Malay Magic and Divination
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Studi Naskah Lontara Bugis Luwu Dan Hukum Islam)
NILAI-NILAI KESETARAAN GENDER DALAM NASKAH LAGALIGO (STUDI NASKAH LONTARA BUGIS LUWU DAN HUKUM ISLAM) Skripsi Diajukan untuk Memenuhi Salah Satu Syarat Meraih Gelar Sarjana Hukum Islam Jurusan Perbandingan Mazhab dan Hukum pada Fakultas Syariah dan Hukum UIN Alauddin Makassar Oleh: Irda Handayani Hamka NIM: 10400111023 FAKULTAS SYARI’AH DAN HUKUM UIN ALAUDDIN MAKASSAR 2015 KATA PENGANTAR بسم هللا الرحمن الرحيم Assalamu’alaikum Wr.Wb. Puji syukur penyusun panjatkan ke hadirat Allah SWT yang telah melimpahkan rahmat, hidayah dan kenikmatan-Nya, sehingga penyusun dapat menyelesaikan skripsi yang berjudul Nilai-Nilai Kesetaraan Gender dalam Naskah La Galigo (Studi Naskah Lontara Bugis Luwu dan Hukum Islam). Shalawat dan salam semoga selalu tercurahkan kepada Nabi Muhammad saw. beserta seluruh keluarganya, sahabat dan para pengikutnya. Penyusun juga menyadari bahwa skripsi ini tidak mungkin bisa terselesaikan apabila tanpa bantuan dan support dari berbagai pihak. Berkat pengorbanan, perhatian, serta motivasi merekalah, baik secara langsung maupun tidak langsung, sehingga skripsi ini dapat terselesaikan. Selesainya penyusunan skripsi ini tidak lepas dari bantuan berbagai pihak. Oleh karena itu penyusun ingin mengucapkan terima kasih kepada semua pihak yang telah membantu proses penyelesaian skripsi ini. Ucapan terima kasih penyusun haturkan kepada: 1. Prof. Dr. Musafir Pababbari, M.Si , selaku Rektor Universitas Islam Negeri Alauddin Makassar. Serta para Pembantu Rektor beserta seliruh staf dan karyawannya. 2. Prof. Dr. Darussalam Syamsyuddin, -
Bahasa Dalam Ritual Pengobatan Tradisional Kebudayaan Suku Talang Mamak Kecamatan Rengat Kabupaten Indragiri Hulu Provinsi Riau Kajian : Antropolinguistik
BAHASA DALAM RITUAL PENGOBATAN TRADISIONAL KEBUDAYAAN SUKU TALANG MAMAK KECAMATAN RENGAT KABUPATEN INDRAGIRI HULU PROVINSI RIAU KAJIAN : ANTROPOLINGUISTIK SKRIPSI RATU ENDAH FITRAH NIM : 150701070 PROGRAM STUDI BAHASA DAN SASTRA INDONESIA FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2019 i UNIVERSITAS SUMATERA UTARA ii UNIVERSITAS SUMATERA UTARA ABSTRAK Penelitian ini dilaksanakan di Kecamatan Rengat, Kabupaten Indragiri Hulu, Provinsi Riau yang dikenal masih sangat melekaty dengan kebudayaan khusus Suku Talang Mamak. Hal itu ditunjukkan dengan masih adanya mantra-mantra yang digunakan dalam kehidupan untuyk tujuan tertentu yang menunjukan bahwa kehidupan meraka masih perpegang pada Tuhan dan alam atas kepercayaan terhadap makhluk gaib. Sesuai dengan judul penelitian ini, masalah yang dikaji dalam penelitian ini meliputi (1) nilai budaya yang terdapat pada mantra pengobatan gtradisonal dalam kebudayaan Suku Talang Mamak (2) makna yang terdapat dalam bahasa mantra pengobatan tradisional pada kebudayaan Suku Talang Mamak. Metode penelitian yang digunakan adalah metode penelitian deskriptif kualitatif yang dimaksudkan untuk memperoleh data dengan mengamati orang dalam lingkungan hidupnya, berinteraksi dengan mereka, berusaha memahami bahasa dan tafsiran mereka tentang dunia sekitarnya. Teknik pengumpulan data yang digunakan dalam penelitian ini, yaitu observasi partisipan, dan wawancara mendalam. Teknik analisis data dimulai dengan mengumpulkan data, melakukan traskripsi diikuti dengan terjemahan bebas, melakukan analisis berdasarkan -
UNIVERSITAS INDONESIA HANTU MERAH Melihat Konstruksi Budaya
UNIVERSITAS INDONESIA HANTU MERAH Melihat Konstruksi Budaya dan Telaah Fungsi Dalam Memaknai Cerita Legenda Alam Gaib Kampus UI SKRIPSI M. ISKANDARSYAH 0706285612 FAKULTAS ILMU SOSIAL DAN ILMU POLITIK DEPARTEMEN ANTROPOLOGI SOSIAL PROGRAM SARJANA REGULER DEPOK JUNI 2012 i Universitas Indonesia Hantu merah..., M. Iskandarsyah, FISIP UI, 2012 UNIVERSITAS INDONESIA HANTU MERAH Melihat Konstruksi Budaya dan Telaah Fungsi Dalam Memaknai Cerita Legenda Alam Gaib Kampus UI SKRIPSI Diajukan sebagai salah satu syarat untuk memperoleh gelar Sarjana Sosial M. ISKANDARSYAH 0706285612 FAKULTAS ILMU SOSIAL DAN ILMU POLITIK DEPARTEMEN ANTROPOLOGI SOSIAL PROGRAM SARJANA REGULER DEPOK JUNI 2012 ii Universitas Indonesia Hantu merah..., M. Iskandarsyah, FISIP UI, 2012 HALAMAN PERNYATAAN ORISINALITAS Skripsi ini adalah hasil karya saya sendiri, dan semua sumber baik yang dikutip maupun dirujuk telah saya nyatakan dengan benar Nama : M. Iskandarsyah NPM : 0706285612 Tanda Tangan : Tanggal : 20 Juni 2012 iii Universitas Indonesia Hantu merah..., M. Iskandarsyah, FISIP UI, 2012 HALAMAN PENGESAHAN Skripsi yang diajukan oleh : Nama : M. Iskandarsyah NPM : 0706285612 Program Studi : Antropologi Judul : Hantu Merah: Melihat Konstruksi Budaya dan Telaah Fungsi dalam Memaknai Cerita Legenda Alam Gaib Kampus UI Telah berhasil dipertahankan di hadapan Dewan Penguji dan diterima sebagai bagian persyaratan yang diperlukan untuk memperoleh gelar Sarjana Sosial pada Program Studi Antropologi, Fakultas Ilmu Sosial dan Politik, Universitas Indonesia DEWAN PENGUJI Pembimbing Penguji (Drs. Hilarius S. Taryanto) (Dr. Jajang Gunawijaya, MA) Ketua Sidang Sekretaris Sidang (Dr. J. Emmed M.Prioharyono, MA, M.Sc) (Drs. Ezra M. Choesin, MA) (………………...) Ditetapkan di : FISIP UI Depok Tanggal : 20 Juni 2012 iv Universitas Indonesia Hantu merah..., M. Iskandarsyah, FISIP UI, 2012 KATA PENGANTAR Puji syukur kepada Allah SWT yang telah memberikan kekuatan dan kemudahan kepada saya untuk menyelesaikan skripsi ini. -
Bunga Rampai Cerita Rakyat Tapanuli Tengah
BUNGA RAMPAI CERITA RAKYAT TAPANULI TENGAH THE ANTHOLOGY OF CENTRAL TAPANULI FOLKTALES TERJEMAHAN DALAM TIGA BAHASA Pesisir, Indonesia, dan Inggris TRANSLATED INTO THREE LANGUAGES Pesisir, Indonesian, and English KEMENTERIAN PENDIDIKAN DAN KEBUDAYAAN BADAN PENGEMBANGAN DAN PEMBINAAN BAHASA BALAI BAHASA SUMATERA UTARA 2016 i BUNGA RAMPAI CERITA RAKYAT TAPANULI TENGAH THE ANTHOLOGY OF CENTRAL TAPANULI FOLKTALES TERJEMAHAN DALAM TIGA BAHASA Pesisir, Indonesia, dan Inggris TRANSLATED INTO THREE LANGUAGES Pesisir, Indonesian, and English Penanggung Jawab: Tengku Syarfina Penyelia: Salbiyah Nurul Aini Penerjemah: Yolferi Medtolia Jurlianti Penyunting: Agus Mulia Juliana Yolferi Cetakan Pertama, 2016 ISBN 978-602-9172-24-9 Diterbitkan oleh Balai Bahasa Sumatera Utara Jalan Kolam Ujung Nomor 7 Medan Estate, Medan Telepon/faksimile: (061) 73332076 Laman: https//balaibahasasumut.kemdikbud.go.id Posel: [email protected] ii KATA PENGANTAR KEPALA BALAI BAHASA SUMATERA UTARA Cerita rakyat merupakan karya sastra yang dimiliki oleh masing-masing suku bangsa. Tidak dapat dimungkiri, kehadirannya di tengah masyarakat memberi banyak manfaat. Selain menghibur, cerita rakyat juga hadir memberi pesan dan contoh positif dalam hubungan sosial masyarakat pemilik dan penikmatnya. Sastra mengajarkan banyak hal, ilmu pengetahuan, agama, budi pekerti, sejarah, persahabatan, adat kebiasaan, dan lain-lain. Melalui sastra, kita dapat mengenal suatu kelompok masyarakat. Dalam upaya memperkenalkan budaya ini, salah satu hal yang dilakukan adalah penerjemahan cerita rakyat Tapanuli Tengah ke dalam bahasa Indonesia dan bahasa Inggris. Hal ini juga bertujuan agar pesan moral dan adat kebiasaan masyarakat pemilik cerita dapat dipahami oleh masyarakat penikmat sastra, baik di Indonesia maupun di dunia. Masyarakat Pesisir adalah masyarakat yang berada dalam ruang lingkup wilayah yang luas. Masing-masing bagiannya memiliki budaya dan cerita yang beragam pula. -
Indian Influences in the Supernatural Elements Found in the Malay Classic Films of Dewi Murni, Gul Bakawali and Selendang Delima
International Journal of Academic Research in Business and Social Sciences 2017, Vol. 7, No. 11 ISSN: 2222-6990 Indian Influences in the Supernatural Elements Found in the Malay Classic Films of Dewi Murni, Gul Bakawali and Selendang Delima Sumathi Maniam Raj Department of Performing Arts, Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris, Malaysia Raja Morgan Veerappan Institut Pendidikan Guru Kampus Bahasa Antarabangsa, Malaysia DOI: 10.6007/IJARBSS/v7-i11/3502 URL: http://dx.doi.org/10.6007/IJARBSS/v7-i11/3502 Abstract The paper examines that the supernatural elements found in the Malay movies DewiMurni 1950 directed by B.S. Rajhans, SelendangDelima 1958 directed by K.M. Basker and Gul Bakawali 1963 directed by B. Narayanan Rao which are heavily embedded with Indian elements. Analysis into the films’ repertoires have shown striking parallels and significant differences between the Malay films and its Indian versions. Dewi Murni is derived from Kalidasa’s Shakuntala. Excerpts from the Brahmavaivarta Purana and Ramayana are used in the narration of Selendang Delima which is the story of a nymph’s offspring who is cursed and subjected to cruelty. GulBakawali is obtained from a Persian story and deciphered to Hindustani in 1702 by Niphal Chand (Zainal Abidin Ahmad, 1942: 144). Sheikh Mohd. Ali bin Ghulam Hussein Alhandi (an Indian Muslim) is reponsible for translating Gul Bakawali from an Urdu / Hindi text. Elements that have come to be accepted as the culture of the Malay world is the outcome of Indianisation in the region (Noor 2005: 32). One has to agree with Farish Noor when he states ‘that the Malay world has a number of lasting legacies’ (Noor 2005: 32). -
Brunei Malay Traditional Medicine: Persistence in the Face of Western
BRUNEI MALAY TRADITIONAL MEDICINE: PERSISTENCE IN THE FACE OF WESTERN MEDICINE AND ISLAMIC ORTHODOXY Virginie Roseberg Master of Anthropology from the University of Paris 1, Pantheon-Sorbonne, France. This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Social Sciences Anthropology and Sociology 2017 THESIS DECLARATION I, Virginie Roseberg, certify that: This thesis has been substantially accomplished during enrolment in the degree. This thesis does not contain material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution. No part of this work will, in the future, be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. The work(s) are not in any way a violation or infringement of any copyright, trademark, patent, or other rights whatsoever of any person. The research involving human data reported in this thesis was assessed and approved by The University of Western Australia Human Research Ethics Committee. Approval no. RA/4/1/5585. The work described in this thesis was funded by an Australian Postgraduate Award and UWA Safety Net Top-up Scholarship. This thesis does not contain work that I have published, nor work under review for publication. -
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The Belief in Hantu in the Malay Culture from the Perspective of Islam
THE BELIEF IN HANTU IN THE MALAY CULTURE FROM THE PERSPECTIVE OF ISLAM ______________________________________________________________________________________ Mohd Zohdi Amin, Ishak Suliaman, Husniyah Salaeh, Mohamed Akhiruddin Ibrahim & Azlina Mohamed Nor Abstract The belief in “hantu” is the result of animism and dynamism among Malays before the arrival of Hindu, Buddha and Islam. Hantu is portrayed as the incarnation of evil souls wishing to harm humans. This belief is related to the concept of soul existence or “semangat” (essence) in everything including the human body. This ancient belief is integrated into their new religions through adaptation process. After embracing Islam, the belief in hantu is not totally dispelled since its features are similar to that of jinn and shaitan, whose existence are acknowledged in Islam. The belief is also supported by the concept of human soul in the afterlife, where it is deemed as immortal. Hantu is portrayed as the soul of the dead, dwelling in certain places and harming the humans. Based on the analysis of the texts of the Quran and Sunnah, it is found that the soul of the dead could never become hantu, as opposed to the Malays’ belief. It is because the soul of the dead is in barzakh, the impassible barrier between the world and the Hereafter. It is a place where the soul is either rewarded or punished for his or her deeds in the past life. The souls cannot act independently by themselves as they are under the control of Allah. Based on this, the belief in hantu is against the Islamic teachings. This belief is capable in affecting a Muslim’s faith as it indirectly leads to the denial of rewards and punishments in the afterlife. -
Mitologi Tentang Makhluk Supernatural Dalam Kalangan Etnik- Etnik Di Daerah Pitas Sabah: Tinjauan Menurut Perspektif Islam
GJAT | JULY 2019 | VOLUME 9 ISSUE 1 | 113 ISSN : 2232-0474 | E-ISSN : 2232-0482 www.gjat.my Mitologi Tentang Makhluk Supernatural Dalam Kalangan Etnik- Etnik di Daerah Pitas Sabah: Tinjauan Menurut Perspektif Islam Khairulnazrin Nasir Ishak Suliaman Department of the Quran and al-Hadith, Academy of Islamic Studies, University of Malaya Tel: +60133242865, E-mail: [email protected] Abstrak world. A significant entity in mythology is supernatural beings. Ethnics and races in Mitologi adalah suatu domain yang wujud dan Malaysia also believe in supernatural beings menjadi kelaziman dalam mana-mana budaya, including native tribes in Pitas district, Sabah bangsa, etnik dan komuniti di seluruh dunia. who are Muslims. Therefore, this research was Skalanya menjangkau alam nyata, sehingga conducted to identify mythology of supernatural ke alam ghaib. Entiti signifikan dalam mitologi beings in their community. The data collection antaranya adalah makhluk supernatural. Etnik method used was interview. Seven respondents dan bangsa di negara ini turut memiliki mitologi were selected among the community leaders. tentang makhluk supernatural, termasuklah Findings showed that mythology of supernatural etnik-etnik peribumi yang beragama Islam beings was influenced by animism. As a result, di daerah Pitas, Sabah. Oleh yang demikian, some community members involve in shirk, kajian ini dijalankan untuk mengenal pasti superstition, worshipping rituals and black mitologi tentang makhluk supernatural yang magic. Thus, this issue should be taken into terdapat dalam kalangan mereka. Kaedah consideration by authorities especially Islamic pengumpulan data adalah menggunakan metode Religious Departments and preachers in order temu bual. Seramai tujuh orang informan telah to protect the aqidah among the society. dipilih, yang terdiri daripada kalangan tokoh- tokoh masyarakat tempatan. -
Freedom of Expression at the Jakarta Art Centre During Soeharto's New
Cultural Dynamics in a Globalized World – Budianta et al. (Eds) © 2018 Taylor & Francis Group, London, ISBN 978-1-138-62664-5 Freedom of expression at the Jakarta Art Centre during Soeharto’s New Order S.N. Kusumastuti Department of History, Faculty of Humanities, Universitas Indonesia, Depok, Indonesia ABSTRACT: This paper discusses the self-imposed freedom of expression in art perform- ances during Soeharto’s New Order at the Jakarta Art Centre, which was established in 1968. It used a historical approach to collect and analyse data. The study shows that the transfor- mation of some traditional dances into contemporary ones, representing aesthetic values of the time, was possible by making the centre immune to political motives and refrain from criticising the New Order regime. The regime equipped the Jakarta Art Centre with sup- porting facilities for art performances, allowing the artists to develop their own talents and creativities. This relatively favourable condition led to significant changes in Indonesian tra- ditional arts for their survival at that time. Unlike the Old Order, which used arts—especially dance—as instruments for partly building the national political identity, the New Order saw arts as confined to their basic conviction: to entertain, not to be politicised. This study also finds that the smart strategy for freedom of expression adopted by the Jakarta Art Centre had helped develop contemporary creative arts during that period. 1 INTRODUCTION Several choreographers in Indonesia have strong traditional dance backgrounds. However, cur- rent developments have made them aware of the need to re-style traditional dances to create new choreographic techniques that may adapt to new situations. -
'Sundelbolong' As a Mode of Femininity
chapter 4 ‘Sundelbolong’ as a Mode of Femininity Analysis of Popular Ghost Movies in Indonesia Maren Wilger Introduction: Hantu Sundelbolong Indonesian folklore is populated by various kind of ghosts or hantu.1 While they used to haunt the living through ghost stories (cerita hantu), in contempo- rary culture they are presented in multifaceted ways on the silver screen to tell modern ghost stories, and part of the discourse of modernization.2 In this chapter, I start with a short description of the nature of ‘Sundel- bolong’, one of the many vengeful female spirits in Indonesian lore, before providing a brief introduction to the political and cinematic background of 1 Hantu: ‘Spirit’, ‘specter’ (Heuken, 2009: 181). In general terms, ‘hantu’ contains more than the European/Western understanding of ‘spirit’ or the German ‘Geist’. The term hantu is also used to describe possession by demons and presents good and evil supernatural beings. It appears to be insufficient to use Western classifications, such as ‘undead’, ‘spirit’ or ‘vam- pire’ for Southeast Asian beings, since the categories of hantu are much more fluid than the Western ones. While an undead entity in the Western hemisphere is statically characterized as being completely apart from the living—as being dead—, cerita hantu contain the idea that those beings can be tamed and transformed back into a living and human form again. Indeed, hantu Sundelbolong can be transformed back into a human when a knife is driven through her neck. It seems like hantu have greater physical potency and effect the living more than Western spirits, the undead or vampires do. -
Suatu Kajian Karya Tari Kontemporer Di Pusat Kesenian Jakarta-Taman Ismail Marzuki 1968–1987
UNIVERSITAS INDONESIA PERKEMBANGAN KOREOGRAFI DI INDONESIA: SUATU KAJIAN KARYA TARI KONTEMPORER DI PUSAT KESENIAN JAKARTA-TAMAN ISMAIL MARZUKI 1968–1987 DISERTASI R.AJ. SITI NURCHAERANI KUSUMASTUTI NPM 1106126522 FAKULTAS ILMU PENGETAHUAN BUDAYA PROGRAM STUDI ILMU SEJARAH DEPOK 2016 ii Universitas Indonesia Perkembangan koreografi..., R Aj Siti Nurchaerani Kusumastuti, FIB UI, 2017. Perkembangan koreografi..., R Aj Siti Nurchaerani Kusumastuti, FIB UI, 2017. Perkembangan koreografi..., R Aj Siti Nurchaerani Kusumastuti, FIB UI, 2017. Perkembangan koreografi..., R Aj Siti Nurchaerani Kusumastuti, FIB UI, 2017. v UCAPAN TERIMA KASIH Bismillahirrahmanirrahim Puji syukur kepada-Mu, Ya Allah, penguasa semesta alam yang telah mengaruniai perlindungan, kemampuan dan kesehatan selama penulis menempuh studi dan kemudian mewujudkan disertasi ini. Berkat rahmat dan kasih sayang-Mu, semua kesulitan dan halangan bisa penulis lalui dengan baik. Penelitian untuk disertasi ini sempat memberikan keraguan dalam diri penulis karena kurang melimpahnya data sehingga seperti menghambat. Namun kemudian keraguan berubah menjadi tantangan bahkan harapan karena dalam proses penelitian tumbuh kesadaran bahwa pekerjaan ini tidak semestinya ditunda mengingat keberadaan data bisa semakin sulit dilacak bila diundur-undur. Sebuah proses yang tidak mudah, namun dengan penuh harapan dan tanggung jawab serta didukung banyak pihak di sekitar penulis, disertasi ini dapat tampil seperti adanya sekarang ini. Sepatutnya, dengan ketulusan hati, penulis haturkan terima kasih