BAB I Pendahuluan
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W. Van Zanten the Poetry of Tembang Sunda In: Bijdragen Tot De Taal
W. van Zanten The poetry of tembang Sunda In: Bijdragen tot de Taal-, Land- en Volkenkunde 140 (1984), no: 2/3, Leiden, 289-316 This PDF-file was downloaded from http://www.kitlv-journals.nl Downloaded from Brill.com10/06/2021 12:11:56PM via free access WIM VAN ZANTEN THE POETRY OF TEMBANG SUNDA Introduction Tembang Sunda is an embellished kind of singing, accompanied by a few instruments, in West Java. It is usually solo singing, in which soloists may alternate, each singing one or two stanzas. The accompaniment is pro- vided by a large zither (kacapi indung), a flute (suling), a small zither {kacapi rincik), and a two-stringed spiked fiddle (rebab). Sometimes other instruments are used for the accompaniment. Tembang Sunda, 'Sundanese tembang', is therefore not the same as the purely vocal form, called tembang or tembang macapat by the Javanese and beluk or macapat by the Sundanese. 'Tembang Sunda' is now more generally used than the term 'Cianjuran' (after the regency of Cianjur) which used to indicate this type of embellished singing. In 1962 it was decided at a meeting on the subject to promote the name 'Tembang Sunda' (Wirat- madja 1964:107). This name has the advantage of avoiding misunder- standing about the restriction of this kind of embellished singing to one particular Sundanese area: the Cianjuran style of singing nowadays is common in all the different areas of West Java. On the other hand, the new term is likely to create confusion, as some people tend to refer to many other types of Sundanese vocal music as 'Tembang Sunda'. -
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J. Noorduyn Bujangga Maniks journeys through Java; topographical data from an old Sundanese source In: Bijdragen tot de Taal-, Land- en Volkenkunde 138 (1982), no: 4, Leiden, 413-442 This PDF-file was downloaded from http://www.kitlv-journals.nl Downloaded from Brill.com09/30/2021 08:56:21AM via free access J. NOORDUYN BUJANGGA MANIK'S JOURNEYS THROUGH JAVA: TOPOGRAPHICAL DATA FROM AN OLD SUNDANESE SOURCE One of the precious remnants of Old Sundanese literature is the story of Bujangga Manik as it is told in octosyllabic lines — the metrical form of Old Sundanese narrative poetry — in a palm-leaf MS kept in the Bodleian Library in Oxford since 1627 or 1629 (MS Jav. b. 3 (R), cf. Noorduyn 1968:460, Ricklefs/Voorhoeve 1977:181). The hero of the story is a Hindu-Sundanese hermit, who, though a prince (tohaari) at the court of Pakuan (which was located near present-day Bogor in western Java), preferred to live the life of a man of religion. As a hermit he made two journeys from Pakuan to central and eastern Java and back, the second including a visit to Bali, and after his return lived in various places in the Sundanese area until the end of his life. A considerable part of the text is devoted to a detailed description of the first and the last stretch of the first journey, i.e. from Pakuan to Brëbës and from Kalapa (now: Jakarta) to Pakuan (about 125 lines out of the total of 1641 lines of the incomplete MS), and to the whole of the second journey (about 550 lines). -
Ethnic Chinese Film Producers in Pre-Independence Cinema Charlotte SETIJADI Singapore Management University, [email protected]
CORE Metadata, citation and similar papers at core.ac.uk Provided by Institutional Knowledge at Singapore Management University Singapore Management University Institutional Knowledge at Singapore Management University Research Collection School of Social Sciences School of Social Sciences 9-2010 Imagining “Indonesia”: Ethnic Chinese film producers in pre-independence cinema Charlotte SETIJADI Singapore Management University, [email protected] Thomas BARKER National University of Singapore DOI: https://doi.org/10.1386/ac.21.2.25_1 Follow this and additional works at: https://ink.library.smu.edu.sg/soss_research Part of the Asian Studies Commons, and the Film and Media Studies Commons Citation SETIJADI, Charlotte, & BARKER, Thomas.(2010). Imagining “Indonesia”: Ethnic Chinese film producers in pre-independence cinema. Asian Cinema, 21(2), 25-47. Available at: https://ink.library.smu.edu.sg/soss_research/2784 This Journal Article is brought to you for free and open access by the School of Social Sciences at Institutional Knowledge at Singapore Management University. It has been accepted for inclusion in Research Collection School of Social Sciences by an authorized administrator of Institutional Knowledge at Singapore Management University. For more information, please email [email protected]. Asian Cinema, Volume 21, Number 2, September 2010, pp. 25-47(23) DOI: https://doi.org/10.1386/ac.21.2.25_1 25 Imagining “Indonesia”: Ethnic Chinese Film Producers in Pre-Independence Cinema Charlotte Setijadi-Dunn and Thomas Barker Introduction – Darah dan Doa as the Beginning of Film Nasional? In his 2009 historical anthology of filmmaking in Java 1900-1950, prominent Indonesian film historian Misbach Yusa Biran writes that although production of locally made films began in 1926 and continued until 1949, these films were not based on national consciousness and therefore could not yet be called Indonesian films. -
Narrative Structure of Mobile Apps Interactive Story Kisah Lutung Kasarung: Morphological Analysis of Vladimir Propp
6th Bandung Creative Movement International Conference in Creative Industries 2019 (6th BCM 2019) Narrative Structure of Mobile Apps Interactive Story Kisah Lutung Kasarung: Morphological Analysis of Vladimir Propp Dicky Hidayat1,2, Moh. Asyiek Bin Mat Desa2 1Visual Communication Design, Telkom University, Indonesia 2School of Art, Universiti Sains Malaysia, Penang, Malaysia [email protected], [email protected] Abstract This study analyzes the narrative structure of the mobile apps interactive story Kisah Lutung Kasarung, based on Vladimir Propp's morphological theory. The purpose of the study is to explore how the structure and moral values are based on the functions of the characters contained in the story. The study used the descriptive qualitative methods using the method of narrative analysis. Data collection techniques were carried out by a literature study and documentation. The re- sult shows 27 main narrative functions, 5 plots, and 4 spheres of action contained in the mobile apps of the interactive story Kisah Lutung Kasarung. The positive moral values obtained from the story are stoicism, helpfulness, happiness, religious, dedication, forgiveness and fairness. Keywords narrative analysis, morphology, vladimir Propp, mobile apps, interactive stories, lutung kasarung (Sundanese to Dutch, Indonesian and Javanese), but also in the form of cross-forms, from pantun to written forms and 1. Introduction story forms. The story has been written pantun into prose, poetry, drama, opera, novels, fairy tales, comic, films, etc. Indonesia has many folktales scattered in each region. [8]. These folktales are generally related to the social and cultural Digital technology is growing rapidly nowadays, and in its conditions of the owner's community. -
Ngahudang Carita Anu Baheula
NGAHUDANG CARITA ANU BAHEULA (To Awaken An Ancient Story) An Introduction to the Stories of Pantun Sunda Andrew N. Weintraub Southeast Asia Paper No. 34 Center for Southeast Asian Studies School of Hawaiian, Asian and Pacific Studies University of Hawaii at Manoa 1991 ACKNOWLEDGENffiNTS I am indebted to all the people who have helped me in my studies of pantun Sunda. I would like to mention a few individuals here who generously contributed their time and energy to the work contained in this volume. Yoseph Iskandar, Ajip Rosidi, Epih Wirahadikusumah and Amalia Firman collaborated closely with me on the translations of the Sundanese epics and helped me understand the stories within the context of Sundanese culture. Alice Dewey, Hardja Susilo and Ricardo D. Trimillos made valuable comments and suggestions on the writing of the synopses. Truong Buu Lam, Jim Collins, and Flo Lamoureux at the University of Hawaii Center for Southeast Asian Studies were very helpful in getting this volume to press. I am also grateful to the Institute of Culture and Communication at the East-West Center for supporting my research in West Java. Most importantly, I would like to dedicate this volume to the pantun bard, Ki Enjum, who willingly shared his time and knowledge with me. Ki Enjum begins the performance of every pantun Sunda with the invocatory song, "Rajah," which functions as an apology in the event that the performer makes a mistake during the performance. It seems appropriate that I begin this volume by quoting the opening lines from the song "Rajah". -
Textiles in Old-Sundanese Texts Aditia Gunawan
Textiles in Old-Sundanese Texts Aditia Gunawan To cite this version: Aditia Gunawan. Textiles in Old-Sundanese Texts. Archipel, Association Archipel/Éditions de la FMSH, 2019, 98, pp.71-107. 10.4000/archipel.1332. hal-02514162 HAL Id: hal-02514162 https://hal.archives-ouvertes.fr/hal-02514162 Submitted on 24 Mar 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. ÉTUDES ADITIA GUNAWAN 1 Textiles in Old-Sundanese Texts Introduction1 Once upon a time Dayang Sumbi was having a wonderful time weaving. Her taropong, that is, a bamboo tool for rolling yarn, fell from her hands. So frail was she that she joked: if a woman would pick up that taropong for her, she would make her her sister, and if a man would do so, she would surely make him her husband. Si Tumang, her loyal dog, heard that promise. With enthusiasm he picked up the taropong, presenting it to Dayang Sumbi while sitting in front of her and staring at her intently. Dayang Sumbi regretted her words. But the oath could not be unsaid. Dayang Sumbi finally married Tumang and they had a son, Sang Kuriang. -
"Pantun Sunda"*
MY EXPERIENCES IN RECORDING "PANTUN SUNDA"* Ajip Rosidi A number of pantun Sunda or Sundanese pantun stories were compiled and published at the instruction of K. F. Holle and C. M. Pleyte1 at the beginning of this century. But since then little effort has been made to continue their program. To the best of my knowledge, only one pantun story has been written down and published since World War II, the Ratu Bungsu Karma Jaya (The Youngest King Karma Jaya). It was chanted by a pantun bard called Taswan from Kuningan and was tran scribed by R. S. Wirananggapati.2 However it is said that a man called Mochtar Kala inherited a collection of "Pantun Bogor" from his ances tors, which were written down in the pre-World War II period, but only part of one pantun story has been published, the Dadap Malang di Sisi Simandiri.3 This scarcity of published pantun explains why the Sun danese themselves need to refer to the material published by Holle and Pleyte. (For instance, Drs. Atja corrected Pleytefs transcription of the Lutung Kasarung as written down by Argasasmita.4) * Pantun Sunda is a type of performance in West Java in which a musical instrument called pantun, a kind of kecapi (a stringed instrument played by plucking) is used. To the accompaniment of the kecapi, and sometimes also of the flute, the tarawangsa (a stringed instrument played like a violin), or other instrument, the pantun bard narrates a lengthy story. The story usually describes the adven tures of a prince of Pajajaran, a pre-Islamic kingdom which existed in West Java up to the beginning of the sixteenth century. -
Loetoeng Kasaroeng : Wiranatakusumah V Peletak Dasar Film Trans-Nasional
Loetoeng Kasaroeng : Wiranatakusumah V Peletak Dasar Film Trans-nasional RB Armantono Program Studi Film dan Televisi, Fakultas Film dan Televisi Institut Kesenian Jakarta [email protected] Abstrak Film Loetoeng Kasaroeng menjadi film pertama Indonesia yang memiliki struktur cerita. Cerita yang diangkat berdasarkan pada legenda yang dimiliki rakyat Jawa Barat, Lutung Kasarung. Namun lebih dari itu, film ini ternyata juga merupakan film Indonesia pertama yang sistem produksinya melibatkan dua negara –Belanda dan Indonesia (Hindia Belanda), yang kini dikenal dengan sebutan film trans- nasional. Pada masa itu Bupati Bandung, Wiranatakusumah V mendukung dari sisi pembiayaan produksinya dan melakukan pemilihan para pemainnya –meskipun para kerabatnya sendiri. Sehingga bisa disimpulkan bahwa sesungguhnya industri film Indonesia telah dimulai pada pertengahan tahun 1920-an, dimana orang-orang pribumi turut memiliki peran besar dalam menentukan sebuah film untuk diproduksi. Abstract “Loetoeng Kasaroeng” is the first Indonesian narrative film. The story was based on the folklore from West Java, Lutung Kasarung. But more than that, this film was also the first Indonesian film production that involves two countries -Dutch and Indonesia (Dutch East Indies), which is now known as trans-national film. At that time, the Regent of Bandung, Wiranatakusumah V, supported the film by financing the production and selecting the actors -he chooses his relatives. So that it can be concluded that in fact the Indonesian film industry has started in the middle of 1920s, when the native people (Indonesian) contributed and determined on the film production. Kata Kunci Loetoeng Kasaroeng, Wiranatakusumah V, film trans-nasional. Keyword Loetoeng Kasaroeng, Wiranatakusumah V, trans-national film PENDAHULUAN Dalam sejarah lahirnya perfilman di Indonesia (Hindia Belanda kala itu), ada beberapa tonggak peristiwa penting yang bisa menjadi dasar bagi perkembangan perfilman Indonesia sampai saat sekarang ini. -
Bab 2 Sekilas Perkembangan Perfilman Di Indonesia 2.1
BAB 2 SEKILAS PERKEMBANGAN PERFILMAN DI INDONESIA 2.1 Awal Perkenalan Awalnya masyarakat Hindia Belanda pada tahun 1900 mengenal film yang sekarang kita kenal dengan sebutan gambar idoep. Istilah gambar idoep mulai dikenal saat surat kabar Bintang Betawi memuat iklan tentang pertunjukan itu. Iklan dari De Nederlandsche Bioscope Maatschappij di surat kabar Bintang Betawi menyatakan: “...bahoewa lagi sedikit hari ija nanti kasi lihat tontonan amat bagoes jaitoe gambar-gambar idoep dari banyak hal..”22 Selanjutnya pada tanggal 4 Desember surat kabar itu kembali mengeluarkan iklan yang berbunyi: “...besok hari rabo 5 Desember PERTOENJOEKAN BESAR JANG PERTAMA di dalam satoe roemah di Tanah Abang Kebondjae (MANEGE) moelain poekoel TOEDJOE malem..”23 22 Bintang Betawi. Jum’at, 30 November 1900. Universitas Indonesia Kebijakan pemeerintah..., Wisnu Agung Prayogo, FIB UI, 2009 Film yang dipertontonkan saat itu merupakan film dokumenter yang menceritakan tentang perkembangan terakhir pembangunan di Belanda dan Afrika Selatan. Film ini juga menampilkan profil keluarga kerajaan Belanda. Tahun 1910 sendiri tercatat sebagai tahun kegiatan pembuatan film yang lebih bersifat pendokumentasian tentang Hindia Belanda agar ada pengenalan yang lebih “akrab“ antara negeri induk (Belanda) dengan daerah jajahan.24 Industri pembuatan film di wilayah Hindia Belanda sendiri baru dimulai sejak tahun 1926 ketika sebuah film berjudul Loetoeng Kasaroeng dibuat oleh L.Hoeveldorp dari NV Java Film Company pimpinan G. Krugers dan F. Carli.25 Java Film Company kemudian -
The Influence of Ethnicity on the Filmmakers of the Dutch East Indies (1926–1936) Christopher A
Inside Gazes, Outside Gazes: The Influence of Ethnicity on the Filmmakers of the Dutch East Indies (1926–1936) Christopher A. Woodrich The first decade of the Indonesian film industry film industry was marked by competition between Chinese and European filmmakers to reach audiences by employing strategies—in film language, plotting, and casting—influenced by the customs of both their respective ethnic groups, and their target audiences. This paper explores the role of ethnicity in the first ten years of Indonesian film industry, beginning with L. Heuveldorp and G. Krugers’ 1926 production Loetoeng Kasaroeng [The Misguided Lutung], and ending with Albert Balink and Mannus Franken’s 1936 filmPareh [Rice]. Referring to concrete examples from the films produced in Indonesia during this period, the article concludes that filmmakers fell into one of four prominent categories: Europeans targeting European audiences, Europeans targeting indigene audiences, Chinese targeting Chinese audiences, and Chinese targeting indigene audiences. Keywords: Audiences, Indonesia, Ethnicity, Filmmaking, Cinema of Indonesia Introduction Though the act of filmmaking usually involves a large number of people fulfilling a variety of roles—sound recording, acting, editing, etc.—producers and directors have consistently been identified with the agency determining a film’s presentation, storytelling, and technique. They are credited as the creative forces behind films, and both scholars and the general public alike recognize and refer to their “creative vision” and directorial styles as having inalienable roles in shaping films. Even when industrial or institutional forces are assumed to have authored the work, and thus production and directorial influence are assumed to be minimal, films are frequently identified with their directors (cf. -
Conclusion: 'Placing Culture'
CONcLUSION: ‘PLAcING CULTURE’ This book has explored the way Indonesian films have engaged with issues of traditional cultures in diverse regions, the forms these regional societ- ies take, and particularly the cultural phenomena to which they give rise. It has also explored the issue of broad cultural dominants in Indonesian society, in particular group orientation and group body language, which are also addressed by Heider in his book Indonesian Cinema: National Culture on Screen, though in quite different ways. At the same time, this study has eschewed attempting to define a national culture or a national identity, on the ground that most of the cultural dominants with which it has engaged, and especially body language, are pre-national in origin, and not only pertain to local communities in which the individual is raised, but are part of the habitus of an individual. Nevertheless, the arguments and analyses presented in this book are grounds for thinking further about the differences between individualistic Western societies and group-oriented societies, certainly beyond bland and non-specific generalizations, because the phenomena explored are fundamental to the constitution and forms of interaction of an individual, ultimately producing a quite different kind of human experience. This is something demonstrated by the films them- selves. At the same time, in Chap. 7 I have provocatively raised questions about alternative positioning(s) of women in some Indonesian films. One of the examples investigated—the West Javanese legend of ‘incest avoided’ with the help of the mother, a story found also in various forms elsewhere in Indonesia, and retold in the popular filmSangkuriang —provides an alternative myth to the Oedipus story, used widely in the West as a singular © The Author(s) 2017 297 D. -
Bab Ii. Sejarah Dan Profil Gamelan Sunda/Degung Ii.1
BAB II. SEJARAH DAN PROFIL GAMELAN SUNDA/DEGUNG II.1 Landasan Teori II.1.1 Musik Musik merupakan seni dalam bentuk lagu atau instrumen musik yang mewakili pikiran dan perasaan sang pencipta, melalui irama, melodi, harmoni, bentuk atau struktur lagu dan ekspresi (es.scribd.com, 2020). Musik berasal dari istilah Yunani ‘Musiké téchne’ atau bahasa Latin ‘musica’ art of the Muses yang merupakan pengekspresian, ungkapan, perwujudan, dalam kehidupan manusia. (Teori Musik, 2014, h.5) Gambar II.1 The Muses Sumber: https://sites.google.com/site/basicgreekmythology/other-greek-characters/the- muses (Diakses pada 16/05/2020) Dari penjelasan tersebut, musik memiliki bagian atau pengelompokkan berdasarkan jenisnya. Pertama jenis musik seni, kedua jenis musik populer dan yang ketiga jenis musik tradisional. Dikategori jenis musik seni adalah musik klasik. Dikategori jenis musik populer diantaranya musik Blues, musik Funk, genre musik Gospel, musik hiphop, genre musik Jazz, musik Metal, genre musik Pop, musik Rhythm & Blues (R&B), musik Reggae, genre musik Rock, musik Ska, genre musik Country dan musik Techno. Dikategori musik tradisional adalah musik Dangdut. Tentu dari semua jenis dan kategori musik tersebut memiliki penjelasannya masing-masing. Setiap jenis dan kategori musik diatas, tentunya memiliki alat musiknya masing- masing yang digunakan secara universal atau khusus dan teknik dalam memainkan alat musik tersebut. Dari setiap jenis dan kategori musik pasti memiliki 4 kebutuhannya masing-masing dalam memainkannya. Dengan itu, harus mengetahui bagaimana teknik memainkannya dari jenis dan kategori musik tersebut dan juga harus mengetahui alat-alat musik yang digunakannya. II.1.2 Sejarah Gamelan Sejarawan dan Arkeolog Dwi Cahyono (2018) mengatakan, salah satu Candi di Jawa Timur yang memilik relief cukup banyak mengenai waditra atau alat musik beserta konteks penyajiannya adalah situs candi Penataran.