Media
Ubiet: "I'm a pluralist singer"
Oleh A. Junaidi, The Jakarta Post, Jakarta
People may comment: "unique or strange or even disturbing" on the songs of ethnomusicologist-cum-singer Nyak Ina "Ubiet" Raseuki, who inserts Indonesian tribal touches in her vocal stylings.
"I don't care what people say. It's my choice. There are so many singing methods, maybe thousands in this world. I'm a pluralist," Ubiet said in an interview with The Jakarta Post recently.
Starting her singing career with popular songs in cafes, and then studying classic technique at the Jakarta Arts Institute (IKJ), Ubiet, who was born in Jakarta on May 24, 1965, never pauses in her search for new singing methods.
After completing her studies at IKJ, she continued abroad and gained a master's degree in ethonomusicology from the University of Wisconsin Madison, the United States, with a thesis on Seudati, a Acehnese traditional dance and music.
She includes nuances of Acehnese and Minang -- her father is Acehnese while her mother is Minang -- and other ethnic groups in her songs.
In her new album, Music for Soul Performer, Ubiet Sings for Tony Prabowo, Ubiet produces four to 36 tracks of voices -- like a choir -- in singing several songs written by internationally acclaimed composer Tony Prabowo.
Ubiet has cooperated with Tony for almost seven years, including recent performance as a soprano in Tony's King's Witch Contemporary Opera at the Taman Ismail Marzuki arts center.
Besides a singer, Ubiet is also a lecturer at IKJ and a freelance tutor for young singers, such as those involved in Akademi Fantasi Indosiar, a singing contest modeled on American Idol run by TV station Indosiar.
People may question Ubiet, who is also a vocalist for Krakatau jazz band, for her involvement with popular bands, including a boy band.
"I never underestimate other people's music. In music, also in other walks of life, people often misjudge or even defame others," she said.
Singing and teaching take almost all of her time. But she still finds time for painting exhibitions, movies or to be involved in discussions, including with husband, literary critic and essayist Nirwan Dewanto.
Can you tell me about your new album?
I just released the album titled Music for Soul Performer, Ubiet Sings for Tony Prabowo. We made a few copies of the CD. Most of the songs used pre-recorded techniques for multiple voices. My voice could be four layers to 36 layers or four tracks to 36 tracks.
I have to produce sounds from the lowest tones to the highest tones. We deployed solo instruments, such as alto viola by Stephanie Griffin (of New York) and saxophone by Budi Winarto who is now living in Australia.
Most of the lyrics, which were all written by composer Tony Prabowo, are nonsensical syllables which have no meaning. Tony wants to use words as sounds.
We also exercise poems by Gunawan Muhamad and Chairil Anwar and Acehnese traditional poetry.
Do you include nuances of Aceh and Minang music?
Yes, I already assimilated these when I learned traditional music. They are my inspiration. I do not deploy it arbitrarily.
I intentionally "steal" the vocal styles and make it in such a way until people cannot identify whether the style is Acehnese, Javanese, African or Korean.
In arts, especially in contemporary arts, there should be a "manipulation". In just taking a thing (without creatively manipulating it), we do nothing.
How about the marketing of the album?
I was a little bit frustrated because my friends politely refused it when I proposed the album.
I have a friend, Dwiki Dharmawan (leader of Krakatau jazz band), who owns the Musik Kita label. I thank Dwiki so much for accepting my album.
Respect for diversity has been rising, but not in music. Music is still one color, less diverse. We do not hope everybody listens to our music. But it should not be like now where only 200 people hear it.
Why?
It's caused by lack of knowledge and lack of appreciation. Maybe radio stations can help introduce different kinds of music.
What about the sponsorship?
It's difficult. Only after a lot of hard work did we eventually meet Virgo distribution company. It's the first time Virgo is distributing that kind of CD. We only released 1,000 CDs.
The album can also be purchased through internet: ITune and Equinox. The segment for contemporary music is too small and exclusive.
Selling indie films is easier than music...?
Film is visual while music is audio. Music listeners have been polluted by television. Our hearing nerve is the most complicated nerve.
People are used to listening to harmonious sounds. They are disturbed by unharmonious sounds like the bajaj engine. But contemporary music has its harmony. They should listen to it more often.
It's not your first album, is it?
My first album Archipelagongs was more popular (in style). Its lyrics varied from Aceh to Papua. Archipelagongs (literally) comes from archipelago and gongs. The gong connects all of us. There are gongs in Madura, Kawanua, Batak, Sumba, Minang, Kalimantan, etc. The album was released in 2000.
Did you introduce "unusual" styles?
I call it a popular alternative in that it had traditional nuances. But I prefer to use the term "local" than traditional.
What about your next album?
After this, I will release an album based on keroncong (a musical style that mixes Portuguese and local traditions). I have been working with musicians Dian HP and Riza Arshad to play Keroncong music as a new instrumentation. We will use two accordions.
In the music, the lyrics are a unity, instead of just a separate and meaningless entity. I will take poems which could be integrated in music.
Why keroncong?
Some people know me as an exclusivist... actually it's not true. I have a close relationship with traditional music because I'm an ethnomusicologist. Keroncong is close to traditional music. It's the oldest popular music.
In the near future, I will update keroncong with touches from the 21st century. So far many people view keroncong as a music for older people.
Could you tell me a bit of your involvement in the King's Witch Opera?
Actually, I was involved in the Pastoral part of The King's Witch. There are two works: King's Witch and Pastoral. The Pastoral is for string quartets and two sopranos: me and Binu D. Sukarman.
After practicing for 10 days in New York in October (2006), we staged it once in New York. It was like a trial. The main performance was here (in Jakarta).
I have cooperated with Tony since 1989. Tony's music is not new to me. A string quartet is new to Tony. In Pastoral, Tony chose Binu's classic-operatically-styled voice, while my voice is in the middle. My voice is not classic nor traditional.
I apply many ornaments and traditional styles. Influences of various horizons, my vocal style, mixed with Tony's music, produces a strong work. It's the uniqueness of Tony's work.
Before King's Witch, we made music for various events, such as performances, photo and installation exhibitions, fashion and dance shows and films.
You are the only one ...
It's my choice. When I was at IKJ, my friends just chose the music industry or classic. For me singing should not only be beautiful. Singing technique is not the only thing. There is no ultimate in art. People should search and search. There are so many singing techniques in the world, probably millions.
I started with pop. I once worked with Dian HP and established Splash band. I sang in cafes, but it did not stick. In 1989, I got a scholarship to study ethnomusicology at the University of Wisconsin-Madison, United States.
I also got a scholarship from the Asian Cultural Council to support my study. Students are used to getting joint scholarships for their study and living expenses.
What's your comment on music education here?
Education on conservatory music is still weak here. Its output is not maximum. Traditional music is OK. We have many good educational institutions for traditional music, such as in Solo, Central Java and Padang Panjang in West Sumatra.
Actually, IKJ should be an ideal school. But only a few students study music in a high spirit. I teach introduction to world music. Most of the books are in English. It's difficult for the students.
You are also a freelance teacher?
My life is everywhere. I want to understand various kinds of music, including industrial music. I teach AFI contestants and am involved in Ada Band (a popular boy band). Donnie, the band's vocalist, is my student.
Every kind of music has its own good and bad sides. I don't care what people say. I just want to understand the music. I see many musicians underestimate or even speak ill of other musicians' works. I'm a pluralist.
How do see the rise of new young talents?
There so many talented youths now. But, sometimes, when they have joined a group, they may just stop. They do not search. It's probably because their environment.
In Benin, Africa, Angelica Joe sings rock songs with local color in its instrumentation and vocal style, although it does not use African instruments. Our popular music seems to imitate MTV.
What about indie music?
According to me, the color is less diverse. The groups are many but mono-colored. It should be more colorful. With the colors, we could improve our listening and intellectuality.
Krakatau tries to do that.
What do you do outside of music?
I like sipping coffee and eating. But I'm afraid of being fat. I love any kind of foods.
I watch dances, films, such as the Jakarta International Film Festival (JiFFest), and visual art exhibitions. Sometimes, I read literary works.
Thank God, my husband and me have rather similar worlds. We discuss various topics at home, such as rice prices, politics and literature.
Artikel ini dikutip dari The Jakarta Post, January 14, 2007
Other Releases
Krakatau - Rhythm of Reformation |
Krakatau - 2 Worlds |
All rights reserved - Site design and maintained by WartaJazz.com