International Seminar Harbour Cities Along the Silk Roads
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Conserving the Past, Mobilizing the Indonesian Future Archaeological Sites, Regime Change and Heritage Politics in Indonesia in the 1950S
Bijdragen tot de Taal-, Land- en Volkenkunde Vol. 167, no. 4 (2011), pp. 405-436 URL: http://www.kitlv-journals.nl/index.php/btlv URN:NBN:NL:UI:10-1-101399 Copyright: content is licensed under a Creative Commons Attribution 3.0 License ISSN: 0006-2294 MARIEKE BLOEMBERGEN AND MARTIJN EICKHOFF Conserving the past, mobilizing the Indonesian future Archaeological sites, regime change and heritage politics in Indonesia in the 1950s Sites were not my problem1 On 20 December 1953, during a festive ceremony with more than a thousand spectators, and with hundreds of children waving their red and white flags, President Soekarno officially inaugurated the temple of Śiwa, the largest tem- ple of the immense Loro Jonggrang complex at Prambanan, near Yogyakarta. This ninth-century Hindu temple complex, which since 1991 has been listed as a world heritage site, was a professional archaeological reconstruction. The method employed for the reconstruction was anastylosis,2 however, when it came to the roof top, a bit of fantasy was also employed. For a long time the site had been not much more than a pile of stones. But now, to a new 1 The historian Sunario, a former Indonesian ambassador to England, in an interview with Jacques Leclerc on 23-10-1974, quoted in Leclerc 2000:43. 2 Anastylosis, first developed in Greece, proceeds on the principle that reconstruction is only possible with the use of original elements, which by three-dimensional deduction on the site have to be replaced in their original position. The Dutch East Indies’ Archaeological Service – which never employed the term – developed this method in an Asian setting by trial and error (for the first time systematically at Candi Panataran in 1917-1918). -
Ka И @И Ka M Л @Л Ga Н @Н Ga M М @М Nga О @О Ca П
ISO/IEC JTC1/SC2/WG2 N3319R L2/07-295R 2007-09-11 Universal Multiple-Octet Coded Character Set International Organization for Standardization Organisation Internationale de Normalisation Международная организация по стандартизации Doc Type: Working Group Document Title: Proposal for encoding the Javanese script in the UCS Source: Michael Everson, SEI (Universal Scripts Project) Status: Individual Contribution Action: For consideration by JTC1/SC2/WG2 and UTC Replaces: N3292 Date: 2007-09-11 1. Introduction. The Javanese script, or aksara Jawa, is used for writing the Javanese language, the native language of one of the peoples of Java, known locally as basa Jawa. It is a descendent of the ancient Brahmi script of India, and so has many similarities with modern scripts of South Asia and Southeast Asia which are also members of that family. The Javanese script is also used for writing Sanskrit, Jawa Kuna (a kind of Sanskritized Javanese), and Kawi, as well as the Sundanese language, also spoken on the island of Java, and the Sasak language, spoken on the island of Lombok. Javanese script was in current use in Java until about 1945; in 1928 Bahasa Indonesia was made the national language of Indonesia and its influence eclipsed that of other languages and their scripts. Traditional Javanese texts are written on palm leaves; books of these bound together are called lontar, a word which derives from ron ‘leaf’ and tal ‘palm’. 2.1. Consonant letters. Consonants have an inherent -a vowel sound. Consonants combine with following consonants in the usual Brahmic fashion: the inherent vowel is “killed” by the PANGKON, and the follow- ing consonant is subjoined or postfixed, often with a change in shape: §£ ndha = § NA + @¿ PANGKON + £ DA-MAHAPRANA; üù n. -
Java in Jerusalem : New Directions in the Study of Javanese Literature and Culture
Archipel Études interdisciplinaires sur le monde insulindien 97 | 2019 Varia Java in Jerusalem : New Directions in the Study of Javanese Literature and Culture Ronit Ricci and Willem van der Molen Electronic version URL: https://journals.openedition.org/archipel/1004 DOI: 10.4000/archipel.1004 ISSN: 2104-3655 Publisher Association Archipel Printed version Date of publication: 11 June 2019 Number of pages: 13-18 ISBN: 978-2-910513-81-8 ISSN: 0044-8613 Electronic reference Ronit Ricci and Willem van der Molen, “Java in Jerusalem : New Directions in the Study of Javanese Literature and Culture”, Archipel [Online], 97 | 2019, Online since 01 June 2019, connection on 15 September 2021. URL: http://journals.openedition.org/archipel/1004 ; DOI: https://doi.org/10.4000/ archipel.1004 Association Archipel Java in Jerusalem: New Directions in the Study of Javanese Literature and Culture Introduction Although the Israel Institute for Advanced Studies of the Hebrew University on principle welcomes any interesting topic of research, Javanese literature must have been quite out of the ordinary even for this open-minded Institute. Nevertheless, it accepted the proposal that was submitted by Ronit Ricci under the title “New Directions in the Study of Javanese Literature.” And so it came about that a group of seven Javanists from around the world are presently carrying out research on Javanese literature in Jerusalem. These are, besides Ronit herself (Jerusalem): Ben Arps (Leiden), Els Bogaerts (Leiden), Tony Day (Graz), Nancy Florida (Ann Arbor), Verena Meyer (New York) and Willem van der Molen (Leiden). During the year, several other researchers will join the group for a couple of weeks to a couple of months, i.e. -
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). -
The Malayic-Speaking Orang Laut Dialects and Directions for Research
KARLWacana ANDERBECK Vol. 14 No., The 2 Malayic-speaking(October 2012): 265–312Orang Laut 265 The Malayic-speaking Orang Laut Dialects and directions for research KARL ANDERBECK Abstract Southeast Asia is home to many distinct groups of sea nomads, some of which are known collectively as Orang (Suku) Laut. Those located between Sumatra and the Malay Peninsula are all Malayic-speaking. Information about their speech is paltry and scattered; while starting points are provided in publications such as Skeat and Blagden (1906), Kähler (1946a, b, 1960), Sopher (1977: 178–180), Kadir et al. (1986), Stokhof (1987), and Collins (1988, 1995), a comprehensive account and description of Malayic Sea Tribe lects has not been provided to date. This study brings together disparate sources, including a bit of original research, to sketch a unified linguistic picture and point the way for further investigation. While much is still unknown, this paper demonstrates relationships within and between individual Sea Tribe varieties and neighbouring canonical Malay lects. It is proposed that Sea Tribe lects can be assigned to four groupings: Kedah, Riau Islands, Duano, and Sekak. Keywords Malay, Malayic, Orang Laut, Suku Laut, Sea Tribes, sea nomads, dialectology, historical linguistics, language vitality, endangerment, Skeat and Blagden, Holle. 1 Introduction Sometime in the tenth century AD, a pair of ships follows the monsoons to the southeast coast of Sumatra. Their desire: to trade for its famed aromatic resins and gold. Threading their way through the numerous straits, the ships’ path is a dangerous one, filled with rocky shoals and lurking raiders. Only one vessel reaches its destination. -
Wayang Golek Menak: Wayang Puppet Show As Visualization Media of Javanese Literature
Wayang Golek Menak: Wayang Puppet Show as Visualization Media of Javanese Literature Trisno Santoso 1 and Bagus Wahyu Setyawan 2 {[email protected] 1, [email protected] 2} 1Institut Seni Indonesia Surakarta, Indonesia 2Universitas Sebelas Maret, Surakarta, Indonesia Abstract. Puppet shows developing in Javanese culture is definitely various, including wayang kulit, wayang kancil, wayang suket, wayang krucil, wayang klithik, and wayang golek. This study was a developmental research, that developed Wayang Golek Ménak Sentolo with using theatre and cinematography approaches. Its aims to develop and create the new form of wayang golek sentolo show, Yogyakarta. The stages included conducting the orientation of wayang golek sentolo show, perfecting the concept, conducting FGD on the development concept, conducting the stage orientation, making wayang puppet protoype, testing the developmental product, and disseminating it in the show. After doing these stages, Wayang Golek Ménak Sentolo show gets developed from the original one, in terms of duration that become shorter, language using other languages than Javanese, show techniques that use theatre approach with modern blocking and lighting, voice acting of wayang figure with using dubbing techniques as in animation films, stage developed into portable to ease the movement as needed, as well as the form of wayang created differently from the original in terms of size and materials used. It is expected that the development and new form of wayang golek menak will get more acceptance from the modern community. Keywords: wayang golek menak, development, puppet show, visualization media, Javanese literature, serat menak. 1. INTRODUCTION Discussing about puppet shows in Java, there are two types of puppet shows, namely wayang golek and wayang krucil . -
The Legitimacy of Classical Dance Gagrag Ngayogyakarta
The Legitimacy of Classical Dance Gagrag Ngayogyakarta Y. Sumandiyo Hadi Institut Seni Indonesia (ISI) Yogyakarta Jalan Parangtritis Km 6,5, Sewon, Bantul Yogyakarta ABSTRACT The aim of this article is to reveal the existence of classical dance style of Yogyakarta, since the government of Sultan Hamengku Buwono I, which began in 1756 until now in the era the government of Sultan Hamengku Buwono X. The legitimation of classical dance is considered as “Gagrag Ngayogyakarta”. Furthermore, the dance is not only preserved in the palace, but living and growing outside the palace, and possible to be examined by the general public. The dance was fi rst considered as a source of classical dance “Gagrag Ngayogyakarta”, created by Sultan Hamengku Buwono I, i.e. Beksan Lawung Gagah, or Beksan Trunajaya, Wayang Wong or dance drama, and Bedaya dance. The three dances can be categorized as a sacred dance, in which the performances strongly related to traditional ceremonies or rituals. Three types of dance later was developed into other types of classical dance “Gagrag Ngayogyakarta”, which is categorized as a secular dance for entertainment performance. Keywords: Sultan Hamengku Buwono, classical dance, “gagrag”, Yogyakarta style, legitimacy, sacred, ritual dance, secular dance INTRODUCTION value because it is produced by qualifi ed Yogyakarta as one of the regions in the artists from the upper-middle-class society, archipelago, which has various designa- and not from the proletarians or low class. tions, including a student city, a tourism The term of tradition is a genre from the city, and a cultural city. As a cultural city, past, which is hereditary from one gene- there are diff erent types of artwork. -
The Usage of Javanese Literature on the Javanese Shade Shadow Show As the Islamic Proselytizing Medium
Penguatan Komunitas Lokal Menghadapi Era Global ____________________________________________Strengthening Local Communities Facing the Global Era THE USAGE OF JAVANESE LITERATURE ON THE JAVANESE SHADE SHADOW SHOW AS THE ISLAMIC PROSELYTIZING MEDIUM By: Ageng Soeharno, S.S., M.Pd. ABSTRACT The purpose of this study is to describe the usage of javanese literature on the javanese shade shadow showas the islamic proselytizing medium. The conclution show that is the trailer of the song which tell us about the history of the Islamic Javanese Guardian. It can be concluded here that the song is including to the New Javanese Literature, because the touch of the Islam is felt very much here.Eventually, the writer hopes that this writing will be greatly useful to the reader. Keywords: usage, Javanese literature Introduction Indonesia is a big country which has so many cultures. One of them is Javanese Shade Shadow Show. This is the show, which combine several characters in it. On performing the show, narrator and puppeteer of the traditional shadow play usually uses old Javanese, or Kawi Language as the conducting language, or even the new one. They practiced the Javanese literature. The old Javanese Literature, consciously or not, was a mirror of the Javanese culture condition at the time (Karsono, 2006:25). The literature is not only used by the shades shadow puppet show player to attract their ability on narrating or just expressing the character of the puppets but also the medium to proselytize the Islamic religion. According to the statement above, the problem turn up now is: how is the role of Islam in influencing the Javanese Literature that is used by the puppeters on their show? Based on the problem stated above, of course, we have to observe intently to get the objective we use to answer the problem we have written before. -
Addendum to Drewes the Burda of Al-B√ß∆R∆ and the Miracles of Abdulqadir Al-Jaelani in West Java
JULIAN MILLIE AND SYIHABUDDIN Addendum to Drewes The Burda of Al-B√ß∆r∆ and the Miracles of Abdulqadir al-Jaelani in West Java This article provides information complementary to that found in two publi- cations of the Dutch scholar G.W.J. Drewes.1 Considering the breadth of this writer’s contributions to Indonesian studies, we also take the opportunity to comment on his approach to the subject materials against the background of both his own oeuvre and the academic tradition in which he is situated, using these two publications as source materials. Gerardus Willebrordus Joannes Drewes was born in Amsterdam in 1899.2 Aided by a scholarship from the Colonial Office, he enrolled as a student of Indonesian languages and literature at Leiden University, and obtained his PhD in July 1925, for a thesis entitled Drie Javaansche goeroe’s; Hun leven, onder- richt en messiasprediking (Three Javanese gurus; Their lives, teachings and mes- sianic message). The thesis was supervised by C. Snouck Hurgronje. In that same year he left for the Indies, having obtained a position in Batavia at the Kantoor voor de Volkslectuur (Bureau for Popular Literature). An appoint- ment at the Rechtshoogeschool (School of Law) followed in 1935, which he fulfilled alongside a full slate of writing and editing book reviews. After a period of detention in Europe during World War II, he embarked again for Indonesia in 1946, staying for two years. He returned to the Netherlands in 1 De mirakelen van Abdoelkadir Djaelani has two authors, Drewes and R. Ng. Poerbatjaraka. Considering the statements on pages xiii and xiv of its preface, Poerbatjaraka’s role was limited to assisting Drewes with only one portion of the book, namely the lengthy summary of the Javanese Hikayat Abdulqadir al-Jaelani. -
Javanese Cosmology: Symbolic Transformation of Names in Javanese Novels
HTS Teologiese Studies/Theological Studies ISSN: (Online) 2072-8050, (Print) 0259-9422 Page 1 of 7 Original Research Javanese cosmology: Symbolic transformation of names in Javanese novels Authors: In the past, no research has been found on onomastics from a mystical perspective in literature. 1,2 Onok Y. Pamungkas This study investigated onomastics in the tetralogy of novels by Ki Padmasusastra (after this Sahid T. Widodo3 Suyitno Suyitno3 referred to as TNKP). The main point of view is the meaning of Javanese cosmology. Qualitative Suwardi Endraswara4 methods are used as research guidelines. The primary data are four Javanese novels. Hermeneutic techniques and content analysis are applied to analytical strategies. The results Affiliations: showed that the onomastics in TNKP are symbols of Javanese cosmology. This element of 1Study Program of Indonesian Javanese cosmology has transformed onomastics through three things: the novel title, figure’s Language Education, Faculty of Teacher Training and name and location name. The symbolisation of the onomastic is implicit because it is wrapped Education, Universitas Sebelas in the aesthetics of the literary language. The name structure of each onomastic subsection has Maret, Surakarta, Indonesia no clear meaning because the name element is intended for the sense of ‘the other’. Names have an explicit function, namely as hypertextual fragments of symbols that transcend the 2 Study Program of Indonesian narrative text structure. An important implication of this investigation is that onomastics can Language Education, Faculty of Teacher Training and promote the transdisciplinary aspects of religion in international theology in the study of Education, Universitas Ma’arif narrative texts. The cosmological transformation of Java can be reflected in various parts of Nahdlatul Ulama, Kebumen, culture, including in novels. -
M. Van Bruinessen Najmuddin Al-Kubra, Jumadil Kubra and Jamaluddin Al-Akbar; Traces of Kubrawiyya Influence in Early Indonesian Islam
M. van Bruinessen Najmuddin al-Kubra, Jumadil Kubra and Jamaluddin al-Akbar; Traces of Kubrawiyya influence in early Indonesian islam In: Bijdragen tot de Taal-, Land- en Volkenkunde 150 (1994), no: 2, Leiden, 305-329 This PDF-file was downloaded from http://www.kitlv-journals.nl Downloaded from Brill.com09/26/2021 02:48:13PM via free access MARTIN VAN BRUINESSEN Najmuddin al-Kubra, Jumadil Kubra and Jamaluddin al-Akbar Traces of Kubrawiyya Influence in Early Indonesian Islam The Javanese Sajarah Banten rante-rante (hereafter abbreviated as SBR) and its Malay translation Hikayat Hasanuddin, compiled in the late seventeenth or early eighteenth century but incorporating much older material, consist of a number of disparate narratives, one of which tells of the alleged studies of Sunan Gunung Jati in Mecca.1 A very similar, though less detailed, account is contained in the Brandes-Rinkes recension of the Babad Cirebon. Sunan Gunung Jati, venerated as one of the nine saints of Java, is a historical person, who lived in the first half of the 16th century and founded the Muslim kingdoms of Banten and Cirebon. Present tradition gives his proper name as Syarif Hidayatullah; the babad literature names him variously as Sa'ad Kamil, Muhammad Nuruddin, Nurullah Ibrahim, and Maulana Shaikh Madhkur, and has him born either in Egypt or in Pasai, in north Sumatra. It appears that a number of different historical and legendary persons have merged into the Sunan Gunung Jati of the babad. Sunan Gunung Jati and the Kubrawiyya The historical Sunan Gunung Jati may or may not have actually visited Mecca and Medina. -
The Sea Within: Marine Tenure and Cosmopolitical Debates
THE SEA WITHIN MARINE TENURE AND COSMOPOLITICAL DEBATES Hélène Artaud and Alexandre Surrallés editors IWGIA THE SEA WITHIN MARINE TENURE AND COSMOPOLITICAL DEBATES Copyright: the authors Typesetting: Jorge Monrás Editorial Production: Alejandro Parellada HURIDOCS CIP DATA Title: The sea within – Marine tenure and cosmopolitical debates Edited by: Hélène Artaud and Alexandre Surrallés Print: Tarea Asociación Gráfica Educativa - Peru Pages: 226 ISBN: Language: English Index: 1. Indigenous Peoples – 2. Maritime Rights Geografical area: world Editorial: IWGIA Publications date: April 2017 INTERNATIONAL WORK GROUP FOR INDIGENOUS AFFAIRS Classensgade 11 E, DK 2100 - Copenhagen, Denmak Tel: (+45) 35 27 05 00 – E-mail: [email protected] – Web: www.iwgia.org To Pedro García Hierro, in memoriam Acknowledgements The editors of this book would like to thank the authors for their rigour, ef- fectiveness and interest in our proposal. Also, Alejandro Parellada of IWGIA for the enthusiasm he has shown for our project. And finally, our thanks to the Fondation de France for allowing us, through the “Quels littoraux pour demain? [What coastlines for tomorrow?] programme to bring to fruition the reflection which is the subject of this book. Content From the Land to the Sea within – A presentation Alexandre Surrallés................................................................................................ .. 11 Introduction Hélène Artaud...................................................................................................... ....15 PART I