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Cross-Gender Attempts by Indonesian Female Impersonator Dancer Didik Nini Thowok
Cross-Gender Attempts by Indonesian Female Impersonator Dancer Didik Nini Thowok Madoka Fukuoka Graduate School of Human Sciences, Osaka University, Japan [email protected] ABSTRACT This article examines the creative stages of Didik Nini Thowok (1954‒), a female impersonator and cross-gender dancer based in Java, Indonesia. In addition, it discusses his endeavours of crossing gender boundaries by focusing on his use of costumes and masks, and analysing two significant works: Dwimuka Jepindo as an example of comedic cross-gender expression and Dewi Sarak Jodag as an example of serious cross-gender expression. The findings indicate three overall approaches to crossing gender boundaries: (1) surpassing femininity naturally expressed by female dancers; (2) mastering and presenting female characters by female impersonators and cross-gender dancers; and (3) breaking down the framework of gender itself. Keywords: Didik Nini Thowok, cross-gender, dance, Java, Indonesia © Penerbit Universiti Sains Malaysia, 2014 58 Wacana Seni Journal of Arts Discourse. Jil./Vol.13. 2014 INTRODUCTION This article examines the creative stages of Didik Nini Thowok (1954‒), a female impersonator and cross-gender dancer based in Java, Indonesia.1 In addition, it discusses his endeavours of crossing gender boundaries by focusing on the human body's role and Didik's concept of cross-gender dance, which he has advocated since his intensive study of the subject in 2000. For the female impersonator dancer, the term "cross-gender" represents males who primarily perform female roles and explore the expression of stereotypical femininity. Through his artistic activity and unique approach, Didik has continued to express various types of femininity to deviate from stereotypical gender imagery. -
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. -
3 Manual Microtonal Organ Ruben Sverre Gjertsen 2013
3 Manual Microtonal Organ http://www.bek.no/~ruben/Research/Downloads/software.html Ruben Sverre Gjertsen 2013 An interface to existing software A motivation for creating this instrument has been an interest for gaining experience with a large range of intonation systems. This software instrument is built with Max 61, as an interface to the Fluidsynth object2. Fluidsynth offers possibilities for retuning soundfont banks (Sf2 format) to 12-tone or full-register tunings. Max 6 introduced the dictionary format, which has been useful for creating a tuning database in text format, as well as storing presets. This tuning database can naturally be expanded by users, if tunings are written in the syntax read by this instrument. The freely available Jeux organ soundfont3 has been used as a default soundfont, while any instrument in the sf2 format can be loaded. The organ interface The organ window 3 MIDI Keyboards This instrument contains 3 separate fluidsynth modules, named Manual 1-3. 3 keysliders can be played staccato by the mouse for testing, while the most musically sufficient option is performing from connected MIDI keyboards. Available inputs will be automatically recognized and can be selected from the menus. To keep some of the manuals silent, select the bottom alternative "to 2ManualMicroORGANircamSpat 1", which will not receive MIDI signal, unless another program (for instance Sibelius) is sending them. A separate menu can be used to select a foot trigger. The red toggle must be pressed for this to be active. This has been tested with Behringer FCB1010 triggers. Other devices could possibly require adjustments to the patch. -
Source Readings in Javanese Gamelan and Vocal Music, Volume 3
THE UNIVERSITY OF MICHIGAN CENTER FOR SOUTH AND SOUTHEAST ASIAN STUDIES MICHIGAN PAPERS ON SOUTH AND SOUTHEAST ASIA Editorial Board A. L. Becker Peter E. Hook Karl L. Hutterer John K. Musgrave Nicholas B. Dirks, Chair Ann Arbor, Michigan USA KARAWITAN SOURCE READINGS IN JAVANESE GAMELAN AND VOCAL MUSIC Judith Becker editor Alan H. Feinstein assistant editor Hardja Susilo Sumarsam A. L. Becker consultants Volume 3 MICHIGAN PAPERS ON SOUTH AND SOUTHEAST ASIA Center for South and Southeast Asian Studies The University of Michigan Number 31 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. Library of Congress Catalog Card Number: 82-72445 ISBN 0-89148-034-X Copyright ^ by © 1988 Center for South and Southeast Asian Studies The University of Michigan Publication of this book was assisted in part by a grant from the Publications Program of the National Endowment for the Humanities. Additional funding or assistance was provided by the National Endowment for the Humanities (Translations); the Southeast Asia Regional Council, Association for Asian Studies; The Rackham School of Graduate Studies, The University of Michigan; and the School of Music, The University of Michigan. Printed in the United States of America ISBN 978-0-89148-041-9 (hardcover) ISBN 978-0-472-03820-6 (paper) ISBN 978-0-472-12770-2 (ebook) ISBN 978-0-472-90166-1 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ CONTENTS ACKNOWLEDGMENTS vii APPENDIX 1: Glossary of Technical Terms Mentioned in the Texts 1 APPENDIX 2: Javanese Cipher Notation (Titilaras Kepatihan) of Musical Pieces Mentioned in the Texts 47 APPENDIX 3: Biographies of Authors 429 APPENDIX 4: Bibliography of Sources Mentioned by Authors, Translators, Editors, and Consultants 447 GENERAL INDEX 463 INDEX TO MUSICAL PIECES (GENDHING) 488 This work is complete in three volumes. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By GUAN YU, LAM Norman, Oklahoma 2016 JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Paula Conlon, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Marvin Lamb © Copyright by GUAN YU, LAM 2016 All Rights Reserved. Acknowledgements I would like to take this opportunity to thank the members of my committee: Dr. Paula Conlon, Dr. Eugene Enrico, and Dr. Marvin Lamb for their guidance and suggestions in the preparation of this thesis. I would especially like to thank Dr. Paula Conlon, who served as chair of the committee, for the many hours of reading, editing, and encouragement. I would also like to thank Wong Fei Yang, Thow Xin Wei, and Agustinus Handi for selflessly sharing their knowledge and helping to guide me as I prepared this thesis. Finally, I would like to thank my family and friends for their continued support throughout this process. iv Table of Contents Acknowledgements ......................................................................................................... iv List of Figures ............................................................................................................... -
Asia Society Presents Music and Dance of Yogyakarta
Asia Society Presents Music and Dance of Yogyakarta Sunday, November 11, 2018 7:00 P.M. Asia Society 725 Park Avenue at 70th Street New York City This program is approximately ninety minutes with no intermission In conjunction with a visit from Hamengkubuwono X, the Sultan of Yogyakarta in Indonesia, Asia Society hosts a performance by the court dancers and musicians of Yogyakarta. The Palace of Karaton Ngayogyakarta Hadiningrat is the cultural heart of the city. From generation to generation, the Sultans of Yogyakarta are the traditional governors of the city and responsible for passing on art and culture heritage. The entire royal family is involved in preserving these art forms, and the troupe must perform with a member of the royal family present. The dances from Yogyakarta will be accompanied by gamelan music native to Java. Program Golek Menak Umarmaya Umarmadi Dance Masked Dance Fragment (Wayang Wong) “Klana Sewandana Gandrung” Bedhaya Sang Amurwabhumi About the forms: Golek Menak The golek menak is a contemporary example of the seminal influence exerted by the puppet theater on other Javanese performing arts. This dance was inspired by the stick–puppet theater (wayang golek), popular in the rural area of Yogyakarta. Using the three dimensional rod-puppets, it portrays episodes from a series of stories known as menak. Unlike the high-art wayang kulit (shadow puppets), it is a village entertainment, and it did not flourish at the court. As a dance drama, golek menak focuses on imitating this rod-puppet theater with amazing faithfulness. Human dancers realistically imitate the smallest details of puppet movement, right down to the stylized breathing of the puppets. -
The Value of Yogyakarta Palace Dances : Relevance to the Nation Character Nurturing
The Value ofYogyakarta Palace Dances... 377 THE VALUE OF YOGYAKARTA PALACE DANCES : RELEVANCE TO THE NATION CHARACTER NURTURING Sunaryadi Institut Seni Indonesia Email: [email protected] Abstrak Tan Keraton Yogyakarta bukan sekedar tontonan tetapi adalah sebuah media yang mengandung tuntunan. Bukan hanya bagi semuayang terlibat dalam pementasan tari, tetapi juga tuntunan bagi yang menonton Patokan bak.u dalam tari keraton yang hersumber pada nilai tata krama keraton merupakan etika moralitas, sebagai sarana penanaman karakter. Nilai-nilai tersebut terumuskan dalam empat prinsip yang wajib dimiliki penari yaitu sawiji, greget, sengguh, dan ora mingkub (falsafah Joged Mataram). D ikaji dari aspek aksiologis, tari keraton mengandung ajaran yang menempatkan \rasa sebagai rub’ dan 'pengendalian diri sebagai in ti’. Aspek rasa sertapengendalian diri ini labyang memiliki relev ansi bagi pembangunan karakter bangsa saat ini. .wjELlujI j 6J_aLi*u> ^ (jjSjLivXI .lr>a 9 lSengguh t g reg et^ sawiji 05&J ^.iEs <xjjI J (^jjl j^ai y * Joged mingkuh (Ijjlj L i us LftjLltlj ii i II ,k> t*b _j •S^JU ftJLa aju& ^ Keywords, tari keraton, Joged Mataram, penanaman karakter. 378 Millah Vol. XU, No. 2, Februari 2013 A. Introduction Indonesian society now days has many colored multiple conflicts, demonstrations, religious conflict, the position seizure, and the seizure of property rights indigenous territories. Regrettably, all of them tend to be wild and brutal. Violence happens everywhere, attitudes of tepa slira are scarce, sincere attitude has been hard to find. Many cultural roots reflected in Pancasila has been abandoned, as if the nation has lost the identity and lost the spirit of the cultural life of the nation adhesive. -
Helmholtz's Dissonance Curve
Tuning and Timbre: A Perceptual Synthesis Bill Sethares IDEA: Exploit psychoacoustic studies on the perception of consonance and dissonance. The talk begins by showing how to build a device that can measure the “sensory” consonance and/or dissonance of a sound in its musical context. Such a “dissonance meter” has implications in music theory, in synthesizer design, in the con- struction of musical scales and tunings, and in the design of musical instruments. ...the legacy of Helmholtz continues... 1 Some Observations. Why do we tune our instruments the way we do? Some tunings are easier to play in than others. Some timbres work well in certain scales, but not in others. What makes a sound easy in 19-tet but hard in 10-tet? “The timbre of an instrument strongly affects what tuning and scale sound best on that instrument.” – W. Carlos 2 What are Tuning and Timbre? 196 384 589 amplitude 787 magnitude sample: 0 10000 20000 30000 0 1000 2000 3000 4000 time: 0 0.23 0.45 0.68 frequency in Hz Tuning = pitch of the fundamental (in this case 196 Hz) Timbre involves (a) pattern of overtones (Helmholtz) (b) temporal features 3 Some intervals “harmonious” and others “discordant.” Why? X X X X 1.06:1 2:1 X X X X 1.89:1 3:2 X X X X 1.414:1 4:3 4 Theory #1:(Pythagoras ) Humans naturally like the sound of intervals de- fined by small integer ratios. small ratios imply short period of repetition short = simple = sweet Theory #2:(Helmholtz ) Partials of a sound that are close in frequency cause beats that are perceived as “roughness” or dissonance. -
Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance
Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance Part II of II: Appendices Thesis submitted in partial fulfilment of requirements for the degree of Ph. D. Charles Michael Matthews School of Arts Middlesex University May 2014 Table of contents – part II Table of figures ....................................................................................................................... 121 Table of tables ......................................................................................................................... 124 Appendix 1: Composition process and framework development ..................... 125 1.1 Framework .............................................................................................................................. 126 1.2 Aesthetic development ........................................................................................................ 127 1.3 Idiomatic reference .............................................................................................................. 128 1.3.1 Electroacoustic music references .......................................................................................... 129 1.3.2 Musical time .................................................................................................................................... 130 1.3.3 Electronic cengkok and envelopes ........................................................................................ 132 1.4 Instruments and interfaces .............................................................................................. -
The Legitimacy of Classical Dance Gagrag Ngayogyakarta
The Legitimacy of Classical Dance Gagrag Ngayogyakarta Y. Sumandiyo Hadi Institut Seni Indonesia (ISI) Yogyakarta Jalan Parangtritis Km 6,5, Sewon, Bantul Yogyakarta ABSTRACT The aim of this article is to reveal the existence of classical dance style of Yogyakarta, since the government of Sultan Hamengku Buwono I, which began in 1756 until now in the era the government of Sultan Hamengku Buwono X. The legitimation of classical dance is considered as “Gagrag Ngayogyakarta”. Furthermore, the dance is not only preserved in the palace, but living and growing outside the palace, and possible to be examined by the general public. The dance was fi rst considered as a source of classical dance “Gagrag Ngayogyakarta”, created by Sultan Hamengku Buwono I, i.e. Beksan Lawung Gagah, or Beksan Trunajaya, Wayang Wong or dance drama, and Bedaya dance. The three dances can be categorized as a sacred dance, in which the performances strongly related to traditional ceremonies or rituals. Three types of dance later was developed into other types of classical dance “Gagrag Ngayogyakarta”, which is categorized as a secular dance for entertainment performance. Keywords: Sultan Hamengku Buwono, classical dance, “gagrag”, Yogyakarta style, legitimacy, sacred, ritual dance, secular dance INTRODUCTION value because it is produced by qualifi ed Yogyakarta as one of the regions in the artists from the upper-middle-class society, archipelago, which has various designa- and not from the proletarians or low class. tions, including a student city, a tourism The term of tradition is a genre from the city, and a cultural city. As a cultural city, past, which is hereditary from one gene- there are diff erent types of artwork. -
Course Name : Indonesian Cultural Arts – Karawitan (Seni Budaya
Course Name : Indonesian Cultural Arts – Karawitan (Seni Budaya Indonesia – Karawitan) Course Code / Credits : BDU 2303/ 3 SKS Teaching Period : January-June Semester Language Instruction : Indonesian Department : Sastra Nusantara Faculty : Faculty of Arts and Humanities (FIB) Course Description The course of Indonesian Cultural Arts (Karawitan) is a compulsory course for (regular) students of Faculty of Cultural Sciences Universitas Gadjah Mada, especially for the first and second semesters. The course is held every semester and is offered and can be taken by every student from semester 1 to 2. There are no prerequisites for Karawitan courses. The position of Indonesian Culture Arts (Karawitan) as the compulsory course serves to introduce the students to one aspect of Indonesian (or Javanese) art and culture and the practical knowledge related to the performance of traditional Javanese musical instruments, namely gamelan. This course also aims to provide both introduction and theoretical and practical understanding for the students of the Faculty of Cultural Science on gamelan instrument techniques, namely gendhing technique, that is found in Karawitan. Topics in this course include identification of Javanese gamelan instruments, exploration of tones in Javanese gamelan, gendhing instrument method and practice, as well as observation of traditional art performances. Proportionally, 30% of these courses contains briefing theoretical insights, 40% contains gamelan practice, and 30% contains provision of experience in a form of group collaboration and interaction Course Objectives The course of Indonesian Culture Arts (Karawitan) in general aims to provide theoretical and practical supplies through skill, application, and carefulness to recognize various instruments of Gamelan. Through this course, students are observant in identifying the various instruments of the gamelan and its application as instrumental and vocal art in karawitan. -
Representasi Konsep Patet Dalam Tradisi Garap Gamelan Bali
Vol. 21 No. 1, April 2020: 11-28 Representasi Konsep Patet dalam Tradisi Garap Gamelan Bali I Ketut Ardana1 Prodi Seni, Program Pascasarjana, Institut Seni Indonesia Yogyakarta ABSTRACT The Representation of Patet Concept in the Working Tradition of the Balinese Gamelan. Patet is an actual problem because it has diversity in the working tradition of the Balinese gamelan. Unfortunately, this diversity is not published and formulated comprehensively into a theory that can explain the patet of the Balinese gamelan. One of the unique patet works raised in this study is the representation of patet in Gamelan Gong Suling. This gamelan is one of the gamelans that does not exist in society. It has flexibility in the concept of gamelan works, especially the problem of patet, which is different from other Balinese gamelan. Therefore, the formulation of the situation in this study is implementing the patet in Gamelan Gong Suling. The research methodology is based on the descriptive analysis method through garap theory. There are two main analysis aspects concerning the work of Gamelan Gong Suling: (1) the tungguhan (instrumens) grouping, and (2) the musical conception. As for the instrumentation, Gamelan Gong Suling is composed of Balinese flutes, kendang, cengceng ricik, kajar, klenang, and gong pulu. Regarding the function of the instruments, Balinese flutes play the melody (bantang gending, bon gending, payasan gending), kendang plays the payasan gending, cengceng ricik plays the pengramen, and gong pulu plays the pesu mulih. The musical concept of Gamelan Gong Suling concerns: garap material, prabot garap or piranti garap, and penentu garap. Regarding the works, Gamelan Gong Suling has a fundamental melody called Bantang Gending; for what concerns to Piranti Garap, Gamelan Gong Suling has five tetekep: tetekep deng, dang, dong, dung, and ding; as for what regards as Penentu Garap, there are four garap styles in Gamelan Gong Suling: garap tabuh petegak, garap prosesi, garap kreasi, and garap dolanan.