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Introduction to Old Javanese Language and Literature: a Kawi Prose Anthology
THE UNIVERSITY OF MICHIGAN CENTER FOR SOUTH AND SOUTHEAST ASIAN STUDIES THE MICHIGAN SERIES IN SOUTH AND SOUTHEAST ASIAN LANGUAGES AND LINGUISTICS Editorial Board Alton L. Becker John K. Musgrave George B. Simmons Thomas R. Trautmann, chm. Ann Arbor, Michigan INTRODUCTION TO OLD JAVANESE LANGUAGE AND LITERATURE: A KAWI PROSE ANTHOLOGY Mary S. Zurbuchen Ann Arbor Center for South and Southeast Asian Studies The University of Michigan 1976 The Michigan Series in South and Southeast Asian Languages and Linguistics, 3 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: 76-16235 International Standard Book Number: 0-89148-053-6 Copyright 1976 by Center for South and Southeast Asian Studies The University of Michigan Printed in the United States of America ISBN 978-0-89148-053-2 (paper) ISBN 978-0-472-12818-1 (ebook) ISBN 978-0-472-90218-7 (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/ I made my song a coat Covered with embroideries Out of old mythologies.... "A Coat" W. B. Yeats Languages are more to us than systems of thought transference. They are invisible garments that drape themselves about our spirit and give a predetermined form to all its symbolic expression. When the expression is of unusual significance, we call it literature. "Language and Literature" Edward Sapir Contents Preface IX Pronounciation Guide X Vowel Sandhi xi Illustration of Scripts xii Kawi--an Introduction Language ancf History 1 Language and Its Forms 3 Language and Systems of Meaning 6 The Texts 10 Short Readings 13 Sentences 14 Paragraphs.. -
Sunan Kali Jaga
Sunan Kali Jaga Sunan Kali Jaga is one of the Wali Sanga,1 and remains an important figure for Muslims in Java because of his work in spreading Islam and integrating its teachings into the Javanese tradition. Throughout his time proselytizing, he used art forms that, at the time, were both amenable to and treasured by the people of Java. Sunan Kali Jaga is thought to have been born in 1455, with the name Raden Syahid (Raden Sahid) or Raden Abdurrahman. He was the son of Aria Wilatikta, an official in Tuban,2 East Java, who was descended from Ranggalawe, an official of the Majapahit Kingdom during the time of Queen Tri Buwana Tungga Dewi and King Hayam Wuruk. Sunan Kali Jaga’s childhood coincided with the collapse of the Majapahit Kingdom recorded in the sengkalan “Sirna Ilang Kertaning Bhumi,”3 referring to the year 1400 Caka4 (1478). Seeing the desperate situation of the people of Majapahit, Raden Syahid decided to become a bandit who would rob the kingdom’s stores of crops and the rich people of Majapahit, and give his plunder to the poor. He became well known as Brandal5 Lokajaya. One day when Raden Syahid was in the forest, he accosted an old man with a cane, which he stole, thinking it was made from gold. He said that he would sell the cane and give the money to the poor. The old man was Sunan Bonang,6 and he did not approve of Raden Syahid’s actions. Sunan Bonang advised Raden Syahid that God would not accept such bad deeds; even though his intentions were good, his actions were wrong. -
46 Mohammad Imam Farisi Bhinneka Tunggal Ika [Unity in Diversity]
Journal of Social Science Education ©JSSE 2014 DOI 10.2390/jsse.v14.i1.1261 Volume 13, Number 1, Spring 2014 ISSN 1618–5293 Mohammad Imam Farisi Bhinneka Tunggal Ika [Unity in Diversity]: From Dynastic Policy to Classroom Practice The purpose of this article is to discuss the concept of Bhinneka Tunggal Ika, in its narrowest sense, a policy on religious tolerance, as it is operationalized in social studies textbooks and in classroom practice in Indonesia. The focus of the research is on six electronic textbooks used by students aged 7‐12 years, in Indonesian elementary schools which are further considered in the context of Indonesian teachers’ actual experience of the operationalization of Bhinneka Tunggal Ika in a classroom setting. The study shows that the textbooks and classroom practice are able to describe and transform a concept such as Bhinneka Tunggal Ika into a real and meaningful concept or practice for students as practiced in the family, the school, the wider community and at a national level as well as in religious ceremonies, architecture, and gotong‐royong (or reciprocal) activities. However, the state also has a political goal and this concept should also be viewed as underlying cultural policy designed to build a character and civilization appropriate to a pluralistic Indonesian nation. Keywords: Bhinneka tunggal ika, dynastic policy, textbook, social Bhinneka Tunggal Ika is a concept dating back to the studies, elementary school third century which was central to the religious politics of 1 the ruling dynasty . It was later adopted by the Indonesian government as a motto of national unity. -
Downloaded From
H. Creese Old Javanese studies; A review of the field In: Bijdragen tot de Taal-, Land- en Volkenkunde, Old Javanese texts and culture 157 (2001), no: 1, Leiden, 3-33 This PDF-file was downloaded from http://www.kitlv-journals.nl Downloaded from Brill.com09/27/2021 04:40:52AM via free access HELEN CREESE Old Javanese Studies A Review of the Field For nearly two hundred years the academic study of the languages and liter- atures of ancient Java has attracted the attention of scholars. Interest in Old Javanese had its genesis in the Orientalist traditions of early nineteenth-cen- tury European scholarship. Until the end of the colonial period, the study of Old Javanese was dominated by Dutch scholars whose main interest was philology. Not surprisingly, the number of researchers working in this field has never been large, but as the field has expanded from its original philo- logical focus to encompass research in a variety of disciplines, it has remain1 ed a small but viable research area in the wider field of Indonesian studies. As a number of recent review articles have shown (Andaya and Andaya 1995; Aung-Thwin 1995; McVey 1995; Reynolds 1995), in the field of South- east Asian studies as a whole, issues of modern state formation and devel- opment have dominated the interest of scholars and commentators. Within this academic framework, interest in the Indonesian archipelago in the period since independence has also focused largely on issues relating to the modern Indonesian state; This focus on national concerns has not lent itself well to a .rich ongoing scholarship on regional cultures, whether ancient or modern. -
A STUDY of the SUTASOMA KAKAWIN.Pdf (PDF, 8.03MB)
l The University of Sydney Copyright in relation to this thesis* Under the Copyright Act 1968 (several provisions of which are referred to below), this thesis must be used only under the normal conditions of scholarly fa1r dealing for the purposes of research, criticism or review. In particular no results or conclusions should be extracted from it, nor should it be copied or closely paraphrased in whole or in part without the written consent of the author. Proper written acknowledgement should be made for any assistance obtained from this thesis. Under Section 35(2) of the Copyright Act 1968 'the author of a literary, dramatic, musical or artistic work is the owner of any copyright subsisting in the work·. By virtue of Section 32(1 ) copyright 1Subsists in an original literary, dramatic, musical or artistic work that is unpublished' and of which the author was an Australian citizen, an Australian protected person or a person resident in Australia. The Act, by Section 36(1) provides: 'Subject to this Act, the copyright in a literary, dramatic, musical or artistic work is infringed by a person who, not being the owner of the copyright and without the licence of the owner of the copyright, does in Australia, or authorises the doing in Australia of, any act comprised in the copyright'. Section 31 (1 )(a)(i) provides that copyright includes the exclusive right to 'reproduce the work in a material form'. Thus, copyright is infringed by a person who, not being the owner of the copyright and without the licence of the owner of the copyright, reproduces or authorises the reproduction of a work, or of more than a reasonable part of the v. -
Story of Epos Sutasoma As Dance Oratorium Idea Creation in Improving Unity and Harmony of Nation
STORY OF EPOS SUTASOMA AS DANCE ORATORIUM IDEA CREATION IN IMPROVING UNITY AND HARMONY OF NATION Ida Ayu Wimba Ruspawati, I Ketut Sariada, Ni Ketut Suryatini Indonesian Institute of the Arts Denpasar Nusa Indah Street Denpasar [email protected] Abstract The Majapahit kingdom has a vast territory covering Nusantara archipelago and Malay peninsula. In addition to greatness and glory, the Majapahit kingdom also has great writers at that time, one of them is Mpu Tantular. One of his literary work is Kakawin Sutasoma which is taken as motto of the Republic of Indonesia "Bhinneka Tunggal Ika". Kakawin Sutasoma tells a sacrifice of a King Prabu Mahaketu's son of the Astina kingdom named Sutasoma. This research is using a qualitative methodology with participative observation method by observing various performing art activities which is related to Sutasoma epics. The result obtained is the determination of character becoming an important part because it becomes a supporting element of dance. In addition, an artist involves intellectual potential, the emotional potential, and the spiritual potential proportionally to acquire aesthetic forms and open for a value understanding. Communication of symbols are created through dance movements that are expected to be interpreted by the audience and can be implemented in daily life. If this is realized, violence can be avoided and unity and harmony can be realized. Keywords: Sutasoma, Dance Oratorium, Character, Aesthetics, Communication Art I. INTRODUCTION Historically, Indonesia once had large kingdoms that is glorius in its era. One of them is the Majapahit kingdom. Majapahit Kingdom has a vast territory. In Kakawin Nagarakretagama pupuh 13 and 14, it is said that the extent of the Majapahit kingdom is in the archipelago of Nusantara and in the Malay Peninsula. -
121139 Arniati 2020 E.Docx
International Journal of Innovation, Creativity and Change. www.ijicc.net Volume 12, Issue 11, 2020 Microcosmos in the Kakawin Nilacandra: Reference for Hindu Education Ida Ayu Komang Arniatia, aThe Faculty of Religion and Culture, Indonesia University of Hinduism, Email: [email protected] The purpose of this study is to examine the story in Kakawin Nilacandra. In the Mahabharata epic, Krishna always won in battle. However, Krishna is said to have lost against Nilacandra in Kakawin Nilacandra. Questions: 1) Who is Nilacandra in Kakawin Nilacandra?; 2) What are conveyed through the character of Nilacandra in Kakawin Nilacandra?. This research will be completed using qualitative methods. All data were obtained based on literature studies, collected observative and interviewed with informants. All data were analysed qualitatively using symbol theory and reception theory. The results showed that: 1) Nilacandra in Kakawin Nilacandra was a king from the Kingdom of Nerajadesa; 2) there are microcosm materials delivered through the character Nilacandra in Kakawin Nilacandra about the exemplary of the king, the exemplary of the knight, the exemplary of the religious community, the exemplary creators, the ethics education and the dharma in religious education. Keywords: Microcosm, Kakawin, Nilacandra Introduction Kakawin is an informal education media about the Hinduism. Informal education about Hindu is usually done outside of school, and it can be done during ceremonies (Karmini et al., 2019; Karmini et al., 2020). As a mediator in Hindu religious education, kakawin has a specific form, formal structure, narrative structure with a pattern of procedural conventions adapted from the Indian metrum. The meaning and convention are needed in the sustainability of the structure (Pradana 2018b; Rai et al., 2019). -
Culture and Customs of Indonesia
Culture and Customs of Indonesia Jill Forshee Greenwood Press CULTURE AND CUSTOMS OF INDONESIA Indonesia. Cartography by Bookcomp, Inc. Culture and Customs of Indonesia 4 JILL FORSHEE Culture and Customs of Asia Hanchao Lu, Series Editor GREENWOOD PRESS Westport, Connecticut • London To the memory of my mother, Erma McMurter Forshee Library of Congress Cataloging-in-Publication Data Forshee, Jill. Culture and customs of Indonesia / Jill Forshee. p. cm.—(Culture and customs of Asia, ISSN 1097–0738) Includes bibliographical references and index. ISBN 0–313–33339–4 (alk. paper) 1. Indonesia—Civilization. 2. Indonesia—Social life and customs. I. Title. DS625.F64 2006 959.8—dc22 2006022942 British Library Cataloguing in Publication Data is available. Copyright © 2006 by Jill Forshee All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2006022942 ISBN: 0–313–33339–4 ISSN: 1097–0738 First published in 2006 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10 9 8 7 6 5 4 3 2 1 Every reasonable effort has been made to trace the owners of copyright materials in this book, but in some instances this has proven impossible. The author(s) [editor(s)] and publisher will be glad to receive information leading to a more complete acknowledgments in subsequent printings of the book and in the meantime extend their apologies for any omissions. -
Fakultas Ilmu Budaya Universitas Udayana
Fakultas Ilmu Budaya Universitas Udayana Pustaka Larasan 2017 Ida Bagus Putra Yadnya & I Wayan Ardika, Editor DINAMIKA MANUSIA DAN KEBUDAYAAN INDONESIA DARI MASA KE MASA viii + 350 halaman, 23 x 15,5 cm ISBN 978-602-5401-15-2 © Ida Bagus Putra Yadnya & I Wayan Ardika, 2017 Desain Sampul: Epistula Communications Bali Ilustrasi Sampul: Made Widnyana Tataletak: Ema Sukarelawanto Penerbit: Pustaka Larasan Jalan Tunggul Ametung IIIA No. 11B Denpasar, Bali Email: [email protected] Bekerja sama dengan Fakultas Ilmu Budaya Universitas Udayana Dilarang mengutip sebagian atau seluruh isi buku ini dengan cara apapun, baik secara elektronik maupun mekanik, termasuk dengan cara penggunaan mesin fotokopi, merekam, atau dengan sistem penyimpanan lainnya, tanpa izin dari penulis. iv Kata Pengantar vii Sambutan Rektor Universitas Udayana ix 1 Pendahuluan 1 2 Keberadaan Manusia Nusantara Pertama (Homo Erectus) hingga Manusia Modern (Homo Sapiens) di Indonesia Oleh I Wayan Ardika 15 3 Rekonstruksi Budaya Austronesia Oleh Ni Luh Sutjiati Beratha & I Wayan Ardika 39 4 Relasi Historis Bahasa-Bahasa Austronesia Oleh Aron Meko Mbete 65 5 Sejarah Politik Hindu Buddha Oleh I Ketut Setiawan 81 6 Seni Pahat dan Arsitektur Hindu Buddha di Indonesia Oleh I Wayan Redig 111 7 Kakawin Sutasoma: Pancasila, Bhinneka Tunggal Ika, dan Sumber Pengetahuan Multikulturalisme Oleh I Nyoman Suarka 145 8 Proses Islamisasi di Indonesia Selama Abad XV-XVI Oleh Ida Ayu Wirasmini Sidemen 165 9 Budaya Indonesia Masa Kolonial Oleh I Ketut Ardhana 185 10 Kontak Budaya Nusantara -
The Ramayana in the Literature and Visual Arts of Indonesia
FROM LANKA EASTWARDS From Lanka Eastwards Lanka From The Ramayana in the Literature and Visual Arts of Indonesia FROM LANKA EASTWARDS The Ramayana in the Literature and Visual Arts of Indonesia The Ramayana in the Literature and Visual Arts of Indonesia The Kakawin Ramayana, arguably the oldest Old Javanese epic text in Indic metres (circa 9th century AD), holds a unique position in the literary heritage of Indonesia. The poem has retained a remarkable vitality through the centuries in the Archipelago, inspiring many forms of artistic expression not only in the domain of literature but also in the visual and performing arts, from the reliefs of the majestic Central Javanese temples to modern puppet-show performances. Displaying a virtuoso array of metrical patterns, the Kakawin Ramayana is among the very few Old Javanese texts for which a specific Sanskrit prototype has been identified, namely the difficult poem Bhattikavya (circa 7th century AD), itself a version of the great Ramayana epic ascribed to Valmiki (circa 6th–1st century BC). The Old Javanese poem is an original and skillful work of re-elaboration that documents a fascinating interaction between cultural elements of the Sanskritic tradition with those indigenous to the Javanese setting. The studies included in this volume, written by experts in a wide range of disciplines, focus on disparate aspects of the Kakawin Ramayana and the constellation of cultural phenomena revolving around it, providing the reader with a key to the understanding of the rich Old Javanese textual heritage and the transcultural intellectual dynamics that contributed to shaping the cultural heritage of Indonesia up to the present. -
The Kakawin Sutasoma: a Look at ‘Bhinneka Tunggal Ika’ & Perceptions of the Text’S Religious Implications Hana Aghababian SIT Graduate Institute - Study Abroad
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2015 The Kakawin Sutasoma: A Look at ‘Bhinneka Tunggal Ika’ & Perceptions of the Text’s Religious Implications Hana Aghababian SIT Graduate Institute - Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Comparative Methodologies and Theories Commons Recommended Citation Aghababian, Hana, "The Kakawin Sutasoma: A Look at ‘Bhinneka Tunggal Ika’ & Perceptions of the Text’s Religious Implications" (2015). Independent Study Project (ISP) Collection. 2233. https://digitalcollections.sit.edu/isp_collection/2233 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. THE KAKAWIN SUTASOMA: A LOOK AT ‘BHINNEKA TUNGGAL IKA’ & PERCEPTIONS OF THE TEXT’S RELIGIOUS IMPLICATIONS Hana Aghababian Sugi Lanus, UNUD SIT Study Abroad Indonesia: Arts, Religion, and Social Change Spring 2015 Aghababian 1 TABLE OF CONTENTS 1. Abstract..…………………………………………………………………………………………..2 2. Acknowledgements………………………………………………………………………………..3 3. Preface……………………………………………………………………………………………..5 4. Introduction Focus of this Study………………………………………………………………………………..7 Literary Reception & Horizons of Expectations Reception Theories & Definitions………………………...…………………………………..9 -
Kawi Dalang: Creativity in Wayang Theatre
KAWI DALANG: CREATIVITY IN WAYANG THEATRE by I NYOMAN SEDANA (Under the direction of Professor Farley Richmond, Ph.D.) ABSTRACT The wayang puppet theatre is the oldest continuously performed theatrical form among the many genres of performing art in Bali. While wayang theatre has a fixed structure and stock dramatic characters, creativity and improvisation play a major role in the way the dalang puppet master shapes a performance. The dalang’s creativity serves as the ‘soul’ of wayang and has successfully been responsible for transmitting cultural traditions as well as reflecting contemporary social and political issues from one generation to another. This dissertation examines the creativity and improvisation of the dalang puppeteer in the performance of Balinese wayang theatre. Due to the dynamic nature of its constituent parts it is possible to consider these innovations within a particular paradigm, that is Trisandi ‘the interplay of Genre-Scenario-Character.’ After outlining the mythology of wayang and providing a brief overview of the various types of wayang in Bali, the study explores the structural interplay within the organic elements of genre, story, and characters. Next is a chapter on the creativity in plot construction, recounting the process of selecting a play and transforming narration into dialogue, complemented by the six fundamental principles of constructing a play and originating the story. Then it explores other elements of creativity such as selecting puppets, naming the characters and locale of the action, puppet construction and manipulation, scenery and stage business, jokes and social criticism, creating puns or play on words, modifying and creating poetry, and making creative responses to any unexpected and expected happenings during a performance.