Toneel Di Batavia 1925-1943

Total Page:16

File Type:pdf, Size:1020Kb

Toneel Di Batavia 1925-1943 perpustakaan.uns.ac.id digilib.uns.ac.id TONEEL DI BATAVIA 1925-1943 SKRIPSI Diajukan untuk Memenuhi sebagian Persyaratan guna Melengkapi Gelar Sarjana Sejarah Program Studi Ilmu Sejarah Fakultas Ilmu Budaya Universitas Sebelas Maret Disusun Oleh AGILVI OKTORA NURRADIFAN C.0510004 FAKULTAS ILMU BUDAYA UNIVERSITAS SEBELAS MARET SURAKARTA 2015 commit to user i perpustakaan.uns.ac.id digilib.uns.ac.id commit to user ii perpustakaan.uns.ac.id digilib.uns.ac.id commit to user iii perpustakaan.uns.ac.id digilib.uns.ac.id commit to user iv perpustakaan.uns.ac.id digilib.uns.ac.id MOTTO “to persevere is important for everybody. dont give up, dont give in. there's always an answer to everything” (Louis Zamperini) commit to user v perpustakaan.uns.ac.id digilib.uns.ac.id PERSEMBAHAN Skripsi ini penulis persembahkan untuk: 1. Kedua orang tuaku Bpk. Rapikin dan Kusdiyati yang selalu mendukung. 2. Kakak dan adik tersayang, Angelia, Rizal, Rabil, dan Afi. commit to user vi perpustakaan.uns.ac.id digilib.uns.ac.id KATA PENGANTAR Puji dan syukur penulis sampaikan kehadirat Allah SWT yang telah memberikan rahmat dan hidayat-Nya sehingga penulis dapat menyelesaikan skripsi dengan judul “TONEEL DI BATAVIA 1925-1942”. Serta tidak lupa shalawat dan salam kepada Nabi besar Muhammad SAW yang telah menjadi suri tauladan bagi kita semua. Adapun tujuan dari penulisan ini adalah sebagai salah satu Sebagai syarat kelulusan sarjana sastra dari Program Studi Ilmu Sejarah Fakultas Ilmu Budaya. Penyusunan skripsi ini melalui proses yang panjang dan didalamnya banyak ditemui hambatan namun berkat dorongan, bimbingan dan bantuan dari berbagai pihak baik secara langsung maupun tak langsung, akhirnya skripsi ini mampu terselesaikan. Dengan segala kerendahan, keikhlasan dan ketulusan hati, penulis mengucapkan rasa terima kasih yang sebesar-besarnya kepada : 1. Prof. Drs. Riyadi Santosa, M.Ed, Ph.D, selaku Dekan Fakultas Ilmu Budaya Universitas Sebelas Maret Surakarta yang memfasilitasi penulis selama perkuliahan. 2. Tiwuk Kusuma Hastuti, S.S.,M.Hum. selaku Kepala Program Studi Ilmu Sejarah Fakultas Ilmu Budaya Universitas Sebelas Maret Surakarta yang mendorong dan memudahkan penulis dalam perizinan untuk menyelesaikan skripsi ini. 3. Drs. Tundjung Wahadi Sutirto, M.Si. selaku Pembimbing skripsi yang telah meluangkan waktu dan pikirannya serta senantiasa memberikan kritik dan sarannya yang membangun dalam menyelesaikan skripsi. commit to user vii perpustakaan.uns.ac.id digilib.uns.ac.id 4. Dra. Sri Wahyuningsih, M.Hum. selaku pembimbing akademik yang telah banyak memberikan semangat dan motivasi. 5. Ibu Insiwi Febriary Setiasih, S.S, M.A, yang banyak memberikan motivasi, saran dan kritik kepada penulis dalam menyelesaikan skripsi ini. 6. Segenap staff dan dosen pengajar di Program Studi Ilmu Sejarah Fakultas Ilmu Budaya Universitas Sebelas Maret Surakarta yang telah membekali ilmu pengetahuan yang sangat banyak kepada penulis. 7. Kedua Orang Tua penulis Bapak Rapikin dan Ibu Kusdiyati, Kakak dan Adik-adik penulis tercinta Angelia Junita dan Afrilia Crismonica, yang senantiasa mengisi keceriaan dan cinta dalam menjalani hidup. 8. Nenek, Kakak Ipar, Tante, Adik Sepupu dan Keponakan tercinta, Mbah Sriyatun yang banyak memberikan wejangan dan kasih sayangnya kepada penulis, Kak Rizal Fitrayadi yang banyak memberikan motivasi dan bantuan kepada penulis, Mbak Atul Maryuni, Evando, Endra serta Rabil Putra keponakan penulis yang selalu memberikan keceriaan kepada penulis. 9. Diandra Aisya Poernomo yang banyak memberikan semangat, kasih sayang, keceriaan, cinta, dan motivasi penulis. 10. Uta, Gadis, Egga, Kala, Dimas, Anggi, Vivi, Bisma, Agung, Aziz, Udo, Mustika, Heri, Alif, Helmi, Linggar, Wulan, Dayat, dan Karin para sahabat penulis yang selalu memberikan semangat selama ini, motivasi, dan kecerian kepada penulis. Terima kasih atas doanya. 11. Ai, Galih, Ana, Aprianto, Apriliandi, Bryan, Basuni, Denny, Delta, Setyo, Pradipta, Riessa, Rosita, Sayid “Nino”, Setya Adi dan teman-teman Historia commit to user viii perpustakaan.uns.ac.id digilib.uns.ac.id 2010 yang banyak memberikan referensi bacaan, membantu penulis dalam mencari data untuk menyelesaikan pembuatan skripsi ini. 12. Teman-teman kost Apsari Camp, Pendi, Ragil, dan Soni yang memberikan keceriaan sesama anak perantauan. 13. Terima kasih kepada mahasiswa Ilmu Sejarah, baik itu angkatan atas maupun bawah dan semua pihak yang telah membantu, yang tak bisa disebutkan satu persatu. Penulis sepenuhnya sadar betul bahwa dalam penelitian ini merupakan proses belajar yang masih jauh dari sempurna. Segala kritik dan saran yang membangun sangat penulis harapkan dan akhirnya dengan penuh rasa hormat yang tulus, penulis mempersembahkan penelitian ini dengan segala kekurangan, dan kelebihannya. Semoga penelitian ini bermanfaat. Penulis Agilvi Oktora. N NIM. C0510004 commit to user ix perpustakaan.uns.ac.id digilib.uns.ac.id DAFTAR ISI Halaman HALAMAN JUDUL........................................................................................ i HALAMAN PERSETUJUAN......................................................................... ii HALAMAN PENGESAHAN.......................................................................... iii HALAMAN PERNYATAAN ......................................................................... iv HALAMAN MOTTO ...................................................................................... v HALAMAN PERSEMBAHAN ...................................................................... vi KATA PENGANTAR ..................................................................................... vii DAFTAR ISI.................................................................................................... x DAFTAR ISTILAH ......................................................................................... xi DAFTAR SINGKATAN ................................................................................. xiv DAFTAR GAMBAR ....................................................................................... xv DAFTAR LAMPIRAN.................................................................................... xvii ABSTRAK ....................................................................................................... xviii BAB I. PENDAHULUAN A. Latar Belakang Masalah .................................................................. 1 B. Rumusan Masalah ........................................................................... 7 C. Tujuan Penelitian............................................................................. 7 D. Manfaat Penelitian........................................................................... 8 E. Tinjauan Pustaka ............................................................................. 8 F. Metode Penelitian............................................................................ 11 1. Heuristik...................................................................................... 11 2. Kritik Sumber ............................................................................. 12 3. Interpretasi .................................................................................. 13 4. Historiografi................................................................................ 13 G. Sistematika Penulisan ..................................................................... 14 commit to user x perpustakaan.uns.ac.id digilib.uns.ac.id BAB II. POTRET SOSIAL MASYARAKAT PERKOTAAN BATAVIA AWAL ABAD-20............................................................................. 15 A. Kondisi Geografis Kota Batavia Awal Abad-20 ............................... 15 B. Demografi dan Sosial, Ekonomi di Batavia....................................... 19 C. Ruang Publik dan Gaya Hidup di Batavia Awal Abad-20................. 26 D. Perkembangan Seni Pertunjukkan dan Hiburan di Batavia............... 35 BAB III. TONEEL DI BATAVIA SEBAGAI SENI PERTUNJUKKAN TAHUN 1925-1943 .......................................................................................... 42 A. Awal Munculnya Toneel di Batavia .................................................. 42 B. Perkembangan Toneel di Batavia ...................................................... 52 1. Kelompok Toneel........................................................................... 53 2. Acara dan Pementasan ................................................................... 70 BAB IV. PERUBAHAN SENI PERTUNJUKKAN TONEEL DI BATAVIA ABAD-20........................................................................................... 76 A. Transformasi dari Seni Pertunjukkan Panggung ke Layar lebar ....... 76 B. Seni Pertunjukkan dan Media Propaganda Jepang ............................ 81 BAB V. KESIMPULAN ................................................................................. 87 DAFTAR PUSTAKA ...................................................................................... 91 LAMPIRAN..................................................................................................... 93 commit to user xi perpustakaan.uns.ac.id digilib.uns.ac.id DAFTAR ISTILAH American Carnaval Show Hiburan yang berasal dari wilayah Amerika Serikat, dengan menghadirkan beberapa atraksi berupa sulap, sirkus dan sebagainya Bastion Bangunan untuk mengintai musuh Draaimolen/Carrousel Permainan sejenis komidi putar yang berputar namun dengan tempat duduk yang menyerupai kuda maupun hewan lainnya yang tentu dengan tata cahaya lampu yang menarik Cioko Rebutan bendera Das a dos Sado f atau florin gulden Satuan mata uang Belanda,
Recommended publications
  • The Concept of Self and the Other
    Tel Aviv University The Yolanda and David Katz Faculty of the Arts Department of Theatre Studies The Realm of the Other: Jesters, Gods, and Aliens in Shadowplay Thesis Submitted for the Degree of “Doctor of Philosophy” by Chu Fa Ching Ebert Submitted to the Senate of Tel Aviv University April 2004 This thesis was supervised by Prof. Jacob Raz TABLE OF CONTENTS TABLE OF ILLUSTRATIONS................................................................................................vi INTRODUCTION...................................................................................................................... 1 ACKNOWLEDGEMENTS ....................................................................................................... 7 I. THE CONCEPT OF SELF AND THE OTHER.................................................................... 10 Introduction ............................................................................................................................ 11 The Multiple Self .................................................................................................................... 12 Reversal Theory...................................................................................................................... 13 Contextual Theory ................................................................................................................. 14 Self in Cross‐Cultural Perspective ‐ The Concept of Jen................................................... 17 Self ..........................................................................................................................................
    [Show full text]
  • Inventing the Performing Arts: Modernity and Tradition in Colonial Indonesia Matthew Isaac Cohen Honolulu: University of Hawai‘I Press, 2016
    254 Book Reviews Ileto, Reynaldo C. 2014. Nation and Empire in the Intellectual Biographies of Southeast Asian Scholars. Asian Studies 59(4): 9–17. Patajo-Legasto, Priscelina, ed. 2008. Philippine Studies: Have We Gone Beyond St. Louis? Diliman: University of the Philippines Press. Rafael, Vicente, ed. 1995. Discrepant Histories: Translocal Essays on Filipino Cultures. Manila: Anvil Publications. Tiongson, Jr., Antonio T.; Gutierrez, Edgardo V.; and Gutierrez, Ricardo V., eds. 2006. Positively No Filipinos Allowed: Building Communities and Discourse. Philadelphia: Temple University Press. Tolentino, Rolando B., ed. 2011. Vaginal Economy: Cinema and Sexuality in the Post-Marcos Post- Brocka Philippines. positions: east asia cultures critique 19(2) (fall): 229–256. Inventing the Performing Arts: Modernity and Tradition in Colonial Indonesia MATTHEW ISAAC COHEN Honolulu: University of Hawai‘i Press, 2016. In Inventing the Performing Arts: Modernity and Tradition in Colonial Indonesia, Matthew Isaac Cohen focuses on how “modernity” and “tradition” are woven together in shaping the practice of performing arts in Indonesia. Using E. J. Hobsbawm’s term “invented tradition,” this book uses a similar approach to Hobsbawm’s by questioning the difference between tradition and modernity and showing how both are interwoven and unavoidably connected rather than opposites. This book discusses the century-old process of invention of performing arts in Indonesia, in chronological order from the nineteenth to the twentieth century, depicting the many agencies and dynamics involved in the process. Starting with an advertisement of a family circus from Batavia, as well as postcards and images from museum collections of the nineteenth century, the author beautifully demonstrates the many agencies involved in the process of invention, including those from Europe, China, and Java, to show the complexity of the invention of performing arts in Indonesia.
    [Show full text]
  • Perubahan Randai Sebagai Seni Teater Rakyat
    PERUBAHAN RANDAI SEBAGAI SENI TEATER RAKYAT MINANGKABAU DI KABUPATEN SOLOK SELATAN (1980-2007) SKRIPSI SARJANA Dikerjakan O L E H SYAFRI MAHARDIANTO 130706010 PROGRAM STUDI ILMU SEJARAH FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2018 UNIVERSITAS SUMATERA UTARA i UNIVERSITAS SUMATERA UTARA ii UNIVERSITAS SUMATERA UTARA iii UNIVERSITAS SUMATERA UTARA iv UNIVERSITAS SUMATERA UTARA KATA PENGANTAR Puji Syukur alhamdulillah penulis ucapkan kepada kehadirat Allah SWT atas rahmat, nikmat, dan hidayah yang telah diberikan kepada penulis, sehingga penulis dapat menyelesaikan penulisan skripsi ini. Sholawat dan salam yang tidak pernah luput penulis hadiahkan kepada Nabi Muhammad SAW, semoga penulis mendapatkan syafaatnya di yaumil akhirat kelak. Penulisan skripsi adalah salah satu syarat yang wajib dipenuhi untuk memperoleh gelar sarjana di Program Studi Ilmu Sejarah Fakultas Ilmu Budaya, Universitas Sumatera Utara. Dalam hal ini penulis mengkaji tentang kesenian tradisional yang ada di kabupaten Solok Selatan. Skripsi ini berjudul “Perubahan Randai Sebagai Seni Teater Rakyat Minangkabau di kabupaten Solok Selatan (1980 – 2007)”. Penulis menyadari bahwa masih banyak terdapat kekurangan di dalam penulisan skripsi ini, maka dari itu penulis mengharapkan kritik dan saran yang bermanfaat dan bersifat membangun untuk perbaikan skripsi ini nantinya. Akhir kata, semoga skripsi ini dapat memberikan khasanah pengetahuan yang bermanfaat bagi kita semua. Medan, September 2018 Penulis i UNIVERSITAS SUMATERA UTARA UCAPAN TERIMA KASIH Penulisan skripsi ini tidak akan terlaksana dan selesai tanpa adanya bantuan, dorongan, pelayanan, serta semangat baik yang bersifat moril maupun materil yang diberikan oleh banyak pihak. Pada kesempatan ini penulis ingin mengucapkan terimakasih yang sebesar-besarnya kepada semua pihak yang telah membantu sehingga penulis dapat menyelesaikan skripsi ini.
    [Show full text]
  • Teater Tradisi Di Kota Surabaya Pada Awal Abad XX
    Indonesian Historical Studies, Vol. 3, No. 1, 1-17 © 2019 Identitas Budaya Masyarakat Kota: Teater Tradisi di Kota Surabaya pada Awal Abad XX Samidi Departemen Ilmu Sejarah, Fakultas Ilmu Budaya, Universitas Airlangga Alamat korespondensi: [email protected] Abstract This study examines why does Ludruk represent the cultural identity oF the people of Surabaya? How does society appreciate the traditional theater, especially in Ludruk in their daily practice? The purpose of this article explains the historical reality of Ludruk art that serves as entertainment and cultural identity. This article uses the historical method by relying on historical sources. The result shows that theater traditions that existed and Famous in Surabaya at the beginning oF the 20th century were Comedy Stambul, Wayang Wong, and Ludruk, then appeared Kethoprak in the late 1930s. The appearance of this theater has been adapted to the tastes of the support community. Comedy Stambul is a theater that originated in India, then spread to Southeast Asia. Comedy Stambul is considered as a hybrid art because it comes From a blend of local cultural elements, while Wayang Wong, Ludruk, and Kethoprak an original art derived From customs and local values. Theater that represents the cultural identity oF the people oF Surabaya is Ludruk. Diterima/ Received: 21 Maret 2019 Keywords: Cultural Identity; PerForming Arts; Theater Tradition; Ludruk. Disetujui/ Accepted: Abstrak 3 Juli 2019 Kajian ini menganalisis mengapa kesenian Ludruk merepresentasikan identitas budaya masyarakat Kota Surabaya? Bagaimana masyarakat mengapresiasi teater tradisi terutama pada kesenian Ludruk dalam praktik keseharian mereka? Tujuan artikel ini menjelaskan realitas historis kesenian Ludruk yang berFungsi sebagai hiburan dan identitas budaya.
    [Show full text]
  • Recollecting Resonances Verhandelingen Van Het Koninklijk Instituut Voor Taal-, Land En Volkenkunde
    Recollecting Resonances Verhandelingen van het Koninklijk Instituut voor Taal-, Land en Volkenkunde Edited by Rosemarijn Hoefte KITLV, Leiden Henk Schulte Nordholt KITLV, Leiden Editorial Board Michael Laffan Princeton University Adrian Vickers Sydney University Anna Tsing University of California Santa Cruz VOLUME 288 Southeast Asia Mediated Edited by Bart Barendregt (KITLV) Ariel Heryanto (Australian National University) VOLUME 4 The titles published in this series are listed at brill.com/vki Recollecting Resonances Indonesian–Dutch Musical Encounters Edited by Bart Barendregt and Els Bogaerts LEIDEN • BOSTON 2014 This is an open access title distributed under the terms of the Creative Commons Attribution‐Noncommercial 3.0 Unported (CC‐BY‐NC 3.0) License, which permits any non‐commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. The realization of this publication was made possible by the support of KITLV (Royal Netherlands Institute of Southeast Asian and Caribbean Studies) Cover illustration: The photo on the cover is taken around 1915 and depicts a Eurasian man seated in a Batavian living room while plucking the strings of his instrument (courtesy of KITLV Collec- tions, image 13352). Library of Congress Cataloging-in-Publication Data Recollecting resonances : Indonesian-Dutch musical encounters / edited by Bart Barendregt and Els Bogaerts. pages cm. — (Verhandelingen van het koninklijk instituut voor taal-, land en volkenkunde ; 288) (Southeast Asia mediated ; 4) Includes index. ISBN 978-90-04-25609-5 (hardback : alk. paper) — ISBN 978-90-04-25859-4 (e-book) 1. Music— Indonesia—Dutch influences. 2. Music—Indonesia—History and criticism. 3. Music— Netherlands—Indonesian influences.
    [Show full text]
  • The Report Touch on the Connections Among Cultur, Education, and The
    DOCUMENT RESUME ED 379 169 SO 023 930 AUTHOR Epskamp, Kees TITLE Learning by Performing Arts: From Indigenous to Endogenous Cultural Development. CESO Paperback No. 16. INSTITUTION Center for the Study of Education in Developing Countries, The Hague (Netherlands). REPORT NO ISBN-90-6443-110-8 PUB DATE 92 NOTE 282p. PUB TYPE Books (010) EDRS PRICE MF01/PC12 Plus Postage. DESCRIPTORS *Developing Nations; *Development Communication; Foreign Countries; Higher Education; * Indigenous Populations; *International Education; *Theater Arts IDENTIFIERS *Zambia ABSTRACT This document explores, from a Dutch perspective, the role of the performing arts in education in developing nations. In particular, the analysis focuses on Zambia. Introductory sections of the report touch on the connections among cultur, education, and performance, as well as the role of avant-garde and popular theater, the theme of alienation, and the anthropology of theater. A historical section addresses the use of theater in development communication, popular theater and social change, the performing arts in African indigenous education, and the historical development of Zambian national theater. A section entitled "Theatre for Development" deals with the performing arts in national development, theater fo, development in India and Bangladesh, and the role of the performing arts in changing women's roles. "Education and Training" is the title of a section that encompasses the formalizing of expressive skills training and implementing the anthropology of theater. A section on policy examines the Dutch role in international performing arts education and research, an international popular theater meeting in Zambia, and the empowerment of development support communication via theater for development. The document also includes notes appendices containing acronyms and definitions.
    [Show full text]
  • Culture, Power, and Identity the Case of Ang Hien Hoo, Malang
    MELANIWacana BUDIANTA Vol., Culture,18 No. 2 power, (2017): and 485-513 identity 485 Culture, power, and identity The case of Ang Hien Hoo, Malang Melani Budianta ABSTRACT This paper discusses the intricate relations between culture and identity in a web of larger power structures of politics and the market by looking at the ways in which the Indonesian Chinese attach themselves to a local performing arts tradition. The paper focuses on the history of the wayang orang amateur club called Ang Hien Hoo in Malang, East Java, which emerged from a Chinese diaspora burial association, to attract national limelight in the 1950s and 1960s. In this paper, I see this amateur club as a site, not only for cultural assimilation, but also as a meeting space for the diverse migrant Chinese population residing at a host country. The space is used to negotiate their position as citizens responsible to promote and to become patrons of local traditional performing arts. The paper examines how this amateur club was swept by the Cold War politics and national political turmoil of 1965, and how it fought to survive under the pressures of the global capitalist era. What emerges from the findings is the contradictory fact that the identification of the Chinese with the Javanese traditional performing arts is affirmed precisely as it is marked by Chineseness. Thus, despite the cultural blending, the Chinese Indonesian’s patronage of local traditional art continuously reproduces the double bind of making home in the culture not seen as their own. KEYWORDS Chinese Indonesian; wayang orang; politics; cultural identity; patronage of local performing arts.
    [Show full text]
  • Indonesian Performing Arts in the Netherlands, 1913–1944
    CHAPTER TEN INDONESIAN PERFORMING ARTS IN THE NETHERLANDS, 1913–1944 Matthew Isaac Cohen The history of Indonesian music in the Netherlands is sometimes assumed to begin with Babar Lajar (Javanese for ‘Setting Sail’), a youth gamelan founded in Haarlem in 1941 and active through the mid-1950s (Mendonça 2002: 115–150). This so-called ‘white gamelan orchestra’ (blanke gamelan- orkest) was avidly supported by ethnomusicologist Jaap Kunst (1891–1960) and often performed on Dutch media, giving radio concerts, accompa- nying classical Javanese dance in the dance documentary Danskunst in Indonesië (1947) and modern Javanese dance in God Shiva (1955), and providing music for the Philips LP record of Jaap Kunst’s children’s book Begdja the gamelan boy: A story from the isle of Java (1953). Babar Lajar offered an important precedent for other gamelan played by (mostly) non- Indonesians outside of Southeast Asia. The group’s influence was due, in no small part, to the talents of the ensemble’s leader, Bernard IJzerdraat (1926–86), a musician who later took the Javanese name Suryabrata and founded the influential sanggar (arts studio) Bakti Budaya (‘Servant of Culture’) in Jakarta in 1956. IJzerdraat offered practical gamelan instruc- tion to American musicologist Mantle Hood while Hood worked on a PhD on musical modes in Javanese gamelan under Kunst’s supervision in the early 1950s. This experience directly contributed to Hood founding the first American university gamelan programme at UCLA in the 1950s. IJzerdraat later facilitated the research and practical studies of many foreign visitors to Indonesia. However, Babar Lajar’s legitimacy as a rep- resentative of Javanese culture was questioned by Indonesians living in the Netherlands; modern Javanese dancer Raden Mas Jodjana (1893–1972) notably expressed consternation at its monopolization of Dutch media time in the 1940s (Cohen 2010: 137).
    [Show full text]
  • Gramophone Records and Radio in the Late Colonial Era, 1903-1942
    Music and media in the Dutch East Indies: Gramophone records and radio in the late colonial era, 1903-1942 Philip Bradford Yampolsky A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Philip D. Schuyler, Chair Ter Ellingson Laurie J. Sears Program Authorized to Offer Degree: Music © 2013 Philip Bradford Yampolsky University of Washington Abstract Music and media in the Dutch East Indies: Gramophone records and radio in the late colonial era, 1903-1942 Philip Bradford Yampolsky Chair of the Supervisory Committee: Associate Professor Emeritus Philip D. Schuyler Music This dissertation is intended as an ethnomusicological contribution to the history of music and media in Indonesia. It deals with topics and resources that have never been systematically examined for this region: gramophone records and radio broadcasting from the years before World War II, the last years of Dutch colonial control. The gramophone records are our only documentation of the sound of Indonesian music in the years before World War II. This dissertation tries to identify (and to some extent provide) the information one needs in order to understand the records and, by extension, stylistic trends during the pre-war period. Ultimately it is meant as an argument for the importance of making use of historical recordings and discography in ethnomusicology. The use of gramophone records from before World War II (“78s”) in musicology and ethnomusicology is growing. Robert
    [Show full text]
  • The Cirebonan Theatrical Performing Art in the Middle of Globalization Exposure
    HISTORIA: International Journal of History Education, Vol. XIV, No.2 (December 2013) THE CIREBONAN THEATRICAL PERFORMING ART IN THE MIDDLE OF GLOBALIZATION EXPOSURE Dadang Supardan, Didin Saripudin, Ayi Budi Santoso, and Syarif Muis1 ABSTRACT This study is based on the concern to the tendency of a strong negligence towards the basic values of the Cirebonan theatrical perfroming arts due to the globalization exposure that affect to the contra development or marginality of traditional arts. The problem formulation developed in the research includes: (1) What is the origin of the Cirebonan play performing art in the coastal areas of West Java border? ( 2 ) What are the purposes of the art to be performed in Cirebon a region located in the coastal areas of West Java ? (3) What steps in this theatrical performing arts in order to be performed and enjoyed as ordinary folk art performances? (4) What is the philosophical value of is art so that it can be contributed to the history education? (5) What is effort to be done in order improve the historical awareness of local people in enjoying this performing arts regaridless to the threat of marginality caused by the globalization exposure? The method used in this research is a qualitative approach combined with historical and ethnographic methods. The research results are as follows: (1) The origins of Cirebonan theatrical play performing arts around 1943 0r 1944 that was during the Japanese occupation in Indonesia. The origin name was Reog Sepat, then became Tonil Cahya Widodo, later on it turned into a combination of Reog Sepat and Tonil Cahya Widodo.
    [Show full text]
  • SEAM Holdings List – August 2011 Indonesia
    Indonesia Indonesia CALL # = MF-10289 SEAM reel 305 item 8. TITLE = 3 novela dari Bali. IMPRINT = [Djakarta, Endang, 1952?]. SERIES = Roman populer, no. 4. SERIES = Great Collections Microfilming Project. Phase I, John M. Echols Collection. NOTE = -- Patung ditepi pantai, oleh Si Uma. -- Menjiapkan purba baru, oleh Eswana. -- Antara long shot dan close-up, oleh Rd. Lingga Wisjnu. OCLC # = 23786531. CALL # = MF-10289 SEAM reel 269 item 6. TITLE = 80 oefeningen betreffende spraakkunst en taaleigen van het Soendaasch. IMPRINT = [n.p., 19--?]. SERIES = Great Collections Microfilming Project. Phase I, John M. Echols Collection. OCLC # = 24977476. CALL # = MF-10289 SEAM reel 090 item 06. TITLE = De Aanvullende plantersregeling : Koninklijk besluit van 17 Januari 1938 (Ned.Stbl. no.940; Ind. Stbl. no.98) : verzameling van ontwerpen, gewisselde stukken, gevoerde beraadslagingen enz. / bijeengebracht en gerangschikt door F.T. Marijn en P.Th.J. van Tetering. IMPRINT = [Batavia : Kantoor van Arbeid, voorwoord 1939]. SERIES = Publicatie van het Kantoor van Arbeid ; no. 13. SERIES = Great Collections Microfilming Project. Phase I, John M. Echols Collection. NOTE = Includes index. OCLC # = 21235188. CALL # = MF-10289 SEAM reel 055 item 03. TITLE = Aardrijkskundig overzigt van het eiland Celebes. IMPRINT = Batavia, Lange, 1858. SERIES = Great Collections Microfilming Project. Phase I, John M. Echols Collection. OCLC # = 20532673. CALL # = MF-10289 SEAM reel 302 item 3. AUTHOR = Abduh, M. TITLE = Pengalaman dua mata-mata, oleh M. Abduh. IMPRINT = Semarang, Abode, 1952. SERIES = Great Collections Microfilming Project. Phase I, John M. Echols Collection. OCLC # = 23786930. CALL # = MF-10289 SEAM reel 209 item 12. AUTHOR = Abdullah. TITLE = Tjontoh-tjontoh surat-menjurat resmi / dikumpulkan oleh Abdullah dan A.L.N.
    [Show full text]
  • Eksistensi Tari Payung Sebagai Tari Melayu Minangkau Di Sumatera Barat
    i JURNAL EKSPRESI SENI Jurnal Ilmu Pengetahuan dan Karya Seni ISSN: 1412–1662 Volume 17, Nomor2,November2015,hlm.165-323 Terbit dua kalisetahun pada bulan Juni dan November.Pengelola Jurnal Ekspresi Seni merupakan sub-sistemLPPMPPInstitut Seni Indonesia (ISI)Padangpanjang. Penanggung Jawab Rektor ISI Padangpanjang Ketua LPPMPP ISI Padangpanjang Pengarah KepalaPusat Penerbitan ISI Padangpanjang Ketua Penyunting Afrizal Harun Tim Penyunting Elizar Sri Yanto Surherni Adi Krishna Emridawati Harisman Rajudin Penterjemah Novia Murni Redaktur Saaduddin Liza Asriana Ermiyetti Tata Letak danDesainSampul Yoni Sudiani Web Jurnal Ilham Sugesti ______________________________________________.________________________________ _ Alamat Pengelola Jurnal Ekspresi Seni:LPPMPP ISI Padangpanjang Jalan Bahder Johan Padangpanjang27128, Sumatera Barat; Telepon(0752) 82077 Fax. 82803; e-mail; [email protected] Catatan.Isi/Materi jurnal adalah tanggung jawab Penulis. Diterbitkan oleh Institut Seni Indonesia Padangpanjang ii JURNAL EKSPRESI SENI Jurnal Ilmu Pengetahuan dan KaryaSeni ISSN: 1412–1662 Volume 17, Nomor2,November2015,hlm.165-323 DAFTAR ISI PENULIS JUDUL HALAMAN Husni Mubarat Aksara Incung Kerinci Sebagai Sumber Ide 165 - 179 Penciptaan Seni Kriya Diah Rosari Eksistensi Tari Payung Sebagai Tari Melayu 180–203 Syafrayuda Minangkabau di Sumatera Barat Nursyirwan Kesenian Rarak (Calempong) Sudut Pandang 204–221 Fungsi dan Guna di Desa Seberang Taluk Kuantan Singingi Riau Evi Lutfiah “Permainan Bola Api (Boles)” Antara Sakral 222–229 dan Profan di
    [Show full text]