Sundanese and Javanese: Sundanese Noblemen Point of View Towards Budi Utomo
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A Shift in the Meaning of Deer Head Sculpture in Javanese House Interior
6th Bandung Creative Movement International Conference in Creative Industries 2019 (6th BCM 2019) A Shift in The Meaning of Deer Head Sculpture in Javanese House Interior Rahmanu Widayat1 1Department of Interior Design, Fakulty of Art and Design, Universitas Sebelas Maret, Surakarta, Indonesia [email protected] Abstract Kejawen community of Java, syncretism from Java, Hinduism, Buddhism, and Islam possess many kinds decoration in their houses (Javanese houses). One of them is deer head sculpture. Even though it is an imported culture, the deer head sculpture can be easily accepted by the Javanese people because references regarding deer story have been found since the old time. Even though related to deer are quite common, there has not been any research on the shift in the meaning of deer in the context of Javanese culture. The method used in this study is qualitative re- search with the paradigm interpretation. The results of the analysis found that the deer head sculpture, which was originally a preserved and displayed ravin at home as a symbol of prestige, has a connection with Hindu culture, Majapahit culture, Mataram dynasty royal regalia, and Javanese (commonner) Javanese culture. In the context of to- day's modern culture, deer head sculptures are displayed in today's interiors to present a traditional atmosphere and for the sake of nostalgia Keywords meaning, deer head sculture, Javanese house atmosphere of the past. This shows a shift in meaning related 1. Introduction to the deer head sculpture art works. In ancient time, male deer head sculptures were very popular and adorned interior design in many houses of dis- 2. -
Ka И @И Ka M Л @Л Ga Н @Н Ga M М @М Nga О @О Ca П
ISO/IEC JTC1/SC2/WG2 N3319R L2/07-295R 2007-09-11 Universal Multiple-Octet Coded Character Set International Organization for Standardization Organisation Internationale de Normalisation Международная организация по стандартизации Doc Type: Working Group Document Title: Proposal for encoding the Javanese script in the UCS Source: Michael Everson, SEI (Universal Scripts Project) Status: Individual Contribution Action: For consideration by JTC1/SC2/WG2 and UTC Replaces: N3292 Date: 2007-09-11 1. Introduction. The Javanese script, or aksara Jawa, is used for writing the Javanese language, the native language of one of the peoples of Java, known locally as basa Jawa. It is a descendent of the ancient Brahmi script of India, and so has many similarities with modern scripts of South Asia and Southeast Asia which are also members of that family. The Javanese script is also used for writing Sanskrit, Jawa Kuna (a kind of Sanskritized Javanese), and Kawi, as well as the Sundanese language, also spoken on the island of Java, and the Sasak language, spoken on the island of Lombok. Javanese script was in current use in Java until about 1945; in 1928 Bahasa Indonesia was made the national language of Indonesia and its influence eclipsed that of other languages and their scripts. Traditional Javanese texts are written on palm leaves; books of these bound together are called lontar, a word which derives from ron ‘leaf’ and tal ‘palm’. 2.1. Consonant letters. Consonants have an inherent -a vowel sound. Consonants combine with following consonants in the usual Brahmic fashion: the inherent vowel is “killed” by the PANGKON, and the follow- ing consonant is subjoined or postfixed, often with a change in shape: §£ ndha = § NA + @¿ PANGKON + £ DA-MAHAPRANA; üù n. -
Proposal for a Gurmukhi Script Root Zone Label Generation Ruleset (LGR)
Proposal for a Gurmukhi Script Root Zone Label Generation Ruleset (LGR) LGR Version: 3.0 Date: 2019-04-22 Document version: 2.7 Authors: Neo-Brahmi Generation Panel [NBGP] 1. General Information/ Overview/ Abstract This document lays down the Label Generation Ruleset for Gurmukhi script. Three main components of the Gurmukhi Script LGR i.e. Code point repertoire, Variants and Whole Label Evaluation Rules have been described in detail here. All these components have been incorporated in a machine-readable format in the accompanying XML file named "proposal-gurmukhi-lgr-22apr19-en.xml". In addition, a document named “gurmukhi-test-labels-22apr19-en.txt” has been provided. It provides a list of labels which can produce variants as laid down in Section 6 of this document and it also provides valid and invalid labels as per the Whole Label Evaluation laid down in Section 7. 2. Script for which the LGR is proposed ISO 15924 Code: Guru ISO 15924 Key N°: 310 ISO 15924 English Name: Gurmukhi Latin transliteration of native script name: gurmukhī Native name of the script: ਗੁਰਮੁਖੀ Maximal Starting Repertoire [MSR] version: 4 1 3. Background on Script and Principal Languages Using It 3.1. The Evolution of the Script Like most of the North Indian writing systems, the Gurmukhi script is a descendant of the Brahmi script. The Proto-Gurmukhi letters evolved through the Gupta script from 4th to 8th century, followed by the Sharda script from 8th century onwards and finally adapted their archaic form in the Devasesha stage of the later Sharda script, dated between the 10th and 14th centuries. -
Sundanese Language Survival Among Indonesian Diaspora Families in Melbourne, Australia
Ahmad Bukhori Muslim, Sundanese Language Survival Among Indonesian Diaspora Families SUNDANESE LANGUAGE SURVIVAL AMONG INDONESIAN DIASPORA FAMILIES IN MELBOURNE, AUSTRALIA Ahmad Bukhori Muslim Indonesia University of Education [email protected] Abstract Most migrant families living anywhere in the world, are concerned with maintaining their ethnic language, in order to sustain a sense of belonging to the country of their origin and enable extended family harmony. This study explores the survival of Sundanese language among eight Indonesian families of West Java origin (Sundanese speakers) living permanently in Melbourne, Australia. Most of these families migrated to Australia in the 1950s as Colombo Plan scholars and unskilled labourers. Semi-structured interviews and home observations showed that, despite believing in the importance of Sundanese language in their diasporic life, speaking Sundanese is the only practice that most of the participating parents, can do to maintain their language, alongside Bahasa Indonesia and English, to show they belong to the Sundanese culture. However, Sundanese language levels of politeness limit its use among their Australia-born second generation, making this ethnic language unlikely to survive. The young people only understand and copy a few routine words of greetings and short instructions. The study also suggests that the parents needed to be accommodative in order to maintain the Sundanese language by combining it with English and Bahasa Indonesia. Key words: Sundanese language maintenance, Indonesian diaspora, parental advice and values INTRODUCTION Like other local ethnic groups of Historically most Sundanese people Indonesia, a lot of Sundanese people migrate have lived in the Western part of Java Island, to various overseas countries, including long before the independence of Indonesia. -
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Forbidden Wealth (Pesugihan) by Tjitro Waloejo in Surakarta
The Aesthetics and Meaning of Traditional Paintings: Forbidden Wealth (Pesugihan) by Tjitro Waloejo in Surakarta Rahmanu Widayat1, Mohammad Khizal Mohamed Saat2*, Sigit Purnomo Adi1 and Sayid Mataram1 1Faculty of Arts and Design, Sebelas Maret University, Surakarta, INDONESIA 2School of the Arts, Universiti Sains Malaysia, Pulau Pinang, MALAYSIA *Corresponding author: [email protected] Published online: 31 December 2020 To cite this article: Rahmanu Widayat, Mohammad Khizal Mohamed Saat, Sigit Purnomo Adi and Sayid Mataram. 2020. The aesthetics and meaning of traditional paintings: Forbidden wealth (pesugihan) by Tjitro Waloejo in Surakarta. Wacana Seni Journal of Arts Discourse 19: 29–45. https://doi.org/10.21315/ws2020.19.3 To link to this article: https://doi.org/10.21315/ws2020.19.3 ABSTRACT At present, Javanese culture is increasingly less powerful in facing the changing times, where art that was once familiar in people’s daily lives has slowly begun to disappear. But Surakarta was fortunate to have Tjitro Waloejo, a traditional painter who died in 1990. He perpetuated the event of collecting illicit wealth (pesugihan) in the form of paintings as a life lesson portraying how some Javanese gathered their wealth under an agreement with Satan. The problem is what the paintings of Tjitro Waloejo are like, and what they really mean. The approach in this study is the concept of “wangun” (beautiful) which the writers explore from Javanese culture to study the art objects (barang kagunan). “Wangun” or beauty of the Javanese becomes (1) the form of “wangun” (beautiful) based on the perspective of the Javanese, (2) the appearance of “ora wangun” (not beautiful) or “aèng” (strange), (3) the form of “wangun” based on the king’s legitimacy or trend, and (4) the forbidden “wangun.” The important findings in the study of “pesugihan” painting reveal that there are perpetuated events of collecting illicit wealth (pesugihan) in the form of paintings as life lessons on how some Javanese gather their wealth under an agreement with demons. -
Cultural Reproduction of Javanese Gamelan Creation
Advances in Social Sciences Research Journal – Vol.5, No.8 Publication Date: Aug. 25, 2018 DoI:10.14738/assrj.58.5018. Wijaya, M., & Pujihartati, S. H. (2018). Cultural Reproduction of Javanese Gamelan Creation. Advances in Social Sciences Research Journal, 5(8) 448-455. Cultural Reproduction of Javanese Gamelan Creation Mahendra Wijaya Sociology Department of Social and Political Science Faculty Universitas Sebelas Maret Sri Hilmi Pujihartati Sociology Department of Social and Political Science Faculty Universitas Sebelas Maret ABSTRACT This research aimed to find out the cultural reproduction of Javanese gamelan creation. Gamelan is an Indonesian orchestra composed mainly of tuned percussion instruments such as bamboo xylophones, wooden or metal chimes, and gongs. This reserach consisting of life attitude, work ethos, and skill of craftspeople in creation of Javanese gamelan. Cultural reproduction practice occurs in family, school/art institute/home industry environment and gamelan industry center community. This study employed naturalistic inquiry, describing the cultural reproduction of Javanese gamelan Creation naturally; the informants of research consisted of Empu (master craftsman) who produces gamelan, gamelan craftspeople, Javanese gamelan art figure, and Javanese gamelan users. The result of research revealed that life attitudes the Empu and the gamelan craftspeople had were: awareness of giving service to God, faith in God, being loyal to their job, submitting to the fate with gratitude, never being desperate, and having noble character. The work ethos of Empu and craftspeople included: hard work, high togetherness, carefulness, tolerance, high sense of belonging to the job, and mutual help. Meanwhile, gamelan creation skill included: membesot, menyingi, menempa, membabar, and melaras. Life attitude, work ethos, and skill of gamelan creation occurred through parents’ socialization from one generation to the next or from Empu to craftspeople in home industry. -
From Custom to Pancasila and Back to Adat Naples
1 Secularization of religion in Indonesia: From Custom to Pancasila and back to adat Stephen C. Headley (CNRS) [Version 3 Nov., 2008] Introduction: Why would anyone want to promote or accept a move to normalization of religion? Why are village rituals considered superstition while Islam is not? What is dangerous about such cultic diversity? These are the basic questions which we are asking in this paper. After independence in 1949, the standardization of religion in the Republic of Indonesia was animated by a preoccupation with “unity in diversity”. All citizens were to be monotheists, for monotheism reflected more perfectly the unity of the new republic than did the great variety of cosmologies deployed in the animistic cults. Initially the legal term secularization in European countries (i.e., England and France circa 1600-1800) meant confiscations of church property. Only later in sociology of religion did the word secularization come to designate lesser attendance to church services. It also involved a deep shift in the epistemological framework. It redefined what it meant to be a person (Milbank, 1990). Anthropology in societies where religion and the state are separate is very different than an anthropology where the rulers and the religion agree about man’s destiny. This means that in each distinct cultural secularization will take a different form depending on the anthropology conveyed by its historically dominant religion expression. For example, the French republic has no cosmology referring to heaven and earth; its genealogical amnesia concerning the Christian origins of the Merovingian and Carolingian kingdoms is deliberate for, the universality of the values of the republic were to liberate its citizens from public obedience to Catholicism. -
Maybe English First and Then Balinese and Bahasa Indonesia“: a Case of Language Shift, Attrition, and Preference
Indonesian Journal of English Language Teaching, 11(1), May 2016, pp. 81-99 —0aybe English first and then Balinese and Bahasa Indonesia“: A case of language shift, attrition, and preference Siana Linda Bonafix* LembagaPengembanganProfesi, UniversitasTaruma Negara, Jakarta Christine Manara Program PascaSarjana, LinguistikTerapanBahasaInggris, UniversitasKatolik Indonesia Atma Jaya, Jakarta Abstract This small-scale Tualitative study aims to explore the participants‘ view of languages acquired, learned, and used in their family in an Indonesian context. The two participants were Indonesians who came from multilingual and mixed-cultural family background. The study explores three research questions: 1) What are the languages acquired (by the participants‘ family members), co- existed, and/or shift in the family of the two speakers? 2) What factors affect the dynamicity of these languages? 3) How do the participants perceive their self-identity? The qualitative data were collected using semi-structured and in-depth interviews. The interviews were audio-taped and transcribed to be analyzed using thematic analysis. The study detects local language shift to Indonesian from one generation to the next in the participants‘ family. The data also shows several factors for valorizing particular languages than the others. These factors include socioeconomic factor, education, frequency of contact, areas of upbringing (rural or urban) and attitude towards the language. The study also reveals that both participants identify their self-identity based on the place where they were born and grew up instead of their linguistic identity. Keywords: bilingualism, bilinguality, language dynamics, valorization, mix-cultural families Introduction Indonesia is a big multicultural and multilingual country. It is reported in 2016 that the population of the country is 257 million (BadanPusatStatistik, National StatisticsBureau). -
An Introduction to Indic Scripts
An Introduction to Indic Scripts Richard Ishida W3C [email protected] HTML version: http://www.w3.org/2002/Talks/09-ri-indic/indic-paper.html PDF version: http://www.w3.org/2002/Talks/09-ri-indic/indic-paper.pdf Introduction This paper provides an introduction to the major Indic scripts used on the Indian mainland. Those addressed in this paper include specifically Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Oriya, Tamil, and Telugu. I have used XHTML encoded in UTF-8 for the base version of this paper. Most of the XHTML file can be viewed if you are running Windows XP with all associated Indic font and rendering support, and the Arial Unicode MS font. For examples that require complex rendering in scripts not yet supported by this configuration, such as Bengali, Oriya, and Malayalam, I have used non- Unicode fonts supplied with Gamma's Unitype. To view all fonts as intended without the above you can view the PDF file whose URL is given above. Although the Indic scripts are often described as similar, there is a large amount of variation at the detailed implementation level. To provide a detailed account of how each Indic script implements particular features on a letter by letter basis would require too much time and space for the task at hand. Nevertheless, despite the detail variations, the basic mechanisms are to a large extent the same, and at the general level there is a great deal of similarity between these scripts. It is certainly possible to structure a discussion of the relevant features along the same lines for each of the scripts in the set. -
Buku Panduan Uang Rupiah Ciri-Ciri Keaslian, Standar Visual Kualitas Rupiah Dan Daftar Rupiah Yang Dicabut Dan Ditarik Dari Peredaran Tujuan
latent image latent visible ink BUKU PANDUAN UANG RUPIAH Ciri-Ciri Keaslian, Standar Visual Kualitas Rupiah dan Daftar Rupiah yang Dicabut dan Ditarik Dari Peredaran intaglio diterbitkan oleh : Direktorat Pengedaran Uang Bank Indonesia Kompleks Perkantoran Bank Indonesia Gedung C Lantai 7 Jl. M.H. Thamrin No. 2 Jakarta 10350 Cetakan Kedua Diterbitkan di Jakarta, Desember 2011 Penasehat : Direktur DPU Mokhammad Dakhlan Deputi Direktur DPU Adnan Djuanda Penanggung Jawab : Kepala Biro Kebijakan Pengedaran Uang Eko Yulianto Editor : Ery Setiawan, Wijayanti Yuwono, Agus Susanto Pratomo, R. Triwahyono Tim KPK (Kreatif, Penulis dan Kontributor ) : Edi Rahmat, Diyah Dewi, Ahmad Fauzi, Irma Dwianti, Fajar Widdy Hidayat, Marwi Hendrayatmo, Balqia Siddik. DAFTAR ISI PENDAHULUAN 06 TUJUAN 07 KEWAJIBAN PENGGUNAAN RUPIAH 08 CIRI- CIRI KEASLIAN RUPIAH 10 • Ciri Umum 10 • Ciri Keaslian Rupiah Kertas 12 • Ciri Keaslian Rupiah Logam 23 • Panduan Klarifikasi atas Rupiah yang Diragukan Keasliannya 25 • Larangan dan Ketentuan Pidana yang Terkait dengan Pemalsuan Rupiah 26 • Larangan dan Ketentuan Pidana yang Terkait dengan Rupiah Tiruan 28 STANDAR KUALITAS RUPIAH 29 • Definisi 30 • Rupiah Tidak Layak Edar Karena Rusak 31 • Standar Visual Rupiah Layak Edar dan Rupiah Tidak Layak Edar 33 PENUKARAN RUPIAH 42 • Penukaran Rupiah 43 • Larangan dan Ketentuan Terkait dengan Perusakan Rupiah 44 • Panduan Penukaran Rupiah Tidak Layak Edar 45 • Rupiah Rusak yang Diberi Penggantian Sesuai dengan Nilai Nominal 46 • Rupiah Rusak yang Tidak Diberi Penggantian 47 • Rupiah Tidak Layak Edar Karena Rusak 48 RUPIAH YANG DICABUT DAN DITARIK DARI PEREDARAN 49 • Rupiah yang Dicabut dan Ditarik dari Peredaran yang Masih Dapat Ditukarkan di Bank Umum dan atau Bank Indonesia 50 • Rupiah yang Dicabut dan Ditarik dari Peredaran yang Hanya Bisa Ditukarkan di Bank Indonesia 52 JARINGAN KANTOR BANK INDONESIA 58 • Kantor Bank Indonesia • Kantor Perwakilan Bank Indonesia LINKS 62 PENDAHULUAN Mata Uang adalah uang yang dikeluarkan oleh Negara Kesatuan Republik Indonesia yang selanjutnya disebut Rupiah. -
BAB I PENDAHULUAN 1.1 Latar Belakang Masalah Perhatian
1 BAB I PENDAHULUAN 1.1 Latar Belakang Masalah Perhatian masyarakat pada sejarah sebetulnya dapat menjadi suatu dorongan untuk lebih menghargai perjuangan dari para pahlawan Indonesia. Terutama pada upaya perjuangan Oto Iskandar Di Nata dalam kemerdekaan dan memperjuangkan hak-hak pendidikan. Pendidikan adalah aset penting bagi kemajuan bangsa. Baik jenjang pendidikan anak usia dini, pendidikan dasar, menengah maupun tinggi. Pendidikan mempunyai peranan yang sangat penting dalam menciptakan sumber daya manusia yang berkualitas. Pendidikan yang berkualitas akan berpengaruh pada kemajuan di berbagai bidang. Pendidikan merupakan cara untuk mencerdaskan bangsa yang sesuai dengan pembukaan Undang-Undang Dasar 1945 alinea ke-4 serta ingin mencapai tujuan pendidikan nasional. Perkembangan jaman saat ini menuntut adanya sumber daya manusia yang berkualitas sehingga mampu bersaing dengan negara lain yang telah maju. Oto Iskandar Di Nata adalah tokoh yang membawa pendidikan Indonesia pada masa kemerdekaan. Awal mula Oto Iskandar Di Nata mulai aktif di pergerakan politik yang di awali dengan menjabat sebagai Wakil Ketua Boedi Oetomo cabang Pekalongan serta merangkap sebagai Komisaris Hoofdbestuur Boedi Oetomo. Universitas Pasundan 2 Pada tahun 1928, Oto Iskandar Di Nata masuk ke dalam sebuah organisasi bernama Pagoeyoeban Pasoendan cabang Jakarta dan langsung menjadi Sekretaris Pengurus Besar Organisasi, waktu itu Oto Iskandar Di Nata pindah ke Jakarta dan menjadi guru HIS Muhammadiyah. Pada Desember 1929 Oto Iskandara Di Nata terpilih sebagai Ketua Pengurus Besar Pagoeyoeban Pasoendan sampai pada tahun 1945. Sampai saat ini masih banyak peninggalan dari Oto Iskandar Di Nata, salah satunya adalah Monumen Pasir, tetapi sedikit pelajar ataupun masyarakat pada saat ini yang tertarik mengunjungi museum karena tidak mengetahuinya. Salah satu cara agar masyarakat tertarik terhadap sejarah tersebut ialah dengan membuat sebuah film.