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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. -
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Advances in Social Science, Education and Humanities Research, volume 231 5th International Conference on Community Development (AMCA 2018) Ronggeng: Cultural Artifact and Its Representation in Indonesian Film Yulianeta Universitas Pendidikan Indonesia [email protected] Abstract. Ronggeng is a cultural artifact that is very in several regions of Central Java and East Java. The last, popular in the life of Indonesian people, especially in people in West Java call them sindhen or ronggeng. This Java. In a historical context, ronggeng which is on the art spreads almost in all regions of Java Island [3]. concept was originally viewed as a sacred culture in Ronggeng word comes from Javanese language, its development into a profane culture. The reception which means tandak or female dancers accompanied by of ronggeng is not only uttered orally, but also in gamelan (Javanese traditional orchestra). Referring to the literature and film. This study aims to describe definition, women become the key of the art. In the ronggeng as a cultural artifact and its representation Ensiklopedi Tari Indonesia Seri P-T, ronggeng is in the film Nyi Ronggeng (1969), Darah dan Mahkota classified into couple entertainment dances performed by Ronggeng (1983), and Sang Penari (2011). The a woman and a man. On its shows, a female ronggeng method used in this research is descriptive analysis dancer usually asks a male dancer by throwing her shawl method representation theory of Stuart Hall, to see to the man to go up to the stage and dance together with how the image of ronggeng is represented in three her [4]. Once the dance is finished, the male dancer films. -
The Traditional Arts and Cultural Policy in Banyuwangi
The Traditional Arts and Cultural Policy in Banyuwangi Novi Anoegrajekti1, Sudartomo Macaryus2, Ali Imron Al-Ma’ruf 3, Siti Gomo Attas4, Agustina Dewi Setyari5 , Zahratul Umniyyah6 {[email protected],[email protected],[email protected] om3,[email protected], [email protected], [email protected]} 1,5.6 Universitas Jember, Indonesia 2 Universitas Sarjanawiyata Tamansiswa, Yogyakarta, Indonesia 3Universitas Muhammadiyah, Surakarta, Indonesia 4 Universitas Negeri Jakarta, Indonesia Abstract. Gandrung Traditional Art in Banyuwangi is placed as a cultural event. Nowadays, it is decreasing, because it is only a place for the State (bureaucracy), religion and markets to fight. For this reason, it is necessary to revitalize traditional arts through increasing the innovation of traditional arts based on locality. This paper discusses how the revitalization and dynamics of the Gandrung tradition of art in the midst of socio-cultural changes in Banyuwangi. Analysis with cultural studies approaches, this paper produces an in-depth description and understanding of various social and cultural forces in relation to the traditional arts of Gandrung in Banyuwangi. The model of locality-based innovation as a cultural policy produced is expected to support the development of Gandrung traditional art in Banyuwangi. Socialization, promotion, and marketing as well as utilizing cultural activities that take place in Banyuwangi, are packaged in the Banyuwangi Festival Calendar as a form of revitalizing traditional arts. Keywords: Beach Ball Investigation Group, Social Skill, Cooperative Learning, Model, Development, Speaking. 1. INTRODUCTION Speaking course Gandrung's art tradition rests and survives on the basis of the local values that it contains dealing with new demands that not only ensure modern rationality and propriety, but also involve survival in economic terms. -
Glossary.Herbst.Bali.1928.Kebyar
Bali 1928 – Volume I – Gamelan Gong Kebyar Music from Belaluan, Pangkung, Busungbiu by Edward Herbst Glossary of Balinese Musical Terms Glossary angklung Four–tone gamelan most often associated with cremation rituals but also used for a wide range of ceremonies and to accompany dance. angsel Instrumental and dance phrasing break; climax, cadence. arja Dance opera dating from the turn of the 20th century and growing out of a combination of gambuh dance–drama and pupuh (sekar alit; tembang macapat) songs; accompanied by gamelan gaguntangan with suling ‘bamboo flute’, bamboo guntang in place of gong or kempur, and small kendang ‘drums’. babarongan Gamelan associated with barong dance–drama and Calonarang; close relative of palégongan. bapang Gong cycle or meter with 8 or 16 beats per gong (or kempur) phrased (G).P.t.P.G baris Martial dance performed by groups of men in ritual contexts; developed into a narrative dance–drama (baris melampahan) in the early 20th century and a solo tari lepas performed by boys or young men during the same period. barungan gdé Literally ‘large set of instruments’, but in fact referring to the expanded number of gangsa keys and réyong replacing trompong in gamelan gong kuna and kebyar. batél Cycle or meter with two ketukan beats (the most basic pulse) for each kempur or gong; the shortest of all phrase units. bilah Bronze, iron or bamboo key of a gamelan instrument. byar Root of ‘kebyar’; onomatopoetic term meaning krébék, both ‘thunderclap’ and ‘flash of lightning’ in Balinese, or kilat (Indonesian for ‘lightning’); also a sonority created by full gamelan sounding on the same scale tone (with secondary tones from the réyong); See p. -
Balinese Dances As a Means of Tourist Attraction
BALINESE DANCES AS A MEANS OF TOURIST ATTRACTION : AN ECONOMIC PERSPECTIVE By : Lie Liana Dosen Tetap Fakultas Teknologi Informasi Universitas Stikubank Semarang ABSTRACT Makalah ini menguraikan secara ringkas Tari Bali yang ditinjau dari perspekif ekonomi dengan memanfaatkan Bali yang terkenal sebagai salah satu daerah tujuan wisata di Indonesia. Keterkenalan Bali merupakan keuntungan tersendiri bagi pelaku bisnis khususnya bisnis pariwisata. Kedatangan wisatawan asing dengan membawa dolar telah meningkatkan ekonomi masyarakat Bali, yang berarti pula devisa bagi Indonesia. Bali terkenal karena kekayaannya dalam bidang kesenian, khususnya seni tari. Tari Bali lebih disukai karena lebih glamor, ekspresif dan dinamis. Oleh karena itu seni tari yang telah ada harus dilestarikan dan dikembangkan agar tidak punah, terutama dari perspektif ekonomi. Tari Bali terbukti memiliki nilai ekonomi yang tinggi terutama karena bisa ‘go international’ dan tentunya dapat meningkatkan pemasukan devisa negara melalui sektor pariwisata. Kata Kunci: Tari, ekonomi, pariwisata, A. INTRODUCTION It is commonly known that Bali is the largest foreign and domestic tourist destination in Indonesia and is renowned for its highly developed arts, including dances, sculptures, paintings, leather works, traditional music and metalworking. Meanwhile, in terms of history, Bali has been inhabited since early prehistoric times firstly by descendants of a prehistoric race who migrated through Asia mainland to the Indonesian archipelago, thought to have first settled in Bali around 3000 BC. Stone tools dating from this time have been found near the village of Cekik in the island's west. Most importantly, Balinese culture was strongly influenced by Indian, and particularly Sanskrit, culture, in a process beginning around the 1st century AD. The name Balidwipa has been discovered from various inscriptions. -
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. -
KAJIAN STRUKTUR PERTUNJUKAN LUDRUK TOBONG DI PONOROGO Oleh Abdul Fatah Jaelani [email protected] Dr. Autar Abdillah, S.Sn
KAJIAN STRUKTUR PERTUNJUKAN LUDRUK TOBONG DI PONOROGO Oleh Abdul Fatah Jaelani [email protected] Dr. Autar Abdillah, S.Sn., M.Si Jurusan Sendratasik, Fakultas Bahasa dan Seni Universitas Negeri Surabaya [email protected] ABSTRAK Ludruk tobong adalah salah satu pertunjukan ludruk yang dipertunjukkan di panggung tertutup. Penonton membeli tiket untuk menyaksikan. Ludruk tobong merupakan kerja seni pertunjukan mandiri dengan penghasilan yang didapatkan dari penjualan tiket. Kelompok ludruk tobong di Jawa Timur sangat minim, di Ponorogo terdapat 3 kelompok Ludruk yang masih melaksanakan tobongan, yakni Ludruk Suromenggolo, Irama Muda, dan Wahyu Budaya. Ludruk tobong di Ponorogo menampilkan pertunjukan dengan mengurangi esensi dagelan dan meniadakan lakon pada struktur pertunjukannya. Sebagai acara utama dalam pertunjukan ludruk tobong ini adalah monosuko, lagu-lagu yang di pesan oleh penonton dan dinyanyikan oleh para tandhak ludruk. Penelitian ini menggunakan struktur pertunjukan ludruk oleh Peacock, Konvensi ludruk oleh Lisbianto, Teater Kitchs dan tandhak oleh Supriyanto. Metode penelitian yang digunakan adalah kualitatif dengan sumber data manusia dan non manusia. Teknik pengumpulan data yang digunakan pada penelitian ini adalah wawancara, observasi dan dokumentasi yang divalidasi dengan menggunakan triangulasi sumber dan teknik. Selanjutnya data yang diperoleh dianalisis dengan cara reduksi data, interpretasi data, serta penarikan simpulan. Hasil penelitian ini menunjukan bahwa ketiga ludruk tobong di Ponorogo melaksanakan tobongan dengan struktur pertunjukan tari remo, bedhayan, lawak, monosuko. Struktur pertunjukan tersebut didasari atas tuntutan pasar hiburan. Dengan demikian Ludruk Suromenggolo, Wahyu Budaya dan Irama Muda dengan sadar bahwa apa yang dipertunjukan adalah Ludruk Campursari. Ketiga ludruk ini tergolong sebagai Teater Kitchs yang menanggapi permintaan sebagai komoditi komersial untuk khalayak penontonnya. -
Applying E-Commerce in the Marketing Information System As a Tool to Increase Ludruk Art Income Case Study at Irama Budaya Group, Surabaya
Applying E-Commerce in the Marketing Information System as a Tool to Increase Ludruk Art Income Case Study at Irama Budaya Group, Surabaya Debby Ratna Daniel, Ivana Laksmono, Eko Warsiyanto Nugrahadi Faculty of Economics and Business, Universitas Airlanggay, Surabaya, Indonesia [email protected], [email protected], [email protected] Keywords: Budgeting, Comparability, E-Commerce, Ethnography, Income, Marketing Information System, Regional Minimum Wage Standard (UMR), Timing. Abstract: Ludruk, which comes from East Java province, is one of the non-agrarian art forms in Indonesia that still exists. Irama budaya is known as a famous Ludruk group that is still actively performing several live shows and has an official website, which can be easily accessed by all people. The current income of this group is obtained from the number of shows produced. Based on this, the amount of income received between March 2016 and May 2016 had increased by 40.63%. This escalation rate was not comparable with the regional minimum wage standard (UMR) of Surabaya city. This research used a qualitative approach with ethnography method to analyze the current marketing information system.d As the result, there were some weaknesses in this system due to the low amount of marketing media and the lack of product mix. Therefore, Irama Budaya need to design an e-commerce facility in the marketing information system to increase its amount of income, such as by giving extracurricular activities in national junior high school in order to expand the range of audiences and players, producing education materials about Ludruk through YouTube programs, etc. -
Bonnie Simoa, Dance
Applicant For Paid Sabbatical Application Information Name: Bonnie Simoa Department/Division: Dance/Arts Ext.: 5645 Email address: [email protected] FTE: 1.0 Home Phone: 541.292.4417 Years at Lane under contract: 17 (Since Fall 1999) Previous paid sabbatical leave dates (if applicable): 2 # of terms of paid sabbatical leave awarded in the past: 2 Sabbatical Project Title: Intangible Cultural Heritage: Legong and Beyond Term(s) requested for leave: Spring Leave Location(s): Bali, Indonesia Applicant Statement: I have read the guidelines and criteria for sabbatical leave, and I understand them. If accepted, I agree to complete the sabbatical project as described in my application as well as the written and oral reports. I understand that I will not be granted a sabbatical in the future if I do not follow these guidelines and complete the oral and written reports. (The committee recognizes that there may be minor changes to the timeline and your proposed plan.) Applicant signature: Bonnie Simoa Date: 2/1/16 1 Bonnie Simoa Sabbatical Application 2017 Intangible Cultural Heritage: Legong and Beyond 1. INTENT and PLAN This sabbatical proposal consists of travel to Bali, Indonesia to build on my knowledge and understanding of traditional Balinese dance. While my previous sabbatical in 2010 focused primarily on the embodiment and execution of the rare Legong Keraton Playon, this research focuses on the contextual placement of the dance in relation to its roots, the costume as a tool for transcendence, and the related Sanghyang Dedari trance-dance. The 200 year-old Legong Keraton Playon has been the focus of my research, for which I have gained international recognition. -
JURNAL SIMBOLIKA Ritualisasi Kesenian Barong Dalam Estetika
Jurnal Simbolika: Research and Learning in Comunication Study 6(1) April 2020 ISSN 2442-9198 (Print) ISSN 2442-9996 (Online) JURNAL SIMBOLIKA Research and Learning in Comunication Study Available online http://ojs.uma.ac.id/index.php/simbolika DOI: https://doi.org/10.31289/simbollika.v6i1.3240 Ritualisasi Kesenian Barong dalam Estetika Budaya: Studi Eksploratif Komunikasi Intra Personal Masyarakat Kota Beribadat Ritualization’s Art of Barong in Aesthetic Culture: Explorative Study of Intra Personal Communication as a City Worship Community Tika Ristia Djaya Program Studi Ilmu Komunikasi, Fakultas Ilmu Sosial dan Ilmu Politik, Universitas Selamat Sri, Kendal, Jawa Tengah, Indonesia Diterima:22 Desember 2019; Disetujui: 19 April 2020; Dipublish: 27 April 2020 Abstrak Tujuan dari penelitian ini adalah untuk mengetahui cara pemain barong melakukan ritual, tanggapan masyarakat terhadap ritual yang dilakukan oleh para pemain barong dan pengaruh ritual terhadap perilaku personal pemain barong Singo Kencono di Kendal Jawa Tengah. Penelitian ini menggunakan metode kualitatif dengan pendekatan eksploratif. Hasil dari penelitian menunjukkan bahwa ritual yang dilakukan pemain barong diantaranya adalah lek-lekan di malam hari sebelum pementasan dan disertai dengan pengajian, menggunakan sesaji semacam jajan pasar, pisang, bunga dan telor. Masyarakat modern memaknai sesaji tersebut sebagai seni dalam budaya, bukan aliran kepercayaan yang dipercayai sebagai pedoman kepercayaan kehidupannya. Ritual tidak menyebabkan pengaruh negatif pada pemain barong tetapi justru meningkatkan ketaqwaan terhadap Tuhan Yang Maha Esa. Kesenian barong Singo Kencono dibentuk guna nguri-uri budaya meskipun sudah banyak perubahan sesuai dengan perkembangan jaman tetapi tetap tidak menghilangkan budaya asli, selain itu kesenian barong Singo Kencono ini dibentuk dan dimainkan untuk menghibur masyarakat. -
Vietnamese Ceramics in Asian Maritime Trade Between 14Th and 17Th Centuries
Vietnamese Ceramics in Asian Maritime Trade between 14th and 17th centuries Ngo The Bach Department of Research and Collections Thang Long - Hanoi Heritage Conservation Centre 19, Hoang Dieu St Hanoi Vietnam Email: [email protected] Abstract Vietnam is one of many Asian countries that have a long-standing and famous tradition of pottery production. Vietnam is also one of three countries including China, Vietnam, and Japan which exported ceramics developed to other countries. The 14th century was marked by the initial penetration of Vietnamese ceramics for foreign markets. The 15th century was considered as a prosperous period for Vietnamese export ceramics with the largest export quantity and the most abundant types thereof. The 16th century marked as a pause in the export of Vietnamese ceramics. The 17th century was the development period of commodity economy and the renaissance period of ports located in the northern and central parts of Vietnam. The article reviewed the findings regarding Vietnamese ceramics in Japan, West Asia, mainland, and insular Southeast Asia in order to partially reconstruct the historical context and the flow of Vietnamese export ceramics for the international maritime trade routes in the Vietnamese history of international trades from 14th to 17th centuries. Given that, the author pointed out the origin, chronology of the Vietnamese ceramics discovered from the relics as well as market context thereof and the destinations of Vietnamese export ceramics. Key words: Vietnamese ceramics, Dai Viet (Great Viet), Northern Vietnam, Southeast Asia, Maritime trade routes, Ceramic export Introduction Vietnam is located in Southeast Asia or Indo-China, with more than 3,000 km of long and beautiful coastline, and is at a crossroads of the exchange routes of the East to the West. -
Story of Barong Bangkung
Bali Tourism Journal (BTJ) 2018, Volume 2, Number 1, January-December: 19-22 P-ISSN. 2580-913X, E-ISSN. 2580-9148 The Past and present; story of Barong Bangkung IB Gede Karyambara Putra1 ABSTRACT On Manis Galungan, the day after Balinese commemorated of Barong Bangkung, as well as Ngelawang, develop not only the triumph of Dharma against Adharma, A group of festively limited to the art of sacred dance, but also as the performing art. gamelan chimes in accompanying Barong Bangkung, to perform The society conducts Ngelawang by using Barong Bangkung or a ritual to ward off negative energy and plague in thevillage another holy figure as an expression to worship The God Almighty. through Ngelawang. Barong Bangkung is an art of dance staged As a performing art, the artist does not present a temple’s relic, but in groups. It consists of approximately twelve people. The dancers a custom-made Barong Bangkung. Usually, the apprentices of the are usually boys aged 12-17 years old. Balinese is a cosmocentric Local school of art seize the opportunity to show their abilities in society, where they believe Bangkung or Sow, as a manifestation dance by doing ‘Ngelawang’ on a tourist’s site. Besides to practice of Lord Shiva in protecting the earth. In its development, the art their skills, some make it a way to earn some money. Keyword: Barong Bangkung, Ngelawang, Ritual, Performing art Cite This Article: IB Gede Karyambara Putra, The Past and present story of Barong Bangkung. (BTJ)2018, 2 (1): 19-22 INTRODUCTION is the musical instrument they use; Gending or Beleganjur.