Analisis Struktur Lagu “Puing” Karya Iwan Fals
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Carita Orang Basudara Kisah-Kisah Perdamaian Dari Maluku
Carita Orang Basudara Kisah-kisah Perdamaian dari Maluku Editor: Jacky Manuputty • Zairin Salampessy Ihsan Ali-Fauzi • Irsyad Rafsadi CARITA ORANG BASUDARA CARITA ORANG BASUDARA Kisah-kisah Perdamaian dari Maluku Editor: Jacky Manuputty • Zairin Salampessy Ihsan Ali-Fauzi • Irsyad Rafsadi LEMBAGA ANTAR IMAN MALUKU (LAIM), AMBON PUSAT STUDI AGAMA DAN DEMOKRASI (PUSAD) YAYASAN PARAMADINA, JAKARTA 2014 Perpustakaan Nasional: Katalog Dalam Terbitan (KDT) Manuputty, Jacky et al. CARITA ORANG BASUDARA; Kisah-kisah Perdamaian dari Maluku/Jacky Manuputty et al. — Ambon: Lembaga Antar Iman Maluku & PUSAD Paramadina, 2014 xvi + 404 hlm, 14 cm x 21 cm Editor: Jacky Manuputty - Zairin Salampessy Ihsan Ali-Fauzi - Irsyad Rafsadi Penulis: Abidin Wakano - Aholiab Watloly - Almudatsir Sangadji Dian Pesiwarissa - Dino Umahuk - Elifas T. Maspaitella Gerry van Klinken - Hasbollah Toisuta - Helena M. Rijoly Hilary Syaranamual - Inggrid Silitonga - I.W.J. Hendriks Jacky Manuputty - M. Azis Tunny - M. Noor Tawainela M.J. Papilaja - Nancy Soisa - Novi Pinontoan - Rudi Fofid Rizal Panggabean - Sandra Lakembe - Steve Gaspersz Thamrin Ely - Theofransus Litaay - Tiara Melinda A.S Weslly Johanes - Zainal Arifin Sandia - Zairin Salampessy Penyelaras Naskah: Hanna M.W. Parera Husni Mubarok, Siswo Mulyartono Foto sampul: Agus Lopuhaa Desain sampul: Embong Salampessy Tata Letak: Ivon Silitonga Diterbitkan oleh: Lembaga Antar Iman Maluku Jl. Christina Martha Tiahahu No.17 RT. 003 RW. 01 Kelurahan Amantelu Kecamatan Sirimau - Ambon 97122 bekerjasama dengan Pusad Studi -
Iwan Fals, Music, and the Voice of Resistance
REFLECTION ISSN: 2715-0917 I-Pop: International Journal of Iwan Fals, Music, and the Voice of Indonesian Popular Culture and Communication Resistance Muhammad Yusran Darmawan1* Vol. 1(1) pp. 41-62, (2020) DOI: 10.36782/i-pop.v1i1.28 . ABSTRACT This article is based on an assumption that there is a connection between popular music and the political situation in Indonesia. A singer has a function as a political actor, especially in the way these performers use music as a social weapon or tool –and even sometimes as a call to change, challenge or overthrow the existing government or socioeconomic conditions that they consider to be unjust systems. The purpose of this paper is to give an explanation about the life of Iwan Fals as a contemporary hero who inspires many people to be critical of authority. He has always been the voice of Indonesia's grassroots movement since the New Order era, but until now, he has preferred not to be its formal leader. He just keeps doing what he does best - singing and cheering - and maintaining the qualities of his song and conviction that keeps his fans loyal to him. Under the New Order, control of the arts and media by the government was mixed and inconsistent, but generally, Indonesia enjoyed a thriving and vibrant artistic scene, including music. Between the mid-1960s and 1990s, Indonesia developed a wide variety of popular music styles, some of which proved to be conducive and supportive to socio- political comments and critiques. Popular music became a major component of the background for daily life. -
TEMA EKSISTENSIALISME DALAM LAGU-LAGU IWAN FALS Ade Nina Purnama NIM: 1111033100019 PROGRAM STUDI AQIDAH FALSAFAH FAKULTAS USHU
TEMA EKSISTENSIALISME DALAM LAGU-LAGU IWAN FALS Skripsi Disusun untuk Memenuhi Persyaratan Memperoleh Gelar Sarjana Theologi Islam ( S.Th.I ) Oleh: Ade Nina Purnama NIM: 1111033100019 PROGRAM STUDI AQIDAH FALSAFAH FAKULTAS USHULUDDIN UNIVERSITAS ISLAM NEGERI ( UIN ) SYARIF HIDAYAHTULLAH JAKARTA 1437 H. / 2016 M. LEMBAR PERSETUJUANPE1\1BIMBING SKRlPSI "TEMA EKSISTENSIALISME DALAM LAGU-LAGU I\\/AN FALS" Diajukan kepada Fakultas Ushuluddin Universitas Islam Negeri (UIN) Syarif Hidayatull ah ·Jakarta Sebagai Syarat untuk Mendapatkan Gelar Sarjana Strata Satu (S 1) Oleh : Ade Nina Pumama N1M. 1111 033 100019 Dosen Pembimbing Drs. Fakh ddin. MA NIP. 19580714 198703 1 002 PROGRAM STUD! AQIDAH FALSAFAT FAKULTAS USHULUDDIN UNIVERSITAS ISLAIVI NEGERI (UIN) SYARIF HIDAYATULLAH JAKARTA 1437 H./2016 M. LE MBAR PERNY ATAAN KEASLIAN SKRIPSI Yang bertanda tangan di bawah ini: Nama : Ade Nina Purnama NIM : 1111 033 100019 Tempat/Tanggal Lahir : Muara Enim, 4 Juni 1993 Menyatakan bahwa skripsi dengan judul Terna Eksistensialisme Dalam Lagu Lagu Iwan Fals adalah benar-benar asli karya saya yang diajukan untu.k memenuhi salah satu persyaratan memperoleh gelar strata 1 di UIN Syarif Hidayatullah Jakarta, terkecuali kutipan-kutipan yang telah disebutkan sumbernya. Kesalahan dan kekurangan dalam skripsi ini sepenuhnya rnenjadi tanggung jawab saya. Jakarta, 7 Maret 2016 Ade Nina Pun ama 11 PENGESAHAN PANITIA U.JIAN SKRIPSI Skripsi yang berjudul TEMA EKSISTENSIALISME DALAM LA GU LAGU IWAN FALS telah diujikan dalam sidang munaqasyah Fakultas Ushuluddin Universitas Islam Negeri (UIN) Syarif Hidayatullah Jakarta pada tanggal 24 Maret 20 16. Skripsi ini telah diterima sebagai salah satu syarat memperoleh gelar sarjana Strata Satu (S 1) pada Program Studi Aqidah dan Filsafat. -
Chap. 12 to Reader
Tink A pi: Harry Roesli, M usic, and Politics in Bandung, Indonesia Adam D. Tyson' On June 5, 2009, a memorial concert was held at the Institute of Technology in Bandung (Institut Teknologi Bandung, hereafter ITB). Celebrated was the lifework of Djauhar Zaharsjah Fahrudin Roesli, popularly known as Harry Roesli. Harry Roesli was considered to be at the forefront of the so-called tradisi baru, or "new tradition," of Indonesian artists committed to experimentation with traditional culture in order to address contemporary society.1 2 For a variety of reasons, however, Roesli did not enjoy the level of popular success that other tradisi baru artists achieved, particularly playwright Willibrordus Surendra Broto Rendra (hereafter W. S. Rendra), director Putu Wijaya, novelist Remy Sylado, and musicians Guruh Soekarno Putra, Franki Raden, Leo Kristi, Slamet Abdul Syukur, Jack Lesmana, Nano Suratno, and, later, Iwan Gunawan.3 1 "Titik Api" in my title is borrowed from the name of one of Roesli's music albums and can be translated "Point of Fire." My sincere gratitude is expressed to the Roesli family for their patience and generosity in providing me access to the Harry Roesli archive, as well as their willingness to discuss with me many of the finer points regarding his artistic career. I am also grateful to Michael Bodden, Barbara Hatley, Indra Ridwan, R. Anderson Sutton, Jeremy Wallach, and Andrew N. Weintraub for their critical comments on earlier versions of this article, which has been significantly improved as a result of their insights and notes. With that said, any remaining shortcomings are solely my responsibility. -
Ford 2003 Beyond Femina Fantasy.Pdf (PDF, 1.01MB)
Beyond the Femina fantasy: female industrial and overseas domestic labour in Indonesian discourses of women's Work Michele Ford In the late 1990s, scholarly attention turned to glossy publications such as Femina, the premier Indonesian women's magazine, for insights into what it means to be a woman in Indonesia. When Brenner analysed the visual and verbal images of the 'many incarnations' of the modern Indonesian woman, she found that, in addition to being a 'happy consumer-housewife, devoted follower of Islam '" model citizen of the nation-state and alluring sex symbol', the modern Indonesian woman is a wanita kaner, working as a business executive, secretary, lawyer or civil servant (Brenner 1999, 17-24). Sen, too, has noted the increasing dOminance of images of professional, working women in 'official and commercial texts emanating from metropolitan Jakarta' (Sen 1998, 35). Unlike Brenner, however, who argues that the Sum of representations of women in these middle-class texts 'offer[s] a bewildering array of lifestyle possibilities' (Brenner 1999, 17), Sen privileges images of the working woman - asserting not only that 'working woman' has replaced 'housewife' as the 'new paradigmatic female subject in political, cultural and economic discourses in Indonesia', but that the new 'iconic figure' of the 'working woman' is a professional who legitimises Indonesia's position as a modern nation, not a working_ class woman labOUring on the factory floor (Sen 1998, 35). Brenner and Sen deal with similar texts and, indeed, similar themes, but they place a different emphasis on the extent to which their conclusions can be extrapolated. In seeking the modern, Brenner makes only modest claims for broader Indonesian society.