“My AIFIS project, Digitizing Popular Music Archives in Contemporary Indonesia, is part of my larger ethnographic research on informal sound archives and the influence of far-flung groups of “diggers” – record collectors, cassette dealers, unofficial scribes and protectors of popular culture - on global histories of popular music. The cassettes and vinyl records they hold on to are often considered lost and forgotten, and many remain undigitized and undocumented. They are considered obsolete, and may appear to be things of mere nostalgia, or of niche connoiseurship. Yet diggers keep the material presence of Indonesian sound media, and its historical narratives, in circulation. Collectors expand the conditions of possibility for a decolonial aurality, and offer a way of repairing global music history to address its “forgotten” edges. This project focuses particularly on the impact of the cassette, and its role in preserving and circulation Indonesian popular music history. In contemporary Northern societies, cassettes had a short life: but in Indonesia, the cassette was the first truly public medium of recorded music, and rested at the center of local media industries for decades.
In an ongoing collaboration with the staff of Irama Nusantara, an archival organization that has been digitizing Indonesian sound media and making it accessible online since 2013, I documented the process of archival transfer and preservation through an ethographic study of tape markets, collectors, and cassette dealers in Jakarta, Bandung, Yogyakarta, Surakarta, and Surabaya. Cassettes are increasingly threatened objects, devalued for their poor quality, dated contents, and mass-produced ubiquity. Although they have recently developed some cultural capital among an elite core of young listeners, tapes have little status compared with vinyl, and are widely perceived as too common to be collectible. Yet the cassette holds the majority of Indonesian popular music history within its reels. In definitive ways, then, this humble object has shaped the public culture of recorded sound in Indonesia. Its continuing relevance into the musical worlds of the 2020s activates digital networks that open up historical sound media for new public listenerships. Online archives like Irama Nusantara reveal that living histories unspool from cassettes; and the digital cassette archive shows us that historical materials always need to be used to stay alive.”