DOCSLIB.ORG

Playing with Teaching Techniques: Gamelan As a Learning Tool Amongst Children with Learning Impairments in Northern Ireland

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Playing with Teaching Techniques: Gamelan As a Learning Tool Amongst Children with Learning Impairments in Northern Ireland Playing with Teaching Techniques: Gamelan as a Learning Tool Amongst Children with Learning Impairments in Northern Ireland Jonathan McIntosh ABSTRACT: This article examines gamelan as a community musical tool in Northern Ire- land, United Kingdom. In particular, the article demonstrates how traditional peda- gogic practices are changed in order to suit the needs of those who learn gamelan. A gamelan is an orchestra that includes metallophones (large glockenspiel-like instru- ments), gongs and drums. Originating from Southeast Asia, particularly from the In- donesian islands of Java and Bali, gamelan ensembles have long been used in the teaching of ethnomusicology in academic institutions and for purposes of applied eth- nomusicology, as a musical tool, in the wider community. In these contexts, a gamelan instructor acts as a ‘mediator’ (Naughton 1996: 16) in the transmission of gamelan knowledge; mediating not only between the music and the learners, but also between the role of gamelan in its original sociocultural context and its newly adopted milieu. Drawing upon my experiences as a gamelan instructor, in particular, teaching children with visual and hearing impairments, I demonstrate how traditional teaching tech- niques are adapted to facilitate the learning of gamelan in the Northern Irish context. KEYWORDS: teaching and learning; gamelan; applied ethnomusicology Introduction tices from Indonesia and how they are applied to the learning of gamelan in academia; next, it Gamelan in Northern Ireland is constrained by sketches a framework for the teaching of gam- its setting within short intensive periods of tu- elan as a musical tool in the wider community ition after which there is little or no subsequent with able-bodied students; finally, it demon- follow up. As a result, in order to learn more strates how this framework is adapted to suit than the rudimentary techniques of gamelan the needs of physically challenged students in playing, traditional methods of instruction must a school for children with visual and hearing be extended to incorporate the musical bound- impairments. It concludes by highlighting the aries and limitations of its newfound context. fact that the teaching of gamelan in such con- Wiggins (1996: 29) observes that ‘this process texts must be sensitive to, and creative with, of mediation and translation is a delicate one traditional teaching practices. However, before and it is the individual teacher who must make moving on to discuss the specific case of gam- most of the decisions’, according to specific elan in Northern Ireland, it will briefly be ex- pedagogic situations. This article discusses the plained how gamelan came to be used as a tool teaching of gamelan in three contexts: first, it in the teaching of ethnomusicology in academia outlines traditional gamelan pedagogic prac- and then in wider community contexts. Anthropology in Action, Volume 12, Issue 2 (2005): 12–27 © Berghahn Books and the Association for Anthropology in Action Playing with Teaching Techniques: Gamelan | AiA Gamelan in Western Academia has been published concerning the teaching and Beyond of gamelan in the wider community context. Research published in this area includes work The teaching of gamelan in higher education concerning the use gamelan for crosscultural institutions stems from the work of the US eth- musical learning purposes (Diamond 1983), nomusicologist Ki Mantle Hood. In 1954, Hood gamelan as a sociotherapeutic musical tool for purchased a Javanese gamelan for the Univer- music making with physically challenged indi- sity of California, Los Angeles (UCLA), which, viduals (Sanger and Kippen 1987; MacDonald along with other world music ensembles, was and Meill 2002), a study of Javanese gamelan utilised in the teaching of ethnomusicology at in the United Kingdom (Mendonça 2002) and, UCLA. The reason for the purchase of various most recently, the applied use of gamelan in world music ensembles developed from Hood’s prisons in England (Eastburn 2003). In turn, premise that in order to study the music of other these researchers owe a debt to the work of cultures it is necessary to try and comprehend Hood, without whom the use of gamelan as a such music in its own terms (Hood 1982: 32). tool for the teaching and dissemination of a As a result, Hood developed a performance- form of world music would perhaps not have practice approach to the study of ethnomusicol- occurred. ogy, called ‘bi-musicality’ (1960). It was hoped that bi-musicality would provide ethnomusi- cology students not only with the opportunity Gamelan in Northern Ireland to play the music they studied in lectures but also to develop a certain degree of ability in other It was John Blacking, the late professor of Social musical systems. Today, performance-practice Anthropology and Ethnomusicology at Queen’s learning, involving the teaching of world mu- University Belfast (QUB) who, in 1982, insti- sic ensembles, is an important element in the gated the purchase of a gamelan for QUB. At teaching of ethnomusicology (see Ramnarine first, the procurement of a gamelan did not 2004). However, I do not wish to imply that all meet with wide-ranging approval because it students who participate in gamelan, or other was thought that a gamelan might not be rele- world music ensembles, in the university con- vant in the Northern Irish context.2 Nonethe- text necessarily become bi-musical. Only a few less, Blacking, realised that the purchase of a students go on to study a musical tradition in gamelan would not only further the teaching more depth and do fieldwork. The majority take possibilities of QUB, but he also saw the poten- a gamelan (or Andean, Brazilian or Korean tial for using gamelan as a recreational tool in music) course only for a semester or two. the wider community outside of the academic However, because of Hood’s concept of bi- context. Blacking asked Annette Sanger, one of musicality, the opportunity to learn gamelan is his research students at that time, to find a gam- now commonplace in many academic institu- elan for purchase. Sanger was already conduct- tions where ethnomusicology is included in the ing fieldwork in Bali during 1981–1982. The curriculum.1 Moreover, the teaching of game- gamelan chosen for QUB was a twentieth-cen- lan in these institutions has become the subject tury genre of gamelan, Gamelan Gong Kebyar. In of recent debate amongst ethnomusicologists a strange twist to this story, Hood also tried to (cf. contributors in Solís 2004). Outside of the purchase the same gamelan at the same time as realm of academia, gamelan has actively been Blacking. Hood, who was by this time teaching used as a community musical tool for the wider at the University of Maryland, Baltimore, like ‘public practice of ethnomusicology’ (Titon Blacking, wanted to purchase a Balinese gam- 1992: 315). But despite this fact, little research elan to increase the teaching possibilities of the | 13 AiA | Jonathan McIntosh Music Department at the University. However, Open Arts’s mission is to provide access to Blacking secured the purchase of the gamelan music and other art forms for physically chal- for QUB. When the gamelan arrived in Belfast lenged and able-bodied individuals and groups. in 1984, it was given the Balinese name Gam- In spite of the fact that the majority of the com- elan Widya Santi, ‘Gamelan of Knowledge and pany’s outreach involves projects with physi- Peace’. Sanger’s Balinese music teacher, the cally challenged individuals, it does not regard great composer and performer, I Wayan Sinti, this work as music therapy. Moreover, the com- had suggested the name.3 Furthermore, during pany seeks to enable and empower such indi- her subsequent appointment as lecturer in eth- viduals through participation in arts activities. nomusicology at QUB, Sanger earnestly pro- Although other research (Sanger and Kippen moted the newly arrived gamelan not only 1987; MacDonald and Meill 2002) involving within the confines of the university but also physically challenged individuals and game- actively sought to introduce the gamelan into lan has stressed the possible therapeutic val- new community contexts in Northern Ireland ues of gamelan in such circumstances, this (see Sanger 1989a). Outside of its formal, edu- article, in keeping with the policy of Open cational context, the QUB gamelan was used in Arts, does not explore this area. Similarly, be- various workshop forums and as a sociothera- cause musicians, and not music therapists, are peutic tool in areas such as music therapy (see employed by Open Arts, it is not my intention Sanger and Kippen 1987). to engage in debates concerning gamelan and As a direct result of Sanger’s applied ethno- clinical practice. musicological work with the Balinese gamelan at QUB, community arts organisations in North- ern Ireland began to realise the possibilities of Traditional Methods of Teaching using gamelan in their own work. However, and Learning Gamelan due to its role in the ethnomusicology teaching programme, it was difficult to move the en- Gamelan playing involves the holistic practice semble outside of the university to partake in of direct sociomusical participation in an en- other music-making arenas. Consequently, in semble where knowledge is acquired through 1995, Open Arts, a Belfast-based community developed modes of intuitive and experiential arts organisation, brought a Javanese gamelan learning. This assimilated approach is a conse- from Yogyakarta, central Java, to Northern Ire- quence of
Load more

Recommended publications
  • Innovative Approaches to Melodic Elaboration in Contemporary Tabuh Kreasibaru
    INNOVATIVE APPROACHES TO MELODIC ELABORATION IN CONTEMPORARY TABUH KREASIBARU by PETER MICHAEL STEELE B.A., Pitzer College, 2003 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA August 2007 © Peter Michael Steele, 2007 ABSTRACT The following thesis has two goals. The first is to present a comparison of recent theories of Balinese music, specifically with regard to techniques of melodic elaboration. By comparing the work of Wayan Rai, Made Bandem, Wayne Vitale, and Michael Tenzer, I will investigate how various scholars choose to conceptualize melodic elaboration in modern genres of Balinese gamelan. The second goal is to illustrate the varying degrees to which contemporary composers in the form known as Tabuh Kreasi are expanding this musical vocabulary. In particular I will examine their innovative approaches to melodic elaboration. Analysis of several examples will illustrate how some composers utilize and distort standard compositional techniques in an effort to challenge listeners' expectations while still adhering to indigenous concepts of balance and flow. The discussion is preceded by a critical reevaluation of the function and application of the western musicological terms polyphony and heterophony. ii TABLE OF CONTENTS Abstract ii Table of Contents : iii List of Tables .... '. iv List of Figures ' v Acknowledgements vi CHAPTER 1 Introduction and Methodology • • • • • :•-1 Background : 1 Analysis: Some Recent Thoughts 4 CHAPTER 2 Many or just Different?: A Lesson in Categorical Cacophony 11 Polyphony Now and Then 12 Heterophony... what is it, exactly? 17 CHAPTER 3 Historical and Theoretical Contexts 20 Introduction 20 Melodic Elaboration in History, Theory and Process ..' 22 Abstraction and Elaboration 32 Elaboration Types 36 Constructing Elaborations 44 Issues of "Feeling".
    [Show full text]
  • Gamelan Gender Wayang of Bali: Form and Style
    ..................~~.~.~.. ~------------------ WESLEYAN UNIVERSITY Gamelan Gender Wayang of Bali: Form and Style by Kalafya Brown A thesis submitted to the facuIty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts in Music May, 2000 Middletown, Connecticut My teacher, Kak Luweng, and myself playing gender (above) and just sitting (below), 2 Introduction and Acknowledgements I began studying gamelan music in 1994 while I was an undergraduate at the Massachusetts Institute of Technology. No one tends offhand to associate gamelan with MIT. but there it is. Professor Evan Ziporyn has been directing the gong kebyar ensemble Gamelan Galak Tika at MIT since 1993, and I was an active member from 1994 until 1997. Unfortunately the pressure of my studies at Wesleyan has not allowed me to play with Galak Tika as much as I would like in the past few years. For the three years of my tenure with Galak Tika we were blessed with the artistry of the Balinese husband and wife team of I Nyoman Catra and Desak Made Suarti Laksmi. The magnificent teaching and performance prowess of Evan, Catra and Desak formed the basis of my introduction to gamelan music. In 1997 I came to Wesleyan University to study for the degree of Master of Arts in Music, of which this thesis is a part. Here at Wesleyan I have had the great honor of studying with I. M. Harjito and Sumarsam, two Javanese artists. I sincerely thank them for broadening my awareness of the multifaceted natures of Indonesian music and for sharing with me the great beauty of the central Javanese court gamelan.
    [Show full text]
  • Analisis Instrumen Kendang Dalam Karawitan Jawa Di Tinjau Dari Nilai Luhur Tamansiswa
    JURNAL JPSD Vol. 4 No. 2 Tahun 2017 ISSN 2356-3869 (Print), 2614-0136 (Online) ANALISIS INSTRUMEN KENDANG DALAM KARAWITAN JAWA DI TINJAU DARI NILAI LUHUR TAMANSISWA Arya Dani Setyawan1, Ardian Arief2, Akbar Al Masjid3 1, 2, 3 Pendidikan Guru Sekolah Dasar Universitas Sarjanawiyata Tamansiswa Yogyakarta [email protected] [email protected] [email protected] Informasi artikel ABSTRAK Sejarah artikel Penelitian ini bertujuan mendeskripsikan analisis estetika karawitan Jawa Diterima : 15/10 dalam kaitannya dengan nilai-nilai luhur Tamansiswa. Penelitian ini Revisi : 20 Dipublikasikan : 28/12/2107 menggunakan metode penelitian kualitatif dengan pendekatan studi kasus Kata kunci: yaitu mengamati secara langsung ke lapangan dengan melakukan Analisis estetika, wawancara kepada pelaku seni, lembaga, dan masyarakat sekitar. Hasil karawitan Jawa, wawancara digunakan untuk memperoleh informasi tentang kekuatan, nilai luhur Tamansiswa kelemahan, peluang, dan hambatan dari masing-masing kelompok karawitan yang ada dilingkungan Tamansiswa. Hasil wawancara di analisis menggunakan analisis SWOT kemudian dipetakan dengan matriks EFAS dan IFAS. Tujuan akhir dari penelitian ini adalah merumuskan strategi analisis estetika pada karawitan jawa yang berada di Yogyakarta dan khususnya berada di lingkungan Tamansiswa. Gamelan dan Tamansiswa menjadi satu kesatuan estetika karena nilai yang terkandung dalam gamelan itu sendiri erat dengan ajaran Tamansiswa yaitu Tri Saksi Jiwa (Cipta, Rasa, Karsa) cipta selalu terkait dengan bentuk instrument gamelan sedangkan rasa adalah manifestasi dari hasil yang di bunyikan dari gamelan kemudian karsa adalah ciri khas kebudayaan yang meliputi kekuatan gotong-royong (kebersamaan) dalam menyajikan pertunjukan gamelan. ABSTRACT Keyword: This study aims to describe the aesthetic analysis of Javanese Karawitan in Aesthetic analysis, relation to noble values Tamansiswa.
    [Show full text]
  • Indonesian Gamelan – an Extended Introduction
    History and Cultural Background The origin story behind the Gamelan strips the orchestra right back to the most fundamental of its instruments – the Gong Gdé, or Gong Ageng. This is the largest of the gongs in a Gamelan orchestra and first appeared in Javanese mythology in roughly 167AD when Sang Hyang Guru needed to contact the gods. He constructed the gong in order to send messages, and created two smaller gongs with different pitches in order to send more complex messages. This formed the first Gamelan and to this day the gongs are fundamentally integral to the Gamelan orchestra. The hammers that are used to play a majority of the instruments are called ‘gamel’ and the suffix ‘-an’ implies ‘many’. Essentially, Gamelan means lots of hammering beats. Bali is a captivating place full of wonder and intrigue. Music is respected and entertainment in general, whilst having structure, is largely timeless. Musicians will take their cues from the dancers instead of dancers learning their pieces to the music; shadow puppet shows will be performed of well-known histories or legends, but may dwell on one idea for hours, and then wrap up the remaining story inside ten minutes if it starts to rain; celebrations may go on for several days; trees and bushes are respected and prayed for before they are cut down. The Balinese respect every living concept as part of the influence of Animism in their culture and this in turn leads to a great respect for existence. From a musical standpoint, each street or district (banjar) traditionally had a gamelan that would play against others in competitions.
    [Show full text]
  • University of Oklahoma Graduate College
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By GUAN YU, LAM Norman, Oklahoma 2016 JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Paula Conlon, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Marvin Lamb © Copyright by GUAN YU, LAM 2016 All Rights Reserved. Acknowledgements I would like to take this opportunity to thank the members of my committee: Dr. Paula Conlon, Dr. Eugene Enrico, and Dr. Marvin Lamb for their guidance and suggestions in the preparation of this thesis. I would especially like to thank Dr. Paula Conlon, who served as chair of the committee, for the many hours of reading, editing, and encouragement. I would also like to thank Wong Fei Yang, Thow Xin Wei, and Agustinus Handi for selflessly sharing their knowledge and helping to guide me as I prepared this thesis. Finally, I would like to thank my family and friends for their continued support throughout this process. iv Table of Contents Acknowledgements ......................................................................................................... iv List of Figures ...............................................................................................................
    [Show full text]
  • Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access Wim Van Zanten - 9789004261778 Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access
    PART FIVE THE ETHNIC MODERN Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access <UN> <UN> CHAPTER ELEVEN MUSICAL ASPECTS OF POPULAR MUSIC AND POP SUNDA IN WEST JAVA Wim van Zanten Introduction: Sundanese Music and the Technology of Enchantment Research on popular music, particularly in the field of cultural studies, has tended to focus on political and sociological aspects, to the exclusion of musical structures and actual sounds. Whereas in most societies musi- cal genres are in the first place classified by social criteria, it is undeniable that also the technicalities of the music play a role: audiences hear the differences between, for instance, jaipongan and degung kawih perfor- mances. This is because these musics are produced in different ways, using different instruments, tone material, musical structure, etc. Alfred Gell made an important contribution to the anthropological study of art by pointing out that the production of art is a technological process. He mentions that there are ‘beautiful’ things, like beautiful women, beautiful horses and a beautiful sunset. However, art objects are made ‘beautiful’ by human beings and this requires technology. He criti- cizes sociologists like Pierre Bourdieu, who do not really look at an art object as a concrete product of human ingenuity, but only elaborately look at the represented symbolic meanings (Gell 1999:162). In contrast, Gell proposes that anthropologists should look at art as a ‘component of technology.’ We call something an object of art if it is the outcome of a technological process, the kind of processes in which artists are skilled.
    [Show full text]
  • Bhinneka Tunggal Ika” in Forming Harmony of Multicultural Society
    Unconsidered Ancient Treasure, Struggling the Relevance of Fundamental Indonesia Nation Philosophie “Bhinneka Tunggal Ika” in Forming Harmony of Multicultural Society Fithriyah Inda Nur Abida, State University of Surabaya, Indonesia Dewi Mayangsari, Trunojoyo University, Indonesia Syafiuddin Ridwan, Airlangga University, Indonesia The Asian Conference on Cultural Studies Official Conference Proceedings 0139 Abstract Indonesia is a multicultural country consists of hundreds of distinct native ethnic, racist, and religion. Historically, the Nation was built because of the unitary spirit of its components, which was firmly united and integrated to make up the victory of the Nation. The plurality become advantageous when it reach harmony as reflected in the National motto “Bhinneka Tunggal Ika”. However, plurality also issues social conflict easily. Ever since its independence, the scent of disintegration has already occurred. However, in the last decade, social conflicts with a variety of backgrounds are intensely happened, especially which is based on religious tensions. The conflict arises from differences in the interests of various actors both individuals and groups. It is emerged as a fractional between the groups in the society or a single group who wants to have a radically changes based on their own spiritual perspective. Pluralism is not a cause of conflict, but the orientation which is owned by each of the components that determine how they’re viewing themselves psychologically in front of others. “Bhinneka Tunggal Ika” is an Old Javanese phrase of the book “Sutasoma” written by Mpu Tantular during the reign of the Majapahit sometime in the 14th century, which literally means “Diverse, yet united” or perhaps more poetically in English: Unity in Diversity.
    [Show full text]
  • JURNAL INDRIA an Introduction to Character Education for Early
    JI V (2) (2020) JURNAL INDRIA Jurnal Ilmiah Pendidikan PraSekolah dan Sekolah Awal http://journal.umpo.ac.id/index.php/indria/index An Introduction To Character Education For Early Childhood Through Music Instruments In Wayang Golek Reyog Ponorogo Sulton,1 , Betty Yulia Wulansari1 ,Prihma Sinta Utami1 1Universitas Muhammadiyah Ponorogo Article Information Abstrak ________________ Bangsa Indonesia mengalami penurunan Rasa Cinta Tanah Air terhadap negaranya. Menurut Article History Sulton1, dkk (2020: 299) budaya asing datang dengan akses 4.0 sangat cepat mempengaruhi Accepted in June 2020 generasi muda. Orang-orang mulai meninggalkan seni tradisional sebagai warisan budaya. Approved in July 2020 Salah satunya adalah kurang tersosialisasinya alat musik pengiring Reyog Ponorogo. Usaha Published in September untuk mensosialisasikan rasa Cinta Tanah Air dapat dimulai sejak anak usia dini. Hal ini 2020 dikarenakan anak usia dini sedang berada di masa golden age dimana semua informasi yang ________________ diberikan dapat diterima dengan mudah. Dalam penelitian ini alat musik yang dikenalkan Keywords: untuk mengenalkan pendidikan karakter Cinta Tanah Air di lembaga PAUD adalah alat musik Reyog Ponorogo yang digunakan untuk mengiringi pertunjukan Seni Wayang Golek Character Education Reyog Ponorogo. Alat musik tersebut menurut Bapak Shodiq Pristiwanto, S.Sn2 (2020) selaku Early Childhood Ketua III Yayasan Reyog Ponorogo adalah kempul, terompet, angklung, kendang, kethuk Education kenong ditambah penggunaan bonang sebagai identitas iringan musik Wayang Golek Reyog Music Ponorogo. Tujuan Penelitian ini adalah untuk mengenalkan Alat Musik Wayang Golek Reyog Wayang Golek Ponorogo Sejak anak Usia Dini. Metode penelitian ini adalah penelitian kualitatif dengan Reyog Ponorogo pengumpulan data menggunakan wawancara. Hasil penelitian ini adalah Alat Musik Wayang Golek Reyog Ponorogo dapat digunakan untuk mengenalkan rasa Cinta Tanah Air sejak usia _________________ dini.
    [Show full text]
  • Modern-Baby-Names.Pdf
    All about the best things on Hindu Names. BABY NAMES 2016 INDIAN HINDU BABY NAMES Share on Teweet on FACEBOOK TWITTER www.indianhindubaby.com Indian Hindu Baby Names 2016 www.indianhindubaby.com Table of Contents Baby boy names starting with A ............................................................................................................................... 4 Baby boy names starting with B ............................................................................................................................. 10 Baby boy names starting with C ............................................................................................................................. 12 Baby boy names starting with D ............................................................................................................................. 14 Baby boy names starting with E ............................................................................................................................. 18 Baby boy names starting with F .............................................................................................................................. 19 Baby boy names starting with G ............................................................................................................................. 19 Baby boy names starting with H ............................................................................................................................. 22 Baby boy names starting with I ..............................................................................................................................
    [Show full text]
  • Download Article
    Advances in Social Science, Education and Humanities Research, volume 271 2nd International Conference on Arts and Culture (ICONARC 2018) Gambang Semarang Music as A Cultural Identity Of Semarang’s Community E Raharjo*, U Arsih Drama, Dance, and Music Department Faculty of Languages and Arts Universitas Negeri Semarang, Semarang, Indonesia *[email protected] Abstract—As a performing art “Gambang Semarang law, broadcasting program, performance form, and culture music” is part of gambang Semarang art that was created in [3]–[12]. However, the researches that exclusively discuss form of complex performing arts consisting of Drama, Dance, about gambang Semarang are form and function of and Music. Several efforts have been done by Semarang’s performance [12] and the process of cultural hybridization society to make it a cultural identity of Semarang. The purpose [6]. Therefore, the researches discuss about the form of of this research was to know, to describe and to analyze the Semarang society’s participation in making Gambang Semarang societies’ participation in supporting the process Semarang music as a cultural identity of Semarang. The data of making gambang Semarang music as one of cultural obtained were qualitative that were from observations, identity of this city. document studies, and deep interviews with the informants. The results showed that Semarang society’s effort in realizing II. METHODOLOGY Gambang Semarang music as Semarang’s cultural identity was This research was done by mix method approach. The manifested in both formal and non formal education, festivals or competitions, workshop, discussions, and performances. combination between qualitative and participatory approach was needed because the both approaches can complete each Keywords—gambang semarang, music, cultural identity other in the process of research’s data taking and data collecting.
    [Show full text]
  • The Challenge to Religious Tolerance: Fundamentalist Resistance to a Non-Muslim Leader in Indonesia
    Comparative Civilizations Review Volume 77 Article 8 Number 77 Fall 2017 11-8-2017 The hC allenge to Religious Tolerance: Fundamentalist Resistance to a Non-Muslim Leader in Indonesia Hisanori Kato [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/ccr Part of the Comparative Literature Commons, History Commons, International and Area Studies Commons, Political Science Commons, and the Sociology Commons Recommended Citation Kato, Hisanori (2017) "The hC allenge to Religious Tolerance: Fundamentalist Resistance to a Non-Muslim Leader in Indonesia," Comparative Civilizations Review: Vol. 77 : No. 77 , Article 8. Available at: https://scholarsarchive.byu.edu/ccr/vol77/iss77/8 This Article is brought to you for free and open access by the All Journals at BYU ScholarsArchive. It has been accepted for inclusion in Comparative Civilizations Review by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Kato: The Challenge to Religious Tolerance: Fundamentalist Resistance t Comparative Civilizations Review 77 The Challenge to Religious Tolerance: Fundamentalists’ Resistance to a Non-Muslim Leader in Indonesia Hisanori Kato Introduction The largest mosque in Southeast Asia, called Istiqlal, stands across the street from a Catholic cathedral in the center of the Indonesian capital, Jakarta. These two major religious buildings in Indonesia stand in a rather peaceful setting. In addition, Candi Borobudur, which is located in Central Java, is the largest and oldest single Buddhist monument in the world, with more than a 1,200-year-long history. Despite the fact that Indonesia is the most populous Muslim nation in the world,1 Indonesia has boasted of its religious tolerance for centuries.
    [Show full text]
  • Indonesia Thailand
    INDONESIA THAILAND CAMBODIA MALAYSIA BRUNEI MALAYSIA SINGAPORE SUMATRA ALIMANTAN SULAWESI JAARTA INDONESIA : JAVA BALI BHINNEKA TUNGGAL IKA YOGYAARTA KOMODO / FLORES UNITY IN DIVERSITY LOMBO A vast archipelago stretching for over 5,000 kilometres and BALI encompassing more than 17,000 islands, Indonesia is diverse and fascinating. Its appeal includes traditional cultures, rich Bali Barat National Park volcanic beauty, tropical beaches and imaginative arts and Amlapura Negara architecture. Ubud Denpasar Seminyak Bali’s beaches, easygoing air and warm hospitality have long Denpasar International Airport Kuta Nusa Dua made it a delightful holiday destination. Its interior is lush and Uluwatu green with vast terraced rice fields. Its strong artistic heritage is evidenced by exquisite batik paintings and intricate wood Sumatra’s wild volcanic landscape offers plenty of carvings. Lombok is less well-known and unique in its Sasak options for trekking while its vast crater lake, Lake Toba, heritage and culture. provides a spectacular backdrop for a few days’ relaxing on the island of Palau Samosir. Java plays host not only to the famous Borobudur Temple, an architectural wonder and UNESCO World Heritage Site, but Kalimantan is Indonesia’s portion of the island of also highland retreats, tea plantations, volcanoes and scenic Borneo. Orangutans and proboscis monkeys may be mountain passes. viewed from traditional boats weaving through the waters of the Tanjung Puting National Park. Komodo Sulawesi’s forested heart protects the regency of Tana Toraja dragons are the stars on Komodo and Rinca, two of the where hanging graves and cliffs displaying ancestral sculptures very few islands where these massive lizards live in the are a vital element of the death-venerating culture.
    [Show full text]