DOCSLIB.ORG

Ibing Saka Telaah Kreativitas Namin Dalam Bajidoran

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ibing Saka Telaah Kreativitas Namin Dalam Bajidoran IBING SAKA TELAAH KREATIVITAS NAMIN DALAM BAJIDORAN Oleh: Atang Suryaman Jurusan Karawitan, Fakultas Seni Pertunjukan, ISBI Bandung Jln. Buahbatu No. 212 Bandung 40265 e-mail: [email protected] ABSTRAK Ibing Saka adalah salah satu repertoar yang dalam studi sejarah seni rakyat dapat ditemukan sejak awal perkembangan seni Tayub. Pada repertoar Ibing Saka, refleks dan improvisasi dibutuhkan pengendang dalam "dialog", "melayani" seorang penari-bajidor. Sehubungan dengan hal itu, istilah "gaya namin‛ diakui sebagai salah satu pengendang paling kuat. Oleh karena itu, tujuan dari penelitian ini adalah me- nemukan nilai kreativitas Namin dalam Bajidoran-Jaipongan yang dipengaruhi oleh kesenian Tayub dalam Ibing Saka. Penelitian kualitatif ini menggunakan teori kreativitas dengan metode deskriptif analisis. Adapun hasilnya adalah ternyata dalam Ibing Saka memiliki nilai-nilai kebaruan, kreativitas dan kemajuan. Hal ini ada hubungannya antara kepribadian Namin dengan Tayub sebagai cikal bakal "gaya namin" di Jaipongan-Bajidoran. Kata Kunci: Ibing Saka, Namin, Pencugan, Jaipongan-Bajidoran. ABSTRACT Saka Ibing Namin's Creativity In Bajidoran, June 2019. Ibing Saka is one of the repertoires that in the study of the history of folk art can be found since the early development of Tayub's art. In Ibing Saka's repertoire, reflexes and improvisation are needed to hold in "dialogue", "serve" a dancer-bajidor. In this connection, the term "style of namin" is recognized as one of the most powerful drivers. Therefore, the aim of this research is to find the value of Namin's creativity in Bajidoran-Jaipongan which is influenced by Tayub's art in Ibing Saka. This qualitative research uses the theory of creativity with descriptive analysis methods. The result is that in fact Ibing Saka has the values of novelty, creativity and progress. This has something to do between Namin's personality and Tayub as the forerunner to the "style of namin" in Jaipongan-Bajidoran. Keywords: Ibing Saka, Namin, Pencugan, Jaipongan-Bajidoran. PENDAHULUAN Hubungan antara penari dan pemusik gendang dan bajidor merupakan dua hubung- dalam konteks seni pertunjukan tradisi me- an sentral dan sekaligus menjadi identitas dari miliki keunikan tersendiri, khususnya dalam seni tradisi tersebut. Jaipongan-Bajidoran, lebih spesifik lagi pada Dalam pertunjukan tari yang diiringi mu- hubungan pengendang dan bajidor. Dalam sik/karawitan yang sudah baku dalam bentuk Jaipongan-Bajidoran, hubungan antara pen- lagu, biasanya hubungan penari dan peng- Naskah diterima pada 8 Januari, revisi akhir 7 April 2019 | 22 iring khususnya pengendang relatif bersifat yang menuntut kreativitas tinggi dari setiap formal sesuai dengan repertoar. Artinya, pe- pengendang2. Dalam konteks Jaipongan–baji- nari akan mengikuti gerakan sesuai dengan doran, salah satu seniman yang diakui me- lagu yang ditentukan. Begitupun dengan pe- miliki daya kreativitas tinggi dan dikenal luas main kendang yang akan memainkan iringan- oleh masyarakat, adalah Namin. Pengakuan nya sesuai dengan pola yang sudah baku. tersebut tidak hanya disampaikan oleh mas- Berbeda dengan pola baku tersebut, dalam yarakat bajidor, melainkan juga dari tokoh seni pertunjukan Jaipongan-Bajidoran, terdapat penari/bajidor, yakni Gugum Gumbira. Ia se- repertoar khusus, baik penari (bajidor) mau- cara khusus mengakui kelihaian Namin dalam pun pengiring (pengendang) keduanya ke luar memainkan kendang secara improvisasi yang dari kebakuan pola lagu yang sudah ada. menjurus pada konsep ibing saka. Khusus bagi pengendang, bagian ini menuntut Hubungan ibing saka dan kreativitas kreativitas yang tinggi, sebab ia harus mampu Namin sebagai sosok personal yang memiliki ‚meladeni‛ atau ‚melayani‛ gerak sang baji- kompetensi dalam bidang Jaipongan-Bajidoran dor yang bersifat refleks. Dalam Jaipongan- juga diakui secara akademik. Seperti menurut Bajidoran, repertoar ini dapat ditemukan pada Suparli (Wawancara, di Bandung; 2016) yang bagian “pencugan.”1 Sementara itu pada reper- mengatakan bahwa ‚Namin memiliki kapasi- toar tari tayub, bagian ini identik dengan tas untuk merekomposisi tepak kendang yang konsep ‚ibing saka‛ yang keberadaannya jauh sesuai dengan keberadaan entitas Jaipongan lebih lama dibanding Jaipongan-Bajidoran. pada lokusnya. Ketika setiap penari berim- Jaipongan-Bajidoran bersama tayub memiliki provisasi, Namin tampil dinamis mengim- relasi yang cukup kuat, sebab pada perkem- bangi gerak tari Jaipongan yang saka‛. Hal itu bangannya, Bajidoran menjadi bentuk kesenian berbeda dengan konsep garap kendang Jai- tradisional yang populer seperti yang dikemu- pongan gaya Suwanda3 yang membentuk pola- kakan oleh Buky W (2008: 123) mengatakan pola tepak kendang yang diproyeksikan se- bahwa ‚kesenian ini penuh dengan nuansa bagai media apresiasi, sehingga gerak dan erotik perpaduan dari berbagai macam ke- pola tepak kendangnya mengandung unsur senian rakyat seperti dombret, banjet ketu kebakuan.4 ktilu, tayub dan seterusnya‛. Dengan demi- kian, bahwa konsep ibing saka hadir pada METODE kesenian Jaipongan-Bajidoran, sebab jika meru- Berdasarkan beberapa pandangan tersebut, juk pada pernyataan tersebut menunjukkan kajian ini difokuskan untuk mengetahui bahwa ‚cikal-bakal‛ Jaipongan-Bajidoran tidak hubungan antara ‚ibing saka‛ dan kreativitas bisa dilepaskan dari tayub, atau paling tidak Namin sebagai seorang pengendang. Telaah tayub mempengaruhi Jaipongan-Bajidoran. ibing saka dan Namin ini memunculkan kon- Bagian ibing saka, menuntut kemampuan sekuensi padadi sejarah ibing saka yang di- ‚reflex‛ yang tinggi dari seorang pengendang. Oleh sebab itu, bagian ini merupakan bagian 2 Dalam tesis Oktriyadi (2017) kemampuan ini disebut sebagai kompetensi, di mana untuk 1 Oleh Mulyana (2004: 58) pencugan didefinisikan mencapai kompetensinya, diperlukan tahapan dan sebagai gerakan yang kuat dan terpatah-patah atau kemampuan khusus yang harus dilalui. menunjuk pada serangkaian jurus-jurus atau 3 Suwanda lebih dikenal dalam pertunjukan disebut juga ibing pola, biasanya dilakukan setelah jaipongan karya Gugum Gumbira gerakan bukaan. 4 (wawancara, Lili Suparli; 17 Maret 2017) Makalangan Vol. 6, No. 1, Edisi Juni 2019| 23 tengarai memiliki hubungan langsung dengan masyarakat (bajidor) yang terlibat dalam per- tayub. Di samping itu, konsep kreativitas tunjukan tayub dan Jaipongan-Bajidoran. Namin secara personal memiliki perjalanan Secara etimologis, ‚Ibing saka‛ berarti panjang juga penting untuk dikaji berdasarkan tarian saka. Saka adalah dari akronim dari pendekatan teori kreativitas Rhodes. sakainget (bahasa Sunda) yang berarti seingat- Penelitian ini menggunakan teori krea- nya. Yang dimaksud adalah praktik bermain tivitas yang dikemukakan Rhodes (dalam musik sesuai dengan apa yang ada di kepala Munandar 2009: 20) tentang ‚Four P’s of pemain tanpa aturan baku. Dalam terminologi Creativity: Person, Process, Press, and Product”. musik disebut dengan istilah ‚improvisasi‛. Sedangkan menurut Torrance (dalam Munan- Ibing merupakan bahasa lokal yang artinya dar 2009: 20) bahwa ‚Four P’s atau konsep tari. Kata tersebut diperkirakan berasal dari empat P dalam konteks kreativitas mem- bahasa Jawa Tengahan. Gerakan tarinya ber- punyai hubungan saling keterkaitan dalam sifat improvisasi. Seperti yang dikemukakan keseluruhan proses kreativitas. Berikut ini oleh Sujana (2002: 33) bahwa: adalah penjelasan mengenai person (pribadi), Di Sunda, terdapat suatu genre yang disebut press (pendorong), process (proses) dan product Ibing Tayub, yakni ibing pergaulan yang me- nyajikan tarian secara improvisasi. Tari ter- (produk)‛. sebut berkembang mejadi Ibing Keurseus yang Penelitian dilakukan dengan metode kua- memiliki patokan atau pola baku. litatif. Seperti yang dikemukakan oleh Nasu- tion (1996: 5) bahwa: Adapun yang dikemukakan oleh Bandem Pendekatan ini berkaitan dengan studi di la- (1980-1981: 20) bahwa ‚di daerah Bali, istilah pangan dengan melakukan pengamatan ke- ibing/pengibing digunakan untuk menyebut- pada individu (Namin pemain kendang) dan kan tari/penari pria dalam tari pergaulan berinteraksi dengan mereka, serta memahami Joged‛. Dan Sementara di wilayah budaya ‘bahasa’ tafsiran tentang ‘dunia’ (kesenimanan) yang ditekuni. Bahasa tafsiran tidak dilihat dari Melayu Sujana (2002: 33) mengatakan, bahwa dunia kesenimanan atau pengalaman dan per- ‚istilah ngibing/mengibing diartikan sebagai juangan, melainkan pengetahuan (knowledge) tari atau menari yang dilakukan dalam tari dan cara (skill) Namin bermain musik, yakni cara menafsirkan repertoar Gending atau me- pergaulan Joget dan penari wanitanya pun respon permainan instrumen lain, sehingga in- disebut Joget‛. teraksi antara pemain kendang dengan penari atau bajidor, Methallophone (Gamelan), dan vokal (sinden) terjalin menjadi satu kesatuan. HASIL DAN PEMBAHASAN 1. Ibing Saka: Dari Tayub Hingga Bajidor Ibing Saka merupakan identitas kultural yang diekspresikan melalui bentuk seni per- tunjukan, khususnya melalui musikalitas kara- witan Sunda yang dalam hal ini spesifik pada; Gambar 1. Bajidor seni tayub hingga Jaipongan-Bajidoran. Ibing (Dokumentasi: Atang Suryaman, 2017) saka merupakan sebuah repertoar dalam seni pertunjukan yang memberikan kebebasan bagi Makalangan Vol. 6, No. 1, Edisi Juni 2019| 24 2. Tayub dan Cikal-bakal Ibing Saka dah dan kemudian disebarluaskan. Karena itu Sebagaimana pemaparan sebelumnya, muncullah tari Keurseus. ibing saka relatif identik dengan seni tayub, hal Dalam beberapa sumber lain disebutkan tersebut juga dapat ditemukan dalam catatan bahwa, secara umum tari Tayub, didefinisikan
Load more

Recommended publications
  • Laporan Kinerja Pemerintah Pusat Direktorat Jenderal Kebudayaan
    LAPORAN KINERJA PEMERINTAH PUSAT DIREKTORAT JENDERAL KEBUDAYAAN Kementerian Pendidikan dan Kebudayaan Republik Indonesia 2015 LKPP Direktorat Jenderal Kebudayaan 2015 1 2 LKPP Direktorat Jenderal Kebudayaan 2015 KATA PENGANTAR Puji syukur kita panjatkan ke hadirat Tuhan Yang Maha Esa, atas berkat dan rahmat-Nya Direktorat Jenderal Kebudayaan, Kementerian Pendidikan dan Kebudayaan dapat menyelesaikan Laporan Akuntabilitas Kinerja Tahun 2015. Laporan ini merupakan bagian dari upaya Direktorat Jenderal Kebudayaan dalam rangka penguatan sistem akuntabilitas kinerja seperti tertuang dalam Inpres Nomor 7 Tahun 1999 Tentang Akuntabilitas Kinerja Instansi Pemerintah. Laporan Kinerja ini merupakan bentuk pertanggungjawaban Direktorat Jenderal Kebudayaan, Kementerian Pendidikan dan Kebudayaan atas pelaksanaan kontrak kinerja yang telah diperjanjikan maupun pelaksanaan tugas pokok dan fungsinya dalam membantu Menteri Pendidikan dan Kebudayaan dalam menyelenggarakan pemerintahan di bidang pendidikan dan kebudayaan. Laporan ini menyajikan target dan capaian kinerja Direktorat Jenderal Kebudayaan tahun 2015, berupa tingkat capaian Indikator Kinerja Program (IKP) Pelestarian Budaya yang digunakan untuk mengukur tingkat capaian sasaran strategis Direktorat Jenderal Kebudayaan. Laporan Kinerja Direktorat Jenderal Kebudayaan ini diharapkan dapat memberikan manfaat bagi pihak-pihak yang berkepentingan, baik sebagai informasi maupun evaluasi kinerja serta dapat digunakan sebagai acuan dalam penyusunan dan pelaksanaan program/kegiatan tahun yang akan datang.
    [Show full text]
  • 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.
    [Show full text]
  • Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings
    Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings TAJUK PERKARA MALAYSIA: PERLUASAN LIBRARY OF CONGRESS SUBJECT HEADINGS EDISI KEDUA TAJUK PERKARA MALAYSIA: PERLUASAN LIBRARY OF CONGRESS SUBJECT HEADINGS EDISI KEDUA Perpustakaan Negara Malaysia Kuala Lumpur 2020 © Perpustakaan Negara Malaysia 2020 Hak cipta terpelihara. Tiada bahagian terbitan ini boleh diterbitkan semula atau ditukar dalam apa jua bentuk dan dengan apa jua sama ada elektronik, mekanikal, fotokopi, rakaman dan sebagainya sebelum mendapat kebenaran bertulis daripada Ketua Pengarah Perpustakaan Negara Malaysia. Diterbitkan oleh: Perpustakaan Negara Malaysia 232, Jalan Tun Razak 50572 Kuala Lumpur Tel: 03-2687 1700 Faks: 03-2694 2490 www.pnm.gov.my www.facebook.com/PerpustakaanNegaraMalaysia blogpnm.pnm.gov.my twitter.com/PNM_sosial Perpustakaan Negara Malaysia Data Pengkatalogan-dalam-Penerbitan TAJUK PERKARA MALAYSIA : PERLUASAN LIBRARY OF CONGRESS SUBJECT HEADINGS. – EDISI KEDUA. Mode of access: Internet eISBN 978-967-931-359-8 1. Subject headings--Malaysia. 2. Subject headings, Malay. 3. Government publications--Malaysia. 4. Electronic books. I. Perpustakaan Negara Malaysia. 025.47 KANDUNGAN Sekapur Sirih Ketua Pengarah Perpustakaan Negara Malaysia i Prakata Pengenalan ii Objektif iii Format iv-v Skop vi-viii Senarai Ahli Jawatankuasa Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings ix Senarai Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings Tajuk Perkara Topikal (Tag 650) 1-152 Tajuk Perkara Geografik (Tag 651) 153-181 Bibliografi 183-188 Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings Sekapur Sirih Ketua Pengarah Perpustakaan Negara Malaysia Syukur Alhamdulillah dipanjatkan dengan penuh kesyukuran kerana dengan izin- Nya Perpustakaan Negara Malaysia telah berjaya menerbitkan buku Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings Edisi Kedua ini.
    [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]
  • Common Injuries Identified in Malay Dance Farah Fadzali, April 2021
    Soultari Amin Farid, Choreographer, Arts Educator and Researcher Common injuries identified in Malay Dance Farah Fadzali, April 2021 The traditional dance forms of the Malay communities in Singapore are wide-ranging and diverse: Zapin, Joget, Asli, and Inang are just some of the many examples amongst others. However, the underlying beauty of this traditional dance is a series of complex and dynamic footwork, performed repetitively to achieve pinpoint finesse in its execution. Together with the countless hours of practice, it places extremely high stress and strain on the dancer’s lower limbs like the foot and ankle. Along with dance practice lasting several hours a day, dancers often risk stress fractures and other overuse injuries. In this article, we will look at some common injuries identified in Malay dance. Zapin: Elegant, soft and subtle body movements. Joget: Performed on a quick tempo with duple and triple beat divisions while dancers make fast rhythmic hand and foot movements. Asli: Owing to its soft and gentle rhythm, Asli is a graceful dance form where every movement has a meaning. Inang: Inang is usually performed with grounded and graceful foot movements. Long scarves are also held in hands like props while performing, which add to the charm of this dance form. __________________________________________________________________________________________ Disclaimer: *SCAPE strongly recommends that you consult with your physician before executing any exercises. Information contained within this article is for educational and informational purposes only while authors draw on their professional expertise and research available. In the event that you use the information provided through our website and or article, *SCAPE and the authors assume no responsibility.
    [Show full text]
  • Seni Pertunjukan Wisata Di Candi Borobudur Kabupaten Magelang
    SENI PERTUNJUKAN WISATA DI CANDI BOROBUDUR KABUPATEN MAGELANG Skripsi diajukan untuk memenuhi salah satu syarat untuk memperoleh gelar Sarjana Pendidikan Seni Tari oleh Ayu Nur Adilla 2501415152 JURUSAN PENDIDIKAN SENI DRAMA, TARI DAN MUSIK FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI SEMARANG 2020 SENI PERTUNJUKAN WISATA DI CANDI BOROBUDUR KABUPATEN MAGELANG Skripsi diajukan untuk memenuhi salah satu syarat untuk memperoleh gelar Sarjana Pendidikan Seni Tari oleh Ayu Nur Adilla 2501415152 JURUSAN PENDIDIKAN SENI DRAMA, TARI DAN MUSIK FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI SEMARANG 2020 i ii iii iv MOTTO DAN PERSEMBAHAN MOTTO: “Musuh yang paling berbahaya di atas dunia ini adalah penakut dan bimbang. Teman yang paling setia hanyalah keberanian dan keyakinan yang teguh.” _Andrew Jackson_ PERSEMBAHAN : Skripsi ini saya persembahkan untuk : 1. Almamater Universitas Negeri Semarang 2. Ibu dan Kakak tercinta v PRAKATA Puji syukur penulis panjatkan kepada Tuhan Yang Maha Esa, atas segala rahmat dan karunia-Nya, sehingga dapat terselesaikan penyusunan skripsi dengan judul SENI PERTUNJUKAN WISATA DI CANDI BOROBUDUR KABUPATEN MAGELANG yang disusun dalam rangka memenuhi tugas dan sebagai salah satu syarat untuk memperoleh gelar Sarjana Pendidikan dari Universitas Negeri Semarang. Penulis menyadari bahwa tanpa bantuan dari beberapa pihak, penulis skripsi ini tidak akan selesai. Oleh karena itu, dalam kesempatan ini penulis ingin menyampaikan apresiasi setinggi-tingginya dan ucapan terimakasih kepada pihak- pihak sebagai berikut : 1. Prof. Dr. Fathur Rokhman, M.Hum., Rektor Universitas Negeri Semarang yang telah memberikan fasilitas selama melaksanakan perkuliahan. 2. Dr. Sri Rejeki Urip, M.Hum., Dekan Fakultas Bahasa dan Seni Universitas Negeri Semarang yang telah memberikan izin penelitian kepada peneliti. 3. Dr.
    [Show full text]
  • 2019 Jamalludin Nur Izzati 1567945 Ethesis
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The origin, evolution and future of Mek Mulung a state heritage status and beyond Jamalludin, Nur Izzati Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 04. Oct. 2021 THE ORIGIN, EVOLUTION AND FUTURE OF MEK MULUNG: A STATE HERITAGE STATUS AND BEYOND Nur Izzati Jamalludin Submitted in fulfilment for the requirements for the degree of Doctor of Philosophy at King’s College London May 2019 1 Abstract This research was carried out to trace the development of Mek Mulung, a dance- drama which is native solely to the village of Wang Tepus, Kedah in peninsular Malaysia.
    [Show full text]
  • Malay Gamelan and String Ensemble Cultural Hybridity
    International Journal of Academic Research in Business and Social Sciences Vol. 9 , No. 2, Feb, 2019, E-ISSN: 2222 -6990 © 2019 HRMARS Malay Gamelan and String Ensemble Cultural Hybridity: Instructional Material Development for Teaching Intermediate University-level String Ensemble Class Using Gamelan Repertories Shafizan Sabri, Mahayuddin Abdul Rahim, Colleen Wong Huey Yi To Link this Article: http://dx.doi.org/10.6007/IJARBSS/v9-i2/5551 DOI: 10.6007/IJARBSS/v9-i2/5551 Received: 29 Jan 2019, Revised: 24 Feb 2019, Accepted: 11 March 2019 Published Online: 19 March 2019 In-Text Citation: (Sabri, Rahim, & Yi, 2019) To Cite this Article: Sabri, S., Rahim, M. A., & Yi, C. W. H. (2019). Malay Gamelan and String Ensemble Cultural Hybridity: Instructional Material Development for Teaching Intermediate University-level String Ensemble Class Using Gamelan Repertories. International Journal of Academic Research in Business and Socal Sciences, 9(2), 364–383. Copyright: © 2019 The Author(s) Published by Human Resource Management Academic Research Society (www.hrmars.com) This article is published under the Creative Commons Attribution (CC BY 4.0) license. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this license may be seen at: http://creativecommons.org/licences/by/4.0/legalcode Vol. 9, No. 2, 2019, Pg. 364 - 383 http://hrmars.com/index.php/pages/detail/IJARBSS JOURNAL HOMEPAGE Full Terms & Conditions of access and use can be found at http://hrmars.com/index.php/pages/detail/publication-ethics 364 International Journal of Academic Research in Business and Social Sciences Vol.
    [Show full text]
  • ABSTRACTS International Council for Traditional Music 37Th World Conference Fuzhou & Quanzhou, China 4–11 January 2004
    ABSTRACTS International Council for Traditional Music 37th World Conference Fuzhou & Quanzhou, China 4–11 January 2004 This book contains abstracts of the presentations to be made at the 37th World Conference of the International Council for Traditional Music. Although not originally prepared by the authors for publication, they are included here to provide an introduction to their papers. All abstracts are presented here in English, regardless of the language to be used during the Conference. Information about the language used in the presentation itself can be found in the program. Some abstracts have been edited slightly to read more easily in English. I take full responsibility for this, but regret any changes in content or errors which may have arisen during this process. I also apologize for any missing diacritical marks or special letters which did not transmit well via email. Organization. Abstracts are arranged alphabetically according to the author’s family name (surname) followed by personal name, i.e., the normal order for names in countries such as China, Japan, Korea, Vietnam, etc. If the author originally sent me their name in this order, the name is presented in that way without any intervening punctuation. If the author’s name was originally in the form of personal name followed by family name, it is inverted here with a comma following the family name to mark the inversion. The spelling of names follows what was sent to me; however, names here are never written in all capital letters and never include commas, except to indicate inversion. I have tried very hard to follow these rules consistently and adhere to the personal preference of the author concerned, but I apologize for any unintentional errors.
    [Show full text]
  • ECFG-Indonesia-2021R.Pdf
    About this Guide This guide is designed to prepare you to deploy to culturally complex environments and achieve mission objectives. The fundamental information contained within will help you understand the cultural dimension of your assigned location and Indonesian gain skills necessary for success. The guide consists of 2 parts: Part 1 “Culture General” introduces the foundational knowledge you need to operate effectively in any global environment – Southeast Asia in particular (Photo: USAF and Indonesia legal planners discuss urban search and rescue during exercise Gema Bhakti). Culture Guide Culture Part 2 “Culture Specific” describes the unique cultural features of Indonesian society. This section is designed to complement other pre-deployment training. It applies culture-general concepts to help increase your knowledge of your assigned deployment location (Photo: US and Indonesian soldiers cook snake meat during the Jungle Survival class). For further information, visit the Air Force Culture and Language Center (AFCLC) website at www.airuniversity.af.edu/AFCLC/ or contact the AFCLC Region Team at [email protected]. Disclaimer: All text is the property of the AFCLC and may not be modified by a change in title, content, or labeling. It may be reproduced in its current format with the expressed permission of AFCLC. All photography is provided as a courtesy of the US government, Wikimedia, and other sources as indicated. GENERAL CULTURE CULTURE PART 1 – CULTURE GENERAL What is Culture? Fundamental to all aspects of human existence, culture shapes the way humans view life and functions as a tool we use to adapt to our social and physical environments.
    [Show full text]
  • Musical Practice of Malay 'Traditional'
    ARTICLE Musical Practice of Malay ‘traditional’ forms Malay Community Much has been written about the little that is known about pre 19 th century Singapore, among the recent works being the Singapore History Museum's Early Singapore 1300s - 1819: Evidence in Maps, text and Artefacts . However, references to music can be found in the classical Malay text Sejarah Melayu (Malay Annals) that traces the origins and descent of Malay royalty. Although the Sejarah Melayu is a work belonging to more traditional literary genre than history, it nevertheless provides some clue to what type of music could have been performed and heard in prior to the arrival of the British. Here, mention is made of the queen of Bintan, Iskandar Shah who is said to have been the first to use or instituted the nobat , which refers to both a drum as well as a royal orchestra that performs during a ruler's coronation, Bagindalah yang pertama nobat, maka diturut oleh segala raja-raja yang di bawah angin ini. 1 The significance of the nobat lies in that it is believed that the ruler will not be accepted unless the nobat is played. More interestingly however, according to the Sejarah Melayu , Iskandar Shah was the mother of Sang Nila Utama, the founder of Singapore. 2 Excavations by historian and archaeologist John Miksic however has not revealed any musical instruments although Miksic does mention the limitation of his work owing to extraneous factors. Miksic also points out objects that have yet to be identified. Nevertheless, he does however suggest that Fort Canning was once the site of religious activity, craftsmen's workshops and a palace.
    [Show full text]
  • Overwhelming Terror, the Product of Four Decades of Research Among Semai, Demonstrates That Semai Ways Of
    OverwhelmingTerrorDSRPBK.qxd 10/13/08 1:04 PM Page 1 Anthropology • Asia DENTAN War and Peace Library Series Editor: Mark Selden “Overwhelming Terror, the product of four decades of research among Semai, demonstrates that Semai ways of life are not something rare and strange, but a continuation LOVE, FEAR, PEACE, AND VIOLENCE AMONG SEMAI OF MALAYSIA TERROR OVERWHELMING of the ways of successful ancient egalitarian societies. Cultural anthropology should be the study in depth of human beings and the application of that knowledge to a deeper understanding of one’s own beliefs and practices. Robert Knox Dentan, applying lessons learned among Semai to contemporary American problems, succeeds admirably in a way that makes one proud to be an anthropologist. Overwhelming Terror was written by a man of perceptive mind and OVERWHELMING TERROR loving heart.” —Carol Laderman, City College–CUNY This powerful ethnography of a people believed to be the least violent in the world LOVE, FEAR, PEACE, AND VIOLENCE explores how they maintain peaceful relations even under the most dire circum- AMONG SEMAI OF MALAYSIA stances. Robert Knox Dentan, the world’s foremost scholar of Semai, brings its mem- bers vividly to life. His book includes translations of their poetry, dramatized accounts of particular events, and narratives in their own words. Throughout, the author highlights the mechanisms and costs of peace, underscoring their relevance to everyday life in all societies. Students and scholars of peace studies, conflict res- olution, ethnography, and Southeast Asia will find this unique work an invaluable and compelling study. Robert Knox Dentan is professor emeritus of anthropology at State University of New York at Buffalo.
    [Show full text]