Titiek's voice and body were contested terrain in both presidential regimes they patronized and celebrated her, but also wanted to control her. However, she was not a mouthpiece of these divergent political "orders" that is, her relatively autonomous voice did not align neatly with either regime. Titiek Puspa (hereafter Titiek) cultivated a proximity to state power-to Sukarno, one of Indonesia's founding fathers, and Suharto, the "Father of Development" (Bapak Pembangunan)-that amplified her voice and enabled it to circulate more widely and freely than other female singers. This period of Indonesian history is divided politically by first president Sukarno's anti-imperialist "Old Order" (Orde Lama, 1950-1965) and second president Suharto's pro-Western "New Order" (Orde Baru, 1966-1998).
Chanteuse and composer Titiek Puspa (1937-) vocalized the tensions and contradictions of gendered modernity in Indonesia during the socially turbulent 1960s and 1970s.
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