![]() ![]() The genre gets its name from the slang term " koplo" which refers to a hallucinogenic drug that is sold cheaply in Indonesia. Dangdut koplo is played at a faster tempo than the standard dangdut music and said to make listeners "feel high" thus gives the same effect of consuming koplo pills. Koplo also differs musically from the regular dangdut in the dominant role of the drummer, which plays more complex drum patterns. ![]() Traditional koplo in East Java is notable for the live performances, on which female singers dance erotically by shaking their hips and chests in revealing clothes. ![]() The audience also gives money directly to the singer on stage. These characteristic performances have given the notion of koplo as "immoral" music in the eyes of traditional dangdut musicians. Rhoma Irama, one of the most influential dangdut singers also known as "the king of dangdut", repeatedly criticized koplo during the early 2000s and attempted to distance it from the general dangdut genre. Nevertheless, koplo has become one of the most popular musical genres in Indonesia, especially with the advent of pop koplo which does not employ overtly sexual performances. Some of the pioneering koplo musicians include Inul Daratista who popularized koplo in the 2000s. The derivative genre of pop koplo is popularized in the mid-2010s by artists such as Via Vallen and Nella Kharisma. The drum is the most important element of koplo. According to Cak Met, a popular koplo drummer, the regular dangdut is played in 3/4 bar while koplo is played in a faster 4/4 bar, thus requiring a more complex drumming technique. The standard drum pattern of dangdut is called chalte which consists of five types of sound, including three that are played by the large drum that is placed on the left side of the drummer and two that are produced by the small drum on the right. Weintraub of the University of Pittsburgh, the koplo drum pattern multiplies all of these sound elements and contains twice the sound of the large drum than the chalte of the standard dangdut. Weintraub traces the origin of these complex drum patterns to Sundanese drum players in West Java who played the traditional jaipongan music. ![]() The jaipongan drum pattern was reinterpreted by dangdut musicians in Surabaya and Banyuwangi, thus the making of koplo drum patterns went through a cross-cultural process between different ethnic groups. īecause of the vital position of the drums in the koplo live performances, drum players often become icons. Among the well-known koplo drummers are Cak Met (also known as Ki Ageng), Waryo from OM Armega, and Cak Juri from OM Montana. Įach region in East Java has its own style of koplo drums. Unique koplo drums can be seen in Sidoarjo, Gresik, Nganjuk, Madiun, Ponorogo, and Sragen. ![]()
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