This article explores the role of Dangdut in Makassar, examining how it intersects with Indonesian social issues, gender politics, and cultural identity. 1. The Roots and Rhythm: Dangdut in South Sulawesi
Many songs written for female artists tackle issues of domestic negligence, the emotional toll of polygamy, and financial independence, offering a rare public space for female grievance. 4. Class Politics and Public Spaces
Short conclusion "Dangdut Makasar Mesum" is less a fixed genre and more a discursive label applied when dangdut performances tied to Makassar provoke moral outrage for being sexually suggestive; the term reveals tensions between popular culture, commercialization, moral norms, and media dynamics in Indonesia.
: There have been increasing reports of individuals (including local officials) being criticized or arrested for "mesum" behavior during live TikTok streams in South Sulawesi. dangdut makasar mesum
Unlike the monosyllabic Dangdut of Java, Dangdut Makasar has absorbed local musical instruments and languages.
Standard synthesizers and drum machines clash and harmonize with the gandang (traditional Makassar drums) and the piercing, melancholic wail of the keso-keso (a bowed string instrument).
Artists like and Ayunda are leading a charge to rebrand the music. They are heavily fusing traditional Makassarese instruments and melodies with modern pop production. At festivals like F8 Makassar , they have successfully packed stadiums where families dance to dangdut without a hint of vulgarity, celebrating cultural heritage rather than "mesum" acts. The very fact that Makassar is a "lumbung" (a barn or repository) for dangdut talent, hosting major auditions for D'Academy (Indonesia's biggest dangdut talent show) proves that the city craves the art, not just the scandal. This article explores the role of Dangdut in
However, the genre faces a complex cultural paradox. To stay competitive, producers heavily rely on cheap electronic synthesisters, Western EDM basslines, and autotune. Purists occasionally argue that this modernization dilutes the traditional essence of South Sulawesi’s musical heritage. Yet, it is precisely this adaptability—the willingness to hybridize the global with the local—that keeps dangdut Makasar alive, vibrant, and fiercely resistant to being swallowed by globalized pop culture. The Political and Communal Catalyst
This clashes violently with the official siri’ culture of the Bugis-Makassar people—a code of honor, shame, and self-esteem. For a Makassarese man, allowing a female family member to become a Dangdut singer is considered mate siri’ (death of honor). Consequently, most Dangdut performers in Makassar are from out-of-town (e.g., Java, Flores, or Toraja), creating an ethnic hierarchy where "outsider" women absorb the moral condemnation that protects "local" women.
In an era dominated by Western streaming platforms and K-pop, dangdut Makasar serves as an essential bastion of regional cultural preservation. Unlike the monosyllabic Dangdut of Java, Dangdut Makasar
Issuing bans or warnings against singers or DJs who violate decency norms. Conclusion: Balancing Cultural Expression and Social Norms
On one hand, the genre is a powerful tool for linguistic preservation. As urban youth increasingly turn to standard Indonesian or English, Dangdut Makassar keeps the local dialects, idioms, and oral storytelling traditions alive. It democratizes culture, ensuring that local identity is celebrated not just in formal museums, but in markets, public transport ( pete-pete ), and neighborhood wedding parties ( pesta kampung ).
What made Candoleng-doleng famous (and infamous) was its raw, unfiltered nature. Unlike choreographed modern dancing, this style involved (erotic hip movements) that were often improvisational and sexually suggestive. It was the direct commercialization of sensuality in the local music scene, with troupes of female dancers (often called biduan ) performing provocative movements that were explicitly designed to arouse male audiences in exchange for money.