WHAT IS WITH DANGDUT?

Having blogged, much about dangdut , mostly skewed to what his worldview encompassed, with respect to this, infernal musical genre, papa, as must be told, is not a champion for it. He is just a storyteller, one who weaved platitudes about things that invoked his littlest mindset. Inconsequential elements, that do not really- shoulder any weightiness. Circumstances, that, does not move the earth, neither provide avenues that could supplant the impending world’s energy crisis whence forth, fossil fuel, depletes.
Dangdut to all intents and purposes is just a type of popular music however so intertwined into the collective psyche of the inhabitants of a said locale, as a domicile for all that is undesirable for a situational consociation. In other words, it is a place, where most of the bad elements, in society- meet, particularly so, in Kay El. The fact that the notion is not far from the truth is indisputable. Dangdut, is seedy, it is a place where people gets drunk, got into fistfights and frequent destinations for the local authorities to come check, continuously monitoring its’ activities, lest, the less than desirable aspects, go- out of control. Intoxicants are parts and parcels of its’ notoriety, people come to exult, make merry and to become light headed. Dancing, should arrive, natural, after all that. Much spirited: about anything can happen during those archetypal, jubilations.
Without doubt, the logical consequence of which, the ubiquitous, yet, much powerful presence; of club ‘bouncers’- prominent in any dangdut club ‘worth its’ salt. Come, to think of it, the above, mentioned scenarios pretty much depict popular music club backdrops around the world. Infamous, sites that equally, invite- ignominious happenstances.
Not, so for the Dangdut Kings, in turn, they prefer these, kind of settings. To them, they are truly exclusive, mainly, due to, the fact that not everyone wants to patronize the dance halls, forasmuch their ‘wretched’ connotations. They do not need alcohol to strut their stuff, nor do they want to chase after the girls. They only want to make manifest their ‘seni’ or ‘art’, to practice their craft in front of the few and dispersed, albeit ‘appreciative audiences’. They abhor glamour, preferring the ‘quiet yet elegant’ and much, subdued, appreciation of the enthusiastic although esoterically inclined dangdut exponents. They prefer dangdut to be at the fringes, basking, behind its’ infamy, for their ‘seni’ is too controversial and too unconventional to ever receive any formal recognition. The Majesties only want to continue ‘twirling’ and ‘swirling’ to their hearts’ content.