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Boran Dance, Between Identity and Dance of Lamongan Tradition in the Perspective of Cultural Studies
Proceding - International Seminar Culture Change and Sustainable Development in Multidisciplinary Approach: Education, Environment, Art, Politic, Economic, Law, and Tourism BORAN DANCE, BETWEEN IDENTITY AND DANCE OF LAMONGAN TRADITION IN THE PERSPECTIVE OF CULTURAL STUDIES Desty Dwi Rochmania Hasyim Asy'ari University of Tebuireng Jombang East Java [email protected] ABSTRACT Boran Dance which was originally created with the aim of following the traditional art festival organized by the East Java art council currently transformed into a traditional dance Lamongan. Stunted Boran dance is transformed into a traditional dance Lamongan does not appear suddenly but the results of the ideology of the ruling class (government Lamongan) through various systems and institutions, ranging from media, advertising, educational institutions and so on. This practice the researchers consider as an unnatural problem because the context of the construction of dance is outside of the traditional aesthetic rules of dance. Referring to the phenomenon of the researcher will analyze this problem with the perspective of western philosophy that is by approach theories of cultural studies. Through the approach of theories of cultural studies researchers trying to peel the extent to which Boran dance is transforming into traditional dance Lamongan and become Lamongan dance identity. Through critical thinking Gramsci, researchers try to analyze how far Boran dance transform itself into traditional Lamongan dance, and is there any legality of hegemony also in it. So as to make dance boran, as the identity of traditional dance Lamongan. Boran Dance was born from an iven of traditional art performances organized by the East Java Arts Council. Because to the existence and success of this dance is transformed from festival dance into traditional Lamongan dance. -
D 328 the Bioregional Principal at Banyuwangi Region Development
Proceedings of the International Conference on Industrial Engineering and Operations Management Riyadh, Saudi Arabia, November 26-28, 2019 The Bioregional Principal at Banyuwangi Region Development in the Context of Behavior Maintenance Ratna Darmiwati Catholic University of Darma Cendika, Surabaya, Indonesia [email protected] Abstract The tourism, natural resources, local culture and Industries with the environment are the backbone of the government's foreign development in the region exchange. The sustainable development without the environment damaging that all activities are recommended, so that between the nature and humans can be worked simultaneously. The purpose of study is maintaining the natural conditions as they are and not to be undermined by irresponsible actions. All of them are facilitated by the government, while maintaining the Osing culture community and expanding the region and make it more widely known. The maintenance of the natural existing resources should be as good as possible, so that it can be passed on future generations in well condition. All of the resources, can be redeveloped in future. The research method used qualitative-descriptive-explorative method which are sorting the datas object. The activities should have involved and relevant with the stakeholders such as the local government, the community leaders or non-governmental organizations and the broader community. The reciprocal relationships between human beings as residents and the environment are occurred as their daily life. Their life will become peaceful when the nature is domesticated. The nature will not be tampered, but arranged in form of human beings that can be moved safely and comfortably. Keywords: The Culture, Industry, Natural Resources, Tourism. -
Analysis on Symbolism of Malang Mask Dance in Javanese Culture
ANALYSIS ON SYMBOLISM OF MALANG MASK DANCE IN JAVANESE CULTURE Dwi Malinda (Corresponing Author) Departement of Language and Letters, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 813 365 182 51 E-mail: [email protected] Sujito Departement of Language and Letters, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 817 965 77 89 E-mail: [email protected] Maria Cholifa English Educational Department, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 813 345 040 04 E-mail: [email protected] ABSTRACT Malang Mask dance is an example of traditions in Java specially in Malang. It is interesting even to participate. This study has two significances for readers and students of language and literature faculty. Theoretically, the result of the study will give description about the meaning of symbols used in Malang Mask dance and useful information about cultural understanding, especially in Javanese culture. Key Terms: Study, Symbol, Term, Javanese, Malang Mask 82 In our every day life, we make a contact with culture. According to Soekanto (1990:188), culture is complex which includes knowledge, belief, art, morals, law, custom and any other capabilities and habits acquired by man as a member of society. Culture are formed based on the local society and become a custom and tradition in the future. Culture is always related to language. This research is conducted in order to answer the following questions: What are the symbols of Malang Mask dance? What are meannings of those symbolism of Malang Mask dance? What causes of those symbolism used? What functions of those symbolism? REVIEW OF RELATED LITERATURE Language Language is defined as a means of communication in social life. -
Cross-Gender Attempts by Indonesian Female Impersonator Dancer Didik Nini Thowok
Cross-Gender Attempts by Indonesian Female Impersonator Dancer Didik Nini Thowok Madoka Fukuoka Graduate School of Human Sciences, Osaka University, Japan [email protected] ABSTRACT This article examines the creative stages of Didik Nini Thowok (1954‒), a female impersonator and cross-gender dancer based in Java, Indonesia. In addition, it discusses his endeavours of crossing gender boundaries by focusing on his use of costumes and masks, and analysing two significant works: Dwimuka Jepindo as an example of comedic cross-gender expression and Dewi Sarak Jodag as an example of serious cross-gender expression. The findings indicate three overall approaches to crossing gender boundaries: (1) surpassing femininity naturally expressed by female dancers; (2) mastering and presenting female characters by female impersonators and cross-gender dancers; and (3) breaking down the framework of gender itself. Keywords: Didik Nini Thowok, cross-gender, dance, Java, Indonesia © Penerbit Universiti Sains Malaysia, 2014 58 Wacana Seni Journal of Arts Discourse. Jil./Vol.13. 2014 INTRODUCTION This article examines the creative stages of Didik Nini Thowok (1954‒), a female impersonator and cross-gender dancer based in Java, Indonesia.1 In addition, it discusses his endeavours of crossing gender boundaries by focusing on the human body's role and Didik's concept of cross-gender dance, which he has advocated since his intensive study of the subject in 2000. For the female impersonator dancer, the term "cross-gender" represents males who primarily perform female roles and explore the expression of stereotypical femininity. Through his artistic activity and unique approach, Didik has continued to express various types of femininity to deviate from stereotypical gender imagery. -
Masyarakat Kesenian Di Indonesia
MASYARAKAT KESENIAN DI INDONESIA Muhammad Takari Frida Deliana Harahap Fadlin Torang Naiborhu Arifni Netriroza Heristina Dewi Penerbit: Studia Kultura, Fakultas Sastra, Universitas Sumatera Utara 2008 1 Cetakan pertama, Juni 2008 MASYARAKAT KESENIAN DI INDONESIA Oleh: Muhammad Takari, Frida Deliana, Fadlin, Torang Naiborhu, Arifni Netriroza, dan Heristina Dewi Hak cipta dilindungi undang-undang All right reserved Dilarang memperbanyak buku ini Sebahagian atau seluruhnya Dalam bentuk apapun juga Tanpa izin tertulis dari penerbit Penerbit: Studia Kultura, Fakultas Sastra, Universitas Sumatera Utara ISSN1412-8586 Dicetak di Medan, Indonesia 2 KATA PENGANTAR Terlebih dahulu kami tim penulis buku Masyarakat Kesenian di Indonesia, mengucapkan puji syukur ke hadirat Tuhan Yang Maha Kuasa, karena atas berkah dan karunia-Nya, kami dapat menyelesaikan penulisan buku ini pada tahun 2008. Adapun cita-cita menulis buku ini, telah lama kami canangkan, sekitar tahun 2005 yang lalu. Namun karena sulitnya mengumpulkan materi-materi yang akan diajangkau, yakni begitu ekstensif dan luasnya bahan yang mesti dicapai, juga materi yang dikaji di bidang kesenian meliputi seni-seni: musik, tari, teater baik yang tradisional. Sementara latar belakang keilmuan kami pun, baik di strata satu dan dua, umumnya adalah terkonsentasi di bidang etnomusikologi dan kajian seni pertunjukan yang juga dengan minat utama musik etnik. Hanya seorang saja yang berlatar belakang akademik antropologi tari. Selain itu, tim kami ini ada dua orang yang berlatar belakang pendidikan strata dua antropologi dan sosiologi. Oleh karenanya latar belakang keilmuan ini, sangat mewarnai apa yang kami tulis dalam buku ini. Adapun materi dalam buku ini memuat tentang konsep apa itu masyarakat, kesenian, dan Indonesia—serta terminologi-terminologi yang berkaitan dengannya seperti: kebudayaan, pranata sosial, dan kelompok sosial. -
Language Style and Meaning in the Lyrics of Bojo Galak by Pendhoza
International Journal of Innovation, Creativity and Change. www.ijicc.net Volume 11, Issue 4, 2020 Language Style and Meaning in the Lyrics of Bojo Galak by Pendhoza Laili Etika Rahmawatia*, Putri Haryantib, Hari Kusmantoc, Tety Bekti Sulistyorinid, a,b,c,dIndonesian Language and Literature Education, Faculty of Teacher Training and Education, Universitas Muhammadiyah Surakarta, Surakarta 57102, Indonesia, Email: a*[email protected] This research aims (1) to describe the language style the song Bojo Galak by Pendhoza; and (2) to describe the meaning of the song. Words, phrases, clauses, and sentences are the data for this research, which are sourced from the lyrics of Bojo Galak. These data are collected using listening and note-taking technique and analysed using stylistic and hermeneutical analysis method. The results show that (1) the language styles in Bojo Galak lyrics include: (a) the sound style of dominantly-used assonance in the lyrics, which is /e/; (b) the word style (diction) of the song uses numerous connotative words; (c) the sentence style is done by implicating words and particles. (2) the meanings consisted in Bojo Galak are (a) representative of verbal abuse by a wife against her husband; (b) describe complaints, or an outpouring of a husband's feelings about the nature or character of his partner; (c) teach the meaning of submission and patience in accepting the reality of life; (d) teach the meaning of sincerity or acceptance of the partner’s situation; and (e) teaching the meaning of loyalty. Key words: Language style, song meaning, Bojo Galak. Introduction Song progression in Indonesia has been a point of conversation in daily lives. -
Annie Lennox: Diva/Medusa
Annie Lennox: Diva/Medusa spectrumculture.com/2018/03/12/annie-lennox-diva-medusa Daniel Bromfield March 12, 2018 At its best, Annie Lennox’s music is as deep, comforting and mysterious as that of Sade, the Blue Nile, or any of the other great sophisticated pop acts from the late ‘80s and early ‘90s. But in Lennox’s voice there’s a certain acidity that grounds us firmly in reality rather than suave fantasy. Ugly, real emotions are never far beneath the illusion, and on her cover of “Take Me to the River” or as she whispers into the mic on “Why,” she’s ready to kill. Even on something as atmospheric as “Downtown Lights,” she never allows herself to disappear into the mix. Helen Folasade Adu never loses her cool, but Lennox ends her best-known solo song, a jaw-dropping cover of obscure British band The Lover Speaks’ “No More I Love You’s,” by bursting into tears. Lennox was a relative veteran by the time she released her solo debut Diva at 37. She’d come to fame in the Eurythmics but had been kicking around since the ‘70s, as part of Scottish band the Tourists. After her personal and professional relationship with guitarist Dave Stewart ended, Lennox wrote most of Diva herself and settled on a new sound: less lean and more immersive than that project’s rock-band hijinks, with Lennox’s voice in the center of an environment rather than at the front of a machine. Diva opens with a wash of pads so lush and pillowy our heads sink right back into it. -
Gamelan Gender Wayang of Bali: Form and Style
..................~~.~.~.. ~------------------ WESLEYAN UNIVERSITY Gamelan Gender Wayang of Bali: Form and Style by Kalafya Brown A thesis submitted to the facuIty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts in Music May, 2000 Middletown, Connecticut My teacher, Kak Luweng, and myself playing gender (above) and just sitting (below), 2 Introduction and Acknowledgements I began studying gamelan music in 1994 while I was an undergraduate at the Massachusetts Institute of Technology. No one tends offhand to associate gamelan with MIT. but there it is. Professor Evan Ziporyn has been directing the gong kebyar ensemble Gamelan Galak Tika at MIT since 1993, and I was an active member from 1994 until 1997. Unfortunately the pressure of my studies at Wesleyan has not allowed me to play with Galak Tika as much as I would like in the past few years. For the three years of my tenure with Galak Tika we were blessed with the artistry of the Balinese husband and wife team of I Nyoman Catra and Desak Made Suarti Laksmi. The magnificent teaching and performance prowess of Evan, Catra and Desak formed the basis of my introduction to gamelan music. In 1997 I came to Wesleyan University to study for the degree of Master of Arts in Music, of which this thesis is a part. Here at Wesleyan I have had the great honor of studying with I. M. Harjito and Sumarsam, two Javanese artists. I sincerely thank them for broadening my awareness of the multifaceted natures of Indonesian music and for sharing with me the great beauty of the central Javanese court gamelan. -
CHAPTER I INTRODUCTION This Chapter Presents Five Subtopics
CHAPTER I INTRODUCTION This chapter presents five subtopics, namely; research background, research questions, research objective, research limitation and research significance. 1.1 Research Background Language is essentially a speech of the mind and feeling of human beings on a regular basis, which uses sound as a tool (Ministry of National Education, 2005: 3). Language is a structure and meaning that is free from its users, as a sign that concludes a goal (HarunRasyid, Mansyur&Suratno 2009: 126). Language is a particular kind of system that is used to transfer the information and it is an encoding and decoding activity in order to get information (Seken, 1992). The number of languages in the world varies between (6,000-7,000) languages. However, the right estimates depend on arbitrary changes between various languages and dialects. Natural language is sign language but each language can be encoded into a second medium using audio, visual, or touch stimuli, for example, in the form of graphics, braille, or whistles. This is because human language is an independent modality. All languages depend on a symbiotic process to connect signals with certain meanings. In Indonesia there are many very beautiful cities and many tribes that have different languages and are very interesting to learn. One of the cities to be studied is Banyuwangi Regency. Banyuwangi Regency is a district of East Java province in Indonesia. This district is located in the easternmost part of Java Island. Banyuwangi is separated by the Bali Strait from Bali. Banyuwangi City is the administrative capital. The name Banyuwangi is the Javanese language for "fragrant water", which is connected with Javanese folklore on the Tanjung. -
MASA LALU MASA KINI BANYUWANGI Identitas Kota Dalam Geliat Hibriditas Dan Komodifikasi Budaya Di Perbatasan Timur Jawa
MASA LALU MASA KINI BANYUWANGI Identitas Kota dalam Geliat Hibriditas dan Komodifikasi Budaya di Perbatasan Timur Jawa WIWIN INDIARTI Fakultas Bahasa dan Seni - Universitas PGRI Banyuwangi [email protected] International Conference Sahid Jaya Hotel, Solo ♦ 11-12 October 2016 MASA LALU MASA KINI BANYUWANGI: Identitas Kota Dalam Geliat Hibriditas Dan Komodifikasi Budaya Di Perbatasan Timur Jawa Wiwin Indiarti Language and Art Faculty, Universitas PGRI Banyuwangi Ikan Tongkol Street No. 22, Banyuwangi 68416 [email protected] Urban history of Indonesia, especially of the towns which in the past had developed into trade routes and royal centers, made them transits, meeting points and melting pots of cross cultures, ethniques, nations and religious beliefs resulting societies with very high complexity. Towns, therefore, represent multicultural society with plural characters. Banyuwangi in the past had been one of multicultural regions inhabited by various ethniques. Using (Osing) ethnique community in Banyuwangi, regarded as the heir of Blambangan Kingdom in the past, becoming important actors in shaping Banyuwangi identity today. Through the long historical process colored by cultural hibridity, Using community does cultural dialectic towards foreign domination and forces represented in the local language and various forms of oral traditions, folk arts and ethnique rites. This article aims at studying Using cultural hibridity process in becoming the dominant discourse of ethno-cultural identity of today Banyuwangi which shaping the town identity and, massively, becoming cultural commodification object. The analysis makes use of cultural identity, hibridity and commodification theories in hegemonic perspective. Using ethno-cultural identity becomes an important part of the local government cultural policies conducted through the controls, identity enforcement, promotion and cultural commodification. -
Strategi Kolaborasi Dalam Seni Pertunjukan Tradisional Di Kabupaten Subang
1 STRATEGI KOLABORASI DALAM SENI PERTUNJUKAN TRADISIONAL DI KABUPATEN SUBANG COLLABORATION STRATEGIES IN TRADITIONAL PERFORMING ARTS IN SUBANG Oleh Irvan Setiawan Balai Pelestarian Nilai Budaya Bandung Jln. Cinambo No. 136 Ujungberung Bandung Email: [email protected] Naskah Diterima: 28 Februari 2013 Naskah Disetujui: 2 April 2013 E Abstrak Kesenian tradisional memegang peranan dalam pencirian dan menjadi kekhasan suatu daerah. Bagi wilayah administratif yang menjadi cikal bakal suatu kesenian daerah tentu saja tidak sulit untuk menyebut istilah kesenian khas dan menjadi milik daerah tersebut. Lain halnya dengan wilayah administratif yang tidak memiliki kesenian daerah sehingga akan berusaha menciptakan sebuah kesenian untuk dijadikan sebagai kesenian khas bagi daerahnya. Beruntunglah bagi Kabupaten Subang yang menjadi cikal bakal beberapa kesenian yang terlahir dan besar di daerahnya. Tidak hanya sampai disitu, Pelestarian dan pengembangan kesenian tradisional tampak serius dilakukan. Hal tersebut terlihat dari papan nama berbagai kesenian (tradisional) di beberapa ruas jalan dalam wilayah Kabupaten Subang. Seiring berjalannya waktu tampak jelas terlihat adanya perubahan dalam pernak pernik atau tahapan pertunjukan pada beberapa seni pertunjukan tradisional. Kondisi tersebut pada akhirnya mengundang keingintahuan mengenai strategi kolaborasi apa yang membuat seni pertunjukan tradisional masih tetap diminati masyarakat Subang. Penelitian ini dilakukan dengan menggunakan metode deskriptif analisis yang didukung dengan data lintas waktu baik dari sumber sekunder maupun dari pernyataan informan mengenai seni pertunjukan tradisional di Kabupaten Subang. Dari hasil penelitian diperoleh bahwa kolaborasi yang dilakukan meliputi kolaborasi lintas waktu dan lintas ruang yang masih dibatasi oleh seperangkat aturan agar kolaborasi tidak melenceng dari identitas ketradisionalannya. Kata kunci: Strategi kolaborasi, pertunjukan tradisional Abstract Traditional arts play a role in the characterization of a region. -
THE POLITICS of TOURISM in ASIA the POLITICS of TOURISM in ASIA Linda K
THE POLITICS OF TOURISM IN ASIA THE POLITICS OF TOURISM IN ASIA Linda K. Richter 2018 Open Access edition funded by the National Endowment for the Humanities / Andrew W. Mellon Foundation Humanities Open Book Program. Licensed under the terms of Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 In- ternational (CC BY-NC-ND 4.0), which permits readers to freely download and share the work in print or electronic format for non-commercial purposes, so long as credit is given to the author. Derivative works and commercial uses require per- mission from the publisher. For details, see https://creativecommons.org/licenses/by-nc-nd/4.0/. The Cre- ative Commons license described above does not apply to any material that is separately copyrighted. Open Access ISBNs: 9780824880163 (PDF) 9780824880170 (EPUB) This version created: 17 May, 2019 Please visit www.hawaiiopen.org for more Open Access works from University of Hawai‘i Press. © 1989 University of Hawaii Press All rights reserved Contents Acknowledgments vi Abbreviations Used in Text viii 1. The Politics of Tourism: An Overview 1 2. About Face: The Political Evolution of Chinese Tourism Policy 25 3. The Philippines: The Politicization of Tourism 57 4. Thailand: Where Tourism and Politics Make Strange Bedfellows 92 5. Indian Tourism: Pluralist Policies in a Federal System 115 6. Creating Tourist “Meccas” in Praetorian States: Case Studies of Pakistan and Bangladesh 153 Pakistan 153 Bangladesh 171 7. Sri Lanka and the Maldives: Islands in Transition 178 Sri Lanka 178 The Maldives 186 8. Nepal and Bhutan: Two Approaches to Shangri-La 190 Nepal 190 Bhutan 199 9.