domingo, 20 de janeiro de 2013

A. Rafiq, «Elvis da Indonésia», cantor de «dangdut»

     «Singer A. Rafiq, who would become one of the dangdut’s first recording stars, marks the transition from
A. Kadir’s Sinar Kemala to dangdut. A. Rafiq, born in Semarang in 1949, grew up in a religious family, with ancestors from the Middle East, India, and Turkey.
Like Ellya Khadam and Munif Bahasuan, A. Rafiq was adept at Qur’anic recitation as a child. The family strongly disagreed with his choice of a career in music, but he pursued it anyway. He left Semarang to join Sinar Kemala in Surabaya and recorded with the group in the late 1960s. In 1969 he moved to Jakarta, where he became a star of radio, film, and television.  

     A. Rafiq brought a physical and dramatic visual element to dangdut: “I had a cinematic quality on stage using movements that made people imagine they were watching a film” (A. Rafiq, pers. comm., 18 July 2005). A. Rafiq combined movements from Indian film, Chinese martial arts, Melayu dance (zapin), and American rock’n’roll: “When I was young, I was called the Elvis of Indonesia.
But I only sang dangdut. My movements, my manners, my stage show, my costume, it was all modeled on Elvis. Even Errol, the one known as Elvis of Indonesia, said to me ‘You’re the real Elvis, not me!’ But he sang all of Elvis’ songs, so he is the real Elvis of Indonesia. But if I had not sang dangdut, I would be the Elvis of Indonesia.” (A. Rafiq, pers. comm., 18 July 2005). A. Rafiq brought a hip and recognizable fashion style to dangdut with a distinctive kind of flared pants (bell bottoms) referred to as “A. Rafiq pants”. In conjunction with his Elvis-like movements, manners, stage show, and costume, A. Rafiq sang and composed songs with primarily Indian melodies.
For example, “Pandangan Pertama” (When I First Saw You), is based on the song “Cheda Mere Dil Ne” in the film Asli Nagli, sung by Dev Anand (1962).
But his biggest hit, “Pengalaman Pertama” (First Experience), was his own invention based on “marrying different styles” (A. Rafiq, pers. comm., 18 July 2005).» 
 [Andrew N. Weintraub,
Oxford University Press, 2010, pp. 73-75].

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