DOCSLIB.ORG

Nuansa Journal of Arts and Design

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nuansa Journal of Arts and Design Nuansa Journal of Arts and Design Volume 1 Nomor 1 September 2017 e-ISSN: 2597-405X dan p-ISSN: 2597-4041 This work is licensed under a Creative Commons Attribution 4.0 International License Tembang in Dolalak Performance Art: Structure, Meaning, and Deconstruction Djarot Heru Santosa Keywords : ABSTRACT Performances; Dolalak Dolalak is a type of folk performance art popular in the Purworejo Song Lyrics; Structure; Regency, Central Java Province. Its existence is often associated Meaning; and with another folk performance art called Angguk. Both forms of Deconstruction. performance arts influence each other. Based on a study on a book written in 1938 by Th. Pigeaud with title on Javaanse Volksvertoningen (Javanese Folk Performance Arts), the name Angguk had been recorded at that time while Dolalak had not. Corespondensi Author Purworejo’s Dolalak was initially popularized by three santris Gadjah Mada University (religious students) named Rejotaruno, Duliyat, and Ronodimejo. Yogyakarta One of the popular elements of Dolalak performance is tembang. Email: [email protected] These tembangs are a form of sung folk poetry. It takes form in the oral language, using the Javanese language and containing elements. Up to 2010, found 210 Dolalak successful song lyric documented in writing. Besides poetry, the other elements of the song is a song. Dolalak song has a number of variations of the songs are quite unique and interesting when sang his poems. Discussion of the above problems, used an umbrella approach to Performance Studies (Art Studies appearance), was the study of the use of the song in the show Dolalak used models of Jacques Derrida's theory of deconstruction. Special analysis of linguistic elements used Dolalak song lyric theory proposed formula Albert B. Lord. Analysis begins with the deconstruction reveal pre- existing construction, namely the assertion that Dolalak the nuances of Islamic arts, especially seen from the use tembangnya. Starting from the existing construction, it found kontrakdisi of actual reality. Such contradictions give rise to ideas or a new offer in the way of understanding of Dolalak seen from the song and use. This research has resulted in findings that means a new understanding of Dolalak as folk performances seen from the use of poetry tembangnya, namely that Dolalak an art form that is simple, straightforward, uncomplicated, irregular, choose words that are popular, easily understood, and choose the theme of daily life. Song lyrics Dolalak more concerned with sound rather than sense or meaning. This condition reflects populist Dolalak as performance art. 23 Vol 1 No 1, September 2017 INTRODUCTION in the trance segment, the delivery of messages, etc. This research discusses one of Tembang is a form of poetry that is humans’ cultural products in the form of art, sung. The aesthetic power of a tembang specifically folk art performance. Art, as one when it is performed does not only lie in the of the cultural products of the people of spoken lyrics but also in the aspect of Indonesia, must be explored, preserved, and musicality, which is the intonation of the developed, as an endeavor to awaken tunes in which the lyrics is sung. The Indonesian people’s awareness of the combination of both aspects becomes more importance of maintaining the values of beautiful in the performance when the their nation. Indonesian culture consists of singing is accompanied by certain musical various regional cultures. This diversity instruments. does not only create difference and variants, The existence of tembang in a but also enriches and strengthens the performance art serves to stimulate and nation’s culture. influence the feelings of the listeners or One of the cultural products in the audience. The lyrics can be used to convey form of traditional performance art is certain messages while the melody and Dolalaki, which developed in the Purworejo rhythm can create a sense of aesthetics for Regency, Central Java. This form of those who are listening. The element of performance art shares many similarities tembang in a performance art sometimes with another performance art named does not exist independently, but it often Anggukii. Both are particular in a way that accompanies other forms of performance they contain Islamic themes, which is arts, such as Wayang, Ketoprak, Ludruk, especially obvious in one of the Jathilan, Kuda Lumping, Kuda Kepang, performances’ supporting elements that is Angguk, Dolalak, etc. One of the folk religious singing. performances in the form of a folk dance The problem examined from this using the element of tembang as its main artistic object is the existence of the supporting element is the Dolalak elements of the tembangs. The songs sung to performance in Purworejo. This kind of accompany the dance and performance in tembang eventually became well-known in Dolalak became popular by the name of its own rights by the name Dolalak’s Dolalak’s tembangs. Dolalak’s tembangs tembang. refer to the lyrics sung to accompany In the form of Dolalak’s tembang Dolalak performance.iii there are characteristics that can also be seen The definitions of the word ‘tembang’ in the tradition of religious singing, are (1) lyrics accompanied by music (to be especially in Islamic singing, such as sung), singing, (2) poems (KBBI, 2008: Perjanjen, Berjanjen, or Slawatan. These art 1430). Based on these definitions of forms had been popular in the Bagelen ‘singing’ or ‘tembang’, the word ‘tembang’ region, Purworejo (Th. Pigeaud, 1938). The is more accurate than the word ‘singing’. similar characteristics can be seen in the Therefore, the term Dolalak’s tembang linguistic aspect, namely the words used to means the lyrics sung during Dolalak worship God and Prophet Muhammad performances.iv PBUH, as well as the words adapted from The existence of Dolalak’s tembangs the Arabic language. In the aspect of has its own certain role, function, and musicality, these tembangs have almost meaning in the performance, one of which is similar intonations and tunes. related to the movements of the dances, the Another significance characteristic means of summoning indangv ‘holy spirit’ shared by Dolalak’s tembang with the Nuansa Journal of Arts and Design. e-ISSN: 2597-405X , p-ISSN: 2597-4041 previous Islamic singings is in the use of The object of this research is an musical instruments to accompany the artistic phenomenon in the form of a tembangs, namely rebana or terbang. performance art; therefore, the main According to R.M. Soedarsono, works of art approach used in this research is that of with an Islamic touch came from a similar performance studies. Artistic activities are a tradition, which is spreading the Islamic cultural product that can be related to the teachings or da’wah. Its origin is the conditions of the society at the era. The Slawatan, whose characteristic is the use of analysis on Dolalak’s tembang conducted in rebana (or terbang), singing praises this research uses the deconstructive especially for Prophet Muhammad PBUH approach. The concept of deconstruction and his followers (R.M. Soedarono, 1976 appeared in the postmodernism era, in late dan 1994: 4). 20th century as a respond to and resistance Dolalak’s tembangs are an interested against modernism. subject to study because the study can The deconstructive perspective is examine the form of the tembangs from the used in the endeavor to find meanings other linguistic and musicality aspects. This study than those that are usually found in a text. It is also important in finding the existence is does not ruin the existing orders, but it and aesthetics in folk performances. Another tries to break away from them, as well as interesting subject to study is the system in finds new centers where meanings could which tembangs is inherited from possibly be hidden still. Signification of a generations to generations by the society in text, according to Jacques Derrida, is which it exists. Moreover, since Dolalak’s marked with its spread over a timeline, tembangs exists as an oral tradition, the which means that meaning cannot be limited process in which they are inherited is only in a certain context, but it must be unique. dynamic, so that it allows the way for new Based on the background discussed meanings in accordance with their contexts above, through the concept of (Easthope, 1991: 113 in Faruk H.T., deconstructive analysis, the following 1999:150). problems are formulated as the subject Before the analysis is conducted in discussed and disclosed in this research: order to answer the main question, (1) How is structure of Dolalak discussion on the supporting problems is song lyrics? conducted using relevant approaches and (2) What kind of linguistic aspects theories. and meaning that song lyrics Analysis on the construction of used in a Dolalak performance? structure of Dolalak’s tembangs is (3) How do the initial construction, conducted using Milman Parry’s theory of contradictions, and new Formula, which was further developed by construction Dolalak’s song his student, Albert B. Lord. References on lyrics? the theory of formula in this research are 2. Theoretical Framework and Method of taken from the formulations expressed by Research Albert B. Lord (Lord, 1981:30). In order to answer the Dolalak’s tembangs can be aforementioned research questions, a set of considered as sung folk poetry, which relevant theories and an appropriate means that a study of folk poetry is a study methods are employed in this research. The in the field of literature, specifically oral following are the theories and method that literature. Studies on sung folk poetry in are used in this research. Europe and other parts of the world have 2.1 Theoretical Framework been conducted by Parry and Lord. Their 25 Vol 1 No 1, September 2017 research materials concerned folk epic sung aspects in the lyrics of Dolalak’s tembangs.
Load more

Recommended publications
  • 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.
    [Show full text]
  • The Islamic Traditions of Cirebon
    the islamic traditions of cirebon Ibadat and adat among javanese muslims A. G. Muhaimin Department of Anthropology Division of Society and Environment Research School of Pacific and Asian Studies July 1995 Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] Web: http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Muhaimin, Abdul Ghoffir. The Islamic traditions of Cirebon : ibadat and adat among Javanese muslims. Bibliography. ISBN 1 920942 30 0 (pbk.) ISBN 1 920942 31 9 (online) 1. Islam - Indonesia - Cirebon - Rituals. 2. Muslims - Indonesia - Cirebon. 3. Rites and ceremonies - Indonesia - Cirebon. I. Title. 297.5095982 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse Printed by University Printing Services, ANU This edition © 2006 ANU E Press the islamic traditions of cirebon Ibadat and adat among javanese muslims Islam in Southeast Asia Series Theses at The Australian National University are assessed by external examiners and students are expected to take into account the advice of their examiners before they submit to the University Library the final versions of their theses. For this series, this final version of the thesis has been used as the basis for publication, taking into account other changes that the author may have decided to undertake. In some cases, a few minor editorial revisions have made to the work. The acknowledgements in each of these publications provide information on the supervisors of the thesis and those who contributed to its development.
    [Show full text]
  • Falidasi Data Lingkung Seni Se-Kecamatan Ujungberung Tahun 2014
    FALIDASI DATA LINGKUNG SENI SE-KECAMATAN UJUNGBERUNG TAHUN 2014 Tahun Tempat NO Nama Lingkung Seni Jenis Kesenian Pimpinan Alamat Perangkat Kesenian Anggota Legalisasi Berdiri Latihan 1 2 3 4 5 6 7 8 9 10 Pasar Kaler RT.01 1 Pas Nada Elektone Ibu. Heny Organ, Kibord,Gitar, Kendang, Suling, 5 Orang Tidak Ada 2010 Rumah RW.01 Cigending RT.03 Gendang, Bedug, Goong, Terompet, Toa Ampli. 2 Sancang Pusaka Benjang Agus Sulaeman RW.03 Mixer, Badut, Kecrek, Kuda Lumping, Gendang, Goong, Bedug, Terompet, Kepang, 3 LS Benjang Kalimasada Benjang Gugun Gunawan Cipicung RT.04 RW.04 25 Orang Dalam Proses 2004 Rumah Lumping, Toa, Ampli,MixerBadut 4 Karinding Nukula Upit Supriatna Cipicung RT.01 RW.04 Karinding,Celempung,Toleot, Kecrex 15 Orang Tidak Ada 2011 Rumah Gendang, bedug, Goong, Terompet, Toa Ampli, Rumah ketua 5 Pusaka Gelar Putra Benjang Asep Dede Cinangka RT.02 RW.05 25 Orang Tidak Ada 2007 Barong, Badut, Kecrek RT Rumah ketua 6 Pusaka Wirahman Putra Penca Silat Enay Darso Cinangka RT.01 RW.05 Gendang Besar/Kecil, Golok (untuk atraksi) 25 Orang Tidak Ada 2010 RT Gendang, Rabab, Bonang, Goong, Kecrek, 7 Arum Gumelar Jaipongan I n d r a Cinangka RT.02 RW.05 30 Orang Tidak Ada 2006 Rumah Terompet 8 R e o g E m u l Cinangka RT.03 RW.05 Dog-dog, Goong, Gendang 9 Elektone Dangdut E m u l Cinangka RT.03 RW.05 Organ, Gendang Suling Gitar, Kecrex 7 Orang Tidak Ada 2010 Rumah Sakeburuy RT.01 RW 10 Dwi Shinta Rock Dangdut Dede Dadan Kibord, Gitar, Gendang, Suling, Kecrex 9 Orang Ada 1993 Gedung 06 Gendang, Goong, Bedug, Terompet, Toa, Ampli, 11 Pusaka Wargi Benjang Didi / Ono Ranca RT.01 RW.06 25 Orang Ada 1930 Hal.
    [Show full text]
  • Eksistensi Kesenian Masyarakat Transmigran Di Kabupaten Pringsewu Lampung Studi Kasus Kesenian Kuda Kepang Turonggo Mudo Putro Wijoyo
    Volume 10 No 2 Oktober 2017 ISSN: 1858-3989 P565-576 EKSISTENSI KESENIAN MASYARAKAT TRANSMIGRAN DI KABUPATEN PRINGSEWU LAMPUNG STUDI KASUS KESENIAN KUDA KEPANG TURONGGO MUDO PUTRO WIJOYO Oleh: Mutiara Dini Primastri (Pembimbing Tugas Akhir: Dra. Budi Astuti M.Hum dan Indah Nuraini, S.S.T., M.Sn) Jurusan Tari Fakultas Seni Pertunjukan, Institut Seni Indoonesia Yogyakarta Alamat Email: [email protected] RINGKASAN Penelitian ini merupakan sebuah analisis deskriptif yang menggunakan pendekatan sosiologi dan antropologi untuk membedah tentang eksistensi kesenian masyarakat transmigran berupa kesenian kuda kepang di Kabupaten Pringsewu Lampung. Kesenian kuda kepang yang eksis di Kabupaten Pringsewu yaitu komunitas seni Turonggo Mudo Putro Wijoyo (TMPW). Eksistensi adalah adanya sebuah keberadaan yang tidak hanya sebagai sesuatu yang “diam” akan tetapi menjadi sesuatu yang aktif dan memiliki peran di dalam lingkungannya. Melalui kajian sinkronik, kesenian kuda kepang TMPW tetap eksis saat ini karena memiliki fungsi sebagai seni pertunjukan yang menghibur (presentasi estetis), memuat nilai-nilai budaya, serta dapat menjadi identitas orang Jawa di Pringsewu. Kajian sinkronik didukung oleh kajian diakronik, yaitu kemunculan kesenian kuda kepang TMPW merupakan hasil dari rangkaian sejarah berupa eksistensi orang-orang yang bertransmigrasi di Pringsewu, melalui tahap eksistensi yaitu eksistensi estetis, etis dan religius. Eksistensi kesenian kuda kepang TMPW tidak lepas dari faktor-faktor pendukungnya. Komunitas TMPW terus menunjukkan eksistensinya
    [Show full text]
  • Television, Nation, and Culture in Indonesia
    Philip Kitley Political Science/Media Studies Kitley “T in Indonesia is that of a country invent- T elevision, Nation, and Culture in Indonesia ing itself by promoting a national cultural identity. Philip Kitley, who is not only a media scholar but has also worked as a diplomat in Indonesia, shows how important television has been to both the official and popular imagination since its beginnings in the early s. It’s a fascinating tale, with implications going well beyond re- gional specialists, since the use of popular media to promote nation, citizenship, and identity is common to many countries, new and old. “As Indonesia attracts increasing international attention in the post-Soeharto era, it is important to understand the cultural as well as political issues that have led to the current turbulent situation. Kitley’s book is a well-researched, wise, and elegantly written ac- count of the forces, dreams, and policies that link public and private life in and after ‘New Order’ Indonesia.” —John Hartley, Dean of Arts, Queensland University of Technology Philip Kitley is Senior Lecturer in the Department of Humanities and International Studies, University of Southern Queensland. Research in International Studies Southeast Asia Series No. elevision, Nation, and Culture in Indonesia ISBN 0-89680-212-4 T ,!7IA8J6-iacbce! Television, Nation, and Culture in Indonesia This series of publications on Africa, Latin America, and Southeast Asia is designed to present significant research, translation, and opinion to area specialists and to a wide community of persons interested in world affairs. The editor seeks manu- scripts of quality on any subject and can generally make a decision regarding publi- cation within three months of receipt of the original work.
    [Show full text]
  • A Study of Minangkabau Tradisional Dance in Tanah Datar)
    Advances in Social Science, Education and Humanities Research, volume 301 Seventh International Conference on Languages and Arts (ICLA 2018) MINANGKABAU DANCE MOVEMENT BASED ON ABS-SBK VALUE (A Study of Minangkabau Tradisional Dance in Tanah Datar) Afifah Asriati1 and Desfiarni2 1 Universitas Negeri Padang, Padang, Indonesia, [email protected] 2Universitas Negeri Padang, Padang, Indonesia, [email protected] Abstract Minangkabau dance is now increasingly existing. It is used and functions in many formal and informal events, both government and traditional events in various forms of tradition, as well as creations. It is also performed by both men and women, either in acrobatic motion using magic or not. On the other hand, the alim ulama and cerdik pandai are active in implementing the Adat Basandi Syarak Syarak Basandi Kitabullah (ABS-SBK). This philosophy means culture should be based on religion and religion should be based on Al-Quran. This article aims to inventory the appropriate movements of the Minangkabau dance based on the ABS- SBK value. This research is a qualitative study using documentation and interviews as techniques for collecting data. It is concluded that some dances still use the element of magic which is contrary to the ABS-SBK value. Keywords: Minangkabau Dance, movement based, ABS-SBK value. Introduction Basically, a dance communicates cultural values that are espoused by its supporters and functions as cultural expressions (Asriati: 2000). Philosophically, cultural values are included in the traditional philosophy known as Adaik Basandi Syarak, Syarak Basandi Kitabullah (culture should be based on religion and religion should be based on Qoran). This is commonly called ABS-SBK in Minangkabau.
    [Show full text]
  • Bandem, I Made Dada Mauraxa Danandjaja, James Durverger
    DAFTAR PUSTAKA Bandem, I Made 1996 Etnologi Tari Bali. Yogyakarta; Kanisius Dada Mauraxa 1973 Sejarah Kebudayaan Suku-suku Di Sumatera Utara. Medan; t.p Danandjaja, James 1986 Folklor Indonesia.Jakarta: Graviti Press Durverger, Maurice 1985 Sosiologi Politik. Terj. Naniel Dhakidae. Jakarta; C.V. Rajawali Erikson, Erik H 1989 Identitas Dan Siklus Hidup Manusia. Terj. Agus Cremers. Jakarta; Gramedia Geertz, Clifford 1983 Abangan, Santri, Priyayi Dalam Masyarakat Jawa. Terj. Aswab Mahasin. Jakarta; Pustaka Jaya Hadiningrat, K 1982 Kesenian Tradisional Debus. Jakarta; Departemen Pendidikan Dan Kebudayaan Hamengku Buwono XII 1994 Konsep Nusantara Dalam Fialsafah Jawa Kaitannya Dengan Transmigrasi. Budaya Kepeloporan Dalam Mobilitas Penduduk (1997). Rofiq Ahmad (ed). Jakarta; Peneba Swadaya Haviland, William A 1985 Antropologijilid 2. Terj. R.G. Soekadijo. Jakarta; Erlangga Haviland, William A 1975 Cultural Anthropology. New York: Holt Rinehart and Winston, Inc 100 Heristina Dewi 1992 "Jaran Kepang Pada Masyarakat Desa Cengkeh Turi, Sumatera Utara: Suatu Studi Kasus Musik dan Trance dalam Konteks Sosio Budaya". Skripsi untuk mendapat kan gelar satjana sastra (SS) Universitas Sumatera Utara Herusatoto, Budiono 2000 Simbolisme Dalam Budaya Jawa. Y ogyakarta; Hanindita Holt, Claire 1967 Art In Indonesia: Contiuties and Change. Ithaca, New York; Cornell University Press Kayam, Umar ( ed) 1987 Kebudayaan dan Pembangunan: Sebuah Pendekatan terhadap Antropologi Terapandi Indonesia. Jakarta; Yayasan Obor Indonesia Lincoln, Yvonna & Egon G Guba 1985 Naturalistik Inquiry. Beverly Hills; Sage Publications Lull, James 1998 Media, Komunikasi, Kebudayaan. Suatu Pendekatan Global. Jakarta; Yayasan Obor Indonesia Moleong, Lexy J 1994 Metodologi Penelitian Kualitatif. Bandung; Remaja Rosdakarya Murgiyanto, Sal 1970 Ketika Cahaya Memudar. Jakarta; Deviri Ganan Pamungkas, Ragil 2006 Lelaku dan Tirakat. Cara Orang Jawa Menggapai Kesempumaan Hidup.
    [Show full text]
  • The Invention of Martial Arts About the Journal
    ISSUE EDITORS Spring 2016 Paul Bowman ISSN 2057-5696 Benjamin N. Judkins MARTIAL ARTS STUDIES THEME THE INVENTION OF MARTIAL ARTS ABOUT THE JOURNAL Martial Arts Studies is an open access journal, which means that all content is available without charge to the user or his/her institution. You are allowed to read, download, copy, distribute, print, search, or link to the full texts of the articles in this journal without asking prior permission from either the publisher or the author. C b n d The journal is licensed under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. Original copyright remains with the contributing author and a citation should be made when the article is quoted, used or referred to in another work. Martial Arts Studies is an imprint of Cardiff University Press, an innovative open-access publisher of academic research, where ‘open-access’ means free for both readers and writers. cardiffuniversitypress.org Journal DOI 10.18573/ISSN.2057-5696 Issue DOI 10.18573/n.2016.10060 Martial Arts Studies Journal design by Hugh Griffiths MARTIAL issue 2 ARTS STUDIES SPRING 2016 1 Editorial Paul Bowman and Benjamin N. Judkins 6 The Seven Forms of Lightsaber Combat ARTICLES Hyper-reality and the Invention of the Martial Arts Benjamin N. Judkins 23 The Fifty-Two Hand Blocks Re-Framed Rehabilitation of a Vernacular Martial Art Thomas A. Green 34 The @UFC and Third Wave Feminism? Who Woulda Thought? Gender, Fighters, and Framing on Twitter Allyson Quinney 59 Ancient Wisdom, Modern Warriors The (Re)Invention of a Mesoamerican Warrior Tradition in Xilam George Jennings 71 Fight-Dancing and the Festival Tabuik in Pariaman, Indonesia and lemanjá in Salvador da Bahia, Brazil Paul H.
    [Show full text]
  • Religiusitas Tari Lengger Desa Gerduren Kecamatan
    JURNAL MEDIA APLIKOM ISSN : 2086 – 972X Vol 1 No.2 Mei 2010 RELIGIUSITAS TARI LENGGER DESA GERDUREN KECAMATAN PURWOJATI BANYUMAS Robertus Suraji Dosen Sekolah Tinggi Ilmu Komputer Yos Sudarso ABSTRACT Dance of lengger is folk dance that thrives in the region of ex-Karesidenan Banyumas, especially in the agricultural area or in villages. This dance represents traces of the previous Hindu culture. A sect of Hinduism that is Cakta Tantrayana belived in Goddess of Durga as the vertility goddess. In worship ceremonies, the dance like lengger were used to request fertility. When the Hindu teaching reached Java there was transformation of meaning in this dance, caused by syncretism with Javanese belief. In Java, Goddess of Sri was believed goddess. Long ago in the area of Banyumas, dance of lengger became social the tool of society to be grateful to all Deities after harvest. In its growth later on dance of lengger naturally had meaning differentiation, of religious meaning to secular meaning. This dance today in some ways exploits the erotic. Village societies of Gerduren that till now still take care of this dance of lengger, feel that dance is the part of society life of Gerduren village. Till now they do certain rituals to take care of dance community. Rituals run by lengger community of Gerduren village relate their belief of existence of spirit as protector of dance of lengger. The spirit which is ordinarily referred to as the indang so called Kastinem. Attendance of Kastinem indang in an show of lengger is believe to give supernatural strength to the dancer of lengger.
    [Show full text]
  • ISI LAPORAN Rev 14022020
    LAPORAN KINERJA 2019 Direktorat Kepercayaan Terhadap Tuhan YME & Tradisi Direktorat Jenderal Kebudayaan Kementerian Pendidikan Dan Kebudayaan Kata Penganta Direktur Kepercayaan Terhadap Tuhan YME dan Tradisi Puji syukur kami panjatkan kehadiran Tantangan gelombang perubahan Allah, Tuhan Yang Maha Esa atas berkat teknologi yang arusnya semakin deras dalam rahmatnya, kami mampu menyelesaikan era Revolusi Industri 4.0 telah menyebabkan Laporan Kinerja tahun 2019 ini dengan tepat adanya perubahan dalam gaya hidup serta waktu Berdasarkan amanat Peraturan pandangan hidup generasi muda penghayat Pemerintah Nomor 8 Tahun 2006 tentang kepercayaan dan masyarakat adat selaku Pelaporan Keuangan dan Kinerja Instansi pelestari tradisi. Kedepannya, terpaan Pemerintah serta Peraturan Presiden Nomor 29 gelombang tersebut akan semakin kuat Tahun 2014 tentang Sistem Akuntabilitas membawa perubahan sosial-budaya dan sulit Kinerja Instansi Pemerintah mewajibkan bagi rasanya untuk menghindar dari proses instansi pemerintah untuk menyusun laporan perubahan tersebut. Berbagai kegiatan kinerja seLap tahun. Direktorat Kepercayaan terhadap Tuhan YME Laporan kinerja yang telah kami susun dan Tradisi sampai saat ini belum mencoba ini menyajikan capaian kinerja Direktorat menggunakan pendekatan inovaf dalam Kepercayaan terhadap Tuhan YME dan Tradisi bidang teknologi informasi dan komunikasi dengan merefleksikan rencana target kinerja Melalui laporan kinerja ini diharapkan yang telah ditetapkan dalam perjanjian kinerja. dapat memberikan gambaran objekLf tentang Perlu kami sampaikan bahwa pada tahun ini kinerja yang dihasilkan Direktorat kami telah menetapkan 4 (empat) sasaran Kepercayaan terhadap Tuhan YME dan Tradisi kegiatan dengan 10 (sepuluh) indikator kinerja pada tahun 2019. Semoga laporan kinerja ini kegiatan dalam Perjanjian Kinerja Direktur dapat dimanfaatkan sebagai bahan evaluasi Kepercayaan terhadap Tuhan YME dan Tradisi perencanaan program/kegiatan dan anggaran, tahun 2019.
    [Show full text]
  • 3201 Analisis Struktur Gerak Tari Zapin Siak
    ANALISIS STRUKTUR GERAK TARI ZAPIN SIAK DI KECAMATAN SIAK KABUPATEN SIAK PROVINSI RIAU Tiya Melinda Jurusan Sendratasik FBS Universitas Negeri Padang e-mail: [email protected] Afifah Asriati Jurusan Sendratasik FBS Universitas Negeri Padang e-mail: [email protected] Abstract Zapin Siak dance is a traditional Malay dance which has been cultured, lived, and developed in line with human life from time to time. Zapin Siak dance is danced by two male dancers taking parallel position in a form of motion which generally uses a lot of footwork. This is a qualitative research using a content analysis method, known as content analysis. The object of research was Zapin Siak Dance in Kampung Dalam Subdistrict, Siak District, Siak Regency, Riau Province. The data used were primary and secondary data. The data were collected through literature study, observation, interview, and documentation. The research instrument used was the researcher itself and was assisted by writing instruments, cameras, and flash drives. The data analysis was done by describing and interpreting various movements of the Zapin Siak dance. It refers to the elements of motion: the head, body, hands, and feet. The results show that the movement structure of Zapin Siak Dance in Siak District, Siak Regency, Riau Province, consists of 22 kinem elements, 22 morphokinem elements, 7 motif elements, and one overall dance form, namely Zapin Siak dance. Zapin Siak dance has a syntagmatic relationsip between the motif level and a paradigmatic relationship in overall dance. Keywords: Analysis, Motion Structure, Zapin Siak Dance A. Pendahuluan Negara Indonesia sebagai negara kepulauan merupakan suatu gugusan terpanjang dan terbesar di dunia yang senantiasa kaya dengan budaya dan berbagai suku bangsa.
    [Show full text]
  • Women on the Margins : an Alternative to Kodrat?
    WOMEN ON THE MARGINS AN ALTERNATIVE TO KODRAT? by Heather M. Curnow Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. University of Tasmania, Hobart School of Asian Languages and Studies October 2007 STATEMENTS OF OrtiONALITY / AUTHORITY TO ACCESS Declaration of otiginahtY: ibis thesis contains no material which has been acep ted for a degree or diploma by the University or any other institutions, except by way of hackground information and duly acknowledged in the thesis, and to the best of the candidate's knowledge and belief, no material previously published or written by another person, except- uthere due actabowledgement has been made in the text of the thesis. Statement of Authority of access: This thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. ,C70 11leather Cuniow Date: A,5 hit tibigki ittool ABSTRACT: WOMEN ON THE MARGINS During New Order Indonesia (1966 — 1998) women's roles were officially defined by the Panca Darma Wanita (The Five Duties of Women). Based on traditional notions of womanhood, these duties were used by the Indonesian State to restrict women's activities to the private sphere, that is, the family and domesticity. Linked with the Five Duties was kodrat wanita (women's destiny), an unofficial code of conduct, loosely based on biological determinism. Kodrat wanita became a benchmark by which women were measured during this period, and to a large extent this code is still valid today. In this thesis, I have analyzed female characters in Indonesian literature with specific identities that are on the periphery of this dominant discourse.
    [Show full text]