Managing Padang Restaurant's Consumers Trust
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
THE PADANG Available on September / October 2018 Ssundayunday Kidskids Cornercorner Time: 12Pm – 3Pm
SINGAPORE CRICKET CLUB MAGAZINE THE PADANG Available on www.scc.org.sg September / October 2018 SSundayunday KidsKids CornerCorner Time: 12pm – 3pm Venue: Gilmour Room Free entrance for kids (3 – 12 years old) 2 September & 7 October: Movie Screening 9 September & 14 October: Indoor Playground 23 September & 21 October: Arts & Crafts 30 September & 28 October: Theatre Drama RSVP required; limited slots available. Registration is based on a first-come-first-served basis. For more information and booking, please contact Ms. Louis Neubronner at [email protected] Tel: 6338 9271 Ext: 263 Activities are subject to change without prior notice. SSundayunday Contents KidsKids CornerCorner 10 19 22 43 IFC Sunday Kids Corner UPCOMING EVENTS SPORTS 2 Wednesday Buzz from the Bar 20 Quiz Night 26 SCC Soccer7’s Wednesday Buzz From The Bar 29 Reciprocal Clubs CLUB NEWS Saturday Buzz From The Bar 30 Social Mini Soccer 21 Intersection Quiz Night Mixed Tournament 3 President’s Message Sunday Kids Corner 31 1st Intersection Cuesports 4 New Members Election Night: July 22 Oktoberfest Tournament 2018 6 New Members Election Night: August 32 Balut 8 Club News 33 Bridge 9 Guest Visits to SCC RECENT EVENTS 34 Cricket 10 The Padang Restaurant Revamp 23 SCC Fun Day 35 Darts 12 In Conversation with Chef Vik 24 Kampong Night 36 Golf Comedy Night with Kumar 38 Hockey FOOD & BEVERAGE 25 National Day Family Picnic 40 Netball Galleries 13 Club-Wide Beverage Promotion 41 Rugby Breafast@Oval 42 Tennis Sunday Brunch 14 Chef Arfin’s Specialities 43 SCC Night Race Road Cake -
Talempong Kreasi and Talempong Goyang in West Sumatra
HUMANIORA VOLUME 29 Number 3 October 2017 Page 245–255 Postcolonial Aesthetics: Talempong Kreasi and Talempong Goyang in West Sumatra Andar Indra Sastra, Nadya Fulzi, Syahri Anton E-mail: [email protected] ABSTRACT The aim of this article is to disclose the postcolonial aesthetics of talempong kreasi and talempong goyang in West Sumatra. Aesthetics can be defined as a sense of perception or the various kinds of feelings that are aroused by an art object that is being observed. Postcolonialism is understood to be the continuation of colonialism; hence postcolonial aesthetics discusses the sense of perception, in this case with reference to talempong kreasi and talempong goyang as the material object. Talempong is a type of bronze musical instrument found in West Sumatra; the word kreasi means ‘creation’ or something new, while the word goyang means ‘rocking’ or ‘swaying’ and refers to the body movements of the spectators as they appear to dance in time to the talempong music. The addition of the words kreasi and goyang after the word talempong create the impression that this type of music belongs to the domain of popular music. The emergence of these two concepts in West Sumatra cannot be separated from the influence and power of a number of leading figures in the field of education – specifically artists – from the colonial era, who had a background in Western music education. Talempong kreasi and talempong goyang are dynamic in nature and have the ability to play both major and minor melodies as the talempong instruments are tuned to chromatic pitches. The tuning system of the talempong is akin to that of diatonic musical instruments, and as a musical system it presents the harmonies of Western music through its melodies and chords. -
The Values of Minangkabau Culture's Found in The
THE VALUES OF MINANGKABAU CULTURE’S FOUND IN THE MALIN KUNDANG A PAPER BY NURHAYATI REG. NO. 102202002 DIPLOMA-III ENGLISH STUDY PROGRAM FACULTY OF CULTURE STUDY UNIVERSITY OF SUMATERA UTARA MEDAN 2013 UNIVERSITAS SUMATERA UTARA Approved by Supervisor, Drs. Chairul Husni, M.Ed.TESOL. NIP: 195703081984031004 Submitted to Faculty of Culture Study University of Sumatera Utara In partial fulfillment of the requirements for Diploma-III in English Study Program Approved by Head of Diploma III English Study Program, Dr. Matius C.A. Sembiring, M.A. NIP. 19521126198112 1 001 Approved by the Diploma III English Study Program Faculty of Culture Study, University of Sumatera Utara As a Paper for the Diploma (D-III) Examination UNIVERSITAS SUMATERA UTARA Accepted by the Board of Examiner in partial of the requirements for the D-III Examination of the Diploma-DIII of English Study Program, Faculty of Culture Study, University of Sumatera Utara. The Examination is held on June 2013 Faculty of Culture Study University of Sumatera Utara Dean, Dr. Syahron Lubis, M.A. NIP. 19511013197603 1 001 Board of Examiners Signature 1. Dr. Matius C.A. Sembiring, M.A. (Head of ESP) 2. Dra. Syahyar Hanum, DPFE (Supervisor) 3. Drs. Marzaini Manday, M.SPD. (Reader) UNIVERSITAS SUMATERA UTARA AUTHOR'S DECLARATION I, NURHAYATI declare that I am the sole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. -
Download Article (PDF)
Advances in Social Science, Education and Humanities Research, volume 463 Proceedings of the Eighth International Conference on Languages and Arts (ICLA-2019) Inventory, Identification, and Analysis of Randai Performing Arts Elements for the Development of Minangkabau Theatrical Dance Tulus Handra Kadir1 1 Universitas Negeri Padang, Padang, Indonesia, (email), [email protected] ABSTRACT This article describes the inventory, identification and analysis of elements of Randai performing art for the development of the Minangkabau theatrical dance based on Randai in the context of developing the Minangkabau performing arts. The development of contemporary performing arts, Randai and Minangkabau dance are not able to compete with modern performing arts. On the other hand, Randai has elements of performance that can be used in the development of theatrical dance, as a new form of Minangkabau performing art that combines elements of Randai and dance in Minangkabau. It is expected to be able to keep abreast of developments of contemporary performing arts. Development is based on research conducted qualitatively (the first phase of research) and experimentally (the second phase of research). Qualitative research was used to inventory and analyze data of Randai performance who were unable to compete in the realm of contemporary performing arts as well as inventory and analyze data, especially the elements of the performance that will be used in the development of the Minangkabau theatrical dance. Experimental research was used to create innovative dance that refers to the results of the first phase of research. This research uses an interdisciplinary approach (sociology /anthropology of dance and music, theater, choreography/dance composition, as well as the artistic performances). -
Merantau : Aspects of Outmigration of the Minangkabau People
MERANTAU : ASPECTS OF OUTMIGRATION OF THE MINANGKABAU PEOPLE by Auda Murad A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Demography in the Australian National University Canberra, May 1978. i D E C L A R A T I O N % Except where otherwise indicated, this thesis is my own work. Auda Murad May, 1978 ACKNOWLEDGEMENTS At the preliminary stage of this thesis, the scholar has benefited from the assistance of a number of persons in the Demography Department of Research School of Social Sciences at the Australian National University. My greatest debt of gratitude is to my supervisor, Dr. Peter F. McDonald, Department of Demography, for his supervision of the thesis and for his interest, encouragement, patience and guidance at all times during the period of study. I am also indebted to Dr. V.J. Hull and Dr. David Lucas, in the Department of Demography, for their constructive criticism and comments on various aspects of the thesis so that the study has been improved considerably. I sincerely thank Dr. A. Maude, School of Social Sciences at the Flinders University, who provided some information and data necessary for this study. My thanks also go to Mrs. Pat Ashman, secretary, who has been a help in many respects and typed the final version of my thesis. Finally, I wish to thank the Australian Government for providing me with the Colombo Plan Scholarship which has enabled me to study at the Australian National University. iii ABSTRACT Merantau is a unique form of migration found in the Minangkabau society. -
A Study of Minangkabau Tradisional Dance in Tanah Datar)
Advances in Social Science, Education and Humanities Research, volume 301 Seventh International Conference on Languages and Arts (ICLA 2018) MINANGKABAU DANCE MOVEMENT BASED ON ABS-SBK VALUE (A Study of Minangkabau Tradisional Dance in Tanah Datar) Afifah Asriati1 and Desfiarni2 1 Universitas Negeri Padang, Padang, Indonesia, [email protected] 2Universitas Negeri Padang, Padang, Indonesia, [email protected] Abstract Minangkabau dance is now increasingly existing. It is used and functions in many formal and informal events, both government and traditional events in various forms of tradition, as well as creations. It is also performed by both men and women, either in acrobatic motion using magic or not. On the other hand, the alim ulama and cerdik pandai are active in implementing the Adat Basandi Syarak Syarak Basandi Kitabullah (ABS-SBK). This philosophy means culture should be based on religion and religion should be based on Al-Quran. This article aims to inventory the appropriate movements of the Minangkabau dance based on the ABS- SBK value. This research is a qualitative study using documentation and interviews as techniques for collecting data. It is concluded that some dances still use the element of magic which is contrary to the ABS-SBK value. Keywords: Minangkabau Dance, movement based, ABS-SBK value. Introduction Basically, a dance communicates cultural values that are espoused by its supporters and functions as cultural expressions (Asriati: 2000). Philosophically, cultural values are included in the traditional philosophy known as Adaik Basandi Syarak, Syarak Basandi Kitabullah (culture should be based on religion and religion should be based on Qoran). This is commonly called ABS-SBK in Minangkabau. -
Matrilineal Inheritance and Migration in a Minangkabau Community R. J
M atrilineal Inheritance and M igration in a M inangkabau Community R. J. Chadwick Minangkabau and Marantau The matrilineal and uxorilocal Minangkabau population of West Sumatra is composed of about five hundred self-contained communities called nagari. These communities are geographically discrete, largely endogamous, and formerly self-governing.1 Each nagari has a specific ecological and economic adaptation according to its situation at home2 and pro duces a specific adaptation to city life among its very large emigre population. Migration from one's home nagari to another area is called marantau. Marantau is an ancient trend among the Minangkabau,3 is intrinsic to immemorial social process, and is functionally implicated in the social structure of villages in the homeland. But even in the 1 During my first fieldwork in Minangkabau, Koto Anu, the community I researched, did not constitute an ad ministrative unit in its own right. Together with a distant neighbor, the nagari Koto Apo, it was one part of an artificially created administrative unit, the kenegarian of Kaduo Koto (the two settlements). Under Dutch rule, it constituted one of the six communities in a different administrative unit, the lareh of Anam Koto (six settle ments). Neither lareh nor kenegarian were perceived as having any sociological relevance for Koto Anu people. (Like Koto Anu, the names Koto Apo, Kaduo Koto, and Anam Koto are pseudonyms.) The Village Law of 1979 (see Tsuyoshi Kato, "Different Fields, Similar Locusts: Adat Communities and The Village Law of 1979 in Indo nesia" Indonesia 20:89-114) constituted Koto Anu as a minimal administrative unit (desa) for the first time in liv ing memory and thus redressed the situation for Koto Anu people, at least. -
Rumah Gadang As a Symbolic Representation of Minangkabau Ethnic Identity
International Journal of Social Science and Humanity, Vol. 5, No. 1, January 2015 Rumah Gadang as a Symbolic Representation of Minangkabau Ethnic Identity Elda Franzia, Yasraf Amir Piliang, and Acep Iwan Saidi the people of Minangkabau bring their culture and tradition Abstract—Minangkabau is one of the ethnic groups in to their new land. Indonesia. This ethnic group is usually known by rumah makan Tradition is always becoming the base of the Minangkabau padang or traditional food stall with spicy and delicious food in culture. People whose travel always looking for their ethnic it, or by the people’s specific choice of earning their living such as being a seller or entrepreneurs. On the other hand, every group’s society. People need to be rooted to their culture. It ethnic group has a symbol or other visual identity use for their constructs their identity. Therefore the traveler is still identification. Rumah Gadang, the traditional house of connected to their villages and clan, and the traveler is always Minangkabau, is one of the symbolic representations of find the way to go back home. Minangkabau’s self identity. The unique visual form of Rumah Identity related to the cultural characteristic of the ethnic Gadang can be seen in many visual identities of Minangkabau’s people in daily basis, such as for rumah makan padang’s logo, group. Rumah gadang is the traditional house of stall’s identity, corporate identity, or as a virtual identity and a Minangkabau ethnic people. The modernization and profile picture in social network site such as Facebook. This globalization have transferred the rumah gadang into the phenomenon is becoming the visual language in Indonesia’s symbolic position of people’s tradition. -
Vegetarian Delights [For Jakarta Java Kini May 2014 Edition]
Vegetarian Delights [for Jakarta Java Kini May 2014 edition] Few know that Indonesia is actually a vegetarian haven. Read on to find out more about the nation’s tastiest and healthiest delicacies. I have never understood those who did not like eating vegetables. When I was just a kid, I would be very confused whenever I watched adults encourage children on American TV shows to eat their veggies. I am not a vegetarian, but I have always loved eating my vegetables; they were always cooked so deliciously! It was not until I lived in the States, where my dose of vegetables could only come from bland boiled vegetables or raw leafy salads, that I understood why children would not prefer to eat healthily. Although with time I eventually adjusted to eating a healthy yet zesty salad, I would still take my tasty terong balado any day. Thus, I have listed a few of my favorite Indonesian vegetarian dishes. Vegetarians, I hope my choices do not disappoint! Let us begin with a local favorite – gado gado, an Indonesian salad of boiled vegetables and eggs topped with a tasty nut sauce. What makes gado gado different from Western style salads, however, is that there is more sauce than vegetable, meaning that each vegetable would be well coated with the nutty topping. Vegetables may include string beans, tempeh, potatoes, corn and cabbage. Gado gado is definitely worth a try, as it is practically an Indonesian staple. It is a dish that you can find in almost any vendor, whether that be a fancy restaurant or a hawker stall on the side of the road. -
Indonesian Food
HOW TO COOK INDONESIAN FOOD COMMEMORATIVE EDITION In memory of Ailsa Zainu’ddin, 1927–2019 A.G. THOMSON ZAINU’DDIN AUSTRALIAN INDONESIAN ASSOCIATION OF VICTORIA AIA_HowToCookIndoFood_4pp-270619.indd 1 27/6/19 6:57 pm PO Box 527 Carlton South Victoria 3053 ABN 46 660 486 306 www.aiav.org.au Copyright © 2019 Ailsa Zainu’ddin This edition first published 2019 by AIAV Original edition first published 1965 by AIAV Project Managers: Lois Carrington (original edition), Steve Dobney (this edition) Editors: Carolyn Glascodine, Paula Bradley, Steve Dobney Design and layout: Jennifer Johnston (this edition) Cover art: Hugh O’Neill (original edition), adapted by Jennifer Johnston (this edition) Text scanning: Lesley Hutchison and Samuel Clancy Illustrators: Astrid Dahl, Robert Grieve, Henry Salkauskas, Eva Kubbos and senior art students of the Royal Melbourne Institute of Technology (now RMIT University) Printed in Melbourne by Impact Digital Pty Ltd, Brunswick ISBN: 978-0-646-80453-8 Acknowledgements For the original edition: Nila Zainu’ddin thought up the title. The wood engravings were generously lent by the editor of Meanjin Quarterly, Mr C.B. Christesen. The author is grateful to all the members who assisted with publication, distribution and financing of the original book – not to forget those who tested the recipes! For the new edition: Ann McCarthy provided biographical information and the author’s revisions and additions to the original text. Nani Pollard and Tesna Copeland provided advice on the recipes and language. Lester Levinson and Prue Price lent their treasured copies of the original editions. AIA_HowToCookIndoFood_4pp-270619.indd 2 27/6/19 6:57 pm FOREWORD IT GIVES ME GREAT PLEASURE to present this commemorative edition of How to Cook Indonesian Food by Ailsa Zainu’ddin, some 54 years after it first appeared in print. -
Philosophical Meanings of Traditional Cuisine Rendang Minangkabau As a Cultural Heritage of Indonesia
The 3rd Annual International Conference on Language and Literature, 4-5 November 2020, Faculty of Literature, Universitas Islam Sumatera Utara (UISU), Medan, Indonesia PHILOSOPHICAL MEANINGS OF TRADITIONAL CUISINE RENDANG MINANGKABAU AS A CULTURAL HERITAGE OF INDONESIA Nita Novianda Tanjung, M. Manugeren, Purwarno Purwarno Master’s Program, Faculty of Literature, Universitas Islam Sumatera Utara, Medan, Indonesia E-mail: [email protected] Abstract This research is related to the philosophical meanings of traditional cuisine Rendang Minangkabau as a cultural heritage of Indonesia. The research is conducted by means qualitative descriptive. The theory used is taken from the philosophy. Philosophy is the mother of all the sciences that have material objects and formal objects, objects the material is the mind while the object formal philosophy of science is truth, goodness and beauty in a manner dialogue. (Syafiie, 2010). This study explained the meanings of the philosophy in Rendang Minangkabau cuisine. Rendang is revered in Minangkabau culture as an embodiment of the philosophy of musyawarah, discussion and consultation with elders. The results show there are four meanings in each of the ingredients Rendang Minangkabau: Meat (dagiang) symbolizes Niniak Mamak (paman) and Bundo Kanduang (ibu) refers to the traditional clan leaders (respect for the parents). The coconut milk (karambia) symbolizes the Cadiak Pandai refers to the intellectuals (learning). The chilli (lado) symbolizes Alim Ulama refers to the religious leaders (uplifting Islamic laws). The spice mixture (pemasak) symbolizes the rest of Minangkabau society refers to the each individual (unity). This philosophy was indeed made to maintain the integrity of the Minang community in West Sumatra and also as a cultural heritage of Indonesia. -
The Politico-Cultural Dimension of Tabuik Piaman Performance in West Sumatra
THE POLITICO-CULTURAL DIMENSION OF TABUIK PIAMAN PERFORMANCE IN WEST SUMATRA A s r i l Doctoral student, Graduate School, Indonesia Institute of the Arts, Yogyakarta Abstract This article aims to discuss about performance of Tabuik Piaman from the perspective of cultural policy of the West Sumatra Province and Pariaman District. Tabuik Piaman as a ritual tradition of Muslims Syi’ah has long been a cultural heritage and colossal ritual by Muslims Sunni community in Pariaman district. For the Pariaman people, Tabuik Piaman ceremony has become a space expression of social and cultural community. Each execution of the ceremony is their responsibility. However, the potential and strength of this ceremony was not much gotten serious attention by the government, especially before the early 1980s. In the period of the mid-1960s to late 1980s, Tabuik Piaman just become an arena of influence scrambling by political parties to attract their supporters, then Tabuik Piaman encountered the period of tragic - labeled as "black sheep" riots trigger. Consequently, execution of the ceremony is often discontinued. Although in the mid-1960s the West Sumatra provincial government issued policy concept about “self-esteem restoration”, in order to rebuilding cultural identity especially Minangkabau, and local traditions in each region. In the early 1980s, the government of Pariaman viewed Tabuik Piaman performances as a very positive opportunity to be revived. Government tried to make a policy to create Tabuik Piaman as media publications, promotion, and agent of "identity" as well as a carrier of economic and tourism sectors. Then, the Tabuik Piaman ceremony was changed to tabuik tourism.