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Analysis on Symbolism of Malang Mask Dance in Javanese Culture
ANALYSIS ON SYMBOLISM OF MALANG MASK DANCE IN JAVANESE CULTURE Dwi Malinda (Corresponing Author) Departement of Language and Letters, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 813 365 182 51 E-mail: [email protected] Sujito Departement of Language and Letters, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 817 965 77 89 E-mail: [email protected] Maria Cholifa English Educational Department, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 813 345 040 04 E-mail: [email protected] ABSTRACT Malang Mask dance is an example of traditions in Java specially in Malang. It is interesting even to participate. This study has two significances for readers and students of language and literature faculty. Theoretically, the result of the study will give description about the meaning of symbols used in Malang Mask dance and useful information about cultural understanding, especially in Javanese culture. Key Terms: Study, Symbol, Term, Javanese, Malang Mask 82 In our every day life, we make a contact with culture. According to Soekanto (1990:188), culture is complex which includes knowledge, belief, art, morals, law, custom and any other capabilities and habits acquired by man as a member of society. Culture are formed based on the local society and become a custom and tradition in the future. Culture is always related to language. This research is conducted in order to answer the following questions: What are the symbols of Malang Mask dance? What are meannings of those symbolism of Malang Mask dance? What causes of those symbolism used? What functions of those symbolism? REVIEW OF RELATED LITERATURE Language Language is defined as a means of communication in social life. -
Cross-Gender Attempts by Indonesian Female Impersonator Dancer Didik Nini Thowok
Cross-Gender Attempts by Indonesian Female Impersonator Dancer Didik Nini Thowok Madoka Fukuoka Graduate School of Human Sciences, Osaka University, Japan [email protected] ABSTRACT This article examines the creative stages of Didik Nini Thowok (1954‒), a female impersonator and cross-gender dancer based in Java, Indonesia. In addition, it discusses his endeavours of crossing gender boundaries by focusing on his use of costumes and masks, and analysing two significant works: Dwimuka Jepindo as an example of comedic cross-gender expression and Dewi Sarak Jodag as an example of serious cross-gender expression. The findings indicate three overall approaches to crossing gender boundaries: (1) surpassing femininity naturally expressed by female dancers; (2) mastering and presenting female characters by female impersonators and cross-gender dancers; and (3) breaking down the framework of gender itself. Keywords: Didik Nini Thowok, cross-gender, dance, Java, Indonesia © Penerbit Universiti Sains Malaysia, 2014 58 Wacana Seni Journal of Arts Discourse. Jil./Vol.13. 2014 INTRODUCTION This article examines the creative stages of Didik Nini Thowok (1954‒), a female impersonator and cross-gender dancer based in Java, Indonesia.1 In addition, it discusses his endeavours of crossing gender boundaries by focusing on the human body's role and Didik's concept of cross-gender dance, which he has advocated since his intensive study of the subject in 2000. For the female impersonator dancer, the term "cross-gender" represents males who primarily perform female roles and explore the expression of stereotypical femininity. Through his artistic activity and unique approach, Didik has continued to express various types of femininity to deviate from stereotypical gender imagery. -
Masyarakat Kesenian Di Indonesia
MASYARAKAT KESENIAN DI INDONESIA Muhammad Takari Frida Deliana Harahap Fadlin Torang Naiborhu Arifni Netriroza Heristina Dewi Penerbit: Studia Kultura, Fakultas Sastra, Universitas Sumatera Utara 2008 1 Cetakan pertama, Juni 2008 MASYARAKAT KESENIAN DI INDONESIA Oleh: Muhammad Takari, Frida Deliana, Fadlin, Torang Naiborhu, Arifni Netriroza, dan Heristina Dewi Hak cipta dilindungi undang-undang All right reserved Dilarang memperbanyak buku ini Sebahagian atau seluruhnya Dalam bentuk apapun juga Tanpa izin tertulis dari penerbit Penerbit: Studia Kultura, Fakultas Sastra, Universitas Sumatera Utara ISSN1412-8586 Dicetak di Medan, Indonesia 2 KATA PENGANTAR Terlebih dahulu kami tim penulis buku Masyarakat Kesenian di Indonesia, mengucapkan puji syukur ke hadirat Tuhan Yang Maha Kuasa, karena atas berkah dan karunia-Nya, kami dapat menyelesaikan penulisan buku ini pada tahun 2008. Adapun cita-cita menulis buku ini, telah lama kami canangkan, sekitar tahun 2005 yang lalu. Namun karena sulitnya mengumpulkan materi-materi yang akan diajangkau, yakni begitu ekstensif dan luasnya bahan yang mesti dicapai, juga materi yang dikaji di bidang kesenian meliputi seni-seni: musik, tari, teater baik yang tradisional. Sementara latar belakang keilmuan kami pun, baik di strata satu dan dua, umumnya adalah terkonsentasi di bidang etnomusikologi dan kajian seni pertunjukan yang juga dengan minat utama musik etnik. Hanya seorang saja yang berlatar belakang akademik antropologi tari. Selain itu, tim kami ini ada dua orang yang berlatar belakang pendidikan strata dua antropologi dan sosiologi. Oleh karenanya latar belakang keilmuan ini, sangat mewarnai apa yang kami tulis dalam buku ini. Adapun materi dalam buku ini memuat tentang konsep apa itu masyarakat, kesenian, dan Indonesia—serta terminologi-terminologi yang berkaitan dengannya seperti: kebudayaan, pranata sosial, dan kelompok sosial. -
Daftar Tarian Kabupaten/Kota Di Aceh
DAFTAR TARIAN KABUPATEN/KOTA DI ACEH NO KAB/KOTA NAMA TARIAN KETERANGAN I BANDA ACEH 1 Tari Rebana 2 Tari Bungong Jeumpa 3 Tari Poh Kipah 4 Tari Bungong Sie Yung-yung 5 Meusaree-saree 6 Ranub Lampuan 7 Tron U Laot 8 Tari Ramphak Beusare 9 Tari Peumulia Jame 10 Tari Piasan Raya 11 Tari Geudumbak 12 Likok Dara 13 Phok Teupeuen 14 Tari Marhaban 15 Punca Utama 16 Tari Prang Sabilillah 17 Rampo Aceh 18 Tari Sange 19 Tari Perang 20 Muda Ban Keumang II SABANG 1 Sendratari "Srikandi Aceh" 2 Bungong Rampoe 3 Trieng Meususu 4 Murratal 5 Geulumbang Tujoeh 6 Meu'een Ija Kroeng 7 Likok Puloe III ACEH BESAR 1 Seurune Kale 2 Ratoh Duek/Ratoh Taloe 3 Rapai Pulot 4 Nasib 5 Sendratari Cakradonya Iskandar Muda 6 Tari Peuron Eungkot 7 Likok Pulo Aceh IV PIDIE 1 Tarian Seudati Aceh Pidie 2 Geundrang 3 Grempheng 4 Lapeih 5 Meuteuot 6 Laweut 7 Drop Darut NO KAB/KOTA NAMA TARIAN KETERANGAN V BIREUEN 1 Tari Rencong Pusaka 2 Tari Ratoh Bruek 3 Tari Seudati 4 Tari Ramphak Beusare 5 Tari Mengeundum Beude 6 Tari Lapan Sikarang 7 Tari Rebana 8 Rapai Bruek 9 Meurukon 10 Dalael Khairat 11 Kreasi Baru 12 Rebani Wahid 13 Biola 14 Saman 15 Rapai Leupek 16 Rapai Daboh 17 Tarian Magic Yogya Atraksi 18 Rapai Likee 19 Rapai grimpheng 20 Zikir Maulid 21 Kontemporer VI ACEH UTARA 1 Rapai Pase 2 Geudrang Pase 3 Alee Tunjang 4 Tari Tarek Pukat 5 Tari Tanah Lon Sayang 6 Tari Meu-idang 7 Tari Poh kIpah 8 Tari Gaseh seutia 9 Tari Dom Drien 10 Tari Limong Sikarang 11 Tari Rapai aceh VII ACEH TIMUR 1 Saman Lokop 2 Tari Ular Lembing 3 Bines Lokop 4 Cuwek 5 Tari Likok rampou 6 Tari Zapin -
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. -
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. -
Is Eastern Insulindia a Distinct Musical Area? L’Est Insulindien Est-Il Une Aire Musicale Distincte ?
Archipel Études interdisciplinaires sur le monde insulindien 90 | 2015 L’Est insulindien Is Eastern Insulindia a Distinct Musical Area? L’Est insulindien est-il une aire musicale distincte ? Philip Yampolsky Electronic version URL: http://journals.openedition.org/archipel/373 DOI: 10.4000/archipel.373 ISSN: 2104-3655 Publisher Association Archipel Printed version Date of publication: 15 October 2015 Number of pages: 153-187 ISBN: 978-2-910513-73-3 ISSN: 0044-8613 Electronic reference Philip Yampolsky , « Is Eastern Insulindia a Distinct Musical Area? », Archipel [Online], 90 | 2015, Online since 01 May 2017, connection on 14 November 2019. URL : http://journals.openedition.org/archipel/ 373 ; DOI : 10.4000/archipel.373 Association Archipel PHILIP YAMPOLSKY 1 Is Eastern Insulindia a Distinct Musical Area? 1In this paper I attempt to distinguish the music of “eastern Insulindia” from that of other parts of Insulindia.2 Essentially this is an inquiry into certain musical features that are found in eastern Insulindia, together with a survey of where else in Insulindia they are or are not found. It is thus a distribution study, in line with others that have looked at the distribution of musical elements in Indonesia (Kunst 1939), the Philippines (Maceda 1998), Oceania (McLean 1979, 1994, 2014), and the region peripheral to the South China Sea (Revel 2013). With the exception of McLean, these studies have focused exclusively on material culture, namely musical instruments, tracing their geographical distribution and the vernacular terms associated with them. The aim has been to reveal cultural continuities and discontinuities and propose hypotheses about prehistoric settlement and culture contact in Insulindia and Oceania. -
Who Cares About Malay Music
Who cares about Malay music--and why?: migrant musicality, Christian composition, backlash and boundaries in an Indonesian province made for Malays LSE Research Online URL for this paper: http://eprints.lse.ac.uk/101684/ Version: Accepted Version Book Section: Long, Nicholas J. ORCID: 0000-0002-4088-1661 (2019) Who cares about Malay music--and why?: migrant musicality, Christian composition, backlash and boundaries in an Indonesian province made for Malays. In: Kartomi, Margaret J., (ed.) Performing the arts of Indonesia: Malay identity and politics in the, music, dance and theatre of the Riau Islands. NIAS Press, Copenhagen, Denmark, p. 20. ISBN 9788776942595 Reuse Items deposited in LSE Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the LSE Research Online record for the item. [email protected] https://eprints.lse.ac.uk/ Who Cares about Malay Music—and Why? Migrant Musicality, Christian Composition, Backlash, and Boundaries in an Indonesian Province Made for Malays Nicholas J. Long Abstract The Riau Islands have a diverse Malay musical heritage, but also a population of extreme demographic diversity. This raises questions about the ways in which non- Malays might engage with creating and performing ‘Malay music’, and how such endeavours are received more widely. This paper explores how such issues affected the Trio Komodo, a Florinese music group resident in the Riau Islands. -
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”. -
Daftar Pustaka
DAFTAR PUSTAKA A. Sumber Buku Bungin, Burhan H.M. 2003. Analisis Data Penelitian Kualitatif. Raja Grafindo Persada, Jakarta Kebijakan Publik, dan ilmu sosial. Jakarta : Kencana Prenama Media Group. Effendy, Onong Uchjana. 2002. Hubungan Masyarakat Suatu Studi Komunikasi. Cetakan keenam. Bandung: PT Remaja Rosdakarya Effendy, Onong Uchjana. 2003. Ilmu Komunikasi dan Praktek. Bandung: PT Remaja Rosdakarya Effendy, Onong Uchjana. 2009. Human & Public Relations. Bandung : Mandar Maju Marzali, Amri. 2006. Metode Penelitian Etnografi. Yogyakarta, Tirta Wacana Moleong, Lexy. 2007. Metode Penelitian Kualitatif. Bandung: PT Remaja Rosdakarya Morissan, 2013. Teori Komunikasi : individu hingga massa. Jakarta : Kencan Mulyana, Deddy. 2007. Ilmu Komunikasi : Suatu Pengantar. Bandung: PT Remaja Rosdakarya ______________. 2010. Metodologi Penelitian Kualitatif. Bandung: PT Remaja Rosdakarya ______________. 2013. Metodologi Penelitian Kualitatif. Bandung: PT Remaja Rosdakrya Samovar, Larry A. 2010. Komunikasi Lintas Budaya. Salemba Humanika Sobur, Ale. 2009. Semiotika Komunikasi. Bandung: PT Remaja Rosdakarya Subagyo, Joko P. 2006. Metode Penelitian Dalam Teori dan Praktek. Jakarta: Rineka Cipta Sugiyono. 2014. Memahami Penelitian Kualitatif dan R&D. Bandung: Alfabeta 103 104 Sugiyono. 2009. Memahami Penelitian Kualitatif dan R&D. Bandung: Alfabeta Suyatna, Bagong. 2005. Metode Penelitian Sosial: Berbagai Alternative Pendekatan. Jakarta: PT Raja Grafindo Persada B. Karya Ilmiah Sundari, Erni. 2011. Makna Komunikasi Non Verbal Dalam Tradisi Siramam Pada Proses Pernikahan Adat Sunda Di Kelurahan Pasanggrahan Kecamatan Ujung Berung. Bandung: UNIKOM Ayu Anggaswari, Niluh. 2014. Komunikasi Nonverbal Dalam Pagelaran Seni Tari Kecak di Kebudayaan Bali (Studi Etnografi Komunikasi Mengenai Makna Komunikasi Nonverbal Para Penari Kecak Dalam Pagelaran Seni Tari Kecak di Kawasan Wisata Denpasar Bali). Bandung: UNIKOM Hasbi, Billy. 2016. Makna Komunikasi Nonverbal Para Penari Yogyakarta Dalam Sendratari Ramayana di Kawasan Prambanan. -
Garap Tepak Kendang Jaipongan-Asep.Pdf
GARAP TEPAK KENDANG JAIPONGAN DALAM KARAWITAN SUNDA Penulis: Asep Saepudin Perancang sampul: Teguh Prastowo Perancang isi: Haqqi & Korie Ilustrasi cover Suwanda koleksi penulis, 2007. Hal cipta dilindungi undang-undang © 2013, Asep Saepudin Diterbitkan oleh: BP ISI Yogyakarta Jln. Parangtritis KM. 6,5 Yogyakarta 55001 Tlp./Fax. (0274) 379133, 371233 E-mail: [email protected] Katalog dalam Terbitan (KDT) Saepudin, Asep. Garap Tepak Kendang Jaipongan dalam Karawitan Sunda; Yogyakarta; BP ISI Yogyakarta; 2013; Cetakan Ke-1; 155 x 230 mm; xxi + 262 hal ISBN 978-979-8242-58-8 Prakata Puji dan syukur ke hadirat Allah SWT, bahwasannya penulisan buku berjudul Garap Tepak Kendang Jaipongan dalam Karawitan Sunda ini akhirnya dapat diselesaikan. Atas izin dan ridho-Nya penulis diberikan kekuatan serta kesehatan untuk menyelesaikan penulisan buku ini. Buku ini mengungkap riwayat hidup Suwanda terutama kaitannya dengan proses penciptaan tepak kendang Jaipongan. Suwanda memiliki andil besar dalam seni pertunjukan Indonesia khususnya di Jawa Barat yakni dengan menciptakan tepak kendang Jaipongan pada tahun 1980-an. Kehadiran karya Suwanda ‘tepak Jaipongan’ sudah cukup lama, namun belum ada yang mengungkap secara rinci tentang kesenimanan serta proses garapnya dalam menciptakan tepak kendang Jaipongan. Informasi tentang Suwanda belum banyak diketahui oleh masyarakat dan dikaji lebih dalam sebagai bahan penelitian atau bahan bacaan umum. Sampai dengan saat ini belum banyak diketahui bagaimana peranan Suwanda dalam Jaipongan, bagaimana caranya beragam tepak kendang Jaipongan diciptakan, dari mana sumber tepak kendang Jaipongan berasal, apa konsep garap yang digunakan untuk membuatnya, untuk apa diciptakan, serta fakor apa yang mendorong keberhasilan penciptaannya. Berbagai persoalan tersebut dikupas dalam buku ini karena sangat penting untuk diketahui publik mengingat kehadiran tepak kendang Jaipongan sudah tiga puluh tahun lebih mengisi kehidupan karawitan Sunda. -
Konsep Artistik Tata Panggung Dan Fotografi Pentas Seni Internasional
K o n s e p P e r t u n j u k a n Seni Tradisional di 4 Kota di Jepang | 1 Konsep Artistik Tata Panggung dan Fotografi Pentas Seni Internasional “ Tradition Dance and Music for Love and Care for Our Sister and Brother in Aceh Indonesia” Japan, 19-28 July 2005 Oleh: Drs. Tri Karyono, M.Sn. NIP. 132083874 UNIVERSITAS PENDIDIKAN INDONESIA 2005 K o n s e p P e r t u n j u k a n Seni Tradisional di 4 Kota di Jepang | 2 Kata Pengantar Puji syukur saya panjatkan kepada Allah S.W.T. karena atas izin dan ridlonya penulis dapat menyajikan konsep pertunjukan pra pentas awal hingga hasil pertunjukan yang dirancang sebelum dan sudah pertunjukan. Pada tahap presentasi awal penulis memaparkan konsep pertunjukan di hadapan stage crew pertunjukan jepang dengan memberikan contoh beberapa kasus pertunjukan/artistik di luar negeri yang penulis kerjakan yakni contoh konsep pertunjukan Malaysia 2004 dan Peru 2005. Dan sajian ini tentu bagi mereka (pihak Jepang) adalah sesuatu yang menarik perhatiannya karena sajian pertunjukan tradisi memilki karakteristik sendiri. Makalah konsep pertunjukan tata panggung ini adalah konsep pertunjukan awal , konseptual pra pertunjukan hingga hasil-hasil pertunjukan lima kota 4 (empat kota) yang direkam (picture moving ; video), di foto (still picture) oleh penulis sendiri. Terimakasih, saya haturkan kepada Rektor Universitas Pendidikan Indonesia yang telah membemberikan kesempatan bagi penulis, hingga dapat meng explore segenap kemampuan di beberapa pertunjukan di dalam maupun di luar negeri. Terimakasih, Kepada pembina Tim Kesenian Kabumi UPI yang telah memberikan kesempatan, pembelajaran, pengalaman yang sangat berharga hingga penulis dapat mengembanagkan diri.