DOCSLIB.ORG

Pewarisan Kesenian Angklung Sered Balandongan Di Daerah Mangunreja Kabupaten Tasikmalaya

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pewarisan Kesenian Angklung Sered Balandongan Di Daerah Mangunreja Kabupaten Tasikmalaya Magelaran: Jurnal Pendidikan Seni, Vol 3. No. 2, Desember 2020, ISSN: 2620-8598 PEWARISAN KESENIAN ANGKLUNG SERED BALANDONGAN DI DAERAH MANGUNREJA KABUPATEN TASIKMALAYA Wina Yulianti Mahasiswa Sendratasik Fakultas Keguruan dan Ilmu Pendidikan, Universitas Muhammadiyah Tasikmalaya, Jl. Tamansari No. KM 2.5 Mulyasari Kec. Tamansari Tasikmalaya Jawa Barat Indonesia Email: [email protected] Asti Trilestari Dosen Fakultas Keguruan dan Ilmu Pendidikan, Universitas Muhammadiyah Tasikmalaya, Jl. Tamansari No. KM 2.5 Mulyasari Kec. Tamansari Tasikmalaya Jawa Barat Indonesia Email: [email protected] Arni Apriani Dosen Fakultas Keguruan dan Ilmu Pendidikan, Universitas Muhammadiyah Tasikmalaya, Jl. Tamansari No. KM 2.5 Mulyasari Kec. Tamansari Tasikmalaya Jawa Barat Indonesia. E-mail: [email protected]. ABSTRAK Kesenian tradisional sangatlah perlu mendapatkan pemeliharaan, pembinaan, kemudian dikembangkan dan dipertahankan kelestariannya agar generasi mendatang mengerti serta memahami warisan leluhur. Salah satu kesenian yang masih ada di Daerah Tasikmalaya adalah Angklung Sered Balandongan Desa Sukaluyu Kecamatan Mangunreja Kabupaten Tasikmalaya. Angklung Sered berdiri pada tahun 1907, pada awalnya Angklung ini sebagai tengara kemudian menjadi adu jajaten (adu kekuatan), dan berubah lagi menjadi hiburan hingga saat ini. Penelitian ini bertujuan untuk mengetahui dan mendeskripsikan terbentuknya kesenian Angklung Sered dan sistem pewarisan Angklung Sered Balandongan di Daerah Mangunreja Kabupaten Tasikmalaya. Adapun permasalahan yang diangkat dalam penelitian, antara lain : 1) Bagaimana terbentuknya kesenian Angklung Sered Balandongan di Daerah Mangunreja Kabupaten Tasikmalaya ? 2) Bagaimana sistem pewarisan kesenian Angklung Sered Balandongan di Daerah Mangunreja Kabupaten Tasikmalaya ? metode yang digunakan adalah metode kualitatif dengan pendekatan deskriptif untuk menggambarkan dan menjelaskan masalah-masalah secara alamiah yang berkaitan dengan kesenian Angklung Sered dan menganalisis hasil penelitian mengenai terbentuknya kesenian Angklung Sered dan sistem pewarisan kesenian Angklung Sered. Instrumen yang digunakan peneliti dalam penelitian untuk menghimpun data yaitu dengan menggunakan instrumen observasi, wawancara, dan studi dokumen. Kata kunci: Pewarisan, Angklung Sered ABSTRACT Traditional arts really need to be nurtured, nurtured, then developed and preserved so that future generations understand and understand ancestral heritage. One of the arts that still exist in the Tasikmalaya area is Angklung Sered Balandongan, Sukaluyu Village, Mangunreja District, Tasikmalaya Regency. Angklung Sered was founded in 1907, at first this Angklung as a landmark then became a competition for jajaten (fighting for strength), and has changed again into entertainment until today. This study aims to determine and describe the formation of the art of Angklung Sered and the inheritance system of the Angklung Sered Balandongan in the Mangunreja area, Tasikmalaya Regency. The problems raised in the study include: 1) How was the formation of the art of Angklung Sered Balandongan in the Mangunreja area, Tasikmalaya Regency? 2) What is the inheritance system of the Sered Balandongan Angklung art in the Mangunreja area, Tasikmalaya Regency? The method used is a qualitative method with a descriptive approach to describe and explain natural problems related to the art of Angklung Sered and to analyze the results of research on the formation of the Angklung Sered art and the inheritance system of the Angklung Sered art. The instruments used by researchers in research to collect data were observation, interviews, and document studies. Keywords: Inheritance, Angklung Sered Magelaran: Jurnal Pendidikan Seni, Vol 3. No. 2, Desember 2020, ISSN: 2620-8598| 41 Magelaran: Jurnal Pendidikan Seni, Vol 3. No. 2, Desember 2020, ISSN: 2620-8598 A. PENDAHULUAN utara seperti ronggeng ketuk Indramayu Kesenian merupakan bagian dari dan bajidoran di Karawang dan Subang, kebudayaan yang tidak lepas dari kehidupan sementara itu di Daerah pedalaman yang manusia. Hal ini terjadi karena kesenian itu agraris berkembang seni rakyat untuk lahir, tumbuh dan berkembang dalam keperluan tanam padi seperti ronggeng lingkungan masyarakat. Begitu pula kesenian gunung di Ciamis dan tarawangsa di sebagai kreativitas dari jiwa manusia yang Sumedang, di Daerah pedalaman lain mengandung nilai-nilai keindahan. Menurut seperti Tasikmalaya berkembang pula Sumardjo (2000:45) bahwa “Kesenian seni rakyat rudat untuk sarana merupakan suatu wujud yang terindera dan penyebaran Islam”. karya seni yang merupakan sebuah benda atau artefak yang dapat dilihat, didengar (visual, Tasikmalaya memiliki beragam warisan audio, dan audio-visual), seperti lukisan, musik kesenian tradisional, keberagaman warisan seni dan teater. dan budaya ini yang harus kita lestarikan Kesenian dalam kehidupan manusia telah kepada lingkungan masyarakat agar mengerti menjadi bagian dari warisan nenek moyang, dan memahami warisan leluhur. Di tengah sejak dulu kesenian sudah membudaya keadaan masyarakat yang sudah semakin kebiasaan turun temurun yang diwariskan modern sehingga tidak terlalu memperhatikan kepada generasi muda sampai sekarang. Di era hal-hal yang berbau mistis, munculah sebuah globalisasi saat ini, teknologi terus berkembang ide dari seorang seniman untuk lebih semakin berubah, tidak hanya pengembangan menghidupkan kembali kesenian tradisional dari bidang teknologi tetapi juga dengan memberikan karya baru pada kesenian pengembangan dari bidang budaya. Oleh sebab tradisional agar lebih berkembang dan tidak itu, penting bagi kita bersama-sama untuk akan pernah terlupakan, maka disini perlu mempertahankan dan menjaga serta adanya pewarisan yang baik agar kesenian tetap memelihara kebudayaan yang telah di wariskan ada dan berkembang. oleh para leluhur agar kebudayaan tetap ada Pewarisan dalam konteks kesenian sampai saat ini. tradisonal merupakan suatu kegiatan, Kebudayaan yang berada di Indonesia perbuatan, atau cara mewariskan budaya di mempunyai kebudayaan masing-masing dan dalam sebuah kelompok masyarakat, yaitu ciri khas tersendiri diantaranya seperti rumah dengan proses penerusan, pengoperan, adat, pakaian adat, upacara adat, seni tari kekayaan budaya dari satu generasi ke generasi tradisional, seni rupa tradisional, suku bangsa, berikutnya untuk dirawat dan dijaga, karena bahasa Daerah dan yang lainnya. pewarisan sangat berperan penting dalam Keanekaragaman budaya yang ada merupakan mengembangkan dan melestarikan kesenian bukti bahwa Indonesia kaya akan budayanya, agar tetap bertahan dan lebih maju kedepannya. salah satunya adalah Provinsi Jawa Barat Seperti yang di ungkapkan Nurasih (2014:30) : merupakan Provinsi yang memiliki keunikan “Kegiatan pewarisan merupakan satu tersendiri yang mencerminkan budaya problema kebudayaan dalam dinamika masyarakatnya, mulai dari adat istidat, kehidupan manusia. Proses pewarisan kesenian, acara ritual dan lain-lain. Semua itu dipandang sebagai salah satu kegiatan membuktikan bahwa Jawa Barat merupakan permindahan, penerusan, pemilikan antar Provinsi yang sangat mengedepankan budaya. generasi dalam rangka menjaga tradisi Salah satu budaya yang masih tetap dilestarikan dalam sebuah silsilah keluarga yang adalah kesenian tradisional. Menurut Trilestari bergerak secara berkesinambungan dan (2011:2) : simultan. Tujuan pewarisan umumnya “Provinsi Jawa Barat kaya akan khasanah untuk menjaga nilai-nilai kebudayaan seni yang sesuai dengan karakteristik dari masa lalu, sekaligus upaya untuk masyarakat pendukungnya. Misalnya menjaga sakralitas kesenian tersebut”. seni rakyat (ronggeng) yang marak berkembang di Daerah sepanjang pantai Kesenian akan bertahan secara turun Magelaran: Jurnal Pendidikan Seni, Vol 3. No. 2, Desember 2020, ISSN: 2620-8598| 42 Magelaran: Jurnal Pendidikan Seni, Vol 3. No. 2, Desember 2020, ISSN: 2620-8598 temurun apabila di dalamnya terdapat sistem permainan ini terdapat dua kelompok yang pewarisan yang baik dan didukung oleh setiap kelompoknya terdiri dari 10 atau lebih. pewarisnya termasuk oleh lingkungan Sebelum mereka berkelahi, biasanya mereka masyarakat yang membangun kesenian memainkan Angklung sambil menari dengan tersebut. Salah satu kesenian tradisional yang pola lantai yang unik bertujuan untuk masih ada dan berkembang di Daerah mengetahui kekuatan lawan, para pemimpin Tasikmalaya dan dilestarikan kepada masing-masing kelompok akan maju ke tengah, masyarakatnya yaitu kesenian Angklung Sered dan mereka akan terus saling mendorong Balandongan. Hal ini bisa berkembang dan sampai salah satu diantara mereka ada yang dilestarikan karena adanya pewarisan yang kalah. sangat di junjung tinggi oleh grup kesenian Kesenian Angklung Sered Balandongan tersebut. dapat tumbuh dan berkembang karena adanya Angklung Sered adalah kesenian yang pelaku-pelaku seni yang kreatif, mau selalu berada di Kampung Balandongan Desa berkarya untuk melestarikan serta Sukaluyu Kecamatan Mangunreja Kabupaten mempertahankan keberlangsungan kesenian Tasikmalaya. Angklung Sered dikenal pada tersebut. Angklung Sered Balandongan ini masa penjajahan tepatnya di tahun 1907, pada mewariskan dan melestarikan kesenian awalnya inti dari kesenian Angklung Sered ini Angklung Sered pada keluarga sedarah dan sebagai tengara untuk menginformasi akan masyarakat sekitar, bertujuan untuk terus adanya tamu atau musuh yang datang menjajah, mengembangkan dan melestarikan kesenian caranya dengan membunyikan Angklung oleh ini, dari mulai sebagai tengara, adu jajaten, salah satu penduduk
Load more

Recommended publications
  • Gamelan Gender Wayang of Bali: Form and Style
    ..................~~.~.~.. ~------------------ WESLEYAN UNIVERSITY Gamelan Gender Wayang of Bali: Form and Style by Kalafya Brown A thesis submitted to the facuIty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts in Music May, 2000 Middletown, Connecticut My teacher, Kak Luweng, and myself playing gender (above) and just sitting (below), 2 Introduction and Acknowledgements I began studying gamelan music in 1994 while I was an undergraduate at the Massachusetts Institute of Technology. No one tends offhand to associate gamelan with MIT. but there it is. Professor Evan Ziporyn has been directing the gong kebyar ensemble Gamelan Galak Tika at MIT since 1993, and I was an active member from 1994 until 1997. Unfortunately the pressure of my studies at Wesleyan has not allowed me to play with Galak Tika as much as I would like in the past few years. For the three years of my tenure with Galak Tika we were blessed with the artistry of the Balinese husband and wife team of I Nyoman Catra and Desak Made Suarti Laksmi. The magnificent teaching and performance prowess of Evan, Catra and Desak formed the basis of my introduction to gamelan music. In 1997 I came to Wesleyan University to study for the degree of Master of Arts in Music, of which this thesis is a part. Here at Wesleyan I have had the great honor of studying with I. M. Harjito and Sumarsam, two Javanese artists. I sincerely thank them for broadening my awareness of the multifaceted natures of Indonesian music and for sharing with me the great beauty of the central Javanese court gamelan.
    [Show full text]
  • Sejarah Budaya Pencak Silat Melalui Aktivitas Migrasi Pendekar
    SEJARAH BUDAYA PENCAK SILAT MELALUI AKTIVITAS MIGRASI PENDEKAR THE HISTORY OF PENCAK SILAT CULTURE THROUGH PENDEKAR MIGRATION ACTIVITY Suryo Ediyono Faculty of Cultural Science, Universitas Sebelas Maret Surakarta E-mail: [email protected] Sejarah budaya pencak silat pada hakikatnya berasal dari bangsa Indonesia sendiri yang diturunkan generasi ke generasi sampai bentuk sekarang ini. Seni beladiri pencak silat digunakan sebagai sarana pendidikan di masyarakat Jawa. Melalui aktivitas pendekar bermigrasi dari pergurunan tradisional ke modern. Pendekar adalah seorang terhormat sebagai pemimpin di pergurua dan masyarakat. Penelitian ini bertujuan menganalisa dan mendiskripsikan sejarah budaya pencak silat melalui aktivitas migrasi di Jawa. Metode penelitian historis faktual, melalui studi pustaka pengkajian pada teks-teks pencak silat dan studi lapangan. Data kemudian dideskripsikan, dianalisis secara refleksi kritis untuk memperoleh gambaran tersebarnya pencak silat melalui aktivitas pendekar, sehingga diperoleh pemahaman secara komprehensif. Pendekar sebagai pemimpin perguruan adalah seorang tagwa, tanggap, tangguh, tanggon dan trengginas dengan sikap bijaksana dan berpengetahuan luas. Budaya pencak silat berisi beladiri, olahraga, seni dan mental spiritual sebagai satu kesatuan, yang berkembang melalui aktivitas pendekar. Kata kunci: sejarah, budaya pencak silat, aktivitas migrasi, pendekar. The history pencak silat culture in essence is effort of Indonesian nation that is developed from generation to generation till reaching current
    [Show full text]
  • Tenaga Dalam Volume 2 - August 1999
    Tenaga Dalam Volume 2 - August 1999 The Voice of the Indonesian Pencak Silat Governing Board - USA Branch Welcome to the August issue of Tenaga Dalam. A lot has occurred since May issue. Pendekar Sanders had a very successful seminar in Ireland with Guru Liam McDonald on May 15-16, a very large and successful seminar at Guru Besar Jeff Davidson’s school on June 5-6 and he just returned from a seminar in England. The seminar at Guru Besar Jeff Davidson’s was video taped and the 2 volume set can be purchased through Raja Naga. Tape 1 consists of blakok (crane) training and Tape 2 has about 15 minutes more of blakok training followed by a very intense training session in various animal possessions including the very rare Raja Naga possession. Guru Besar Davidson and his students should be commended on their excellent portrayal of the art. Tape 1 is available to the general public, but due to the intense nature of tape 2 you must be a student. It is with great sadness that I must report that Guru William F. Birge passed away. William was a long time personal student of Pendekar Sanders and he will be missed by all of the people that he came into contact with. 1 Tribute to Guru William F. Birge Your Memory Will Live On In Our Hearts. 2 DJAKARTA aeroplane is a lead-coloured line of sand beaten by EX ‘PEARL OF THE EAST’ waves seeping into a land as flat as Holland. The Dutch settlers who came here in 1618 and founded The following is a passage from the wonderful Batavia must have thought it strangely like their book Magic and Mystics of Java by Nina Epton, homeland.
    [Show full text]
  • The Involvement of Local People and Culture in Mesastila Resort and Spa, Magelang, Indonesia
    Digital Press Social Sciences and Humanities The Involvement of Local People and Culture in Mesastila Resort and Spa, Magelang, Indonesia Tuti Elfrida and Anik Nuryani Proceeding of Indonesia Heritage Tourism Forum 2019 (IHTF 2019) Dewi Pratika Ayu Dhira Pradati (eds) Digital Press Social Sciences and Humanities 4: 00018 (2020) https://doi.org/10.29037/digitalpress.44365 Proceeding of Indonesia Heritage Tourism Forum 2019 (IHTF 2019) The Involvement of Local People and Culture in Mesastila Resort and Spa, Magelang, Indonesia Tuti Elfrida*, Anik Nuryani Diploma Tourism Program, Vocational College, Universitas Gadjah Mada, Yogyakarta, Indonesia *e-mail: [email protected] Abstract Mesastila Resort and Spa is one of the tourist accommodations in the middle of the countryside and has a relatively high level of foreign visitors. Interestingly, there are several daily activities that involve culture and local people living around the resort. Those activities are managed and presented at the resort to be attended by guests staying at the resort The research explores data about the practice of involvement of local people and culture. Furthermore, this research also looks at the experience of local people in their involvement in providing service at tourist accommodation. The observation was carried out by participating in all activities involving local communities and looking at how local communities in this context host the guests and visitors. Meanwhile, interviews were also conducted with the local communities involved and management staff. The result of this study confirms that local culture and community are able to become an important element in providing activities and attractions within the scope of tourist accommodation.
    [Show full text]
  • Land- ​ En Volkenkunde
    Music of the Baduy People of Western Java Verhandelingen van het Koninklijk Instituut voor Taal- , Land- en Volkenkunde Edited by Rosemarijn Hoefte (kitlv, Leiden) Henk Schulte Nordholt (kitlv, Leiden) Editorial Board Michael Laffan (Princeton University) Adrian Vickers (The University of Sydney) Anna Tsing (University of California Santa Cruz) volume 313 The titles published in this series are listed at brill.com/ vki Music of the Baduy People of Western Java Singing is a Medicine By Wim van Zanten LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY- NC- ND 4.0 license, which permits any non- commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Cover illustration: Front: angklung players in Kadujangkung, Kanékés village, 15 October 1992. Back: players of gongs and xylophone in keromong ensemble at circumcision festivities in Cicakal Leuwi Buleud, Kanékés, 5 July 2016. Translations from Indonesian, Sundanese, Dutch, French and German were made by the author, unless stated otherwise. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2020045251 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”.
    [Show full text]
  • ICTM Abstracts Final2
    ABSTRACTS FOR THE 45th ICTM WORLD CONFERENCE BANGKOK, 11–17 JULY 2019 THURSDAY, 11 JULY 2019 IA KEYNOTE ADDRESS Jarernchai Chonpairot (Mahasarakham UnIversIty). Transborder TheorIes and ParadIgms In EthnomusIcological StudIes of Folk MusIc: VIsIons for Mo Lam in Mainland Southeast Asia ThIs talk explores the nature and IdentIty of tradItIonal musIc, prIncIpally khaen musIc and lam performIng arts In northeastern ThaIland (Isan) and Laos. Mo lam refers to an expert of lam singIng who Is routInely accompanIed by a mo khaen, a skIlled player of the bamboo panpIpe. DurIng 1972 and 1973, Dr. ChonpaIrot conducted fIeld studIes on Mo lam in northeast Thailand and Laos with Dr. Terry E. Miller. For many generatIons, LaotIan and Thai villagers have crossed the natIonal border constItuted by the Mekong RIver to visit relatIves and to partIcipate In regular festivals. However, ChonpaIrot and Miller’s fieldwork took place durIng the fInal stages of the VIetnam War which had begun more than a decade earlIer. DurIng theIr fIeldwork they collected cassette recordings of lam singIng from LaotIan radIo statIons In VIentIane and Savannakhet. ChonpaIrot also conducted fieldwork among Laotian artists living in Thai refugee camps. After the VIetnam War ended, many more Laotians who had worked for the AmerIcans fled to ThaI refugee camps. ChonpaIrot delIneated Mo lam regIonal melodIes coupled to specIfic IdentItIes In each locality of the music’s origin. He chose Lam Khon Savan from southern Laos for hIs dIssertation topIc, and also collected data from senIor Laotian mo lam tradItion-bearers then resIdent In the United States and France. These became his main informants.
    [Show full text]
  • The Angklung of Southeast Asia
    Can You Shake It? The Angklung of Southeast Asia By Professor Kuo-Huang Han School of Music Northern Illinois University Angklung is a popular bamboo musical instrument in Southeast Asia. It is the easiest instrument to play: you just shake it. It is now widely used in music education. In this article, you will be informed about the background, usage, and playing methods of this instrument. A. Bamboo in Asia Bamboo is a type of plant of the grass family. There are about 75 genera and approximately 1000 species in the world. Asia, especially Southeast Asia and the Far East, has the major concentration of bamboo production. In fact, the word "bamboo" came from a Malay term, "bambu", which originally described the crackling sound of burning bamboo: "bam"! "bu"! Bamboo seems to grow everywhere in these regions. It is one of the most important materials in many Asian peoples’ daily lives. It is also a symbol of good luck and an essential part in their spiritual lives. 1. Material Culture Bamboo is strong but light and elastic. Throughout the ages, it has been used for a great variety of purposes. It is used as building material for houses, fences, bridges, irrigation pipes, bulletin boards, tables, chairs, and beds. It is also used as a carrying pole, a walking stick, chopsticks, water containers, cups, pencil holders, bow and arrows, etc. Split bamboo is used for weaving nets, hats, baskets, and umbrellas. Finally, bamboo shoots and bamboo seeds can be eaten. Bamboo pulp fibers were used to make paper. In ancient times, bamboo slips were used for carving characters.
    [Show full text]
  • The Practice of Pencak Silat in West Java
    The Politics of Inner Power: The Practice of Pencak Silat in West Java By Ian Douglas Wilson Ph.D. Thesis School of Asian Studies Murdoch University Western Australia 2002 Declaration This is my own account of the research and contains as its main content, work which has not been submitted for a degree at any university Signed, Ian Douglas Wilson Abstract Pencak silat is a form of martial arts indigenous to the Malay derived ethnic groups that populate mainland and island Southeast Asia. Far from being merely a form of self- defense, pencak silat is a pedagogic method that seeks to embody particular cultural and social ideals within the body of the practitioner. The history, culture and practice of pencak in West Java is the subject of this study. As a form of traditional education, a performance art, a component of ritual and community celebrations, a practical form of self-defense, a path to spiritual enlightenment, and more recently as a national and international sport, pencak silat is in many respects unique. It is both an integrative and diverse cultural practice that articulates a holistic perspective on the world centering upon the importance of the body as a psychosomatic whole. Changing socio-cultural conditions in Indonesia have produced new forms of pencak silat. Increasing government intervention in pencak silat throughout the New Order period has led to the development of nationalized versions that seek to inculcate state-approved values within the body of the practitioner. Pencak silat groups have also been mobilized for the purpose of pursuing political aims. Some practitioners have responded by looking inwards, outlining a path to self-realization framed by the powers, flows and desires found within the body itself.
    [Show full text]
  • The Practices of Indonesia's Cultural Diplomacy in Saudi Arabia Through
    Indonesian Perspective, Vol. 6 No. 1 (Januari-Juni 2021): 86-102 The Practices of Indonesia’s Cultural Diplomacy in Saudi Arabia through the Tourism Promotion Programs (2015-2018) Annisa Dwida Sunggowo Putri Anggara Raharyo Muhammad AS Hikam President University Abstrak Artikel ini meneliti diplomasi budaya Indonesia di Arab Saudi melalui program promosi pariwisata antara tahun 2015-2018. Diplomasi budaya itu dimaksudkan untuk meningkatkan kesadaran tentang kekayaan budaya Indonesia yang berkaitan dengan pariwisata yang dapat dimanfaatkan dalam memperoleh hasil yang diinginkan. Artikel ini menggunakan konsep ‘soft power’ dan pendekatan kualitatif dengan teknik pengumpulan data berupa analisis dokumen resmi dari Kementerian Pariwisata Republik Indonesia, serta teknik pengumpulan data sekunder yang menganalisis beberapa literatur termasuk buku, laporan, jurnal, dan artikel terkait. Hasil penelitian ini menunjukkan bahwa upaya Indonesia dalam melakukan praktik diplomasi budaya di Arab Saudi melalui program promosi pariwisata antara tahun 2015 hingga 2018 melibatkan unsur budaya ke dalam program yang bernuansa Islami dan diakui oleh UNESCO sebagai warisan budaya tak berwujud di dunia. Kata-kata kunci: diplomasi budaya Indonesia; Arab Saudi; soft power; pariwisata Abstract This article investigates Indonesia’s cultural diplomacy in Saudi Arabia through the tourism promotion programs from 2015 to 2018. Cultural diplomacy is aimed to raise awareness about the wealth of Indonesian culture relating to tourism that can be utilized in obtaining the desired outcomes. This article employs the concept of ‘sof power’ and qualitative approach with the technique of data collection by analysing the official documents from the Indonesian Ministry of Tourism, as well as the technique of secondary data collection that analyzes several literatures including books, reports, journals, and related articles.
    [Show full text]
  • Intangible Cultural Heritage Management And
    / Ê 1/1,Ê ,/ Ê /Ê Ê- 1, Ê Ê " - 1,Ê ,/ *1, /ÌÀÌiÀ]ÊÛiÃÌ}>`ÀÊÞÊiÝ«iÀÌÊVÕÌÕÀ>° 6 */," "Ê1 ÊUÊ -9"- “Intangible cultural heritage” means “the 2003 Convention in July 2007 and became a practices, representations, expressions, State Party to the Convention in January Intangible Cultural knowledge, skills – as well as the instru- 2008. Heritage, or Living ments, objects, artefacts and cultural spac- Intangible Cultural Heritage, or Living Cultural Heritage, es associated therewith – that communi- Cultural Heritage, has existed in Indonesia has existed in ties, groups and, in some cases, individuals since ancient times, when Indonesia con- Indonesia recognize as part of their cultural heri- sisted of many kingdoms and empires since ancient tage” 1. Management refers to governance, which interacted with the cultural heritage times and also to administration of business con- of other countries. Situated as it is on the cerns or public undertakings 2. According intersection between two oceans, the In- to the UNESCO 2003 Convention , “Safe- dian and Pacific Oceans, and two conti- guarding means measures aimed at ensur- nents, Asia and Oceania, Indonesia partic- ing the viability of the intangible cultural ularly received cultural influences from heritage, including the identification, doc- the sea trade which went on among Indo- umentation, research, preservation, pro- nesia, India, China, and the Middle East for tection, promotion, enhancement, trans- at least the past two millennia 4. The com- mission, particularly through formal and ing of Islam to Indonesia five centuries ago non-formal education, as well as the revi- brought with it significant cultural influ- talization of the various aspects of such ences.
    [Show full text]
  • Bell Type Instruments • Bamboo Vibraphone • Belltree • Bhutan Bells
    Bell Type Instruments Bamboo Vibraphone Iran Fingercymbals Tibetan Cymbals Belltree Metallophon Tibetan Singing Bells Bhutan Bells Mini Bells Vietnam Bells China Finger Cymbals Saron Gamelan Windbells Dream Catcher Shanghai Baby Piano Windchimes Ethno Gamelan Crash Bells Small Burma Bells World Glockenspiel Small Tubular Bells Bowed Instruments Gaohu Dilruba Ih Khuur Bass Morin Khuur Violin Egyptian Fiddle Jinghu Operaviolin Small Morin Khuur Erhu Morin Khuur Strings Western Fiddle Licks Esraj Ensemble CONSTRUCTION SETS China Set 100 Mid East Set 100 China Set 120 Mid East Set 120 Mid East Set 80 China Set 140 Mid East Set 140 GONGS & BOWLS Big FengGong Big Rako Bowls Java Gong Tam Tam Besar “ Big Tibetan Singing Mongolian Gong Thai Gong 14 Bowls Rin Singing Bowls Wuhan Tam Tam “ Gong Besar 18 KEYED INSTRUMENTS Scale Changer Dallape Accordion Melodica Harmonium India METAL TYPE INSTRUMENTS Kalimba Kibirizi 15 Bass Kalimba tuning Plates Metal Squares Cymbals Kalimba Kibirizi 5 Military Cymbals Hand Cymbals tuning Plates Mongolian Jews Harp Jews Harp Kalimba Hugh Tracey STRINGED INSTRUMENTS Acoustic Bass Vester Domra Sitar Balalaika Dra-Ngen Small Erhu Plectrum Bandura Grand Monochord Violin Banjo Framus Joochin Dulcimer Small Kantele Banjolin Kantele Steel String Guitar Big Erhu Plectrum Mandolin Truxa Falcon Violin Oud Tampura Bouzouki Sakis Oud Licks Tanbur Ceylon Guitar Resonator Guitar Timple Contra Guitar F - Bass Santoor Saberi Turke Saz Cora
    [Show full text]
  • Intercultural Theatre Praxis: Traditional Malay Theatre Meets Shakespeare's the Tempest
    University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2017 Intercultural theatre praxis: traditional Malay theatre meets Shakespeare's The Tempest Norzizi Zulkafli University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Zulkafli, Norzizi, Intercultural theatre praxis: traditional Malay theatre meets Shakespeare's The Tempest, Doctor of Philosophy thesis, School of the Arts, English and Media, University of Wollongong, 2017.
    [Show full text]