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Advances in Social Science, Education and Humanities Research, volume 398 2nd International Conference on Social Science and Character Educations (ICoSSCE 2019) The Utilization of Faced Tradition in Historical Learning to Plant Religious Values in Students Uzratul Laela Sudrajat Graduate School Graduate School Universitas Negeri Yogyakarta Universitas Negeri Yogyakarta Yogyakarta, Indonesia Yogyakarta, Indonesia [email protected] [email protected] Abstract—This study aims to explain the background of developing today even amid the development of the Ngejot Tradition itself. To find out the values contained modernization and globalization which has caused a shift in the Ngejot Tradition and the use of the Ngejot Tradition in the values and attitudes of the cultural community. This in historical learning to instill religious value in students. tradition is still maintained by the community because it The research method used in this research is descriptive has special characteristics, one of which is a community qualitative research method, data collection methods meeting with relatives or parents to apologize. From the through interviews, observation. Data Analysis Techniques uniqueness of this tradition, it is very good to be through the stages of data reduction, data presentation and conclusions. The results showed that (1) the background of implemented into character education learning, one of the Ngejot Tradition in Lenek Village, as an expression of which is religious value for students in learning history. gratitude to the almighty God and to strengthen the relationship of friendship between the people of Lenek This tradition of empowering activities cannot Village (2) the character values that exist in the Ngejot succeed without anyone helping. -
Religion As a Cultural System: a Multiculturalism Education Model in Bali Based on Local Tradition
PSYCHOLOGY AND EDUCATION (2021) 58(1): 4198-4206 An Interdisciplinary Journal RELIGION AS A CULTURAL SYSTEM: A MULTICULTURALISM EDUCATION MODEL IN BALI BASED ON LOCAL TRADITION Made Saihu1, Hamdani Anwar2, Suhada3, Abd. Aziz4, Lilis Fauziah Balgis5 1Institute of PTIQ Jakarta, Indonesia 2State Islamic University of Syarif Hidayatullah Jakarta, Indonesia 3Islamic College of Al-Hikmah Jakarta, Indonesia 4Islamic College of Al-Amin, South Tangerang, Indonesia 5University of Juanda Bogor, Indonesia Abstract This study discusses the harmony of Hindus and Muslims in Jembrana Bali is seen from a religious point of view as a cultural system involving both religious adherents. The Ngejot and Male traditions are local traditions that show this Hindu-Muslim harmony. Through the theoretical approach of religion as a cultural system, this ethnographic study emphasizes the importance of embodying religious traditions through local culture. Although the tradition of Male originates from the Islamic tradition, cultural influences are able to encourage adaptation to Balinese customs so that harmony is more easily maintained. Here the Muslims understand their position to protect and respect the dominant culture adhered to by the majority of Hindus in Jembrana Bali. The same thing is done by Hindus who try to show a good response to Muslims by involving them in the tradition of Ngejot which was originally a Hindu tradition of worshiping God, to some extent shown by adjustments so as not to conflict with Muslim beliefs. A wealth of local traditions that shows a portrait of harmony between religious communities in Indonesia and becomes a model for multiculturalism education based on local traditions. Keywords: Education, Local Traditions, Multiculturalism, Culture Article Received: 20 September 2020, Revised: 30 November 2020, Accepted: 18 December 2020 INTRODUCTION humanities, scholars have studied quite a lot. -
Vol. 2 No. 3, 2012
KOMANEKA Update Home Photo Album Spa Promotion Vol. 2 No. 3, Sep. 2012 A SLICE OF THE GODS PACKAGE Ngejot Tumpeng Anten, – The TRIPLE SPECIAL Prayer of Newlyweds in Ubud ...FREE extra bed and ...there is another side of Galungan, Breakfast for the third Ngejot Tumpeng Anten procession, that is person... unique and indigenous to Ubud and some villages in Gianyar... Galungan is the most awaited day for Balinese, where various festivities become part of this special day. The streets will be full of janur (young coconut Show your near and dear ones that you care. Valid leaves) decorations, the scent of incense, and the for all room category at Komaneka at Tanggayuda, happy sounds of children in the air welcoming Komaneka at Bisma, and Komaneka at Rasa Sayang. Barong Ngelawang (lawang = door) dancing from door to door. Stay period starting 1 October 2012 - 30 April 2013. Galungan is an ancient Javanese word meaning to win or to fight. Galungan also has the same meaning with Dungulan, to win. The Galungan Festivity for Balinese means the expression of joy in celebration of dharma (goodness) winning over adharma (evil). click to continue click to continue KOMANEKA WHAT TO READ FINE ART GALLERY AGAINST ALL ODDS I Wayan Sujana Suklu ...Intricacies in the Life of a Balinese Prince... I Wayan Sujana affectionately goes by the name The arrival of the Dutch marks the end of the glory Suklu. Suklu is short for Sujana Klungkung, meaning of the kingdom era in Bali. One by one the Balinese Sujana who comes from Klungkung. Klungkung used kings surrender and must give up their power to be the location of the central government, where to the colonial government. -
The Impact of Social-Culture on the Acceptance of Graffiti Art in Delhi
IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347-4564; ISSN (E): 2321-8878 Vol. 6, Issue 6, Jun 2018, 319-334 © Impact Journals THE IMPACT OF SOCIAL-CULTURE ON THE ACCEPTANCE OF GRAFFITI ART IN DELHI Bhawna Chauhan Research Scholar, State University of Performing and Visual Arts, Rohtak, Haryana, India Received: 29 May 2018 Accepted: 06 Jun 2018 Published: 22 Jun 2018 ABSTRACT Vandalism, disrespect, rebellion, a symbol of urban decay, these are few descriptors the vast majority of the population would use for graffiti or Street art but is graffiti any different from any other art form? Just like any other piece of art, graffiti is an expression. It can easily be argued that graffiti is the biggest art movement ever seen, especially on a global scale. Street art today in a way is allowing people to connect with art and expression on a daily basis, the colorful and beautiful murals painted on walls, trains etc reach out to the public every day. As a whole, modern-day graffiti and street art or urban art emerged as an impactful medium of communication and can be broadly categorized into-mass communication like any other social or political commentaries and individual expression. Every culture contributed to this art form with its own set of symbolism. In India using walls as a form of advertisement or expression is not a new idea and so Delhi accepted Graffiti and street art with open arms. The main focus to study Graffiti/Street Art is to understand the ideologies and cultural diplomacy of Graffiti in Delhi, and how street art came to Delhi from a major perspective. -
Bhinneka Tunggal Ika in Kakawinsutasoma in Multicultural Societyof Denpasar City
International Journal of Research in Social Sciences Vol. 8 Issue 3, March 2018, ISSN: 2249-2496 Impact Factor: 7.081 Journal Homepage: http://www.ijmra.us, Email: [email protected] Double-Blind Peer Reviewed Refereed Open Access International Journal - Included in the International Serial Directories Indexed & Listed at: Ulrich's Periodicals Directory ©, U.S.A., Open J-Gage as well as in Cabell’s Directories of Publishing Opportunities, U.S.A BHINNEKA TUNGGAL IKA IN KAKAWINSUTASOMA IN MULTICULTURAL SOCIETYOF DENPASAR CITY Ni Putu Winanti* Ni Gusti Ayu Kartika** Abstract: The pluralism of Denpasar City residents to this day still exist. The philosophy of Bhinneka Tunggal Ika is considered giving a strong contribution to it. This study will try to illustrate the roots of Bhinneka Tunggal Ika philosophy in Sutasoma’s Old Poetry (kakawin) by Mpu Tantular, the implementation of Bhinneka Tunggal Ika philosophy, and the perception of the multicultral community in Denpasar towards the Bhinneka Tunggal Ika. Through descriptive qualitative descriptions, this study tries to see the text of Sutasoma in general along with the implementation of Bhinneka Tunggal Ika philosophy in multicultural society in Denpasar City, which can be seen in the synergy of religious life behavior, the blend of art and culture, and the combination of beliefs seen in various development worship places. This study concludes that the philosophy of Bhineka Tunggal Ika is still relevant as a life guidance for the plural citizens in Denpasar. The basis of Bhineka Tunggal Ika made the community able to develop an attitude of helping each other, tolerance, mutual cooperation(gotong royong), mutual respect, and glorify each other. -
Proposal Penelitian
Widya Genitri : Jurnal Ilmiah Pendidikan, Agama dan Kebudayaan Hindu P-ISSN : 2302-9102 Volume 10 Nomor 2 (2019) hal 11-22 E-ISSN : 2685-7198 DOI: 10.36417/widyagenitri.v10i2.276 STAH Dharma Sentana Sulawesi Tengah BENTUK FUNGSI DAN MAKNA TRADISI NGEJOT TUMPENG (FORM OF FUNCTION AND MEANING OF TRADITION NGEJOT TUMPENG) I NYOMAN SUPARMAN Dosen Sekolah Tinggi Agama Hindu (STAH) Dharma Sentana Sulawesi Tengah JL. Roviga No. 29 Kel. Tondo Kec. Mantikulore Kota Palu e-mail: [email protected] ABSTRACT What are the ways to carry out the tradition of bouncing cone? (2) What is the form, function and meaning of the cone-crunching tradition? (3) What educational values are contained in the tradition of teasing rice cone? While the objectives of this study are (1) To find out the procedures for implementing the Ngejot tumpeng tradition. (2) To find out the form, function and meaning of the cone-teasing tradition. (3) To find out the values of Hindu religious education contained in the tradition of teasing rice cone. In this study, researchers used descriptive qualitative research, to get good results researchers used four theories including structural functional theory, symbol theory, meaning theory and value theory, in this study researchers used the method of observation, interviews and documentation. Determination of informants in this study using Purpsive Sampling technique. The results of the research in the Tgejot Tumpisi Tradition are through the procedures and the implementation by initiating the preparation of facilities in the form of banteng tumpeng which will be offered to the bride and groom during the Galungan Penampat, and arranged at the Galungan. -
Graffiti: a New Emerging Art Form in Indian Streets
International Journal of Humanities and Social Science Research International Journal of Humanities and Social Science Research ISSN: 2455-2070 Impact Factor: RJIF 5.22 www.socialsciencejournal.in Volume 4; Issue 4; July 2018; Page No. 30-34 Graffiti: A new emerging art form in Indian streets Neha Singh Research Scholar, Department of Fine Arts, Aligarh Muslim University, Uttar Pradesh, India Abstract The roots of graffiti can be traced back in the ancient history, and it reemerged with the rise of the hip-hop culture, and constant transformation, graffiti art is integral. Graffiti can be created on concrete building, paper, walls, under the bridge in any public place. Graffiti art can be both two dimensional and three dimensional; it can be illusionistic and inclusive of various techniques. Graffiti can be composed with spray paint, marker pens, stencils, acrylics, or steel. Moreover, it appeals to consumers of fine and street art, designers, grassroots politicians, and musicians. It can be seen that from a few years, with the emergence of modern art, graffiti is becoming the visual language of social equity, personal expression, and integral art in India. This paper looks at the history and evolution of graffiti and how it is emerging as a new art form and gaining the popularity among the people of India. Keywords: graffiti, emergence, street art, evolution, communication etc. Introduction Objectives Graffiti art can be used as a powerful weapon in order to raise . To explore the role and influence of graffiti on present art awareness about social and political situations to the people. scenario in India. -
Local Tradition and Harmony Among Religious Adherents: the Dominant Culture of Hindu-Muslim Relation in Jembrana Bali
Local Tradition and Harmony among Religious Adherents: the Dominant Culture of Hindu-Muslim Relation in Jembrana Bali Saihu Saihu1* 1 Institut PTIQ Jakarta, Indonesia; e-mail: [email protected] * Correspondence Received: 2020-03-21; Accepted: 2020-05-14; Published: 2020-05-29 Abstract: This study discusses the harmony of Hindu-Muslim's local traditions in Jembrana, western Bali. This anthropology study employs Bruner's dominant cultural theory approach to see the practice of harmony in local communities. This study focuses on several local Hindu-Muslim traditions in Jembrana, which reflect harmony among religious communities, namely the tradition of ngejot, makepung, male, and rebana (tambourine). The ethnographic study confirms the importance of respect for the dominant culture carried out by the Muslim minority when implementing their religious traditions. Although the customs of male and rebana, for instance, are Islamic traditions, Balinese Muslims adapted to Balinese customs as the dominant culture. They understood their positions to maintain and respect the dominant Balinese culture performed by the majority of Hindus in Jembrana. Balinese Hindus tried to show an excellent response to the Muslims by involving them in the local Balinese tradition even with the adaptation of their rituals. It is a wealth of local tradition that shows religious harmony portrait in Indonesia. Keywords: dominant culture; harmony; Hindu; local tradition; Muslim. Abstrak: Bali merupakan salah satu daerah yang dihuni oleh ragam komunitas agama. Kajian ini membahas kerukunan umat Hindu dan Muslim di Jembrana Bali dilihat dari sudut pandang budaya dominan dalam tradisi lokal yang melibatkan kedua pemeluk agama tersebut. Tradisi ngejot, makepung, male, dan rebana merupakan tradisi lokal yang menunjukkan kerukunan Hindu-Muslim tersebut. -
Clear Response
Trade Marks Journal No: 1957 , 20/07/2020 Class 10 Clear Response 3577300 23/06/2017 RAJESH BERI B-21, Ground Floor, Preet Vihar, New Delhi 110092 INDIVIDUAL Address for service in India/Attorney address: NAVIN PRABHAT W-26/F-40, NEAR LABOUR COURT, NAYATOLA, MUZAFFARPUR-842001 (BIHAR) Used Since :13/10/2015 DELHI Surgical, medical, dental and veterinary apparatus and instruments, artificial limbs, eyes and teeth; orthopaedic articles; suture materials 3717 Trade Marks Journal No: 1957 , 20/07/2020 Class 10 3662385 24/10/2017 KOMAL GARG PROP. OF M/S KOMAL INTERNATIONAL PLOT NO 605, GROUND FLOOR, POOTH KALAN EXTN, GRAM SABHA, VILL POOTH KALAN, DELHI-110086 PROPRIETOR Address for service in India/Attorney address: RITESH KUMAR GUPTA 146-B, UNA ENCLAVE, MAYUR VIHAR, PHASE-1, DELHI-110091 Proposed to be Used DELHI Heating pad, hot water bag, hot water bottle, surgical equipments, wheel chair, commodes tools, commode chair, walking sticks, walker, crutches, cervical pillow, orthopaedic equipment, surgical items, medical equipments, blind stick, suction machines, Hospital beds, recliners, backrest and other medical apparatus. 3718 Trade Marks Journal No: 1957 , 20/07/2020 Class 10 3670162 04/11/2017 M/S GENTEK MEDICAL Plot No.545, Street No.8, Kadipur Industrial Area, Main Road, Main Patudi Road, Gurgoan-122001 prop. Address for service in India/Attorney address: GUPTA ITPC AND ASSOCIATES S-85, SCHOOL BLOCK, SHAKARPUR, DELHI-110092 Proposed to be Used DELHI Hospital Medical Furniture , Surgical Medical Disposables, Medical Equipment, OT Table , Diagnostic Equipment & Products include in class 10 3719 Trade Marks Journal No: 1957 , 20/07/2020 Class 10 3673966 09/11/2017 DIVESH SACHDEVA PROP. -
Neoliberal Governance and Urban Art Policy in Delhi
‘Art Participolis’1: Neoliberal Governance and Urban Art Policy in Delhi Sanchita Khurana Abstract: In the last decade, the metropolis of Delhi has witnessed a surge in urban aesthetic practice – ranging from murals to graffiti workshops and community art – that draws its intellectual value from being located in the public sphere, and in supposed critique of the elitist or commercialised art world. This paper uses analytical focus on the recent emergence of street art as a legitimate public art form, in order to understand the overall arts policy of the Indian state, locating it squarely within the ‗cultural economy‘ (Pratt 2011) of Delhi. For this analysis, it places such art within the neoliberal ‗revanchism‘ of cities today. Keywords: Urban art, street art, participation governance, urban space, neoliberal urban, Delhi, urban policy, public art, cultural turn, creative city, creative class, citizenship, revanchism, cultural planning, Indian middle class, citizen artist, community art The Neoliberal Urban India: The 20th century has been witness to an urbanisation of the globe and a globalisation of the urban. After neoliberal reforms, an increased focus on individual cities as brands unto themselves is seen, as within the global the local is marketed, and at the ‗invisible hand(s)‘ of the free market, places undergo reinvestment and regeneration in an almost cyclical pattern. Cities posit themselves in competition with other cities, where they are regarded as driving economic growth and development. Doreen Massey ascribes the ―changing forms of the spatial organisation of social relations‖ (Massey 1994:168) in cities the world over to globalisation. By the 1980s, America‘s industrial economy had been completely discredited and cities were fast emerging as centres of a service economy. -
“Menyama Braya” Studi Perubahan Masyarakat Bali
EMPATEMPATEMPAT MENYAMA BRAYA DALAM PLURALITAS DAN INTEGRASI SOSIAL BBBALIBALIALIALI SterSterStereStereeeotipeotipe Baliotipe Bali Secara historis, Bali dan dinamikanya memiliki pluralitas dalam identitas Bali Mula atau Bali Aga (Bali Asli) dan Bali Majapahit (wong Majapahit). Hal ini dimulai sekitar tahun 1350 Masehi, ketika Sri Kresna Kepakisan dari Kediri pemegang kuasa Majapahit atas Bali, mengukuhkan sebuah identitas sosial baru. Wong Majapahit, yang membedakan dengan identitas penduduk lokal Bali, yang disebut Bali Aga atau Bali Mula. Identitas ini memberi batas-batas pembeda dalam seluruh lapangan kehidupan (budaya, agama dan politik). Secara geokultural, orang-orang Bali keturunan Majapahit bertempat tinggal di daerah Bali dataran yang berlimpah air, sehingga mereka mengenal pengairan (subak). Secara politis, wong Bali dataran lebih memilih menerapkan sistem kepemimpinan tunggal dan monolitik. Mereka mengenal puri dan grya sebagai pemegang otoritas ekonomi politik dan kultural. Sedangkan Bali Aga wilayah pedalaman yang berbukit- bukit. Secara ekologis tergantung pada alam dan sumber daya hutan. 91 Menyama Braya: Studi Perubahan Masyarakat Bali Secara politis, mempunyai sistem sosial yang komunal dan kepemimpian kolektif (Dwipayana 2005: 4; Wiana 1993: 97). Sejalan dengan berkuasanya dinasti Majapahit di Bali dan terjadinya migrasi Jawa-Bali, maka lahirlah pembeda yang kedua yang didasarkan pada identitas kewangsaan (tri wangsa dan jaba wangsa) sebagai sistem “kasta” khas Bali (Wiana 1993: 98; Dwipayana 2005: 5 dan Putra 1998: 32). Kemudian dengan disintegrasinya kekuasaan Gelgel sebagai pusat Kerajaan Bali pada abad ke-17 menyusul kudeta Patih Agung Maruti, Bali pun terus ditikam konflik internal, perseteruan sesama Bali. Bali terpecah menjadi beberapa kerajaan dan masing-masing kerajaan punya kecenderungan menggunakan orang-orang Islam sebagai tangan kanan, benteng hidup kerajaan, melindungi kerajaan dari serangan musuh. -
RELIGIA 2527-5992 (Online) J U R N a L I L M U – I L M U K E I S L a M a N
Vol. 23 No. 1 2020 ISSN: 1411-1632 (Print) RELIGIA 2527-5992 (Online) J u r n a l I l m u – I l m u K e i s l a m a n Article History The Harmonious Dialectics Between Hindu-Muslim Submitted: in Bali (A Study in Jembrana Regency) 24-10-2019 Reviewed: 02-01-2020 Saihu Aproved: [email protected] 17-03-2020 Institut PTIQ Jakarta, Indonesia Cemal Şahin [email protected] University of State Bursa, Turkey Abstract This paper discusses the harmonious dialectics process between Hindus and Muslims through„urf or local wisdom which is believed to have philosophical, sociological, and psychological values with plural- multicultural nuances for the community of Jembrana, Province of Bali. This paper focuses on searching the effectiveness of some„urf or local wisdom that functions as a means to interact between two religious communities that lead to peaceful practices on Hindu-Muslim communities in Jembrana-Bali. The data sources are field observations and unstructured interviews from March-July 2019. This study is field research using a method of a case study. The results found that the dialectics process with a multicultural nuance between Hindus and Muslims in Jembrana is through the„urf or local wisdom, namely male, ngejot, rebana, and mekepung traditions. Further, from these four traditions, there is a process of active involvement, constructive understanding, and efforts to find joint commitments from various commitments, so that a sense of brotherhood and understanding of the diversity between the two religious communities becomes extremely close. This dialectic can also shape the character of Hindu and Muslim communities in Jembrana to be humanist, tolerant, and inclusive, this phenomenon then leads to the process of association, integration, complementation, and sublimation.