ABSTRACT
How does the performance of music “from elsewhere” contribute to our understanding of musicking for locality? Indonesian gamelan performance in Britain is musicking “in diaspora” rather than music driven by a diasporic community, with particular prominence in British music education. I focus here on the ways in which gamelan performance invokes locality as part of a learning and participation program at Southbank Centre in London. This has three dimensions: the material presence of the instruments themselves; the way that gamelan is embedded in institutional agendas; and the ways in which players perform locality, according to their own experiences and motivations.
