Basic Motions of Pattern Formation (Source: Gell 1998: 78 Fig
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Masyarakat Kesenian Di Indonesia
MASYARAKAT KESENIAN DI INDONESIA Muhammad Takari Frida Deliana Harahap Fadlin Torang Naiborhu Arifni Netriroza Heristina Dewi Penerbit: Studia Kultura, Fakultas Sastra, Universitas Sumatera Utara 2008 1 Cetakan pertama, Juni 2008 MASYARAKAT KESENIAN DI INDONESIA Oleh: Muhammad Takari, Frida Deliana, Fadlin, Torang Naiborhu, Arifni Netriroza, dan Heristina Dewi Hak cipta dilindungi undang-undang All right reserved Dilarang memperbanyak buku ini Sebahagian atau seluruhnya Dalam bentuk apapun juga Tanpa izin tertulis dari penerbit Penerbit: Studia Kultura, Fakultas Sastra, Universitas Sumatera Utara ISSN1412-8586 Dicetak di Medan, Indonesia 2 KATA PENGANTAR Terlebih dahulu kami tim penulis buku Masyarakat Kesenian di Indonesia, mengucapkan puji syukur ke hadirat Tuhan Yang Maha Kuasa, karena atas berkah dan karunia-Nya, kami dapat menyelesaikan penulisan buku ini pada tahun 2008. Adapun cita-cita menulis buku ini, telah lama kami canangkan, sekitar tahun 2005 yang lalu. Namun karena sulitnya mengumpulkan materi-materi yang akan diajangkau, yakni begitu ekstensif dan luasnya bahan yang mesti dicapai, juga materi yang dikaji di bidang kesenian meliputi seni-seni: musik, tari, teater baik yang tradisional. Sementara latar belakang keilmuan kami pun, baik di strata satu dan dua, umumnya adalah terkonsentasi di bidang etnomusikologi dan kajian seni pertunjukan yang juga dengan minat utama musik etnik. Hanya seorang saja yang berlatar belakang akademik antropologi tari. Selain itu, tim kami ini ada dua orang yang berlatar belakang pendidikan strata dua antropologi dan sosiologi. Oleh karenanya latar belakang keilmuan ini, sangat mewarnai apa yang kami tulis dalam buku ini. Adapun materi dalam buku ini memuat tentang konsep apa itu masyarakat, kesenian, dan Indonesia—serta terminologi-terminologi yang berkaitan dengannya seperti: kebudayaan, pranata sosial, dan kelompok sosial. -
Bringing Cultural Practice Into Law: Ritual and Social Norms Jurisprudence Andrew J
Santa Clara Law Review Volume 43 | Number 2 Article 2 1-1-2003 Bringing Cultural Practice Into Law: Ritual and Social Norms Jurisprudence Andrew J. Cappel Follow this and additional works at: http://digitalcommons.law.scu.edu/lawreview Part of the Law Commons Recommended Citation Andrew J. Cappel, Bringing Cultural Practice Into Law: Ritual and Social Norms Jurisprudence, 43 Santa Clara L. Rev. 389 (2003). Available at: http://digitalcommons.law.scu.edu/lawreview/vol43/iss2/2 This Article is brought to you for free and open access by the Journals at Santa Clara Law Digital Commons. It has been accepted for inclusion in Santa Clara Law Review by an authorized administrator of Santa Clara Law Digital Commons. For more information, please contact [email protected]. BRINGING CULTURAL PRACTICE INTO LAW: RITUAL AND SOCIAL NORMS JURISPRUDENCE Andrew J. Cappel* I. INTRODUCTION The past decade has witnessed an explosive growth in legal scholarship dealing with the problem of informal social norms and their relationship to formal law.1 This article highlights a sa- * Associate Professor of Law, St. Thomas University Law School. J.D., Yale Law School; M.Phil., Yale University; B.A., Yale College. I would like to thank Bruce Ackerman and Stanley Fish, both of whom read prior versions of this paper, for their help and advice. I also wish to thank Robert Ellickson for his encourage- ment in this project. In addition, valuable suggestions were made by participants when a version of this paper was presented at the 2000 Law and Society conference in Miami. Among the many of my present and former colleagues at St. -
Teater ‘Uraong Ulu WARGA MOTAC Hatinya Luke Lagih’ Oleh Kumpulan Kesenian Uraong Ulu (Keulu) Telah I Memenangi Tempat Ketiga Dalam Festival Teater Malaysia 2006
3 FESTIVAL OF ASEAN CULTURAL EXPRESSIONS Festival Kesenian 2015 Orang Asli dan Peribumi Antarabangsa 2015 JKKN MENERAJUI HARI SUKAN NEGARA Teater ‘Uraong Ulu WARGA MOTAC Hatinya Luke Lagih’ Oleh Kumpulan Kesenian Uraong Ulu (Keulu) Telah i Memenangi Tempat Ketiga Dalam Festival Teater Malaysia 2006. Sudut Berita JKKN SEKILAS TINTA EDITOR YBhg. Datuk Norliza Rofli Ketua Pengarah YBrs. En. Mohamad Razy Mohd Nor Timbalan Ketua Pengarah (Sektor Dasar dan Perancangan) YBrs. Tn. Hj. Mesran Mohd Yusop Timbalan Ketua Pengarah (Sektor Kebudayaan dan Kesenian) Editor Assalamualaikum dan Salam 1Malaysia. Mohd Zin Mohd Sahid Penolong Editor Seni Budaya Malaysia semakin mengalami ketirisan. Membina masyarakat Zuriah Mohamad yang berbudaya dan berkeperibadian tinggi adalah menjadi tanggungjawab SIDANG EDITORIAL setiap rakyat Malaysia kerana setiap kita adalah pemimpin diperingkat sidang redaksi Penulis masing-masing. Peristiwa-peristiwa negatif yang pernah berlaku akibat • Mohd Zin Mohd Sahid kebiadaban segelintir rakyat yang tidak bertanggungjawab, seharusnya • Zuriah Mohamad • Muhammad Haqkam Hariri dijadikan iktibar agar tidak berulang dan menjadi gejala yang memusnahkan • Ismarizal Zulamran bangsa Malaysia. Kebiadaban tersebut seharusnya dibendung supaya ia • Muhammad Faizal Ruslee tidak menjadi gejala kepada masyarakat keseluruhannya. Hanya dengan • Siti Anisah Abdul Rahman • Fauziah Ahmad disiplin, kesedaran dan keimanan yang jitu pada setiap insan sahaja yang akan dapat mengatasinya. Pereka Grafik/Kreatif Bafti Hera Abu Bakar Sama-samalah kita menjadikan iktibar dan pengajaran bahawa salah Jurufoto Zaman Sulieman satu sebab kejatuhan kerajaan Melayu Melaka pada tahun 1511 ialah ‘angkara sikitul yang menjual maklumat kepada portugis’ ketika itu. Jika SIDANG REDAKSI kita sama-sama berpegang teguh kepada rukun negara dan disiplin • Unit Komunikasi Korporat diri, InshaAllah seni budaya Malaysia akan terus relevan selaras dengan • Bahagian Khidmat Pengurusan ungkapan ‘Tidak akan Melayu hilang di dunia’. -
DIANA PATON & MAARIT FORDE, Editors
diana paton & maarit forde, editors ObeahThe Politics of Caribbean and Religion and Healing Other Powers Obeah and Other Powers The Politics of Caribbean Religion and Healing diana paton & maarit forde, editors duke university press durham & london 2012 ∫ 2012 Duke University Press All rights reserved Printed in the United States of America on acid-free paper $ Designed by Katy Clove Typeset in Arno Pro by Keystone Typesetting, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Newcastle University, which provided funds toward the production of this book. Foreword erna brodber One afternoon when I was six and in standard 2, sitting quietly while the teacher, Mr. Grant, wrote our assignment on the blackboard, I heard a girl scream as if she were frightened. Mr. Grant must have heard it, too, for he turned as if to see whether that frightened scream had come from one of us, his charges. My classmates looked at me. Which wasn’t strange: I had a reputation for knowing the answer. They must have thought I would know about the scream. As it happened, all I could think about was how strange, just at the time when I needed it, the girl had screamed. I had been swimming through the clouds, unwillingly connected to a small party of adults who were purposefully going somewhere, a destination I sud- denly sensed meant danger for me. Naturally I didn’t want to go any further with them, but I didn’t know how to communicate this to adults and ones intent on doing me harm. -
A British Reflection: the Relationship Between Dante's Comedy and The
A British Reflection: the Relationship between Dante’s Comedy and the Italian Fascist Movement and Regime during the 1920s and 1930s with references to the Risorgimento. Keon Esky A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy, Faculty of Arts and Social Sciences. University of Sydney 2016 KEON ESKY Fig. 1 Raffaello Sanzio, ‘La Disputa’ (detail) 1510-11, Fresco - Stanza della Segnatura, Palazzi Pontifici, Vatican. KEON ESKY ii I dedicate this thesis to my late father who would have wanted me to embark on such a journey, and to my partner who with patience and love has never stopped believing that I could do it. KEON ESKY iii ACKNOWLEDGEMENTS This thesis owes a debt of gratitude to many people in many different countries, and indeed continents. They have all contributed in various measures to the completion of this endeavour. However, this study is deeply indebted first and foremost to my supervisor Dr. Francesco Borghesi. Without his assistance throughout these many years, this thesis would not have been possible. For his support, patience, motivation, and vast knowledge I shall be forever thankful. He truly was my Virgil. Besides my supervisor, I would like to thank the whole Department of Italian Studies at the University of Sydney, who have patiently worked with me and assisted me when I needed it. My sincere thanks go to Dr. Rubino and the rest of the committees that in the years have formed the panel for the Annual Reviews for their insightful comments and encouragement, but equally for their firm questioning, which helped me widening the scope of my research and accept other perspectives. -
KAJIAN KASUS PROGRAM MINOR SENI TARI UPSI Neros
Koreografi Di Malaysia... KOREOGRAFI DI MALAYSIA DALAM KONSEP MULTIKULTURAL: KAJIAN KASUS PROGRAM MINOR SENI TARI UPSI Nerosti Fakultas Bahasa dan Seni Universitas Negeri Padang email: [email protected] Abstract This study used a descriptive method with qualitative approach by studying the library, (library research), observation, and interviews, as well as using the theory of choreography. The research findings prove THAT seventeen works of Minor Dance students have met the elements of choreography as follows: (a) selecting a theme or idea of arrangements through the initial stimuli, ie stimulus ideas, kinesthetic, auditory and visual. (b) exploration and improvisation, (c) smoothing and composition. Elements of composition has also been described, which include: (1) the structure of arrangements; (2) dancers‘ motion and passage; (3) the pattern of the floor; (4) music and lighting; (5) costumes and make-ups.The study also found that the students‘ eleven dances have applied the concept of multiculturalism in ethnical and classical themes. Multiculturalism is understood as various ethnic diversity and distinctiveness, reflected in the work of each indibiduals that are limited by the historical and social context, as well as local culture, including ethnic Malay, Minangkabau, Javanese, Sabah and Sarawak, Kelantan, India, and China. Keywords: multiculturalism, dance as Minor Learning, and choreography Abstrak Penelitian ini menggunakan metode deskriptif dengan pendekatan kualitatif melalui kajian perpustakaan, (library research), observasi, dan wawancara, serta menggunakan teori koreografi, maka hasil penyelidikan membuktikan bahwa tujuh belas karya mahasiswa Minor Seni Tari telah memenuhi elemen-elemen koreografi yaitu: (a) pemilihan tema atau ide garapan melalui rangsang awal, yaitu rangsangan ide dan gagasan, kinestetik, auditif dan visual. -
Interview with Maurice Bloch
INTERVIEW WITH MAURICE BLOCH Professor Maurice Bloch visited Finland in Timo Kallinen (TK): You have contributed to March 2014 as the keynote speaker of the different fields of anthropology, but the study of interdisciplinary symposium ‘Ritual Intimacy— ritual seems to have been there ever since the Ritual Publicity’ organized by the Collegium for early stages of your career. How did you become Advanced Studies at the University of Helsinki. originally interested in ritual? As one of the most influential thinkers in contemporary anthropology Professor Bloch Maurice Bloch (MB): My interest in ritual has made significant contributions to various has been a key concern for a very long part research fields such as kinship studies and of my career but this has been because I have economic anthropology, but he is probably been able to link it to other central aspects of best known for his groundbreaking work on human life. My main interest has been with the ritual and religion. In his writings Professor apparent authority of ritual and the nature of Bloch often draws on his ethnography from this apparent authority. I outlined my position Madagascar, where he has carried out fieldwork in one of my earliest papers (Bloch 1974). over a period of several decades. Lately he I want to explore how ritual is linked to ideology, has also become renowned for developing an that is, to systems which seem to justify and approach that seeks to find a common ground maintain social hierarchy and social continuity between sociocultural anthropology and (Bloch 1986). The connection of authority cognitive science. -
Mek Mulung Di Pentas Dunia Pentas Di Mulung Mek
ISSN 2180 - 009 X Bil 1/2015 NASKHAH PERCUMA Assalamualaikum dan Salam 1Malaysia Lafaz syukur seawal bicara yang dapat diungkapkan atas penerbitan buletin JKKN Bil 1/2015 yang kini dikenali sebagai “Citra Seni Budaya”. Penjenamaan semula buletin ini adalah bertitik tolak daripada hasrat dan usaha JKKN untuk melaksanakan transformasi bagi memastikan setiap program dan aktiviti yang dilaksanakan memberi impak positif kepada masyarakat di samping pulangan kepada peningkatan ekonomi negara. Merujuk kepada Kamus Dewan Edisi Ke-4, Dewan Bahasa dan Pustaka, perkataan “Citra” membawa maksud ‘gambaran’ atau ‘imej peribadi seseorang’. Oleh itu, “Citra Seni Budaya” adalah refleksi kepada usaha murni JKKN yang dilaksanakan secara berterusan untuk memartabatkan seni dan budaya. Ia akan menjadi wadah perkongsian ilmu serta maklumat mengenai seni dan budaya yang boleh dimanfaatkan sebagai salah satu sumber rujukan sampingan. Semoga usaha kecil ini boleh membantu merealisasikan hasrat JKKN bagi menyebarluaskan maklumat berkaitan seni budaya yang hakikatnya berada bersama kita saban hari. Salmiyah Ahmad CORETAN EDITOR CORETAN Editor JABATAN SIDANG KEBUDAYAAN DAN EDITORIAL KESENIAN NEGARA YBhg. Datuk Norliza Rofli • Muhammad Faizal Ruslee Ketua Pengarah • Siti Anisah Abdul Rahman • Fauziah Ahmad YBrs. En. Mohamad Razy Mohd Nor Timbalan Ketua Pengarah Pereka Grafik/Kreatif (Sektor Dasar dan Perancangan) Bafti Hera Abu Bakar YBrs. Tn. Hj. Mesran Mohd Yusop Jurufoto Timbalan Ketua Pengarah Zaman Sulieman (Sektor Kebudayaan dan Kesenian) SIDANG REDAKSI YBrs. -
TIRAI PANGGUNG JURNAL SENI PERSEMBAHAN Jilid 17, 2021 ISSN: 0128-5998 ______
TIRAI PANGGUNG JURNAL SENI PERSEMBAHAN Jilid 17, 2021 ISSN: 0128-5998 ______________________________________________ EDITORIAL BOARD Chief Editor Assoc. Prof. Dr. Mohd Nasir Hashim Dr. Premalatha Thiagarajan Editorial Board Dr. Wong Kwan Yie (Music) Dr. Wong Huey Yi @ Colleen Wong (Music) Dr. Marlenny Binti Deenerwan (Drama) Dr. Roselina Johari Binti Md Khir (Drama) Dr. Mumtaz Begum P.V. Aboo Backer (Dance) Madam Tan Chai Chen (Dance) Dr. Luqman Lee (Visual Arts) Editorial Advisory Board Dr. Patricia Matusky Yamaguchi Prof. Dr. Tan Sooi Beng (Special thanks to Mr. Wong Jyh Shyong, Mr. Leng Poh Gee & Ms. Dayang Mariana Bolhassan) @2021 Universiti Malaya TIRAI PANGGUNG TIRAI PANGGUNG Diterbitkan sekali setahun oleh is published once a year by the Fakulti Seni Kreatif, Universiti Faculty of Creative Arts, Universiti Malaya. Jurnal ini menerima Malaya. The journal accepts sumbangan artikel dan ulasan buku, articles and book, audio, and film rakaman audio dan filem dalam reviews both in Malay and English Bahasa Malaysia dan Bahasa on topics related to Performing Inggeris yang ada hubungan dengan Arts. Please address correspondence Seni Persembahan. Sumbangan dan to: surat menyurat hendaklah dialamatkan kepada: EDITOR TIRAI PANGGUNG THE EDITOR Fakulti Seni Kreatif TIRAI PANGGUNG Universiti Malaya Faculty of Creative Arts 50603 Kuala Lumpur Universiti Malaya Malaysia 50603 Kuala Lumpur Malaysia CONTENTS Kandungan Between Two Landfills: The Analysis of Gender Representations in Linda Faigao Hall’s The Female Heart Through Brechtian Techniques -
Truth and Sight: Generalizing Without Universalizing
Maurice Bloch Truth and sight: generalizing without universalizing Article (Accepted version) (Refereed) Original citation: Bloch, Maurice (2008) Truth and sight: generalizing without universalizing. Journal of the Royal Anthropological Institute, 14 (s1). s22-s32. ISSN 1467-9655 DOI: 10.1111/j.1467-9655.2008.00490.x © 2008 Royal Anthropological Institute This version available at: http://eprints.lse.ac.uk//27112/ Available in LSE Research Online: April 2010 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s final manuscript accepted version of the journal article, incorporating any revisions agreed during the peer review process. Some differences between this version and the published version may remain. You are advised to consult the publisher’s version if you wish to cite from it. Truth and Sight: generalising without universalising Maurice Bloch Abstract: This article examines the link between truth and sight, and the implications of this link for our understandings of the concept of evidence. I propose to give an example of precisely how we might attempt to generalise about a phenomena such as the recurrence of the association between truth and sight without ignoring important anti-universalist points. -
Mapping the History of Malaysian Theatre: an Interview with Ghulam-Sarwar Yousof
ASIATIC, VOLUME 4, NUMBER 2, DECEMBER 2010 Mapping the History of Malaysian Theatre: An Interview with Ghulam-Sarwar Yousof Madiha Ramlan & M.A. Quayum1 International Islamic University Malaysia It seems that a rich variety of traditional theatre forms existed and perhaps continues to exist in Malaysia. Could you provide some elucidation on this? If you are looking for any kind of history or tradition of theatre in Malaysia you won’t get it, because of its relative antiquity and the lack of records. Indirect sources such as hikayat literature fail to mention anything. Hikayat Raja-Raja Pasai mentions Javanese wayang kulit, and Hikayat Patani mentions various music and dance forms, most of which cannot be precisely identified, but there is no mention of theatre. The reason is clear enough. The hikayat generally focuses on events in royal court, while most traditional theatre developed as folk art, with what is known as popular theatre coming in at the end of the 19th century. There has never been any court tradition of theatre in the Malay sultanates. In approaching traditional theatre, my own way has been to first look at the proto- theatre or elementary forms before going on to the more advanced ones. This is a scheme I worked out for traditional Southeast Asian theatre. Could you elaborate on this? Almost all theatre activity in Southeast Asia fits into four categories as follows: Proto-Theatre, Puppet Theatre, Dance Theatre and Opera. In the case of the Philippines, one could identify a separate category for Christian theatre forms. Such forms don’t exist in the rest of the region. -
Book Reviews
BOOK REVIEWS G. E.R. LLOYD, Demystifying Mentalities [Themes in the Social Sciences], Cambridge etc.: Cambridge University Press 1990. viii, 156 pp., Bibliography Index. £27.50/£10.95//$49.50/$14.95. Geoffrey Lloyd belongs to that illustrious line of Cambridge classicists who have found anthropology useful for their own work and have then contributed to it. The value of this contribution has been duly recognized by anthropo]ogists, who have asked him to give some of their most important lectures. Two of the four chapters that constitute this book were, in their original form, the 1985 Rivers lecture at Cambridge and the 1987 Frazer lecture in Oxford. Not surprisingly then, this work addresses a question of central interest to anthropologists: 'What is the validity and usefulness of the notion of mentalities?' (p. 1). Lloyd points out that although Uvy-Bruhl's distinction between two 'mentalities' has been much criticized, in fact the idea of different mentalities has been widely adopted in many disciplines, especially in France. The problem is that there is no definition of 'mentality', and the term is used in a variety of senses. Furthermore, which criteria are to be employed in distinguishing between different mentalities is not clear, nor has the question of how mentalities change been addressed. Lloyd sets out to examine the whole question with reference to classical Greek thought, which is so often regarded as the origin of our own scientific rationality. He also attempts to place the development of the ideas within the political and economic setting of the period, so that they are rooted in a particular social context.