The Worship of Semar, a Claim to “Jus Primordialis”
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Panakawan's Discourse of Power in Javanese Shadow Puppet During the New Order Regime
Panakawan’s Discourse of Power in Javanese Shadow Puppet during the New Order Regime: From Traditional Perspective to New Historicism Ribut Basuki English Department, Faculty of Letters, Petra Christian University, Surabaya, Indonesia e-mail: [email protected] Abstract: Wayang kulit (shadow puppet) has not only been an entertainment; it is a medium to disseminate Javanese values to the public. Therefore, wayang kulit has been a site of power game. Those who could control it have their best opportunity to pass their values to the public. Throughout its history, those in power since the colonial time until the New Order regime had successfully ‘used’ this medium to ‘educate’ the public. The New Order regime, for one thing, had used this medium well. Wayang kulit promoted Suharto as an equal of Semar, a wise, god-like character. It also promoted Golkar as the most powerful political party in the New Order Era. Feudalism in wayang kulit was also used to reinforce a feudalistic regime of New Order. Key words: shadow puppet/wayang kulit, panakawan, clown, power, new order, values, biases Puppetry has been a part of the Asian theatre for centuries. One of the homes of puppetry in Asia is Indonesia, where it is usually called wayang. The Indonesian wayang “has been acclaimed the world over for its unique character of preserving the old traditions and techniques as primitive a form as is conceivable while being a medium of drama capable of satisfying a wide variety of tastes, both rustic and urban” (Tilakasiri, 1968, p. 49). There are at least 28 kinds of wayang in Indonesia, 17 of which are made of leather, 5 are made of wood, 1 is made of paper, and the rest are either in the form of masks or human beings as puppet actors (Guritno, 1988, p.14). -
Mantra Bahasa Dayak Desa: Studi Tentang Gaya Bahasa, Tujuan, Proses Ritual, Dan Fungsi
MANTRA BAHASA DAYAK DESA: STUDI TENTANG GAYA BAHASA, TUJUAN, PROSES RITUAL, DAN FUNGSI Skripsi Diajukan untuk Memenuhi Salah Satu Syarat Memperoleh Gelar Sarjana Sastra Indonesia Program Studi Sastra Indonesia Disusun oleh Sri Astuti NIM: 034114015 PROGRAM STUDI SASTRA INDONESIA JURUSAN SASTRA INDUNESIA FAKULTAS SASTRA UNIVERSITAS SANATA DHARMA YOGYAKARTA 2008 HALAMAN PERSEMBAHAN Ia berkata kepada Simon: “Bertolaklah ke tempat yang lebih dalam dan tebarkanlah jalamu untuk menangkap ikan”. Simon menjawab: “Guru, telah sepanjang malam kami bekerja keras dan kami tidak menangkap apa-apa, tetapi karena Engkau yang menyuruhnya, aku akan menebar jala juga”. Dan setelah mereka melakukannya, mereka menangkap sejumlah besar ikan, sehingga jala mereka mulai koyak. Lalu mereka memberi isyarat kepada teman-temannya di perahu yang lain supaya mereka datang membantunya. Dan mereka itu datang, lalu mereka bersama-sama mengisi kedua perahu itu dengan ikan hingga hampir tenggelam. (Lukas 5:4-7) Skripsi ini kupersembahkan kepada: • Tuhan dan sahabatku Yesus Kristus • Keluargaku yang tercinta, Ibu, Bapak, dan Tuai Ayang • Semua orang yang kukasihi dan mengasihiku iv ABSTRAK Astuti, Sri. 2008. Mantra Bahasa Dayak Desa Studi Tentang Gaya Bahasa, Tujuan, Proses Ritual, dan Fungsi. Skripsi Strata I (S-I). Yogyakarta: Program Studi Sastra Indonesia, Jurusan Sastra Indonesia, Fakultas Sastra, Universitas Sanata Dharma. Penelitian ini membahas gaya bahasa, tujuan, proses ritual, dan fungsi mantra bahasa Dayak Desa. Ada beberapa alasan yang mendasari pemilihan topik ini, yaitu (1) studi khusus tentang mantra bahasa Dayak Desa sampai saat ini belum pernah dilakukan, (2) ada keunikan penggunaan bahasa dalam mantra bahasa Dayak Desa. Selain itu, peneliti beranggapan bahwa budaya daerah sangat perlu dilestarikan, mengingat sifat mantra yang rahasia dan tertutup, akan membuka peluang punahnya mantra. -
Symbolic Animals in the Land Between the Waters Markers of Place and Transition
Robert Wessing Leiden University Symbolic Animals in the Land between the Waters Markers of Place and Transition Abstract This paper analyzes the use of symbolic animals in Indonesia and Southeast Asia gen- erally as markers of place or state of being, and aids in transition between states of being. It shows that especially naga and Garuda, both subsets of a larger category of naga, respectively define the categories upperworld and underworld as the male and female extremes of a water continuum. These are linked by the rainbow, which is also a member of the naga category. Together these symbolic animals make up the axis mundi, as can be seen in both the symbolic mountain of the Javanese shadow theatre and the Balinese cremation tower. Within the arc of water created by these three ele- ments lies the earth, which has emerged from, and can be seen to be part of the under- world. The emergence of the earth as well as states and crops from the underworld is made possible by the movement of buffalo or its equivalents, which also aid in the transition of human beings from the prenatal state, through life and into death. Keywords: Naga—Garuda—water buffalo—origins—life-cycle rituals—cosmology— Indonesia—Southeast Asia Asian Folklore Studies, Volume 65, 2006: 205–239 ne evening in East Java, I heard a cicak (small house-lizard; Hemi- dactylus frenatus) chatter quite excitedly.1 Since cicak there are reput- ed to be consummate gossips, I perked up my ears: was it true what Othey said about Mrs. A? Did Mr. -
Punakawan in N. Riantiarno's Dramas: Revitalization of Local Cultural Values in Modern Theater
Advances in Social Science, Education and Humanities Research, volume 280 International Seminar On Recent Language, Literature, And Local Culture Studies (BASA 2018) Punakawan in N. Riantiarno’s Dramas: Revitalization of Local Cultural Values in Modern Theater M. Yoesoef Department of Literature Faculty of Humanities , Universitas of Indonesia [email protected] Abstract In the puppet world there are Punakawan figures (Semar, Petruk, Gareng, and Bagong) who represent commoners, loyal servants, and they become a vehicle for raise people's voices to be of concern to all community circles. Behind the Punakawan figures, the values of wisdom and local wisdom are stored in relation to human characters, relationships between people, and human relations with nature and the environment. The existence and potential of the Punakawan are explored maximally in N. Riantiarno's hands as an effective vehicle to raise awareness to the theater audience about the conditions that the Indonesian people are communally facing. The potential of Punakawan is elaborated in the five literary works of the drama which were then staged, namely "Republik Bagong," "Republic of Togog," "Republic of Petruk," "Republic of Cangik," and "Semar Gugat," from which can be derived one perspective voiced by the Punakawan related to various social, political, economic and cultural issues that are developing in the life of the nation and the state of Indonesia. In addition, reading these works revealed Riantiarno's efforts to revitalize the Punakawan as a cultural entity that contained local cultural values, which derive from the nobility of Javanese cultural values. They are present in the treasures of modern theater and are able to articulate local cultural values into the modern urban world stage. -
Understanding the Meaning of Wayang Kulit Performance Using Thick Description Approach
Understanding the Meaning of Wayang Kulit Performance using Thick Description Approach Mario Nugroho Willyarto1, Krismarliyanti2 and Ulani Yunus3 1 Language Center, Primary Teacher Education Department, Faculty of Humanities, Bina Nusantara University, Jakarta, Indonesia 11480 2Independent Writer 3 Marketing Communication Program, Communication Department, Faculty of Economics & Communication, Bina Nusantara University, Jakarta, Indonesia 11480 Keywords: Wayang Kulit, Thick Description, Cultural Heritage Abstract: This paper described the meaning of Wayang Kulit in Javanese philosophy, a brief description of the figures represented by the puppets. Wayang is one of the cultural heritages of Java which is very deep understanding of the culture and character of the people of Indonesia. The meaning of symbols of wayang is the focus of this paper. The symbols are represented by character of Semar, Bagong, Petruk and Gareng. What is the role wayang in daily life, especially for Indonesian people, is becoming the main discussion as well. There are a lot of wayang performances that have a deep meaning of the life itself. Although there are some scholars who say that wayang is originally from India but it is not proved and, in the end, people accepted that wayang came from Java. Opinion about wayang originated from India was because the story in the puppet was adapted from the Mahabharata story originating from India. Using the concept of thick description by Clifford Geertz, the author tries to explain about the history and character of the puppet figures according to Javanese philosophy. Prominent figures such as Semar, Gareng, Petruk and Bagong were the reflection of the ideal human being depicted with an imperfect physical form. -
MALAY HEALING PRACTICES Ubat-Ubatan As Remedies Administered Hybridised Form of Islam
BIBLIOASIA OCT – DEC 2018 Vol. 14 / Issue 03 / Feature Nadirah Norruddin is an Associate Librarian with the National Library, Singapore. Her PAWANG, BOMOH AND BIDAN gathering and preparing ubat-ubatan main responsibility lies in managing and Traditional Malay healers are the from plants and herbs developing the Singapore and Southeast Asian collections. main providers of Malay medicine. In his book, A Descriptive Diction- To achieve the necessary credentials, ary of British Malaya (1894), Nicholas some have resorted to living in soli- B. Dennys compares the dukun to tude, spending their time meditating, “being on par with witch doctors of fasting or putting themselves through history”. Although the dukun has been strict dietary regimens – all in the generally described in disparaging name of spiritual cleansing. Healers terms by Western scholars, a small are also expected to have an extensive minority saw the merits of these knowledge of botany and nature so traditional healers. Percy N. Gerrard that they can classify and identify the defines the “doctor” as a bomoh, dukun right plants and herbs as well as their or pawang in his dictionary, A Vocabu- healing properties, and prescribe the lary of Malay Medical Terms (1905). correct remedies. Bidan Pawang Also known as “Mak Bidan” or “dukun A pawang is commonly defined as a beranak”, these midwives specialise shaman or general practitioner of in women’s health matters, including magic who incorporates incantations fecundity, midwifery and contraception, (Facing page) The betel vine, prayer bowl engraved into his craft. He is usually involved in along with a variety of beauty-related with Quranic verses and invocations, and the mortar conducting agricultural rituals and disorders. -
The Islamic Traditions of Cirebon
the islamic traditions of cirebon Ibadat and adat among javanese muslims A. G. Muhaimin Department of Anthropology Division of Society and Environment Research School of Pacific and Asian Studies July 1995 Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] Web: http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Muhaimin, Abdul Ghoffir. The Islamic traditions of Cirebon : ibadat and adat among Javanese muslims. Bibliography. ISBN 1 920942 30 0 (pbk.) ISBN 1 920942 31 9 (online) 1. Islam - Indonesia - Cirebon - Rituals. 2. Muslims - Indonesia - Cirebon. 3. Rites and ceremonies - Indonesia - Cirebon. I. Title. 297.5095982 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse Printed by University Printing Services, ANU This edition © 2006 ANU E Press the islamic traditions of cirebon Ibadat and adat among javanese muslims Islam in Southeast Asia Series Theses at The Australian National University are assessed by external examiners and students are expected to take into account the advice of their examiners before they submit to the University Library the final versions of their theses. For this series, this final version of the thesis has been used as the basis for publication, taking into account other changes that the author may have decided to undertake. In some cases, a few minor editorial revisions have made to the work. The acknowledgements in each of these publications provide information on the supervisors of the thesis and those who contributed to its development. -
The Origins of Balinese Legong
STEPHEN DAVIES The origins of Balinese legong Introduction In this paper I discuss the origin of the Balinese dance genre of legong. I date this from the late nineteenth century, with the dance achieving its definitive form in the period 1916-1932. These conclusions are at odds with the most common history told for legong, according to which it first appeared in the earliest years of the nineteenth century. The genre Legong is a secular (balih-balihan) Balinese dance genre.1 Though originally as- sociated with the palace,2 legong has long been performed in villages, espe- cially at temple ceremonies, as well as at Balinese festivals of the arts. Since the 1920s, abridged versions of legong dances have featured in concerts organized for tourists and in overseas tours by Balinese orchestras. Indeed, the dance has become culturally emblematic, and its image is used to advertise Bali to the world. Traditionally, the dancers are three young girls; the servant (condong), who dances a prelude, and two legong. All wear elaborate costumes of gilded cloth with ornate accessories and frangipani-crowned headdresses.3 The core 1 Proyek pemeliharaan 1971. Like all Balinese dances, legong is an offering to the gods. It is ‘secu- lar’ in that it is not one of the dance forms permitted in the inner yards of the temple. Though it is performed at temple ceremonies, the performance takes place immediately outside the temple, as is also the case with many of the other entertainments. The controversial three-part classification adopted in 1971 was motivated by a desire to prevent the commercialization of ritual dances as tourist fare. -
Traditional Malay Healing in Malaysia: a Juristic Study by Syed Muhammad
TRADITIONAL MALAY HEALING IN MALAYSIA: A JURISTIC STUDY BY SYED MUHAMMAD SHAHRIZAL B. S. OTHMAN INTERNATIONAL ISLAMIC UNIVERSITY MALAYSIA 2008 TRADITIONAL MALAY HEALING IN MALAYSIA: A JURISTIC STUDY BY SYED MUHAMMAD SHAHRIZAL B. S. OTHMAN A dissertation submitted in partial fulfilment of the requirements for the degree of Masters of Islamic Revealed Knowledge and Heritage (Fiqh and UÎËl al-Fiqh) Kuliyyah of Islamic Revealed Knowledge and Human Sciences International Islamic University Malaysia MARCH 2008 ﴿ ﻭ ﻗﹶ ﺎ ﻝﹶ ﺭ ﺑ ﻜﹸ ﻢ ﺍﺩﻋﻮﻧِﻲ ﺃﹶ ﺳ ﺘ ﺠِ ﺐ ﻟﹶ ﻜﹸ ﻢ ﺇِ ﻥﱠ ﺍ ﻟﱠ ﺬِ ﻳ ﻦ ﻳﺴﺘﻜﹾﺒِﺮﻭﹶﻥ ﻋ ﻦ ﻋِ ﺒ ﺎ ﺩ ﺗِ ﻲ ﺳ ﻴ ﺪ ﺧ ﻠﹸ ﻮ ﻥﹶ ﺟ ﻬ ﻨ ﻢ ﺩ ﺍ ﺧِ ﺮِ ﻳ ﻦ ﴾ “And your Lord says: "Call on Me; I will answer your (Prayer): but those who are too arrogant to serve Me will surely find themselves in Hell - in humiliation!” (Al-Qur’Én, GhÉfir: 60) ABSTRACT The Malays are known as a people who have practiced traditional healing since the animistic era and this practice continued throughout the Hindu-Buddhist era up to present day. The Malays use many types of medical techniques for the purpose of treating and curing illnesses and diseases caused by non-spiritual or spiritual elements. It is important to note that there are some spiritual techniques used in traditional Malay healing that follow certain beliefs and contain components which contradict the Islamic SharÊÑah. This research attempts to discuss and examine the practices and types of traditional Malay healing and their compatibility with the Islamic point of view. -
Bali: So Many Faces--Short Stories and Other Literary Excerpts in Indonesian. INSTITUTION Western Sydney Univ., Macarthur (Australia)
DOCUMENT RESUME ED 411 529 CS 215 987 AUTHOR Cork, Vern, Comp. TITLE Bali: So Many Faces--Short Stories and Other Literary Excerpts in Indonesian. INSTITUTION Western Sydney Univ., Macarthur (Australia). Language Acquisition Research Centre.; Australian National Languages and Literacy Inst., Deakin. ISBN ISBN-1-87560-40-7 PUB DATE 1996-00-00 NOTE 200p. PUB TYPE Collected Works General (020) Creative Works (030) LANGUAGE English, Indonesian EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Anthologies; *Audience Awareness; Cultural Background; *Cultural Context; Foreign Countries; *Indonesian; Literary Devices; Non Western Civilization; *Short Stories; *Social Change; Tourism IDENTIFIERS *Bali; *Balinese Literature; Indonesia ABSTRACT This collection of 25 short stories (in Indonesian) by Balinese writers aims to give Bali's writers a wider public. Some of the stories in the collection are distinctly and uniquely Balinese, while others are more universal in their approach and are self-contained. But according to the collection's foreword, in all of the stories, experiences of Bali are presented from the inside, from the other side of the hotels, tour buses, and restaurants of "tourist" Bali. The writers presented come from a range of backgrounds, reflecting the diversity cf Balinese society--different castes, differences between urban and rural baa4xiouncl.s, .and varieties of ethnicity are all important to the multiplicity of voices found in the collection. In addition, the collection draws from backgrounds of journalism, theater, cartoons, poetry, and academia, and from writers who may have been born in other parts of Indonesia but who have lived for decades in Bali and reflect Bali's inseparability from the Indonesian nation. -
The Ecology-Based Myths in Karo's Folktales
International Journal of Multidisciplinary Research and Development International Journal of Multidisciplinary Research and Development Online ISSN: 2349-4182, Print ISSN: 2349-5979 Impact Factor: RJIF 5.72 Received: 12-05-2018; Accepted: 19-06-2018 www.allsubjectjournal.com Volume 5 Issue 6; June 2018; Page No. 151-153 The ecology-based myths in Karo’s folktales Emma Marsella, Haris Sutan Lubis Faculty of Cultural Sciences, University of Sumatera Utara, Indonesia Abstract Ecology-based myths might refer to environment-based expressions that can be used as a vehicle to be close to the local environment and Karo people are rich of such expressions. This study is aimed at making an inventory of myths in Juhar Subdistrict, Karo Regency and at classifying them. The approach of literary ecology and the concept of myth are used in this paper. The ecological studies of literary works meet the ecology with literary works so the ecological paradigm of literary studies are meant to apply the ecological approach to literary works appreciation. The research methods are qualitative and inventory as well as the use of noting, recording, and interviewing techniques. The results show that there are ten ecological myths which are classified into the myths of soil and stone, plants and animals, and magical creatures. Keywords: Karo people, ecological myth, literary ecology, folktale 1. Introduction Collecting ecological myths is important because it implies Karo Batak as one of the indigenous ethnics in North Sumatra that the essence of myths is not only a fairy tale, but also can it can be categorized as a small-scale society but it has unique become an environmental wisdom which is capable of giving tradition like the nurunken kalak mate cawir metua [1]. -
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.