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Boran Dance, Between Identity and Dance of Lamongan Tradition in the Perspective of Cultural Studies
Proceding - International Seminar Culture Change and Sustainable Development in Multidisciplinary Approach: Education, Environment, Art, Politic, Economic, Law, and Tourism BORAN DANCE, BETWEEN IDENTITY AND DANCE OF LAMONGAN TRADITION IN THE PERSPECTIVE OF CULTURAL STUDIES Desty Dwi Rochmania Hasyim Asy'ari University of Tebuireng Jombang East Java [email protected] ABSTRACT Boran Dance which was originally created with the aim of following the traditional art festival organized by the East Java art council currently transformed into a traditional dance Lamongan. Stunted Boran dance is transformed into a traditional dance Lamongan does not appear suddenly but the results of the ideology of the ruling class (government Lamongan) through various systems and institutions, ranging from media, advertising, educational institutions and so on. This practice the researchers consider as an unnatural problem because the context of the construction of dance is outside of the traditional aesthetic rules of dance. Referring to the phenomenon of the researcher will analyze this problem with the perspective of western philosophy that is by approach theories of cultural studies. Through the approach of theories of cultural studies researchers trying to peel the extent to which Boran dance is transforming into traditional dance Lamongan and become Lamongan dance identity. Through critical thinking Gramsci, researchers try to analyze how far Boran dance transform itself into traditional Lamongan dance, and is there any legality of hegemony also in it. So as to make dance boran, as the identity of traditional dance Lamongan. Boran Dance was born from an iven of traditional art performances organized by the East Java Arts Council. Because to the existence and success of this dance is transformed from festival dance into traditional Lamongan dance. -
PERANCANGAN CLOTHING DENGAN DESAIN KHAS LOMBOK SEBAGAI SUVENIR “ Adalah
Tugas Akhir - RD 141558 PERANCANGAN CLOTHING DENGAN DESAIN KHAS LOMBOK SEBAGAI SUVENIR BAIQ NINDIASTUTY FITRIMAGHFIRA NRP. 08311440000048 Dosen Pembimbing : R.Eka Rizkiantono, S.Sn. M.Ds NIP : 197612092003121001 Program Studi Desain Komunikasi Visual Departemen Desain Produk Fakultas Arsitektur, Desain dan Perencanaan Institut Teknologi Sepuluh Nopember 2018 i (Halaman ini sengaja dikosongkan) ii Final Project - RD 141558 CLOTHING DEVELOPMENT AUTHENTIC LOMBOK DESIGN FOR MERCHANDISE BAIQ NINDIASTUTY FITRIMAGHFIRA NRP. 08311440000048 Lecturer : R.Eka Rizkiantono, S.Sn. M.Ds NIP : 197612092003121001 Visual communication Design Undergraduate Programme, Departement of Product Design Faculty of Architecture, Design and Planning Institut Teknologi Sepuluh Nopember 2018 iii (Halaman ini sengaja dikosongkan) iv v (Halaman ini sengaja dikosongkan) vi PERNYATAAN KEASLIAN KARYA TULIS TUGAS AKHIR Saya mahasiswa Program Studi Desain Komunikasi Visual, Departemen Desain Produk Industri, Fakultas Arsitektur, Desain dan Perencanaan, Institut Teknologi Sepuluh Nopember Surabaya, Nama Mahasiswa : Baiq Nindiastuty Fitrimaghfira NRP : 3414100048 Dengan ini menyatakan bahwa karya tulis Laporan Tugas Akhir yang saya buat dengan judul “PERANCANGAN CLOTHING DENGAN DESAIN KHAS LOMBOK SEBAGAI SUVENIR “ adalah : 1) Bukan merupakan duplikasi karya tulis yang sudah dipublikasikan atau yang pernah dipakai untuk mendapatkan gelar sarjana di universitas lain, kecuali pada bagian–bagian sumber informasi dicantumkan sebagai kutipan/referensi dengan cara yang semestinya. -
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. -
Kota Semarang
Katalog : 1102001.3374 KOTA SEMARANG 2017 http://semarangkota.bps.go.id 1 / 164 BADAN PUSAT STATISTIK KOTA SEMARANG Kota Semarang Dalam Angka 2017 i KOTA SEMARANG 2017 http://semarangkota.bps.go.id 2 / 164 Kota Semarang Dalam Angka 2017 iii Kota Semarang Dalam Angka Semarang Municipality in Figures 2017 ISSN: 9786027102132 No. Publikasi/Publication Number: 33740.1704 Katalog/Catalog: 1102001.3374 Ukuran Buku/Book Size: 14,8 cm x 21 cm Jumlah Halaman/Number of Pages: xviii + 128 halaman /pages Naskah/Manuscript: Badan Pusat Statistik Kota Semarang BPS-Statistics of Semarang Municipality Gambar Kover oleh/Cover Designed by: Badan Pusat Statistik Kota Semarang BPS-Statistics of Semarang Municipality Ilustrasi Kover/Cover Illustration: Lawang Sewu/ Lawang Sewu (diambil dari hello-pet.com) Diterbitkan oleh/Published by: © BPS Kota Semarang/BPS-Statistics of Semarang Municipality Dicetak oleh/Printed by: CV. Citra Yunda 3 / 164 http://semarangkota.bps.go.id Dilarang mengumumkan, mendistribusikan, mengomunikasikan, dan/atau meng- gandakan sebagian atau seluruh isi buku ini untuk tujuan komersial tanpa izin tertu- lis dari Badan Pusat Statistik Kota Semarang Prohibited to announce, distribute, communicate, and/or copy part or all of this book for commercial purpose without permission from BPS-Statistics Semarang Municipali- ty http://semarangkota.bps.go.id 4 / 164 KEPALA BPS KOTA SEMARANG CHIEF STATISTICIAN OF SEMARANG MUNICIPALITY http://semarangkota.bps.go.id 5 / 164 ERISMAN, MSI KATA PENGANTAR Kota Semarang Dalam Angka 2017 merupakan publikasi tahunan yang diterbitkan oleh BPS Kota Semarang. Disadari bahwa publikasi ini belum sepenuhnya memenuhi harapan pihak pemakai data khususnya para perencana, namun diharapkan dapat membantu melengkapi penyusunan rencana pembangunan di Kota Semarang. -
Strategi Kolaborasi Dalam Seni Pertunjukan Tradisional Di Kabupaten Subang
1 STRATEGI KOLABORASI DALAM SENI PERTUNJUKAN TRADISIONAL DI KABUPATEN SUBANG COLLABORATION STRATEGIES IN TRADITIONAL PERFORMING ARTS IN SUBANG Oleh Irvan Setiawan Balai Pelestarian Nilai Budaya Bandung Jln. Cinambo No. 136 Ujungberung Bandung Email: [email protected] Naskah Diterima: 28 Februari 2013 Naskah Disetujui: 2 April 2013 E Abstrak Kesenian tradisional memegang peranan dalam pencirian dan menjadi kekhasan suatu daerah. Bagi wilayah administratif yang menjadi cikal bakal suatu kesenian daerah tentu saja tidak sulit untuk menyebut istilah kesenian khas dan menjadi milik daerah tersebut. Lain halnya dengan wilayah administratif yang tidak memiliki kesenian daerah sehingga akan berusaha menciptakan sebuah kesenian untuk dijadikan sebagai kesenian khas bagi daerahnya. Beruntunglah bagi Kabupaten Subang yang menjadi cikal bakal beberapa kesenian yang terlahir dan besar di daerahnya. Tidak hanya sampai disitu, Pelestarian dan pengembangan kesenian tradisional tampak serius dilakukan. Hal tersebut terlihat dari papan nama berbagai kesenian (tradisional) di beberapa ruas jalan dalam wilayah Kabupaten Subang. Seiring berjalannya waktu tampak jelas terlihat adanya perubahan dalam pernak pernik atau tahapan pertunjukan pada beberapa seni pertunjukan tradisional. Kondisi tersebut pada akhirnya mengundang keingintahuan mengenai strategi kolaborasi apa yang membuat seni pertunjukan tradisional masih tetap diminati masyarakat Subang. Penelitian ini dilakukan dengan menggunakan metode deskriptif analisis yang didukung dengan data lintas waktu baik dari sumber sekunder maupun dari pernyataan informan mengenai seni pertunjukan tradisional di Kabupaten Subang. Dari hasil penelitian diperoleh bahwa kolaborasi yang dilakukan meliputi kolaborasi lintas waktu dan lintas ruang yang masih dibatasi oleh seperangkat aturan agar kolaborasi tidak melenceng dari identitas ketradisionalannya. Kata kunci: Strategi kolaborasi, pertunjukan tradisional Abstract Traditional arts play a role in the characterization of a region. -
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. -
Investment Environment in Central Java Indonesia
INVESTMENT ENVIRONMENT IN CENTRAL JAVA INDONESIA Tokyo, 22nd August 2014 Central Java Board of Investment INDONESIA Central Java – The Right Place to Invest 1 Central Java Overview Indonesia Central Java • Land Area of 3,25 Ha • Located between 3 (1,7% of Indonesia); major provinces; East 30,47% wetland, Java, West Java, and 69,53% non wetland Yogyakarta • Consist of 29 • Distance from Jakarta regencies, 6 cities (Capital City) : 544 Km • Provincial Capital : (45 minute flight) Semarang • Distance from Singapore : (2 hour flight) Why Central Java • Economic • Population : 34,67 • Minimum Wage in Growth : 5,2 % million people 2014 ranges from (Qw II 2014) (2013) IDR. 910.000 to 1.423.500 • Labor Force : 17,72 • Total GDP : IDR. million people 174.34 trilion (February 2014) (QW II 2014) • Inflation : 5,03 % (yoy QW II 2014) Central Java - The right place to invest MACRO ECONOMIC DOMINANT SECTOR FOR GDP (%) 35 30 25 20 15 Percentage 10 5 0 2011 2012 2013 Manufacture 33.3 32.8 32.2 Trade, Hotels and Restaurant 19.1 20.3 20.8 Agriculture 19.7 18.8 19.3 Services 10.6 10.7 10.4 4 INVESTMENT REALIZATION (Rp. trillion) 6 5 4,861 4 2,825 3 2,57 FDI 1,633 2 1,659 DDI 1,358 1,49 0,859 VALUE (Rp. Trillion) (Rp. VALUE 0,987 1 0,793 0 2009 2010 2011 2012 2013 YEAR FDI BY COUNTRY OF ORIGIN NO COUNTRIES PROJECTS NO COUNTRIES PROJECTS 1. South Korea 69 6. US 16 2. Japan 25 7. Taiwan 16 8. -
A Health Workforce Study
Public Disclosure Authorized DIRECTIONS IN DEVELOPMENT Human Development Public Disclosure Authorized New Insights into the Provision of Health Services in Indonesia A Health Workforce Study Public Disclosure Authorized Claudia Rokx John Giles Elan Satriawan Puti Marzoeki Pandu Harimurti Elif Yavuz Public Disclosure Authorized New Insights into the Provision of Health Services in Indonesia New Insights into the Provision of Health Services in Indonesia A Health Workforce Study Claudia Rokx, John Giles, Elan Satriawan, Puti Marzoeki, Pandu Harimurti, and Elif Yavuz © 2010 The International Bank for Reconstruction and Development / The World Bank 1818 H Street NW Washington DC 20433 Telephone: 202-473-1000 Internet: www.worldbank.org E-mail: [email protected] All rights reserved 1 2 3 4 13 12 11 10 This volume is a product of the staff of the International Bank for Reconstruction and Development / The World Bank. The findings, interpretations, and conclusions expressed in this volume do not necessar- ily reflect the views of the Executive Directors of The World Bank or the governments they represent. The World Bank does not guarantee the accuracy of the data included in this work. The boundaries, col- ors, denominations, and other information shown on any map in this work do not imply any judgement on the part of The World Bank concerning the legal status of any territory or the endorsement or accept- ance of such boundaries. Rights and Permissions The material in this publication is copyrighted. Copying and/or transmitting portions or all of this work without permission may be a violation of applicable law. The International Bank for Reconstruction and Development / The World Bank encourages dissemination of its work and will normally grant permission to reproduce portions of the work promptly. -
Term-List-For-Ch4-Asian-Theatre-2
Asian Theatre: India, China, Korea, Japan, Indonesia, & Cambodia Cultural Periods and Events Theatrical Developments Persons Aryan migration & caste system Natya-Shastra (rasas & the Bharata Muni & Abhinavagupta Vedic & Gandhara Periods spectator’s liberation) Shūdraka & Kalidasa Hinduism & Sanskrit texts Islamic invasions actor-manager (sudtradhara) Buddhism (promising what?) shamanic rituals jester (vidushaka) Hellenistic influence court entertainments with string-puller (sudtradhara) Classical Period & Ashoka Jester Ming sheng, dan, jing, & chou (meanings) Theravada & Mahayana wrestling & Baixi men & women who played across gender Gupta golden age impersonations, dances, & women who led troupes Medieval Period acrobatics, sword tricks Guan Hanqing Muslim invasions small plays of song and dance Tang Xianzu Chola Dynasty Pear Garden & adjutant Li Yu Early Modern Period plays Kan’ami & Zeami Mughal Empire red light districts with shite & shite-tsure (across gender), waki, Colonial Period with British East southern dramas & waki-tsure, & kyogen India Company variety show musicals chorus of 8 men, musicians, & onstage British Raj with one star singing per stagehand (kuroko) Dramatic Performances Act act Okuni Contemporary Period complex, poetic dramas onnagata Shang, Zhou, Qin, Han, Jin, kun operas with plaintive Chikamatsu Northern & Southern, Sui, Tang, music & flowing Danjuro I Song, Yuan, Ming, & Qing melodies/dancing chanter, 3 puppeteers per puppet, & Dynasties Beijing Opera (jingju) as shamisen player nationalist & communist rulers -
Bedhayan Ardhanaresvara Cross Gender Karya Didik Nini Thowok
BEDHAYAN ARDHANARESVARA CROSS GENDER KARYA DIDIK NINI THOWOK TESIS PENGKAJIAN SENI Untuk memenuhi persyaratan mencapai derajat magister dalam bidang Seni, Minat Utama Pengkajian Seni Tari Dani Candra Puspita 1520917412 PROGRAM PENCIPTAAN DAN PENGKAJIAN PASCASARJANA INSTITUT SENI INDONESIA YOGYAKARTA 2019 UPT PERPUSTAKAAN ISI YOGYAKARTA UPT PERPUSTAKAAN ISI YOGYAKARTA BEDHAYAN ARDHANARESVARA CROSS GENDER KARYA DIDIK NINI THOWOK TESIS PENGKAJIAN SENI Untuk memenuhi persyaratan mencapai derajat magister dalam bidang Seni, Minat Utama Pengkajian Seni Tari Dani Candra Puspita 1520917412 PROGRAM PENCIPTAAN DAN PENGKAJIAN PASCASARJANA INSTITUT SENI INDONESIA YOGYAKARTA 2019 i UPT PERPUSTAKAAN ISI YOGYAKARTA TESIS PENGKAJIAN SENI BEDHAYAN ARDHANARESVARA CROSS GENDER KARYA DIDIK NINI THOWOK Oleh Dani Candra Puspita 1520917412 Telah dipertahankan pada tanggal 27 Juni 2019 di depan Dewan Penguji yang terdiri dari Pembimbing Utama, Penguji Ahli, Prof. Dr. I Wayan Dana, SST., M.Hum. Dr. Bambang Pudjasworo, M.Hum Ketua, Dr. Fortunata Tyasrinestu, M.Si. Yogyakarta, ..................................... Direktur, Prof. Dr. Djohan, M.Si NIP. 196112171994031001 ii UPT PERPUSTAKAAN ISI YOGYAKARTA HALAMAN PERSEMBAHAN Tulisan ini saya persembahkan untuk: 1. Kedua orangtua, Slamet Hariyadi dan Laili Purwanti 2. Mertua, Asal Sugiarto dan Almarhumah Witun 3. Almarhum eyang kakung, R. Asih Djoko Soeyono, dan Almarhumah eyang putri Warsiyati 4. Istri, Ayodya Budayanti, dan anak Aksata Javier Art Arundaya, Bexxa Dayu Saraswati 5. Saudara kembar serta adik-adikku. iii UPT PERPUSTAKAAN ISI YOGYAKARTA PERNYATAAN Saya menyatakan bahwa tesis yang saya tulis ini belum pernah diajukan untuk memperoleh gelar akademik di suatu perguruan tinggi manapun.Tesis ini merupakan hasil pengkajian atau penelitian yang didukung berbagai referensi, dan sepengetahuan saya belum pernah ditulis dan dipublikasikan kecuali yang secara tertulis diacu dan disebutkan dalam kepustakaan. -
Kiprah Mpok Nori Dalam Mengembangkan Kesenian Betawi (1968-1995)
Kiprah Mpok Nori dalam Mengembangkan Kesenian Betawi (1968-1995) Imas Yosita, Siswantari Program Studi Ilmu Sejarah, Fakultas Ilmu Pengetahuan Budaya, Universtas Indonesia Kampus UI Depok Jawa Barat 16424 Indonesia E-mail: [email protected] Abstrak Skripsi ini membahas kiprah Mpok Nori dalam mengembangkan kesenian Betawi tahun 1968—1995. Penelitian yang dilakukan merupakan kajian sejarah dengan mengambil peran sentral pada aktivitas Mpok Nori terhadap usahanya untuk mengembangkan kesenian Betawi yang dilakukannya melalui tari topeng Betawi, teater lenong, sanggar, layar kaca dan layar perak. Ia berhasil membawa kesenian Betawi bertahan di tengah modernisasi Jakarta yang berkembang cepat dengan seni budaya lain yang berasal dari berbagai daerah. Sanggar yang didirikannya telah menghasilkan anak didik yang berprestasi dalam mengembangkan kesenian Betawi. Penelitian ini membuktikan bahwa Mpok Nori berhasil membawa kesenian Betawi bertahan di tengah modernisasi Jakarta yang berkembang cepat. Kata kunci: Betawi, kesenian, Mpok Nori Abstract This thesis discusses about Mpok Nori’s role in developing Betawinese art in 1968—1995. The research done is a historical study which takes a central role on Mpok Nori’s activities in trying to develop Betawinese art through Betawi mask dance, lenong theater, atelier, television and cinema. She has succeeded in bringing Betawineses art to survive in the middle modernization which grows fast together with the other cultural arts from various districts in Indonesia. The atelier which was built has produced successful students in evolving Betawinese art. This research proved that Mpok Nori has succeeded to bring Betawinese art keep in the fast-developed Jakarta modernization. Keywords: art, Betawi, Mpok Nori Pendahuluan tempat berinteraksinya dari berbagai aspek budaya masyarakat.