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Baju Kurung Sebagai Pakaian Adat Suku Melayu Di Malaysia
Foreign Case Study 2018 Sekolah Tinggi Pariwasata Ambarrukmo Yogyakarta BAJU KURUNG SEBAGAI PAKAIAN ADAT SUKU MELAYU DI MALAYSIA Selfa Nur Insani 1702732 Sekolah Tinggi Pariwasata Ambarrukmo Yogyakarta Abstract : Makalah ini merupakan hasil laporan Foreign Case Study untuk syarat publikasi ilmiah di Sekolah Tinggi Pariwasata Ambarrukmo Yogyakarta dengan Judul Baju Kurung Sebagai Pakaian Adat Suku Melayu di Malaysia. 1. PENDAHULUAN Penulis adalah seorang mahasiswi Sekolah Tinggi Pariwisata Ambarrukmo Yogyakarta (STIPRAM) semester VII jenjang Strata I jurusan Hospitality (ilmu kepariwisataan). Tujuan penulis berkunjung ke Malaysia adalah mengikuti Internship Program yang dilakukan oleh STIPRAM dengan Hotel The Royal Bintang Seremban Malaysia yang dimulai pada 15 September 2015 sampai dengan 11 Maret 2016 [1]. Selain bertujuan untuk Internship Program, penulis juga telah melakukan Program Foreign Case Study (FCS) selama berada di negari itu.Program FCS merupakan salah program wajib untuk mahasiswa Strata 1 sebagai standar kualifikasi menjadi sarjana pariwisata. Program ini meliputi kunjungan kebeberapa atau salah satu negara untuk mengkomparasi potensi wisata yang ada di luar negeri baik itu potensi alam ataupun budaya dengan potensi yang ada di Indoensia. Berbagai kunjungan daya tarik dan potensi budaya negeri malaysia telah penulis amati dan pelajari seperti Batu Cave, China Town, KLCC, Putra Jaya, Genting Highland, Pantai di Port Dikson Negeri Sembilan, Seremban, Arena Bermain I-City Shah Alam, pantai cempedak Kuantan pahang serta mempelajari kuliner khas negeri malaysia yaitu kue cara berlauk dan pakaian tradisional malasyia yaitu baju kurung. Malaysia adalah sebuah negara federasi yang terdiri dari tiga belas negara bagian dan tiga wilayah persekutuan di Asia Tenggara dengan luas 329.847 km persegi. Ibu kotanya adalah Kuala Lumpur, sedangkan Putrajaya menjadi pusat pemerintahan persekutuan. -
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
Understanding Intangible Culture Heritage Preservation Via Analyzing Inhabitants' Garments of Early 19Th Century in Weld Quay
sustainability Article Understanding Intangible Culture Heritage Preservation via Analyzing Inhabitants’ Garments of Early 19th Century in Weld Quay, Malaysia Chen Kim Lim 1,*, Minhaz Farid Ahmed 1 , Mazlin Bin Mokhtar 1, Kian Lam Tan 2, Muhammad Zaffwan Idris 3 and Yi Chee Chan 3 1 Institute for Environment & Development (LESTARI), Universiti Kebangsaan Malaysia, Bangi 43600, Malaysia; [email protected] (M.F.A.); [email protected] (M.B.M.) 2 School of Digital Technology, Wawasan Open University, 54, Jalan Sultan Ahmad Shah, George Town 10050, Malaysia; [email protected] 3 Faculty of Art, Computing & Creative Industry, Sultan Idris Education University, Tanjong Malim 35900, Malaysia; [email protected] (M.Z.I.); [email protected] (Y.C.C.) * Correspondence: [email protected] Abstract: This qualitative study describes the procedures undertaken to explore the Intangible Culture Heritage (ICH) preservation, especially focusing on the inhabitants’ garments of different ethnic groups in Weld Quay, Penang, which was a multi-cultural trading port during the 19th century in Malaysia. Social life and occupational activities of the different ethnic groups formed the two main spines of how different the inhabitants’ garments would be. This study developed and demonstrated a step-by-step conceptual framework of narrative analysis. Therefore, the procedures used in this study are adequate to serve as a guide for novice researchers who are interested in undertaking Citation: Lim, C.K.; Ahmed, M.F.; a narrative analysis study. Hence, the investigation of the material culture has been exemplified Mokhtar, M.B.; Tan, K.L.; Idris, M.Z.; by proposing a novel conceptual framework of narrative analysis. -
Urban Representation in Fashion Magazines
Chair of Urban Studies and Social Research Faculty of Architecture and Urbanism Bauhaus-University Weimar Fashion in the City and The City in Fashion: Urban Representation in Fashion Magazines Doctoral dissertation presented in fulfillment of the requirement for the degree of Doctor philosophiae (Dr. phil.) Maria Skivko 10.03.1986 Supervising committee: First Supervisor: Prof. Dr. Frank Eckardt, Bauhaus-University, Weimar Second Supervisor: Prof. Dr. Stephan Sonnenburg, Karlshochschule International University, Karlsruhe Thesis Defence: 22.01.2018 Contents Acknowledgements ................................................................................................................................. 5 Thesis Introduction .................................................................................................................................. 6 Part I. Conceptual Approach for Studying Fashion and City: Theoretical Framework ........................ 16 Chapter 1. Fashion in the city ................................................................................................................ 16 Introduction ....................................................................................................................................... 16 1.1. Fashion concepts in the perspective ........................................................................................... 18 1.1.1. Imitation and differentiation ................................................................................................ 18 1.1.2. Identity -
Panduan Pengurusan Asrama
1. PERATURAN PAKAIAN 1.1 PELAJAR LELAKI a. Baju Kemeja/Baju T i. Baju kemeja berkolar potongan biasa sama ada berlengan panjang atau pendek dibenarkan. Lain-lain jenis baju seperti baju T berkolar, baju T sukan atau seumpamanya dibenarkan untuk aktiviti riadah sahaja. Baju T TIDAK BERKOLAR TIDAK DIBENARKAN. ii. Baju hendaklah disisipkan ke dalam seluar. iii. Baju kemeja berlengan panjang hendaklah dibutangkan di pergelangan tangan dan tidak dibenarkan dilipat. iv. Pemakaian semua jenis jaket tidak dibenarkan ke kelas akademik. Baju panas (sweater) dibenarkan dalam keadaan tertentu saja. b. Seluar i. Kain seluar slack yang dibenarkan ialah daripada jenis cotton dan synthetic material (PVC atau Polyster). ii. Selain daripada jenis kain di atas TIDAK DIBENARKAN. iii. Fesyen seluar slack hendaklah tidak terlalu longgar baggy, slim fit, terlalu ketat dan berkaki singkat tidak dibenarkan. Paras kaki seluar hendaklah melepasi bawah buku lali dan ukur lilit seluar di antara 36cm – 45cm / 14 inci - 18 inci. (adakah ulur lilit ini terpakai untuk semua tingkatan dan saiz pelajar) c. Tali Pinggang i. Tali pinggang hendaklah dari jenis kulit atau PVC. ii. Lebar tali pinggang hendaklah di antara 2.5cm – 3.0cm dan berwarna hitam atau coklat tua. Tali pinggang yang berwarna-warni dan berbelang tidak dibenarkan. iii. Kepala tali pinggang hendaklah tidak terlalu besar (3cm x 3.5cm) dan tidak berlambang seperti lambang binatang, lambang keagamaan atau tulisan yang tidak sesuai dan tidak bermoral. d. Kasut dan Stoking i. Kasut sekolah hendaklah dari jenis kulit atau PVC berwarna hitam. ii. Pemakaian kasut bersama stoking adalah DIWAJIBKAN. Stoking hendaklah melepasi buku lali. iii. Stoking hendaklah berwarna HITAM SAHAJA. -
Cabang-Katalog-Inventaris-Cabang
0 DAFTAR ISI Daftar Isi ..................................................................................................................................................................... 1 Kata Pengantar Ketua Umum PPI Tiongkok 2018/2020 ......................................................................... 2 Region Selatan Changsha ..................................................................................................................................................................... 4 Chongqing .................................................................................................................................................................. 5 Guangzhou ................................................................................................................................................................. 12 Guilin ............................................................................................................................................................................ 21 Nanning ....................................................................................................................................................................... 25 Wuhan .......................................................................................................................................................................... 28 Xiamen ........................................................................................................................................................................ -
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. -
Materi Sepaktakraw Sejarah Sepaktakraw
Mata Kuliah : Sepaktakraw Kode Mata Kuliah : PJM 111 Materi: Sejarah Sepaktakraw dan Pengertian Sepaktakraw Sejarah Sepaktakraw Permainan sepaktakraw dikenal masyarakat Indonesia dibeberapa daerah yang ada di Indonesia seperti Kalimantan, Sumatra dan Sulawesi dengan sebutan sepak raga, yaitu permainan anak negeri yang dimana dalam memainkan sepak raga masih menggunakan bola yang terbuat dari rotan. Dalam permainan ini setiap pemain menunjukan suatu kemahiran dalam penguasaan bola, pemain memainkan bola rotan dengan seluruh anggota badan kecuali dengan tangan seperti kaki, paha, dada, bahu, kepala dll. Permainan ini sangat menarik karena dalam permainan ini untuk mempertahankan bagaimana supaya bola tetap lama dimainkan tanpa jatuh ketanah. Perkembangan sepaktakraw di negara Asia terutama Asia Tenggara telah mengenal permainan dengan menggunakan bola rotan ini sejak lama. Mungkin saja disetiap negara cara bermain dan nama permainannya yang berbeda-beda. Menurut Ratinus Darwis dan Penghulu Basa (1992: 5), setiap negara mempunyai nama sendiri-sendiri seperti misalnya: a. Malaysia dengan nama sepak raga jaring. b. Muangthai (Thailand) dengan nama takraw c. Philipina dengan nama sipak Indonesia sendiri yang telah mengenal permainan dengan bola rotan ini sejak abad XV yang telah dimainkan secara massal di daerah yang terutama dimainkan pada acara- acara tertentu dengan nama sepak raga. Menurut Ratinus Darwis dan Penghulu Basa (1992: 6), perubahan nama sepak raga jaring menjadi sepaktakraw diresmikan tanggal 27 Maret 1965 di Kuala Lumpur di Stadion negara Kuala Lumpur pada waktu pesta olahraga Yudanto/FIK UNY Asia Tenggara (SEAP GAMES). Istilah Sepaktakraw merupakan perpaduan antara bahasa Malaysia dan bahasa Muangthai yaitu: a. SEPAK berasal dari bahasa Malaysia yang berarti sepak. b. TAKRAW berasal dari bahasa Muangthai yang berarti bola rotan. -
Module 2 (Week 2): Characteristics of Southeast Asian Arts and Crafts
8 Arts Quarter 1 – Module 2 (Week 2): Characteristics of Southeast Asian Arts and Crafts Arts – Grade 8 Alternative Delivery Mode Quarter 1 – Module 2 (Week 2): Characteristics of Southeast Asian Arts First Edition, 2020 Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties. Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this module are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them. Published by the Department of Education Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San Antonio Development Team of the Module Writers: Rodjie L. Canada Content Editor/s: Nenita G. Jaralve Evelyn G. Patiño Ralph Anthony P. Panique Language Editor: Fanny Y. Inumerables Illustrator: (Name) Layout Artist: (Name) Layout Editor: Charmaine L. Juvahib QA Evaluator: (For Secondary) MUSIC: Milanie M. Panique ARTS: Archie S. Gallego P.E.: Leonicel D. Caliguid & Mildred A. Coralat HEALTH: Tom Saldua & Arniel Jimena Villamente Moderator: Milanie M. Panique Management Team: Marilyn S. Andales, Ed.D., CESO V – Schools Division Superintendent Leah B. Apao, Ed.D., CESE – Asst. Schools Division Superintendent Ester A. Futalan, Ed.D. – Asst. -
Appropriation Free
FREE APPROPRIATION PDF David Evans | 239 pages | 19 Jun 2009 | MIT Press Ltd | 9780262550703 | English | Cambridge, Mass., United States Appropriation | Definition of Appropriation at Louis were black, unlike me. Personally, I could happily live without ever seeing Appropriation twerk again, but I still find many of these accusations alarming. I step out of Appropriation shower in the morning and pull on a vintage cotton kimono. After moisturizing my face, I smear Lucas Papaw ointment—a tip from an Australian makeup artist—onto my lips before I make coffee with a Bialetti stovetop espresso maker a girlfriend brought Appropriation from Italy. As I dress in Appropriation morning, I deeply appreciate the craftsmanship and design behind these items, as Appropriation as the adventures and people they recall. There are legitimate reasons to step carefully when dressing ourselves with the clothing, arts, artifacts, Appropriation ideas of other cultures. Such borrowing is how we got treasures such as New York pizza and Japanese Appropriation —not to mention how the West got democratic discourseAppropriation, and the calendar. Yet as wave upon wave of shrill accusations of cultural appropriation Appropriation their way through the Internet outrage cycle, the rhetoric ranges from earnest indignation to patronizing disrespect. We have to stop guarding cultures and subcultures in efforts to Appropriation them. The exchange of ideas, Appropriation, and traditions Appropriation one of the tenets and joys Appropriation a modern, multicultural society. In a word, carefully. This is Appropriation obvious. Sports teams such as the Washington RedskinsAppropriation their fanbasescontinue to fight to keep bigoted names and images as mascots— perpetuating negative stereotypes and pouring salt into old wounds. -
Traditional Costumes
MALAY TRADITIONAL COSTUMES BAJU KURUNC Baju kurung is used to refer to both the male and #1 female outfit. It is the traditional costume for the Malay community. Wore for formal occasions or as an everyday wear. #2 During Hari Raya Puasa, Malay families wear the baju kurung when visiting their relatives and friends. #3 2 popular styles: Telok Belangah & Cekak Musang 1 Telok Cekak Belangah Musang style style Photograph courtesy of Nuraini Othman BAJU WRUNG (Female) A loose-fitting blouse with long sleeves and is paired with a waistcloth known as a sarong Photograph of a lady wearing baju kurung telok belangah. Ministry of Information and the Arts Collection, courtesy of the National Archives of Singapore TUDUNC Headscarf worn by Muslim women Photograph of a lady wearing a tudung.Courtesy of National Archives of Singapore BAJU KURUNC/BAJU MELAYU(MALE) Men wear the baju kurung as a shirt top with pants, and a kain samping that can be worn over the trousers Example of a baju melayu. Photograph courtesy of Jamal Mohammed SONCKOK A traditional headgear worn by Malay males Photograph from the Arthur B Reich Collection, courtesy of National Archives of Singapore KAIN SONCKET 1 1/111 A woven cloth that is often decorated with either gold or silver threads Photo adapted from flickr TIME! Instructions: - Colour / decorate the picture of the mosque below after you are done with your paper dolls - Stick your paper dolls on this colouring template after you are done DONE BY: TASHLYN, REESE, WEN XIN, MATTHEW,JOSHUA, LEROY FROM RIVER VALLEY HIGH SCHOOL Pg4. -
The State of Fashion 2019 the State of Fashion 2019 the State of Fashion
The State of Fashion 2019 The State of Fashion 2019 The State of Fashion 2 The State of Fashion 2019 The State of Fashion 2019 Contents Executive Summary 10 Executive Summary Executive Industry Outlook 12 Global Economy 18—37 Trend 1: Caution Ahead 19 Executive Interview: Joann Cheng 22 Trend 2: Indian Ascent 24 Executive Interview: Darshan Mehta 28 Global Economy Trend 3: Trade 2.0 31 Global Value Chains in Apparel: The New China Effect 34 Consumer Shifts 38—69 Trend 4: End of Ownership 39 Executive Interview: Jennifer Hyman 42 Consumer Shifts Trend 5: Getting Woke 45 Executive Interview: Cédric Charbit 48 Trend 6: Now or Never 51 Executive Interview: Jeff Gennette 54 Digital Innovation Made Simple 58 Trend 7: Radical Transparency 60 Dealing with the Trust Deficit 62 Fashion System Fashion Fashion System 70—91 Trend 8: Self-Disrupt 71 The Explosion of Small 74 Trend 9: Digital Landgrab 77 Executive Interview: Nick Beighton 80 Trend 10: On Demand 83 Is Apparel Manufacturing Coming Home? 86 MGFI McKinsey Global Fashion Index 92—99 Glossary 100 End Notes and Detailed Infographics 102 The State of Fashion 2019 The State of Fashion Foreword The year ahead is one that will go down in history. Greater China will for the first time in centuries overtake the US as the world’s largest fashion market. It will be a year of awakening after the reckoning of 2018 — a time for looking at opportunities, not just challenges. In the US and in the luxury sector it will be a year of optimism; for Europe and for struggling segments such as the mid-market, optimism may be in short supply.