; reprinted 1995) and distributed by Oxford University Press, Kuala Lumpur. This book has induced worldwide appreciation upon the arts and culture of Bali. Other theoretical publications about music, dance, and theatre of Indonesia include Prakempa: A Cosmology in Balinese Music, Wayang Wong in Contemporary Bali, Traditional Theatre of Indonesia, and Encyclopedia of Balinese Dance – all these books are text books and reference for those studying Indonesian arts. Aside from writings concerning performing arts, Bandem also possess great interest in fine arts, and many of his articles are closely related to historical and aesthetic studies of Indonesian fine arts.
Bandem’s commitment in ethnomusicology augmented with the establishment of an Indonesian music association namely Masyarakat Musicology Indonesia (MMI) by him and a group of friends in 1985. MMI hails from Surakarta, Central Java, and Bandem was the first chairman of the non-profit association. Today, MMI has advanced as Masyarakat Seni Pertunjukan Indonesia (MSPI), as a center for research, creation, and development of Indonesian arts, both classic and contemporary. With this organization, Bandem has managed to raise and popularize ethnomusicology as a major discipline in art universities in Indonesia.
In 1986, Bandem initiated The First International Gamelan Festival; an evaluation on the advancement of gamelan in the global milieu that was conducted in conjunction with the 1986 Vancouver Expo in Canada. During the festival, more than 250 delegates participated and represented gamelan (traditional Indonesian music orchestra) and ethnic music groups from all over the world. The festival is evidence that Indonesian music especially its various sorts of gamelan are integral part of the world music setting.
Bandem played an important role in the progression of Indonesian arts and culture through teachings in many universities including the University of Hawaii, University of California, Los Angeles, Wesleyan University, University of Maryland, Baltimore County and Brown University.
The outstanding response led to the amplification of studies upon the Indonesian arts and culture particularly in the learning of the music and dance.
Consequently, many leading universities in the United States of America, Canada, Japan and Europe sought the inclusion of Indonesian art and culture studies into their curriculum. According to Balungan and Ear Magazine, there are more than 300 active gamelan groups around North America, Europe, Japan and Australia.
In 2006, Bandem was awarded the Fumio Koizumi Prize for his dedication and long life achievement in the field of ethnomusicology.
Read more about this topic: I Made Bandem