The intricate relationship between religion and the underground music scene in Indonesia, emphasizing the spatial and temporal dimensions of religious expression within a predominantly Muslim society, can shed light on the discourse of religion and underground culture. The underground music scene serves as a platform for negotiating religious identities, where secular genres such as punk and metal challenge traditional religious norms, whereas in Indonesia, it is more complex than antagonistic. Urban venues have become microcosms of cultural interaction, allowing individuals from various faith backgrounds to engage in dialogue and redefine their religious identities in contemporary contexts. Historical shifts in Indonesia’s political landscape, particularly post-Suharto, have influenced the evolution of religious expression in music, with artists often incorporating religious themes into their work while maintaining a secular stance. This duality highlights the ongoing struggle for religious moderation and the need for interfaith dialogue, making the underground music scene a vital space for critical engagement in researching the interplay between religion and popular culture. Ultimately, by incorporating spatiality and temporality into the discourse, it sheds another layer of the dynamic interplay between religion and culture in Indonesia, illustrating how music can both challenge and reinforce religious beliefs, thereby contributing to a rich tapestry of cultural expression that reflects the nation’s diverse realities.
Places and scene: drawing spatial aspects in the interplay
It is important to understand the term scene or “skena” in the Indonesian language, as it is crucial in dissecting the spatial elements in religion and underground music scene dynamics. These urban venues and underground music scenes serve as crucial spaces for negotiating religious identities and fostering an intercultural understanding. The concept of “skena” in Indonesian culture further emphasizes the importance of these spatial contexts in shaping the relationship between religion and music. By examining these physical and cultural spaces, researchers can gain deeper insights into how religious expressions are adapted, challenged, and reimagined within Indonesia’s diverse urban landscape.
The term “scene” has evolved significantly within sociological and cultural studies, encompassing a variety of meanings that reflect the dynamics of social interaction, cultural production, and spatial organization. In the context of cultural studies, a “scene” typically refers to a network of individuals who share common interests, values, and practices, often centered around specific cultural activities or artistic expressions. This definition is particularly relevant when examining an underground music scene, where participants engage in a shared cultural experience that transcends mere geographical location.
In sociological terms, “scene” can be understood as a social construct that encompasses not only the physical spaces where cultural activities occur but also the relationships and interactions that define those spaces. For instance, the concept of “social movement scenes” refers to groups of individuals who share a common identity and set of beliefs, often mobilising around specific causes or cultural expressions (Creasap 2012). This perspective emphasizes the importance of social networks and the collective identity that emerges from shared experiences within a particular scene.
Moreover, the notion of “scene” extends beyond mere physical locations to include the cultural and emotional dimensions associated with those spaces. As articulated by Armstrong and Lam, scenes are not just specific places; they comprise a set of spaces, affects, materials, and discourses that together form a distinctive arena of cultural activity (Armstrong & Lam, 2016). The interaction between imagined globalities and localities then evokes a relation between space and place. Hence, it is essential to conceptualize a scene as space that has become place as it is imbued with social and cultural meaning (Larson and Pearson 2012, 245; Calvard 2015, 655; Thomas Gieryn 2000, 465) in Grey and O’Toole 2018, 3). The meaning is coming “through human action, through dwelling, through emotional attachments, through events, and through memories attached to them” (Cresswell 2004 in Nairn and Kraftl 2006, 5). This broader understanding allows for an exploration of how scenes are shaped by the historical, social, and political contexts that influence the identities and practices of their participants.
In the realm of music, the term “scene” often denotes a specific genre or subculture, such as punk, metal, or hip-hop, characterized by particular styles, ideologies, and social practices. This definition aligns with O’ Connor’s work, which discusses how music scenes can be understood as cultural hybrids that emerge from the interplay between local and global influences (O’Connor, 2004). The fluidity of scenes allows for the incorporation of diverse cultural elements, leading to the creation of unique musical expressions that reflect the identities of their participants.
Furthermore, the spatial aspect of scenes becomes a layer for understanding how cultural practices are organized and experienced. The physical locations where scenes manifest, such as clubs, festivals, gigs, and community spaces, serve as vital sites for cultural exchanges and social interactions. These venues not only provide a backdrop for performances but also facilitate the formation of social bonds among participants, reinforcing the collective identity of the scene. As noted by Silver and Miller (2014), localities play a significant role in shaping the lifestyle and values of a scene, influencing the behaviors and interactions of its members.
Indonesian localities are largely influenced by religion, especially in the everyday lives of Indonesians. Indonesia, as the largest Muslim-majority country, showcases a rich tapestry of Islamic traditions that are deeply intertwined with local cultures, histories, and geographies. An important physical space for the Islamic community is the mosque, which serves as a central hub for religious, social, and cultural activities within the Islamic community in Indonesia. This creates sacred spaces for religious and social practices within the community. In the urban environment, it is easy to find mosques, and it is not rare for festivals, gigs, community gatherings, and events to be held in close proximity to mosques. Especially for the underground scene events where there are not many options for these communities to hold their event in the first place especially true in eastern part of Indonesia.
Through my observations during past research and going to several gigs and concerts, the presence of mosques influences how the gigs, festivals, and community events are running. Whenever the near mosque starts sounding the Quran recital and azan, the event and music will stop for a moment showing respect to the mosque, avoiding a conflict of sound. The same cannot be said when there are no mosques near an event. Most of the time, members of underground music scenes view that practices of religion in the private domain but nevertheless religious influence still exist in different aspects, one of them through the spatial environment. There is coexistence between the culture of an underground scene and its adaptability to mainstream culture in Indonesia, resulting in unique interplay.
This unique interplay between underground music culture and religion demonstrates adaptability and respect within Indonesia’s diverse cultural landscape. It highlights how spatial elements such as the presence of mosques can shape the dynamics of public events and foster a sense of harmony between seemingly disparate cultural elements. This coexistence serves as a testament to the complex and nuanced nature of Indonesian society, in which traditional values and modern subcultures find ways to accommodate and influence one another. This phenomenon not only showcases the flexibility of both the music scene and religious institutions, but also highlights the intricate ways in which different facets of society can influence and accommodate one another.
The spatial dynamics at play, particularly the presence of mosques in proximity to music venues, serve as powerful catalysts for this cultural dialogue. These physical structures act more than just places of worship; they become integral components of the urban fabric, shaping the rhythms and patterns of daily life and public events. The consideration given to prayer times during musical performances demonstrates a deep-rooted respect for religious practices, even within contexts that might initially seem at odds with traditional values.
This phenomenon also offers insight into the evolving nature of public spaces in Indonesia. It demonstrates how urban areas can become sites of negotiation and compromise, where different groups find ways to negotiate the performative aspects of their culture.
Sacred timing: temporal aspect in Religion and underground scene
Temporality encompasses various aspects of how individuals and communities perceive, construct, and interact with time within their social context. This exploration is particularly relevant for understanding how societal norms, cultural practices, and individual experiences shape the perception of time and its implications for social behaviour. The following synthesis draws on multiple scholarly references to elucidate the social construction of time and its various dimensions. The notion that time is a social construct is fundamental to understanding its social dimensions. Bak argued that modern standardised clock time, which began to take shape in the late 19th century, fundamentally altered how societies perceive and manage time (Bak, 2022). This shift has implications for many social institutions.
Islamic perception of time is deeply rooted in religious, cultural, and historical contexts. Specific temporal markers in Islam are significant. Kirchanov discusses how the perception of historical time in Islam is pluralistic and culturally dependent, indicating that Muslims may experience time differently based on their cultural contexts (Kirchanov, 2023). In a sense, apprehension of time is not merely a linear progression, but is influenced by the cultural and social context of society (Iparraguirre, 2016; li, 2021). This perspective can be applied to the practice of Salah, where the cyclical nature of daily prayers reflects a broader understanding of time that is deeply embedded in Islamic tradition. It is also translated into Indonesian apprehension about a specific time in its social and cultural context. For example, the time for most breaks for either the working or school environment is based on these Islamic temporal markers. The integration of Islamic prayer into daily routines extends beyond religious practices, influencing the broader social fabric of Indonesian society. The alignment of work and school schedules with prayer time demonstrates the deep-rooted cultural significance of these temporal markers. Furthermore, this synchronisation of secular and religious time structures fosters a unique sense of community and shared experiences among Indonesians regardless of their individual religious beliefs.
This temporal alignment also extends to various sectors of Indonesian society, including underground communities. Underground scenes, in particular, have adapted event planning and execution to accommodate culturally significant time markers. This adaptation not only respects religious practices but also creates a unique rhythm and flow to underground events, potentially influencing artistic expression and audience experience in subtle ways. The temporal alignment observed in Indonesian society extends far beyond mere scheduling considerations, permeating various sectors and profoundly influencing the cultural fabric of the nation. This phenomenon is particularly evident in a music scene in which the interplay between religious observances and creative expressions gives rise to a distinctive cultural landscape.
Underground scenes, known for their avant-garde approaches and countercultural tendencies, have demonstrated remarkable adaptability to these temporal constraints. Event organisers and artists within these subcultures have incorporated the rhythm of religious practices into their planning and execution strategies. This adaptation goes beyond simple logistical adjustments; it represents a deeper engagement with the cultural and spiritual pulses of Indonesian society.
The impact of this temporal alignment on underground events is multifaceted. First, it has led to the development of innovative event formats that respect religious practices while maintaining the essence of underground culture. For instance, some events may be structured around pre-dawn or late-night timings to accommodate prayer schedules, creating unique atmospheric conditions that can enhance artistic experience. Moreover, this adaptation fostered a distinctive rhythm and flow within underground events. The ebb and flow of attendance patterns, influenced by prayer times and religious observances, can create dynamic shifts in energy and audience compositions throughout an event. This fluctuation may inspire artists to tailor their performances or installations to these temporal variations, resulting in more nuanced and responsive artistic expression.
The influence of this temporal alignment also extends to audience experience. Attendees of underground events may find themselves navigating a cultural landscape that seamlessly blends secular artistic expression with religious practices. This juxtaposition can create moments of reflection and cultural synthesis, potentially deepening the overall impact of the artistic experience.
In conclusion, the temporal alignment observed in Indonesian society, particularly its existence in underground scenes, represents a fascinating intersection between religion and underground culture. By adapting and incorporating these culturally significant time markers, the underground scene has created a unique cultural phenomenon that reflects the complex interplay between religious observance and artistic expression in contemporary Indonesian society.
Temporal and Spatial study in religion and underground dynamics: furthering the nuances
The intersection of religious temporal and spatial aspects in Indonesian underground scenes presents a rich area for further exploration. Researchers could delve deeper into the specific ways in which temporal alignment manifests in these spaces, examining how it influences event planning, participant behaviour, and artistic content. Additionally, investigating the potential for cultural exchange and mutual understanding between religious and secular communities within these underground settings could yield valuable insights into the social dynamics and cultural evolution in Indonesia. creating a complex nuance in understanding how contemporary Muslim culture engages with others that seem to have an antagonistic nature.
By exploring into the experience of being in the identity construction of underground scene member, we can explore nuances of the interplay between religion and popular culture such as underground subculture. Through investigating the intersecting concept of scene, places, and temporality, we can find where religion influences the experience of being an underground scene participant. Through investigating the physical location and structure, we find physical structure can have meaning that is created by the social and cultural environment in broader context of the scene. Thus, impacting the way, the scene members organize their identity performance. By further exploring how meanings are made and constructed to the physical structure and location, it creates potential for an exploration of nuances for religion and popular culture interplay.
Similarly, by investigating the perception of time, we can further investigate the rhythmic sense of time that belongs to religion impacting the experience of underground scene participants’ own rhythmic and flow. Temporality has the potential to enrich the discussion of the interplay between religion and popular culture, especially for the underground scene of subculture and religion complexity in Indonesia. this shows how underground scene participants adapting their sense of time to the broader culture shown in Indonesian context.
Resiliency and adaptability of underground scene members become one of the major themes for this community still exist and thriving in Muslim majority countries. The ability to navigate societal constraints and find creative ways to express oneself is crucial for the underground scene participants. Resilience in the face of potential persecution or disapproval demonstrates the deep passion and commitment that these individuals have for their subcultures, even in challenging environments. However, by making sense of spatial and temporal aspects in everyday life, we can study how they engage with mainstream culture, where it is not merely antagonistic or aggressive but also negotiation and coexistence. Reveal layers of intricate and subtle dynamics between underground and religious intersections. It is important to consider both the spatial and temporal dimensions when examining the interplay between religion and popular culture in Indonesia, contributing to a deeper understanding of contemporary Muslim culture’s engagement with seemingly contrasting subcultures.
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Iparraguirre, G. (2016) ‘Time, Temporality and Cultural Rhythmics: An Anthropological Case Study’, Time & Society 25(3): 613-633.
Kirchanov, M. (2023). The concept of “historical time” in modern liberal islam: from the philosophy of temporality to the policy of memory. St. Tikhons’ University Review, 108, 59-74.
Nairn, K. and P. Kraftl (2016) ‘Introduction to Children and Young People, Space, Place, and Environment’, Space, Place, and Environment : 1-24.
O’Connor, A. (2004). Punk and globalization. International Journal of Cultural Studies, 7(2), 175-195.
Silver, D. and Miller, D. (2014). Cultural scenes and voting patterns in canada. Canadian Journal of Political Science, 47(3), 425-450.
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