DOCSLIB.ORG

Banyumas People's Characteristics Symbolically Reflected on Calung

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Banyumas People's Characteristics Symbolically Reflected on Calung Harmonia: Journal of Arts Research and Education 18 (1) (2018), 82-96 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v18i1.11570 Banyumas People’s Characteristics Symbolically Reflected on Calung Banyumasan Performance Suharto Department of Drama, Dance and Music, Faculty of Language and Arts, Universitas Negeri Semarang, Indonesia Received: Oktober 19, 2017. Revised: April 23, 2018. Accepted: June 10, 2018 Abstract This research aims at examining how Banyumas people’s characteristics are symbolically ex- pressed in Calung Banyumasan performance. This qualitative research employs a hermeneutic approach to examine any symbolic meanings in calung performance. The data are collected by literary study, document study, observation and interview, which are then analyzed using con- tent analysis and interactive analysis of Miles and Huberman. The research results show that some song lyrics identify Banyumas people’s images and characteristics such as equality and honesty (cablaka) just like the ngoko level language they use. The performance consists of opening, Lenggeran, Badhudan, and Baladewan acts in the process of illustrating the character of Banyumas people who love jokes and crowd. Some aspects arising in performance reflect Banyumas people as an egalitarian, straightforward, like-to-gather, and syncretic society. Keywords: Calung Banyumasan; Characteristics Symbolically; Banyumas People How to Cite: Suharto. (2018). Banyumas People’s Characteristics Symbolically Reflected on Calung Banyumasan Performance. Harmonia: Journal of Arts Research And Education, 18(1), 82-96. doi:http://dx.doi.org/10.15294/harmonia. v18i1.15524 INTRODUCTION round needs to be thoroughly studied. They only study senggakan “in plain view” When we pay attention, many song and technically from musical perspective lyrics and dance moves in lengger, dagelan, by mentioning it as an identity, but they and senggakan are very special and reflect have not thoroughly discussed the mea- Banyumas people. The expressions used in ning behind senggakan. Therefore, the mea- senggakan, for example, tend not to have le- ning of “noisy” impression proposed by xical meaning, but do exist in every calung Sutton can be examined. performance (Murwaningrum, 2012a). The music of calung used to accom- Moreover, Sutton, (1991a) calls this activi- pany certain art performance has certain ty “noisy” or “busy”. Repeated appearan- work which is well processed by its sup- ces of senggakan throughout performance porting artists, thus Banyumasan styled are not necessarily presented without any karawitan appears with style and work meaning, primarily in the context of per- similar to karawitan which uses gamelan formance and culture as the background. ageng. This work model, which is consi- Its musical aspect has been discussed by dered typical, is also supposed to appear both researchers, but the cultural backg- in adjustment to Banyumas people’s sen- Corresponding author: B2 Building, 2nd Floor, Sekaran Gunungpati, Semarang 50229, Central Java, Indonesia E-mail: [email protected] 82 Suharto, Banyumas People’s Characteristics Symbolically Reflected ... 83 se. This artistic sense may appear based Priyadi’s dissertation (2010) entit- on the character of its supporting society, led “Dinamika Sosial Budaya Banyumas da- which is also reflected in a play style like lam Babad Banyumas Versi Wirjaatmadjana” that in calung style, which is not like that in shows that the value system of Banyumas gamelan ageng play. culture is based on cablaka which produces That songs with lyrics in thick Ba- paradoxical/contradictive values as ref- nyumas dialect are added into calung play lected in its figures’ character. The upheld shows its distinctiveness. Specific nuance values tend to be paradoxical, in which is produced by how quick instruments are thesis is faced with antithesis, which then struck, complementary plays and sengga- produces a synthesis. Meanwhile, the va- kans made by nayagas and sindhens. These lue orientation of Banyumas culture is at plays create very ramé (boisterous) im- traditional and modern positions, which pression. However, the word ramé in some may be observed from Banyumas people’s studies is considered something positive, view on the meaning of life, work, percep- not something negative, by certain com- tion of time, and relation between human munities, primarily in the context of art and human and nature. performance (Mulyana, Haryono, Sima- Previous researches conducted tupang, & Mada, 2012). According to the by Priyadi, (2003; 2007) show that Ba- research conducted by Mulyana, the ramé nyumas people have a specific character dimension which appears in art world called cablaka. Cablaka is the main model exists in many regions with a meaning far of Banyumas people’s character. Blakasuta, from negative element. This means that thongmelong, or cablaka has the same mea- the organizer and the players want their ning, which is to talk as it is or frankly. performance to be ramé. What does ramé in Banyumas people with Banyumasan dia- Calung Banyumasan art performance with lect has established an egalitarian culture, different cultural background mean? which is to acknowledge equality among The research conducted by Priyadi, its people. The researches conducted by (2003) proposes that Banyumas people’s Priyadi (2003, 2007, 2010), from Banyumas character may be examined from their people’s character to people’s view on the daily behavioral elements in social inter- relation with the nature, have not specifi- action, figures’ character, taboos, and pro- cally studied how art and culture as a form verbs. These elements may exist in calung of cultural expression take a role in the performance, including song lyrics, per- dynamics of people. Do art and culture, formance presentation, and the content of including Calung Banyumasan, also reflect performance itself. Since art is the expres- the dynamics of people as observed from sion of people’s culture, then art content, the form of performance and performance including calung, may reflect the character elements? of people who produce such culture. It is Banyumas people’s character is ref- very interesting to study their relationship. lected in the existing value system in their A cultural analysis is based on an socio-cultural life. Calung is born and de- idea that daily life stretches out in a mea- veloped from a dynamic people’s social ningful arrangement (Mulder, 1996). This life, which in its birth is a civilization and concept explains that esthetic activity part of their cultural system. Songs in ca- through calung performed by Banyumas lung have lyrics in Banyumas typical lan- people is something inevitable which has guage, which reflect Banyumas people’s important meaning for their lives. The ine- character (Suharto, 2016). According to the vitability and meaning-making takes place rhythm of songs, its gendhing playing style in the world of shared knowledge, which which refers to gamelan ageng is the symbol is Banyumas culture, which may be analy- of low-class people’s culture which repre- zed as a system of perception, classificati- sents low-class culture, in which they want on and other interpretation they may have. to reflect on how thepriyayi play gamelan as 84 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 82-96 a representation of a bigger culture, which maintain culture hereditarily acquired is Javanese culture. from their ancestor. Song lyrics and how they are sung in Because of its local nature, Banyumas Banyumasan music like Calung Banyuma- culture becomes an integral part of a more san, for example, cannot be separated from general culture adopted by the Javanese. those characteristics. The expressions in However, its remote geographical locati- use –some community groups say it rude– on from the center of kraton‘s power and is the reflection of people’s daily life. Ho- the inherent view of life make Banyumas wever, those expressions are considered people’s various cultural aspects different. rude only by ethnocentric people, who Banyumas people have been estab- view art from the different cultural cor- lished with characters of having popular ner like kraton culture, which is inciden- spirit and acceptance of given condition tally created from a new culture to restrict because of helplessness. These behaviors themselves (kraton) from low-class culture. are then called sense of inferiority from ot- Culture belongs to people, which her economically, politically or culturally is collectively used as guideline or terms stronger or superior strata. of reference for relevant people. People’s Banyumas culture is also formed behavior is not free from culture, which from a combination of the elements of is essentially the complex of knowledge, old Javanese culture and local public life values, ideas, and faiths or beliefs which pattern. In its journey, Banyumas culture controls them (Bachtiar, 1985). The relevant is influenced by New Javanese culture as guideline may become model selectively bigger culture, Sundanese culture, Islamic used by supporting people to communi- culture, and Western culture. It is pre- cate, to preserve and to connect knowled- valent that a bigger culture influences a ge, to behave and to act, not only to fulfill smaller culture. Moreover, the elements of life necessities, but also to solve constantly Old Javanese culture (Ancient and Middle evolving life challenges (Geertz, 1993). Javanese) is influenced by Indian cultu- Meanwhile, Geerts also defines “Cul- re (Hinduism-Buddhism) which has long ture is a system of arranged meaning and time ago been disseminated by a priest na- symbol, in the sense that individuals de- med Aji Saka (Yusmanto, 2006). fine their world, express their feeling and Based on the background above, the provide valuation; a meaning pattern his- main problem is how the calung Banyuma- torically transmitted, realized in symbolic san performance presentation may descri- forms through media where people com- be Banyumas people according to musical municate, monumentalize and develop and non-musical meaning in its perfor- their knowledge and attitudes toward life; mance.
Load more

Recommended publications
  • Innovative Approaches to Melodic Elaboration in Contemporary Tabuh Kreasibaru
    INNOVATIVE APPROACHES TO MELODIC ELABORATION IN CONTEMPORARY TABUH KREASIBARU by PETER MICHAEL STEELE B.A., Pitzer College, 2003 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA August 2007 © Peter Michael Steele, 2007 ABSTRACT The following thesis has two goals. The first is to present a comparison of recent theories of Balinese music, specifically with regard to techniques of melodic elaboration. By comparing the work of Wayan Rai, Made Bandem, Wayne Vitale, and Michael Tenzer, I will investigate how various scholars choose to conceptualize melodic elaboration in modern genres of Balinese gamelan. The second goal is to illustrate the varying degrees to which contemporary composers in the form known as Tabuh Kreasi are expanding this musical vocabulary. In particular I will examine their innovative approaches to melodic elaboration. Analysis of several examples will illustrate how some composers utilize and distort standard compositional techniques in an effort to challenge listeners' expectations while still adhering to indigenous concepts of balance and flow. The discussion is preceded by a critical reevaluation of the function and application of the western musicological terms polyphony and heterophony. ii TABLE OF CONTENTS Abstract ii Table of Contents : iii List of Tables .... '. iv List of Figures ' v Acknowledgements vi CHAPTER 1 Introduction and Methodology • • • • • :•-1 Background : 1 Analysis: Some Recent Thoughts 4 CHAPTER 2 Many or just Different?: A Lesson in Categorical Cacophony 11 Polyphony Now and Then 12 Heterophony... what is it, exactly? 17 CHAPTER 3 Historical and Theoretical Contexts 20 Introduction 20 Melodic Elaboration in History, Theory and Process ..' 22 Abstraction and Elaboration 32 Elaboration Types 36 Constructing Elaborations 44 Issues of "Feeling".
    [Show full text]
  • I the DIFFERENCES of ENGLISH STRESS PATTERNS BETWEEN
    THE DIFFERENCES OF ENGLISH STRESS PATTERNS BETWEEN JAVANESE AND SUNDANESE BREBES DIALECT SPEAKERS OF INDONESIAN ENGLISH CLUB (IEC) IN SMA N 2 BREBES A THESIS Submitted in Partial Fulfillment of the Requirement for the Degree of Bachelor of Education in English Education by: HALIMATUSSA’DIAH NIM: 1503046054 FAKULTAS ILMU TARBIYAH DAN KEGURUAN UNIVERSITAS ISLAM NEGERI WALISONGO SEMARANG 2019 i ii THESIS STATEMENT I am, the student with the following identity Name : Halimatussa‟diah Student Number : 1503046054 Department : English Language Education certify that this thesis entitled: ENGLISH STRESS PATTERNS DIFFERENCES BETWEEN JAVANESE AND SUNDANESE BREBES DIALECT SPEAKERS OF INDONESIAN ENGLISH CLUB (IEC) IN SMA N 2 BREBES is definitely my own work. I am completely responsible for the content of this thesis. Other writers‟ opinion or findings included in the thesis are quoted or cited in accordance with ethical standards. Semarang, 10 July 2019 The Researcher, HALIMATUSSA’DIAH NIM: 1503046054 iii ADVISOR NOTE 1 Semarang, July 10th 2019 Dear Sir, Dean of Education and Teacher Training Faculty Walisongo State Islamic University Assalamu‟alaikum Wr. Wb After correcting it to whatever extent necessary, we state that the final project belongs to student as follow: Name : Halimatussa‟diah Student Number : 1503046054 Department : English Language Education Title : English Stress Patterns Differences between Javanese and Sundanese Brebes Dialect Speakers of Indonesian English Club (IEC) in Sma N 2 Brebes State that this thesis is ready to be submitted to Education and Teacher Training Faculty of Walisongo State Islamic University to be examined at Munaqosyah Session. Wassalamu‟alaikum Wr. Wb iv ADVISOR NOTE II Semarang, July 10th 2019 Dear Sir, Dean of Education and Teacher Training Faculty Walisongo State Islamic University Assalamu‟alaikum Wr.
    [Show full text]
  • Banyumasan Songs As Banyumas People's Character Reflection
    HARMONIA : Journal of Arts Research and Education 16 (1) (2016), 49-56 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v16i1.6460 Banyumasan Songs As Banyumas People’s Character Reflection Suharto Music Education Department, Semarang State University, Indonesia Sekaran Campus Gunungpati, Semarang 50229, Central Java E-mail: [email protected] Received: April 21, 2016. Revised: May 18, 2016. Accepted: June 24, 2016 Abstract This study aims to identify a number of legendary Banyumasan songs. The fact that a large num- ber of the songs exist and people sing the songs all the time shows that the songs have their own uniqueness. This study takes place in Banyumas regency. By doing performance study and com- position, this study identifies the form and the structure of Banyumasan songs, and the moral value of Banyumasan music, especially the songs in Banyumasan music. The result of the study shows that the songs in the art performances in Banyumas commonly use classic immutable songs. The lyrics in the classic Banyumasan songs use Ngoko Javanese in Banyumasan dialect. The rhyme of the lyrics is usually in the form of wangsalan, parikan, and Essen-Essen. The rhyme contains funny and entertaining riddles. The lyrics of Banyumasan songs reflect Banyumas peo- ple’s character and the dream/utopia of the people’s ideology. The character is shown in the use of ngoko Javanese in Banyumas dialect which shows that the society is blakasuta or egalitarian who considers all people in the world has the same level and must be honest.
    [Show full text]
  • Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access Wim Van Zanten - 9789004261778 Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access
    PART FIVE THE ETHNIC MODERN Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access <UN> <UN> CHAPTER ELEVEN MUSICAL ASPECTS OF POPULAR MUSIC AND POP SUNDA IN WEST JAVA Wim van Zanten Introduction: Sundanese Music and the Technology of Enchantment Research on popular music, particularly in the field of cultural studies, has tended to focus on political and sociological aspects, to the exclusion of musical structures and actual sounds. Whereas in most societies musi- cal genres are in the first place classified by social criteria, it is undeniable that also the technicalities of the music play a role: audiences hear the differences between, for instance, jaipongan and degung kawih perfor- mances. This is because these musics are produced in different ways, using different instruments, tone material, musical structure, etc. Alfred Gell made an important contribution to the anthropological study of art by pointing out that the production of art is a technological process. He mentions that there are ‘beautiful’ things, like beautiful women, beautiful horses and a beautiful sunset. However, art objects are made ‘beautiful’ by human beings and this requires technology. He criti- cizes sociologists like Pierre Bourdieu, who do not really look at an art object as a concrete product of human ingenuity, but only elaborately look at the represented symbolic meanings (Gell 1999:162). In contrast, Gell proposes that anthropologists should look at art as a ‘component of technology.’ We call something an object of art if it is the outcome of a technological process, the kind of processes in which artists are skilled.
    [Show full text]
  • L'est INSULINDIEN
    Etudes interdisciplinaires sur le monde insulindien Sous le patronage de l' Ecole des Hautes Etudes en Sciences Sociales ARCHIPEL 90 L'EsT INSULINDIEN 2015 Revu e SOU1CT1 l1C par l' Institut des Science s Humaines et Sociales du CNRS l'Instiuu francais dT ndones ie c l l' Institu t des Langues et Civ ilisations Orientales L 'EST INSULINDIEN Sous la direction de Dana Rappoport et Dominique Guillaud Sommaire INTRODUCTION 3 Dana Rappoport et Dominique Guillaud Reconsiderer r Est insulindien Du PEUPLEMENT A L'ECRITURE DE L'HISTOIRE 15 Susan O'Connor Rethinking the Neolithic in Island Southeast Asia, with Particular Reference to the Archaeology ofTimor-Leste and Sulawesi 49 Jean-Christophe Galipaud Reseaux neolithiques, nomades marins et marchands dans les petites lies de la Sonde 75 Hans Hagerdal Eastern Indonesia and the Writing ofHistory VERS UNE DEFINITION DE L'INSULINDE ORIENTALE 99 Antoinette Schapper Wallacea, a Linguistic Area 153 Philip Yampolsky Is Eastern Insulindia a Distinct Musical Area? AIRE DE TRANSITION OU CREUSET ? SOCIETES, TECHNIQUES, TERRITOIRES ET RITUELS 189 lames Fox Eastern Indonesia in Austronesian Perspective: The Evidence of Relational Terminologies Archipel90, Paris, 2015, p. 1-2 217 Cecile Barraud Parente, alliance. maisons dans l' Est insulindien : rcode neerlandaise et sa posterite critique 245 Dominique Guillaud Le vivrier et le sacre. Systemes agricoles, rituels et territoires dans TEst indonesien et aTimor-Leste 275 Dana Rappoport Musique et rituel dans I'Est insulindien (Indonesie orientate et Timor-Leste) : premierjalons 307 Ruth Barnes Textiles East ofthe Wallace Line. A Comparative Approach to Pattern and Technique RI;:SLJM~;S - ABSTRACTS (<:) Copyright Association Archipe12015 En couverture : Parure de danseuse aSolor Quest.
    [Show full text]
  • Land- ​ En Volkenkunde
    Music of the Baduy People of Western Java Verhandelingen van het Koninklijk Instituut voor Taal- , Land- en Volkenkunde Edited by Rosemarijn Hoefte (kitlv, Leiden) Henk Schulte Nordholt (kitlv, Leiden) Editorial Board Michael Laffan (Princeton University) Adrian Vickers (The University of Sydney) Anna Tsing (University of California Santa Cruz) volume 313 The titles published in this series are listed at brill.com/ vki Music of the Baduy People of Western Java Singing is a Medicine By Wim van Zanten LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY- NC- ND 4.0 license, which permits any non- commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Cover illustration: Front: angklung players in Kadujangkung, Kanékés village, 15 October 1992. Back: players of gongs and xylophone in keromong ensemble at circumcision festivities in Cicakal Leuwi Buleud, Kanékés, 5 July 2016. Translations from Indonesian, Sundanese, Dutch, French and German were made by the author, unless stated otherwise. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2020045251 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”.
    [Show full text]
  • 032523592509 0Osidingaustron
    DIASPORA OF AUSTRONESIAN AND NONAUSTRONESIAN LANGUAGES IN INDONESIA PROCEEDINGS THE 8TH INTERNATIONAL SEMINAR of AUSTRONESIAN AND NONAUSTRONESIAN LANGUAGES AND LITERATURE 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, recording, or otherwise, without written permission of the copyright owner DIASPORA OF AUSTRONESIAN AND NONAUSTRONESIAN LANGUAGES IN INDONESIA PROCEEDINGS THE 8TH INTERNATIONAL SEMINAR OF AUSTRONESIAN AND NONAUSTRONESIAN LANGUAGES AND LITERATURE Editors Prof. Dr. I NengahSudipa, M.A. Prof. Dr. Ida Bagus Putra Yadnya, M.A. Prof. Dr. Drs. I Wayan Simpen, M.Hum. Dr. Made Sri Satyawati, S.S., M.Hum. Ketut Widya Purnamasari, S.S., M.Hum. Puji Retno Hardiningtyas, S.S., M.Hum. Dra. Made Susini, M.Hum. I Made Sujaya, S.S., M.Hum. I Gusti Ayu Agung Dian Susanthi, S.S., M.Hum. Ni Luh Gede Liswahyuningsih, S.S., M.Hum. Sebastianus Menggo, S.Pd., M.Pd. Muna Muhammad, M.A. Kadek Ayu Ekasani, S.S., M.Hum. I Gusti Agung Ayu Made Dianti Putri, S.S. Udayana University Denpasar, 15--16 September 2017 “Diaspora of Austronesian and Nonaustronesian Languages in Indonesia” “Diaspora Bahasa-Bahasa Austronesia dan Nonaustronesia di Indonesia” PROCEEDINGS The 8th International Seminar on Austronesian and Nonaustronesian Languages and Literature Copyright © 2017 All rights reserved Editors Prof. Dr. I Nengah Sudipa, M.A. Prof. Dr. Ida Bagus Putra Yadnya, M.A. Prof. Dr. Drs. I Wayan Simpen, M.Hum. Dr. Made Sri Satyawati, S.S., M.Hum. Ketut Widya Purnamasari, S.S., M.Hum. Puji Retno Hardiningtyas, S.S., M.Hum.
    [Show full text]
  • Bali 1928: Gamelan Gong Kebyar Music from Belaluan, Pangkung
    Bali 1928: Gamelan Gong Kebyar Music from Belaluan, Pangkung, Busungbiu 2 Introduction 6 A Sketch of the Time Period of these Recordings 11 Emergence of Kebyar 29 The Balinese Gamelan Recordings from Bali, 1928: a track–by–track discussion: 33 Gamelan Gong Kebyar of Belaluan, Denpasar 46 Gamelan Gong Kebyar of Pangkung, Tabanan 50 Gamelan Gong Kebyar of Busungbiu, Northwest Bali 57 List of Silent Archival Films 58 Acknowledgments 61 References Cited and Further Readings * Glossary on Separate PDF File1 1 The spellings in this article follow modernized Balinese orthography of dictionaries such as Kamus Bali Indonesia, by I Nengah Medera et.al. (1990). Although this system was proposed as early as 1972 it has been applied irregularly in writings on the arts, but we have chosen to adhere to it so as to reflect a closer relationship to actual Balinese aksara ‘letters of the alphabet, language’. For instance, many words with prefixes frequently spelled pe or peng are spelled here with the prefixes pa and pang. 1 Introduction These historic recordings were made in 1928 as part of a collection of the first and only commercially–released recordings of music made in Bali prior to World War II. This diverse sampling of new and older Balinese styles appeared on 78 rpm discs in 1929 with subsequent releases for international distribution. The records were sold worldwide (or not sold, as it happened) and quickly went out of print. It was a crucial time in the island’s musical history as Bali was in the midst of an artistic revolution with kebyar as the new dominant style of music.
    [Show full text]
  • The Angklung of Southeast Asia
    Can You Shake It? The Angklung of Southeast Asia By Professor Kuo-Huang Han School of Music Northern Illinois University Angklung is a popular bamboo musical instrument in Southeast Asia. It is the easiest instrument to play: you just shake it. It is now widely used in music education. In this article, you will be informed about the background, usage, and playing methods of this instrument. A. Bamboo in Asia Bamboo is a type of plant of the grass family. There are about 75 genera and approximately 1000 species in the world. Asia, especially Southeast Asia and the Far East, has the major concentration of bamboo production. In fact, the word "bamboo" came from a Malay term, "bambu", which originally described the crackling sound of burning bamboo: "bam"! "bu"! Bamboo seems to grow everywhere in these regions. It is one of the most important materials in many Asian peoples’ daily lives. It is also a symbol of good luck and an essential part in their spiritual lives. 1. Material Culture Bamboo is strong but light and elastic. Throughout the ages, it has been used for a great variety of purposes. It is used as building material for houses, fences, bridges, irrigation pipes, bulletin boards, tables, chairs, and beds. It is also used as a carrying pole, a walking stick, chopsticks, water containers, cups, pencil holders, bow and arrows, etc. Split bamboo is used for weaving nets, hats, baskets, and umbrellas. Finally, bamboo shoots and bamboo seeds can be eaten. Bamboo pulp fibers were used to make paper. In ancient times, bamboo slips were used for carving characters.
    [Show full text]
  • Balinese Gamelan ​Gong Kebyar
    Balinese gamelan gong kebyar ​ A player’s handbook For a Victoria Continuing Education course (2014) supported by the New Zealand School of Music and Gareth Farr History Gong kebyar emerged during a musical revolution in the early 20th century. This was a time of ​ great social change in Bali ­ the local rulers were losing their power and wealth to the invading Dutch, and village­based music clubs replaced the royal courts as centres of musical activity. Old court gamelan ensembles were melted down and reforged into gong kebyar sets. The refined court music was also reforged into a dynamic and exciting new musical style, and the virtuosic gong ​ kebyar music quickly became popular all over Bali. ​ Why is it called gong kebyar? ​ ​ The word kebyar refers to the irregularly timed unison passages that are sometimes played at the ​ ​ beginning of a composition. You can hear an example in the dance piece called Margapati. Kebyar ​ ​ ​ passages are unique to gong kebyar music, and always start with an explosive, onomatopoeically ​ ​ named byar chord (hence the name keBYAR). ​ ​ ​ ​ Tuning The pitch collection of the gong kebyar ensemble is a 5­note mode called pelog selisir, a subset of ​ ​ ​ ​ the 7­note Indonesian scale called pelog. The fourth and seventh pelog notes are left out in pelog ​ ​ ​ ​ ​ selisir, which is why gong kebyar music is notated with the numbers 1, 2, 3, 5 and 6. ​ Ombak, meaning ‘waves’, is an important feature of gong kebyar tuning. All of the keyed ​ ​ ​ instruments, with the exception of the ugal, are tuned in pairs with one being slightly lower ​ ​ (pengumbang) and one slightly higher (pengisep).
    [Show full text]
  • Skripsi Jurusan Pendidikan Seni Drama, Tari Dan Musik Fakultas Bahasa Dan Seni Universitas Negeri Semarang 2019
    FUNGSI PENDIDIKAN DALAM KEGIATAN EKSTRAKURIKULER CALUNG BANYUMASAN BAGI SISWA DI SMP NEGERI 1 REMBANG PURBALINGGA SKRIPSI disajikan sebagai salah satu syarat untuk memperoleh gelar Sarjana Pendidikan Program Studi Pendidikan Seni Musik Oleh Kukuh Prasetya Santoso 2501414045 JURUSAN PENDIDIKAN SENI DRAMA, TARI DAN MUSIK FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI SEMARANG 2019 ii iii iv MOTO DAN PERSEMBAHAN Motto: 1. Jawaban ada di ujung kesabaran (Nabi Khidir AS) 2. “Ya Tuhan kami, janganlah Engkau condongkan hati kami kepada kesesatan setelah engkau berikan petunjuk kepada kami, dan karuniakanlah kepada kami rahmat dari sisi-Mu, Sesungguhnya Engkau Maha Pemberi” (QS. Ali „Imran: 8) Persembahan: Skripsi ini saya persembahkan kepada: 1. Almamater “Universitas Negeri Semarang”. 2. Untuk Bapak Endar Sugiarto dan Ibuku Siti Maenah tercinta yang telah memberikan segalanya demi proses hidup dan pendidikanku. 3. Saudara kandungku Mba Yanti, Mba Leny, Mas Aji, Mas Tony, Mas Nunung dan semua saudaraku yang telah memberikan doa dan dukungan luar bisa. 4. Rahayuning Sari, Gaslow dan semua teman yang telah memberikan doa dan dukungan. v PRAKATA Puji syukur kehadirat Allah SWT yang telah melimpahkan rahmat, karunia, dan hidayah-Nya sehingga penulis dapat menyelesaikan penyusunan skripsi yang berjudul “Fungsi Pendidikan Dalam Kegiatan Ekstrakurikuler Calung Banyumasan Bagi Siswa di SMP Negeri 1 Rembang Purbalingga”. Skripsi ini merupakan syarat akademis dalam menyelesaikan pendidikan S1 Jurusan Pendidikan Seni Drama Tari dan Musik, Fakultas Bahasa dan Seni, Universitas Negeri Semarang. Dalam penulisan skripsi ini penulis mengucapkan banyak terimakasih kepada semua pihak yang telah memberikan dukungan dan bantuan sehingga skripsi dapat terselesaikan dengan lancar. Dalam kesempatan kali ini secara khusus penulis menyampaikan terima kasih, kepada: 1.
    [Show full text]
  • Banyumas Folklore As Literature Material: from Social Mores to Educational Purposes
    International Journal of Innovation, Creativity and Change. www.ijicc.net Volume 12, Issue 9, 2020 Banyumas Folklore as Literature Material: From Social Mores to Educational Purposes Nas Haryati Setyaningsiha, Meina Febrianib, Eko Sugiartoc, a,bLecturer of Indonesian Language and Literature Major Universitas Negeri Semarang, Indonesia, cLecturer of Arts Education Major Universitas Negeri Semarang, Indonesia, Email: [email protected], [email protected], [email protected] The notion of good literary works has always been linked to the term dulce et utile, meaning that literature must be beautiful and beneficial. However, in the context of education, folklore as a literary product commonly used as children's literature is more oriented to utile et dulce. Banyumasan folklore has strategic potential as a source of literary learning in schools. Furthermore, how do we identify Banyumasan folklore that contains character education so that it can be used as a source of learning? The data of this study is one of Banyumasan folklore, Tragedi Sabtu Pahing. The research methodology used was Research and Development (R and D). Practically, the results of this study are beneficial for students and teachers in the form of learning sources for the appreciation of Javanese culture-based tales, especially the sub-culture area of "Banyumasan". Key words: Folklore, Banyumas, Literature Material, Character Education. Introduction Folklore is an oral tradition that has been passed on by word of mouth before the writing system was developed (Hutomo 1991). The tradition is a means of transferring cultural wisdom values, whose contents are very profound and show reflections of the knowledge, values, and beliefs held by the community (Sugiarto 2017).
    [Show full text]