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Raden Haji Oma Irama, better known as Rhoma Irama (born 11 December 1946), is an Indonesian dangdut singer, songwriter and guitarist of Sundanese descent.. Starting in the late 1960s, he began his musical career as Rhoma Irama as a part of the pop band Orkes Melayu Purnama, pioneering several dangdut music elements.
Rhoma's Mother (Netty Herawaty) Rhoma match with another girl, Mira (Naniek Nurcahyani) more modern and noble, while the father relented only Rhoma paralyzed. Rhoma reject the choice of his mother and his mother face challenges and Mira, among others booed Ida and went to shaman everything. Mira attitude that "modern" is not pleasing to Rhoma.
Rhoma Irama, a traveler who is visiting mosques in Lombok in order to silahturahmi and symbols ukhuwah Islamiyah with the managers of the mosque there belonging to Fahmi Tamami forum. Assisted by his friend Fahru, Rhoma becomes acquainted with religious leaders in Lombok to accidentally Rhoma met a widow, who had a daughter Sohiba, Sai'ma, the ...
Peace and Safe Islamic Party (Indonesian: Partai Islam Damai Aman), abbreviated as Idaman (Indonesian for "desired"), was an Islamist political party in Indonesia.The party was founded by Muslim dangdut artist Rhoma Irama that served as the only party chairman.
Oma Irama Penasaran is an Indonesian film directed by A. Harris and starring Rhoma Irama and Yati Octavia. According to Andrew N, Weintraub the film "paints a picture of an underclass boy who falls in love with a girl whose family is rich".
This film stars, among others, Rhoma Irama, Yati Octavia, and Billy Argo This article related to Indonesian film is a stub . You can help Wikipedia by expanding it .
The main contribution to the emergence of spiritual dangdut was made by Rhoma Irama (albums Hak Azazi, Judi, Takbir Lebaran, Haji, Haram, Baca, and Shalawat Nabi), who made dangdut as a tool for his preaching, which can be seen from the lyrics of the songs he created and from the statements he issued himself.
During the 1960s and 70s, the rise of Pop Melayu entered Indonesia’s ability to merge Western pop music with regional Malay musical styles. Artists such as Rhoma Irama introduced modern instruments and pop arrangements into traditional forms, laying the groundwork for the eventual development of Pop kreatif. [10]