DOCSLIB.ORG

The Prince of Nusa Penida Redeems His Vow1 a Prèmbon (Arja – Balinese Sung Dance-Drama with Some Characters Masked)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Prince of Nusa Penida Redeems His Vow1 a Prèmbon (Arja – Balinese Sung Dance-Drama with Some Characters Masked) The Prince of Nusa Penida redeems his vow1 A Prèmbon (Arja – Balinese sung dance-drama with some characters masked) The Balinese originals of the words in bold were considered by the commentators to be wayah, ‘old’ or ‘mature,’ and to require particular skill in the use of language.i Often this was Old, or Middle, Javanese, or kawi.ii Underlined words were regarded as being Indonesian; and double-underlined words as Balinese, but in the special vocabulary of actors (basa pragina) and not in ordinary use. Where, in the commentators’ view, what is said is elliptical, I have added their evaluation of what is needed to make sense in parentheses. Where an utterance has been cut short by an interruption (nungkak, work not finished), it is indicated as ‘...’ with their estimation of roughly what should have been said in parentheses. Relevant information and actions on the stage are in italics, as are words in the original Balinese. The Cast Ngakan Déwa Madé Sayang Panasar I Madé Sura Wijil and the minor roles Ni Murdi Mantri I Midep Liku The characters in order of appearance: Panasar Punta, a servant at the court of Nusa Penida Wijil Kartala, also a servant at the court and the younger brother of the Panasar Mantri Sri Aji Palaka, the prince of Nusa Penida Liku Luh Wedani, the wife of Sri Aji Palaka and the daughter of a Bendésa, a village head, in Nusa Penida Bendésa A village head and father of Luh Wedani Banjar Tua An old villager on his last legs Klian Nusa A ward elder from Nusa Penida 1 Revised March 2008. Translation of The Prince of Nusa’s Vow 2 The PANASAR comes on stage and performs his opening dance (Panglembar). The first part is delivered from behind the curtain. He comes on stage and sweeps around it as he sings. PANASAR: (He sings) His bearing is calm and soft, His radiance when he comes out, Removes a dark cloud from the palace. I shall not be content until I become one with him And am safely shielded. (Until then) I shall feel thrown away and deserted. The source of my fulfilment is as far away to me As if it were the great market in Betawi, I feel hopelessly confused 10 At (the thought of) meeting him in a moment.iii (He suddenly notices the audience.) Oh! Good Heavens!2 Please may I offer my apologies to all of you who have been kind enough to come.iv I trust that you will all enjoy good health and happiness. As a Hindu community, we should always pray that we shall all find peace.3v How are we to achieve this on the occasion of a religious ceremony like this?4 Come, let us offer our faithful devotion together in order to ask for the grace of God.5 All of us living on this island cherish our artistic and cultural life. Oh! I implore you all to share in taking care that what’s needed is done when it is time for Barong processions,6vi so that we can ensure that our artistic life continues to flourish. How do we do it?7 What’s the way to bring it about? (For instance) it’s kind of you to put on this play.vii Also, Ladies and Gentlemen, it’s good of you to come and watch, because if we ourselves 2 His expression of astonishment is at finding himself in front of the audience. The sudden exclamation (ngabiahang) is to fix the spectators’ attention (ngampigang/ngedetin pikayun), which tends to stray during the opening song as the words are in kawi and inaudible anyway. It also helps to focus his own concentration on making his rôle of servant seem realistic (lit: ‘live’, urip). 3 In the last part of the sentence, he makes his words sound like kawi and so ‘old’ (wayah), mature and wise. The way he subsequently specifies the audience and the nature of the occasion is important. 4 According to the commentators, this utterance has two purposes (tetujon), which hinge on the word jalaran which here connotes ‘strategy, the means of achieving something, an instrument to’. First temple festivals should provide the occasion for performing theatre. Second the Panasar is using the performance as an occasion to retell part of the history of Nusa Penida and as a means to instructing the audience in various matters. Karya is the broad term for most kinds of work for a religious ceremony, here a temple festival. It has connotations of what should be done, public duty. 5 The designation of Divinity as ‘most excellent’ paramawiśeùa is a common way of referring to the supreme deity, Ida Sang Hyang Widhi Wasa (Divinity as the power of fate, widhiwaśa). On the notion of service and its rewards, see the footnote below. 6 This is a panglèmèk. He is warning against the trend of villagers not bothering properly to carry out unèn-unèn, the processions and dances of giant puppet-like figures, Barong, which take place in the month of 35 days after the festival of Galungan in the Balinese-Javanese calendar (see Goris 1960: 124-26; on Barong Belo 1949). This temple festival took place during Galungan. Ngulatiang connotes ‘to look for, watch, need, do’. It is agentive: it indicates watching out for what one needs or should need and the steps one should take to fulfil that need. 7 In the commentators’ view this was clearly intended to be ‘What should one use as an opportunity?’ Pokok may be ‘capital’, ‘basis’, but also ‘opportunity, reason’. Translation of The Prince of Nusa’s Vow 3 aren’t going to appreciate and look after the arts, who else are we to tell to do so?8 That’s the reason that guests now come here; that tourists come from all over the world.9 What is it they are really looking for? Is it not solely because of your arts, your skill at crafts, your wisdom and knowledge of all sorts of art objects? That’s the reason then that tourists come – what’s this? Two of them have turned up. (He then says in English.) ‘Welcome, good afternoon, thank you. I hope you glad see here.’ I know a couple of words to use to start up a conversation. Well, now people from overseas enjoy watching, but we’ve all grown indifferent. Don’t let it be like that. If we can make it as it is here this evening, I shall feel happy and proud to address you. Isn’t that as it should be? I hope that we can manage to treasure our arts for ever and make them even better than they are now.viii (He starts singing a nonsense song, playing on words which end in ‘èk’.) 35 Pffart, Pffart. A cricket falls down. A second-born child turns up riding a bicycle. He steals a duck, gets put in chains, And chokes to death.ix (The Panasar then switches from addressing the audience to outlining the state of affairs in the story which is about to be re-enacted. At the same time he switches from High Balinese to Low, except when referring to the prince of Nusa Penida, an island off the coast of South East Bali referred to throughout what follows simply as ‘Nusa’.) The realm of Nusa has been different ever since the reign of His Royal Majesty, who was crowned Sri Aji Palaka – and may I be pardoned for my effrontery in mentioning his name.x Well, the land of Nusa is famous. It’s famous for being dry, but ever since He came, it’s changed and the country is different. Before you couldn’t get anything to grow. Now the landscape in Nusa is green.10 8 There was said to be a difference here between the purpose, tetujon, and the point, tetuwek, of what was said. The purpose is to show the actors’ appreciation at people paying to put on a play, and also to point out that if the audience do not treasure their arts, who will? The point contains a panglèmèk. If the audience wish to put on such a play, they should also be prepared to ensure the future of Balinese theatre. Ida Dané is the polite form of address when the audience may consist of people from different castes. Ida is singgih and dané is madya or Middle Balinese. Perhaps ‘Lords, Ladies and Gentlemen’ would be more precise, but the expression is used so widely that it would be inappropriate here. Correspondingly the Panasar refers to himself when addressing the audience as titiang, the self-abasing (ngasor) term for ‘I’ appropriate to speaking to high castes, meetings and other public occasions, sometimes whether high castes are present or not. 9 The Panasar uses my presence at the play as a means (talenan) to make his point. As will become obvious, he assumes that I do not speak Balinese. 10 The original referred to ‘trees’, but the commentators corrected me when I supposed that this was so and said that it referred to everything which grows, plants and trees alike here. Ketut Sutatemaja added that one could plant, but it just didn’t grow. They also stated that this was clearly indirect praise, pangajum, of the then President, Suharto, who has laid great emphasis upon technological development. In Bali village society, this is reflected in improvements in agriculture and irrigation. Again there was said to be a difference of purpose and the point in saying this.
Load more

Recommended publications
  • Balinese Dances As a Means of Tourist Attraction
    BALINESE DANCES AS A MEANS OF TOURIST ATTRACTION : AN ECONOMIC PERSPECTIVE By : Lie Liana Dosen Tetap Fakultas Teknologi Informasi Universitas Stikubank Semarang ABSTRACT Makalah ini menguraikan secara ringkas Tari Bali yang ditinjau dari perspekif ekonomi dengan memanfaatkan Bali yang terkenal sebagai salah satu daerah tujuan wisata di Indonesia. Keterkenalan Bali merupakan keuntungan tersendiri bagi pelaku bisnis khususnya bisnis pariwisata. Kedatangan wisatawan asing dengan membawa dolar telah meningkatkan ekonomi masyarakat Bali, yang berarti pula devisa bagi Indonesia. Bali terkenal karena kekayaannya dalam bidang kesenian, khususnya seni tari. Tari Bali lebih disukai karena lebih glamor, ekspresif dan dinamis. Oleh karena itu seni tari yang telah ada harus dilestarikan dan dikembangkan agar tidak punah, terutama dari perspektif ekonomi. Tari Bali terbukti memiliki nilai ekonomi yang tinggi terutama karena bisa ‘go international’ dan tentunya dapat meningkatkan pemasukan devisa negara melalui sektor pariwisata. Kata Kunci: Tari, ekonomi, pariwisata, A. INTRODUCTION It is commonly known that Bali is the largest foreign and domestic tourist destination in Indonesia and is renowned for its highly developed arts, including dances, sculptures, paintings, leather works, traditional music and metalworking. Meanwhile, in terms of history, Bali has been inhabited since early prehistoric times firstly by descendants of a prehistoric race who migrated through Asia mainland to the Indonesian archipelago, thought to have first settled in Bali around 3000 BC. Stone tools dating from this time have been found near the village of Cekik in the island's west. Most importantly, Balinese culture was strongly influenced by Indian, and particularly Sanskrit, culture, in a process beginning around the 1st century AD. The name Balidwipa has been discovered from various inscriptions.
    [Show full text]
  • The Islamic Traditions of Cirebon
    the islamic traditions of cirebon Ibadat and adat among javanese muslims A. G. Muhaimin Department of Anthropology Division of Society and Environment Research School of Pacific and Asian Studies July 1995 Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] Web: http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Muhaimin, Abdul Ghoffir. The Islamic traditions of Cirebon : ibadat and adat among Javanese muslims. Bibliography. ISBN 1 920942 30 0 (pbk.) ISBN 1 920942 31 9 (online) 1. Islam - Indonesia - Cirebon - Rituals. 2. Muslims - Indonesia - Cirebon. 3. Rites and ceremonies - Indonesia - Cirebon. I. Title. 297.5095982 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse Printed by University Printing Services, ANU This edition © 2006 ANU E Press the islamic traditions of cirebon Ibadat and adat among javanese muslims Islam in Southeast Asia Series Theses at The Australian National University are assessed by external examiners and students are expected to take into account the advice of their examiners before they submit to the University Library the final versions of their theses. For this series, this final version of the thesis has been used as the basis for publication, taking into account other changes that the author may have decided to undertake. In some cases, a few minor editorial revisions have made to the work. The acknowledgements in each of these publications provide information on the supervisors of the thesis and those who contributed to its development.
    [Show full text]
  • Bonnie Simoa, Dance
    Applicant For Paid Sabbatical Application Information Name: Bonnie Simoa Department/Division: Dance/Arts Ext.: 5645 Email address: [email protected] FTE: 1.0 Home Phone: 541.292.4417 Years at Lane under contract: 17 (Since Fall 1999) Previous paid sabbatical leave dates (if applicable): 2 # of terms of paid sabbatical leave awarded in the past: 2 Sabbatical Project Title: Intangible Cultural Heritage: Legong and Beyond Term(s) requested for leave: Spring Leave Location(s): Bali, Indonesia Applicant Statement: I have read the guidelines and criteria for sabbatical leave, and I understand them. If accepted, I agree to complete the sabbatical project as described in my application as well as the written and oral reports. I understand that I will not be granted a sabbatical in the future if I do not follow these guidelines and complete the oral and written reports. (The committee recognizes that there may be minor changes to the timeline and your proposed plan.) Applicant signature: Bonnie Simoa Date: 2/1/16 1 Bonnie Simoa Sabbatical Application 2017 Intangible Cultural Heritage: Legong and Beyond 1. INTENT and PLAN This sabbatical proposal consists of travel to Bali, Indonesia to build on my knowledge and understanding of traditional Balinese dance. While my previous sabbatical in 2010 focused primarily on the embodiment and execution of the rare Legong Keraton Playon, this research focuses on the contextual placement of the dance in relation to its roots, the costume as a tool for transcendence, and the related Sanghyang Dedari trance-dance. The 200 year-old Legong Keraton Playon has been the focus of my research, for which I have gained international recognition.
    [Show full text]
  • JURNAL SIMBOLIKA Ritualisasi Kesenian Barong Dalam Estetika
    Jurnal Simbolika: Research and Learning in Comunication Study 6(1) April 2020 ISSN 2442-9198 (Print) ISSN 2442-9996 (Online) JURNAL SIMBOLIKA Research and Learning in Comunication Study Available online http://ojs.uma.ac.id/index.php/simbolika DOI: https://doi.org/10.31289/simbollika.v6i1.3240 Ritualisasi Kesenian Barong dalam Estetika Budaya: Studi Eksploratif Komunikasi Intra Personal Masyarakat Kota Beribadat Ritualization’s Art of Barong in Aesthetic Culture: Explorative Study of Intra Personal Communication as a City Worship Community Tika Ristia Djaya Program Studi Ilmu Komunikasi, Fakultas Ilmu Sosial dan Ilmu Politik, Universitas Selamat Sri, Kendal, Jawa Tengah, Indonesia Diterima:22 Desember 2019; Disetujui: 19 April 2020; Dipublish: 27 April 2020 Abstrak Tujuan dari penelitian ini adalah untuk mengetahui cara pemain barong melakukan ritual, tanggapan masyarakat terhadap ritual yang dilakukan oleh para pemain barong dan pengaruh ritual terhadap perilaku personal pemain barong Singo Kencono di Kendal Jawa Tengah. Penelitian ini menggunakan metode kualitatif dengan pendekatan eksploratif. Hasil dari penelitian menunjukkan bahwa ritual yang dilakukan pemain barong diantaranya adalah lek-lekan di malam hari sebelum pementasan dan disertai dengan pengajian, menggunakan sesaji semacam jajan pasar, pisang, bunga dan telor. Masyarakat modern memaknai sesaji tersebut sebagai seni dalam budaya, bukan aliran kepercayaan yang dipercayai sebagai pedoman kepercayaan kehidupannya. Ritual tidak menyebabkan pengaruh negatif pada pemain barong tetapi justru meningkatkan ketaqwaan terhadap Tuhan Yang Maha Esa. Kesenian barong Singo Kencono dibentuk guna nguri-uri budaya meskipun sudah banyak perubahan sesuai dengan perkembangan jaman tetapi tetap tidak menghilangkan budaya asli, selain itu kesenian barong Singo Kencono ini dibentuk dan dimainkan untuk menghibur masyarakat.
    [Show full text]
  • Story of Barong Bangkung
    Bali Tourism Journal (BTJ) 2018, Volume 2, Number 1, January-December: 19-22 P-ISSN. 2580-913X, E-ISSN. 2580-9148 The Past and present; story of Barong Bangkung IB Gede Karyambara Putra1 ABSTRACT On Manis Galungan, the day after Balinese commemorated of Barong Bangkung, as well as Ngelawang, develop not only the triumph of Dharma against Adharma, A group of festively limited to the art of sacred dance, but also as the performing art. gamelan chimes in accompanying Barong Bangkung, to perform The society conducts Ngelawang by using Barong Bangkung or a ritual to ward off negative energy and plague in thevillage another holy figure as an expression to worship The God Almighty. through Ngelawang. Barong Bangkung is an art of dance staged As a performing art, the artist does not present a temple’s relic, but in groups. It consists of approximately twelve people. The dancers a custom-made Barong Bangkung. Usually, the apprentices of the are usually boys aged 12-17 years old. Balinese is a cosmocentric Local school of art seize the opportunity to show their abilities in society, where they believe Bangkung or Sow, as a manifestation dance by doing ‘Ngelawang’ on a tourist’s site. Besides to practice of Lord Shiva in protecting the earth. In its development, the art their skills, some make it a way to earn some money. Keyword: Barong Bangkung, Ngelawang, Ritual, Performing art Cite This Article: IB Gede Karyambara Putra, The Past and present story of Barong Bangkung. (BTJ)2018, 2 (1): 19-22 INTRODUCTION is the musical instrument they use; Gending or Beleganjur.
    [Show full text]
  • Indonesian Journal of Social Sciences Volume 4, Nomer 1, Cultural
    Indonesian Journal of Social Sciences Volume 4, nomer 1, Cultural System of Cirebonese People: Tradition of Maulidan in the Kanoman Kraton Sistem Budaya Masyarakat Cirebon: Tradisi Maulidan dalam Kraton Kanoman Deny Hamdani1 UIN Syarif Hidayatullah, Jakarta Abstract This paper examines the construction of Maulidan ritual in the commemoration of Prophet Muhammad’s birth at the Kanoman’s palace (kraton) Cirebon. Although the central element of the maulid is the veneration of Prophet, the tradition of Maulidan in Kanoman reinforced the religious authority of Sultan in mobilizing a massive traditional gathering by converging Islamic propagation with the art performance. It argues that the slametan (ritual meal with Arabic prayers), pelal alit (preliminary celebration), ‘panjang jimat’ (allegorical festival), asyrakalan (recitation of the book of maulid) and the gamelan sekaten can be understood as ‘indexical symbols’ modifying ‘trans-cultural Muslim ritual’ into local entity and empowering the traditional machinery of sexual division of ritual labour. The study focuses on the trend of Muslim monarch in the elaboration of maulid performance to demonstrate their piety and power in order to gain their legitimacy. Its finding suggests that religion tends to be shaped by society rather than society is shaped by religion. I emphasize that the maulidan tradition is ‘capable of creating meaningful connections between the imperial cult and every segment of ‘Cirebon people’ other than those Islamic modernists and Islamists who against it in principle. Based on the literature, media reports and interview materials, I argue that the meaning of rites may extend far beyond its stated purpose of venerating the Prophet since the folk religion has strategically generated the “old power” and religious authority.
    [Show full text]
  • Studi Kasus Kampung Betawi, Jagakarsa, Jakarta Selatan)
    TRANSFORMASI KESENIAN ONDEL-ONDEL BETAWI (Studi Kasus Kampung Betawi, Jagakarsa, Jakarta Selatan) Skripsi Diajukan untuk Memenuhi Persyaratan Memperoleh Gelar Sarjana Sosial (S.Sos) Oleh: Rizal Putranto 11151110000054 Program Studi Sosiologi Fakultas Ilmu Sosial dan Ilmu Politik Universitas Islam Negri Syarif Hidayatullah Jakarta 2020 PERNYATAAN BEBAS PLAGIARISME Skripsi yang berjudul: TRANSFORMASI KESENIAN ONDEL-ONDEL BETAWI (Studi Kasus Kampung Betawi, Jagakarsa, Jakarta Selatan) 1. Merupakan karya asli saya yang diajukan untuk memenuhi saah satu persyaratan memperoleh gelar Strata 1 di Universitas Islam Negeri (UIN) Syarif Hidayatullah Jakarta. 2. Semua sumber yang saya gunakan dalam penulisan ini telah saya cantumkan sesuai dengan ketentuan yang berlaku di Universitas Islam Negeri (UIN) Syarif Hidayatullah Jakarta. 3. Jika di kemudian hari terbukti bahwa karya saya ini bukan hasil karya asli saya atau merupakan jiplakan dari karya orang lain, maka saya bersedia menerima sanksi yang berlaku di Universitas Islam Negeri (UIN) Syarif Hidayatullah Jakarta. Jakarta, 20 Juli 2020 Rizal Putranto ii PERSETUJUAN PEMBIMBING SKRIPSI Dengan ini, Pembimbing Skripsi menyatakan bahwa mahasiswa: Nama : Rizal Putranto NIM : 11151110000054 Program Studi : Sosiologi Telah menyelesaikan penulisan skripsi dengan judul: TRANSFORMASI KESENIAN ONDEL-ONDEL BETAWI (Studi Kasus Kampung Betawi, Jagakarsa, Jakarta Selatan) Dan telah memenuhi persyaratan untuk diuji. Jakarta, 20 Juli 2020 Mengetahui, Menyetujui, Ketua Program Studi Pembimbing Dr, Cucu Nurhayati,
    [Show full text]
  • Pakaian Adat Betawi Jadi Pakaian Khas Depok
    HIDUPSEHAT PENDIDIKAN KIPRAHPEREMPUAN Efek Makanan Cintai Seni Tari Budaya Indonesia Fitriyani Perias Pengantin Penuh Siap Saji Sejak Dini Kekayaan Batin INFORMASI DAN KOMUNIKASIDEPOK MASYARAKAT KOTA DEPOK Pakaian Adat Betawi Jadi Pakaian Khas Depok www.depok.go.id APRIL 2014 - WARTADEPOK 1 DAFTAR ISI SURAT WALIKOTA 2. Surat Walikota Depok Sudah Berusia 15 Tahun Saatnya Memilih Wakil Rakyat Assalaamu’alaikum Warahmatulaahi Wabarakaatuh 3. Salam Redaksi Depok kini sudah berusia 4. Laporan Utama 15 tahun. Namun sejarah Sukseskan Pemilu 2014: Depok bukanlah perjalan Jangan Golput, Coblos Orangnya yang dimulai baru 15 6. Hidup Sehat tahun. Kisah sejarah yang Berenang Membuat Penderita Asma Sehat ditulis berbagai sejarawan dan Bugar menyatakan Depok 8. Dunia Pendidikan telah menjadi daerah SLB Frobel Montessori berperadaban sejak ratusan Didik ABK Lebih Mandiri tahun yang lalu. Kita dan Keluarga 10. Kisah sejarah ini bukan sebagai hiasan Persiapan Menanti Sang Buah Hati atau sekedar cerita masa lalu, namun dapat 12. Sarana & Prasarana kita simpulkan bahwa Depok merupakan Tangani Banjir bagian dari perkembangan bangsa ini. Depok Depok Kembangkan Sumur Imbuhan selalu menjadi bagian dari perkembangan 14. Lingkungan daerah-daerah di sekitarnya. Artinya posisi Mahasiswa UI Canangkan Gerakan Anti Depok merupakan posisi strategis di mata Botol Bekas Air Kemasan daerah-daerah sekitar Depok. 16. UKM Dari semua potensi ini yang terpenting Sediakan Sarapan Gratis dan Pinjaman adalah upaya kita sebagai sebuah kota yang Motor, Mr. Montir Diburu Konsumen kaya akan Sumber Daya Manusia (SDM) yang Komunitas 17. ada di perguruan-perguruan tinggi untuk Komunitas ODNR, Ajak Masyarakat Hidup Sehat membangun Kota Depok. 18. Parlemen Sumber Daya Alam (SDA) bukan Pembuangan dan Pemanfaatan Air Limbah tambang, namun tanah, air dan udara Harus Sesuai Perda No 4 Tahun 2011 Kota Depok yang masih segar dan Serba-Serbi bisa dimanfaatkan untuk kepentingan 20.
    [Show full text]
  • “Mr. Tepis” to Balinese Topeng Masked Dance Theatre I Wayan
    71 I Wayan Dibia Experimenting the Modern Story “Mr. Tepis” to Balinese Topeng Masked Dance Theatre I Wayan Dibia, Taipei National University of the Arts, Taipei, Taiwan [email protected] © 2016 University of Malaya. All rights reserved. Malaysian Journal of Performing and Visual Arts, Volume 2, 2016 Abstract Topeng, one of Bali’s most important theatrical forms, has always been identified as a masked dance theatre enacting Balinese chronicles (babad). Some have perceived the babad story as the most essential element and the cultural identity of topeng more than the use of masks. Using the production of Topeng “Mr. Tepis” as a focus of discussion, this paper presents an artistic endeavor to experiment a modern story to Balinese topeng masked dance theatre. The primary goal of this paper is to show that introducing modern stories into traditional theatre such as topeng may change the old image of the art form without destroying its aesthetic principle and cultural identity. 1 The use of modern story may help topeng to maintain its popularity amidst the ever changing culture of Bali. Keywords: Wayang topeng, Topeng “Mr. Tepis”, Balinese theatre, masked dance, experimental theatre Introduction The island of Bali is home to various theatrical forms using masks. Presently, there are five major art forms featuring masks still actively performed on the island. This includes wayang wong (Ramayana masked dance drama), topeng masked dance theatre, barong dance drama, legong topeng dance, telek and jauk dance. Enacting stories derived from different resources, each form utilizes wooden masks representing different figures and characters, ranging from gods and spirits, to human beings, animals, and demons.
    [Show full text]
  • Daftar Arsip Statis Video Sekretariat Negara Ri Tahun 1982
    DAFTAR ARSIP STATIS VIDEO SEKRETARIAT NEGARA RI TAHUN 1982 DIREKTORAT PENGOLAHAN DEPUTI BIDANG KONSERVASI ARSIP ARSIP NASIONAL REPUBLIK INDONESIA JAKARTA, 2020 Daftar Arsip Statis Video Sekretariat Negara RI Tahun 1982 | i KATA PENGANTAR Undang-Undang Nomor 43 Tahun 2009 tentang Kearsipan mengamanatkan Arsip Nasional Republik Indonesia (ANRI) untuk melaksanakan pengelolaan arsip statis berskala nasional yang diterima dari lembaga negara, perusahaan, organisasi politik, organisasi kemasyarakatan, dan perseorangan. Pengelolaan arsip statis bertujuan menjamin keselamatan dan keamanan arsip sebagai bukti pertanggungjawaban nasional dalam kehidupan bermasyarakat, berbangsa dan bernegara. Arsip statis yang dikelola oleh ANRI merupakan memori kolektif dan identitas bangsa, bahan pengembangan ilmu pengetahuan, pembuktian, penelitian, dan sumber informasi publik. Oleh karena itu, untuk meningkatkan mutu pengolahan arsip statis, maka khazanah arsip statis yang tersimpan di ANRI harus diolah dengan benar berdasarkan kaidah-kaidah kearsipan, sehingga arsip statis dapat ditemukan dengan cepat, tepat dan lengkap. Pada tahun anggaran 2020, salah satu program kerja Direktorat Pengolahan adalah menyusun Daftar Arsip Statis Video Sekretariat Negara RI Tahun 1982. Video tersebut merupakan hasil peliputan Biro Pers dan Media Sekretariat Negara RI di bidang politik dan pemerintahan, ekonomi, sosial dan budaya, serta Soeharto dan keluarga. Daftar arsip ini merupakan sarana bantu penemuan kembali arsip statis Sekretariat Negara RI yang tersimpan di ANRI dalam rangka pelayanan arsip statis. Akses arsip pada daftar arsip ini terbuka untuk kepentingan pemerintahan, pembangunan, penelitian, dan ilmu pengetahuan. Kami menyadari bahwa daftar arsip ini masih jauh dari sempurna. Untuk itu, kami senantiasa mengharapkan saran dan kritik membangun demi perbaikan ke depannya. Akhirnya, kami menyampaikan terima kasih kepada pimpinan ANRI, anggota tim, Kementerian Sekretariat Negara RI, dan semua pihak yang telah membantu penyusunan daftar arsip ini hingga selesai.
    [Show full text]
  • LCSH Section B
    B, Madame (Fictitious character) BT Boeing bombers B lymphocyte differentiation USE Madame B (Fictitious character) Jet bombers BT Cell differentiation B (Computer program language) B-50 bomber (Not Subd Geog) — — Molecular aspects [QA76.73.B155] UF B-29D bomber BT Molecular biology BT Programming languages (Electronic Boeing B-50 (Bomber) — Tumors (May Subd Geog) computers) Boeing Superfortress (Bomber) [RC280.L9] B & D (Sexual behavior) Superfortress (Bomber) UF B cell neoplasia USE Bondage (Sexual behavior) XB-44 bomber B cell neoplasms B & L Landfill (Milton, Wash.) BT Boeing bombers B cell tumors This heading is not valid for use as a geographic Bombers B lymphocyte tumors subdivision. B-52 (Bomber) BT Lymphomas UF B and L Landfill (Milton, Wash.) USE B-52 bomber NT Burkitt's lymphoma B&L Landfill (Milton, Wash.) [UG1242.B6] Multiple myeloma BT Sanitary landfills—Washington (State) UF B-52 (Bomber) B/D (Sexual behavior) B-1 bomber Stratofortress (Bomber) USE Bondage (Sexual behavior) USE Rockwell B-1 (Bomber) BT Boeing bombers B.E.2 (Military aircraft) (Not Subd Geog) B-2 bomber (Not Subd Geog) Jet bombers UF BE2 (Fighter plane) [Former heading] [UG1242.B6] Strategic bombers BE2 (Military aircraft) UF Advanced Technology Bomber B-57 (Miltary aircraft) Bleriot Experimental 2 (Military aircraft) Spirit (Stealth bomber) USE Canberra (Military aircraft) British Experimental 2 (Military aircraft) Stealth bomber B-58 (Bombers) Royal Aircraft Factory B.E.2 (Military aircraft) BT Jet bombers USE B-58 bomber BT Airplanes, Military Northrop aircraft B-58 bomber (Not Subd Geog) Royal Aircraft Factory aircraft Stealth aircraft UF B-58 (Bombers) B emission stars Strategic bombers B-58 Hustler (Bombers) USE Be stars B-3 organ General Dynamics B-58 Shell stars USE Hammond B-3 organ Hustler (Bombers) B.
    [Show full text]
  • BALINESE THEATRE by Rucina Ballinger, I Wayan Dibia and Made Sidia
    M A S T E R C L A S S R E S O U R C E P A C K BALINESE THEATRE by Rucina Ballinger, I Wayan Dibia and Made Sidia INTERNATIONAL SCHOOLS THEATRE ASSOCIATION OVERVIEW OF SESSION Balinese theatre By Rucina Ballinger, co-author with I Wayan Dibia of Balinese Dance, Drama and Music: An Introduction to Balinese Performing Arts. Overview of session Balinese theatre encompasses more than just drama—gamelan music, dance, singing and comedy are all integrated into the piece, often with audience participation. Bali probably has the richest performing arts tradition in Southeast Asia and is famous throughout the theatrical world. In the 1930s, Antonin Artaud experienced Balinese theatre in Paris and was so fascinated that he wrote a book about it. Scholars and performers alike have been studying Balinese performing arts for centuries and continue to do so. Brief summary of activities Together we will be focusing on four types of performance: 1. Topeng Mask Dance-Drama 2. Wayang Kulit Shadow Puppetry 3. Kecak (syncopated mouth music) 4. Balinese dance My goal is to allow you to better understand what these four forms are, to learn the basics of all four and to explore how you can use the form and the concepts in your classroom. INFORMATION ON THE FOCAL POINT 1 Context One of the reasons that Balinese arts have flourished in the face of contemporary life is that the myriad religious rituals demand that Song, Wayang Kulit (Shadow Puppetry), Topeng Mask Dance, Gamelan Music and Dance are offered up to the gods as a form of offering.
    [Show full text]