Semiotics Analysis in The Betawi Traditional Wedding "Palang Pintu": The Study of Semiotics Roland Barthes

The Palang Pintu tradition is a tradition that is part of the Betawi wedding ceremony. In this study, the semiotic analysis of Roland Barthes was used. This study uses extra-qualitative research methods with an interpretive approach as a complement. This linguistic research is classified as interpretive research because it relies on interpreting texts that can be related to the context in it, such as ideological, moral, cultural, and spiritual values. In this study, the researcher aimed to analyze the meaning of the Palang Pintu procession in terms of semiotics. From the results of the study, it can be concluded that in Palang Pintu, there are 1) meanings of denotation in the procession of the Palang Pintu, processions are starting from the dustur prayer, greetings, rhyme contests, fighting, and reciting the holy verses of the Koran or chanting sike. In the denotative meaning of this Palang Pintu process, apart from explaining the literal meaning and describing the process. It also describes the stages of testing for the groom to marry his bride; 2) the connotation meaning in the Palang Pintu procession describes the practice of the teachings and laws of Islam and love for the Prophet Muhammad SAW and family ties; and 3) the myth in the Palang Pintu procession is that there are Betawi solid community principles, namely recitation, prayer, and silat. In addition, the dominance of solid Islamic teachings is evidenced by the existence of relevant verses of the Koran and hadith and the content of Betawi cultures, such as rhyming, where rhymes are used to advise on traditional art ceremonies.

Baris Memedi Dance in Jatiluwih Village Tabanan Bali: A Strategy to Preserve Traditional Arts

The Baris Memedi dance depicts a group of ‘ghosts’ who live in haunted places such as graves, cliffs, and in large trees. It is danced by 7-15 male dancers. This dance is performed in Ngaben (cremation) ceremony called Pitra Yadnya, using the Baleganjur gamelan accompaniment. The objective of this study is to analyze the form of existence of the Baris Memedi dance in implementing the Pitra Yadnya ceremony. Another objective is to understand the strategy for its preservation as a traditional art so that this dance can live and be long-lasting until today. The additional objective is to find the uniqueness of the dance that it needs preservation. The method used was a qualitative method that considers the issues of cultural context, ideology, interests, power in the culture, and meaning which refers to the culturalistic-humanistic paradigm, namely civilizing humans and humanizing humans. Based on observation, Baris Memedi dance has four stages in its presentation form. The preservation strategy is the active role of supporting the community, the role of Jatiluwih Village apparatus, Jatiluwih artists’ participation, and the government’s support. The most important aspect of Baris Memedi it is inseparable from its community. The proponents of traditional arts should continue to pursue these preservation efforts so that the arts have cultural resilience through Ajeg Bali.

PENGGUNAAN JUMPUTAN , TRITIK DALAM UPACARA ADAT DI SURAKARTA

ABSTRACTThe Javanese society has a harmony concept which has become an interesting tradition part in live. The Javanese people, especially the Surakarta society, have a belief in the world philosophy (universe), consisting of the great universe ( macrocosmos) and small universe ( microcosmos). The microcosmos cannot be separated from the great macrocosmos which must be kept its harmony with their lives, so the ritual elements of the small universe. Therefore, the art isi always connected with their lives, so the ritual elements consist in the traditional art. The art has three functions known in Javanese society, that is for a ritual purpose and a show purpose with entertaining characteristics for the inner satisfaction in the society. Moreover, the traditional artwhich is formed in the usage art, like the custom clothes, tools / instruments, ornaments and others functioning as ritual purposes, have definitely had the important value symbols in the society, or as the tools to support the ritual implementation in the society.The art of Tritik and Jumputan craft also contains the teachings of ethics and aesthetics in the form of visual appearances and symbolism of life which can basically lead humans to perfection and true identity.Keywords: Jumputan,Tritik, The custom ceremony, traditional ABSTRAKMasyarakat Jawa memiliki konsep keselarasan yang merupakan bagian tradisi yang penting dalam kehidupan. Orang Jawa, khususnya masyarakat Surakarta memiliki keyakinan dalam pandangan dunia (jagat), yang terdiri dari jagat gede (makrokosmos) dan jagat cilik (mikrokosmos). Mikrokosmos menjadi yang tidak terpisahkan dengan makrokosmos yang harus dijaga keselarasannya dengan unsur-unsur jagat cilik. Oleh sebab itu, seni selalu dikaitkan dengan kehidupannya, sehingga unsur ritual terdapat dalam seni tradisional. Kesenian memiliki tiga fungsi yang dikenal dalam masyarakat Jawa, yaitu untuk tujuan ritual, untuk tujuan tontonan yang bersifat entertaintment kepuasan batin dalam masyarakat. Apalagi kesenian tradisional yang berbentuk seni pakai, seperti pakaian adat, peralatan, hiasan, dan sebagainya dalam fungsinya sebagai kepentingan ritual, sudah barang tentu memiliki simbol-simbol yang bernilai dalam masyarakat, ataupun sebagai sarana untuk mendukung pelaksanaan ritual dalam masyarakat. Seni kerajinan tritik dan jumputan ini juga termuat ajaran etika dan keindahan yang berbentuk penampilan visual dan simbolisme hidup yang pada dasarnya dapat menuntun manusia menuju kesempurnaan dan jati diri yang sejati.Kata kunci : Jumputan, Tritik, Pakaian Adat, Tradisional

THE DYNAMICS OF WAYANG GOLEK IN PANDEMIC AND GLOBALIZATION: TRADITIONAL ART SUSTAINABILITY

This research aims to explore the dynamics of wayang golek art and to highlight its sustainability in the future. Modernity, the acceleration of technological devices and globalization wave in the last two decades, transfers great pressure on traditional arts and culture. Wayang Golek, a performing art originally from West Java, has recently received a fairly strong wave of resistance due to changes in the social culture which is mainly leading to modernity. By using a qualitative approach, data collection techniques were carried out by interviewing two main players as the puppeteers of Wayang Golek. The data analysis uses the theory of Miles and Hubberman, and the theoretical study of Islamic studies. The results of the study show that 1) Wayang Golek has unique characteristics, where the talent needed tends to go through the "inheritance" tradition, 2) Wayang Golek can be a bridge for internalizing religious and humanist values for the community through unique stories based on custom, 3) the restriction of Wayang Golek performance due to the Covid-19 pandemic leads the puppeteers to be more creative to survive, such as creating videos and uploading them in YouTube and other social media, and 4) the preservation of this art depends on the serious attention of all parties, from the government, regional officials, and the community.Penelitian ini bertujuan untuk mengeskplorasi dinamika kesenian wayang golek, serta menyoroti keberlangsungan ‘hidup’ seni tradisional wayang golek dimasa yang akan datang. Era modernitas, akselerasi perangkat teknologi dan gelombang arus globalisasi dalam dua dekade terakhir, memberikan tekanan hebat pada wilayah seni dan budaya tradisional. Wayang Golek sebuah seni pertunjukkan yang berasal dari Jawa Barat akhir-akhir ini mengalami gelombang resistensi cukup kuat imbas dari perubahan kultur sosial masyarakat yang bergerak kearah modernitas. Dengan menggunakan pendekatan kualitatif, teknik pengumpulan data dilakukan dengan wawancara terhadap dua pemain utama sebagai “Dalang” Wayang Golek, observasi dan dokumentasi. Adapun analisis data menggunakan teori Miles dan Hubberman, dan kajian teoritis Islamic studies. Hasil penelitian menunjukkan bahwa 1) Seni Wayang Golek memiliki karakteristik unik, dimana bakat yang dibutuhkan cenderung melalui tradisi “warisan”, 2) Wayang Golek dapat menjadi jembatan internalisasi nilai-nilai religius dan humanis bagi masyarakat melalui cerita-cerita unik berbasis adat, 3) dilarangnya pagelaran Wayang Golek akibat pandemi Covid-19 membuat para dalang lebih kreatif untuk bertahan, seperti membuat video dan menunggahnya ke YouTube dan media sosial yang lain, dan 4) Kelestarian kesenian ini bergantung terhadap perhatian serius semua pihak baik dari pemerintah, pejabat daerah, maupun masyarakat.

Traditional arts and crafts of the peoples of Chukotka and its traditions in the modern subculture

В статье представлен обзор объектов декоративно-прикладного искусства коренного населения в Чукотском автономном округе. Материалом исследования послужили музейные коллекции Чаунского краеведческого музея, основу которых составляют предметы быта, этнографии и декоративно-прикладного искусства «оленных» (кочевых) и «сидячих» (оседлых) чукчей, эскимосов и других народов; а также архив Певекской школы искусств. Опираясь на опыт Чаунского краеведческого музея в области комплектования и экспонирования предметов декоративно-прикладного искусства, предлагается рассмотреть образцы традиционного чукотского искусства, а также его традиции в современной субкультуре. Под традиционным искусством понимается косторезное искусство народов Чукотки, а также вышивка из кожи и меха — такое разделение соответствует делению коренных жителей на кочевых и оседлых. Под современной субкультурой в данном случае понимается культура, созданная в многонациональном регионе в процессе ассимиляции местных жителей и так называемого «пришлого» населения — русских, украинцев и многих других. В результате происходили не только смешанные браки, но и взаимное обогащение культурных традиций — это ярко проявилось в проведении праздников, создании литературных произведений, а также в создании предметов декоративно-прикладного искусства. В собрании Чаунского краеведческого музея представлены подобные образцы декоративно-прикладного искусства как чукотских мастеров, так и мастеров других национальностей. The article presents an overview of objects of decorative and applied art of the indigenous population in the Chukotka. The research material was the museum collections of the Chaunsky Museum of Local Lore, which are based on household items, ethnography and decorative and applied art of the "reindeer" (nomadic) and "sedentary" Chukchi, Eskimos and other peoples; as well as the archive of the Pevek School of Arts. Based on the experience of the Chaunsky Museum of Local Lore in the field of acquiring and exhibiting objects of decorative and applied art, the author examines examples of traditional Chukchi art and its traditions in the modern subculture. Traditional art is understood as bone carving art of the peoples of Chukotka, as well as embroidery from leather and fur — this division corresponds to the division of indigenous people into nomadic and sedentary. In this case, the modern subculture is understood as a culture created in a multinational region in the process of assimilation of local residents and the so-called “newcomer” population — Russians, Ukrainians and many others. As a result, not only mixed marriages took place, but also the mutual enrichment of cultural traditions — this was clearly manifested in the celebration of holidays, the creation of literary works, as well as in the creation of objects of decorative and applied art. In the collection of the Chaunsky Museum of Local Lore, there are similar examples of decorative and applied art of both Chukchi masters and masters of other nationalities.

The Image of the Yellow (Huang He) River in Chinese Painting

The article is devoted to the creative works of artists who have created pictures of life of the people living along the Yellow (Huang He) River in all nine regions of China. The Huang He River, as the main artery of the country, has long been the subject of study by historians, writers and painters. However, contemporary artists who dedicated their works to the river have not been researched. This work examines the collective image of the Huang He River in the works of Chinese artists from the 1980s to the present day in order to get acquainted with its peculiarities. The methodological basis for the study of contemporary art is the historical and cultural and socio-cultural approaches. The methods of historical-comparative and sociological analysis of art, biographical and iconographic analysis, semiotics and hermeneutics methods are used. For the first time the features of oil painting in different regions along the Huang He River are presented: the geomorphological characteristics, national characters and folk customs in the river basin, and the cultural protection function of painting. The names of a number of Chinese artists have been introduced into Russian art history, and the panorama of the development of painting in the works of Chinese masters painting on the Huang He River has been shown. The works of these artists are correlated with the traditional art and religious ideas of the people living along the Huang He River: the role of created paintings in preserving the cultural code of the inhabitants through the portrayal of national costume, folk and religious holidays is traced. The results can serve as a basis for historical and comparative studies of the artworks of Chinese masters and become the basis for courses on the history of Chinese art.

The Punjab Exhibition of 1881 and Politics of the British Raj

In 1849, Punjab was annexed by the English East India Company. This paper deals with the Punjab Exhibition of 1881, where along with textiles, arts and other local handicrafts of India were put on display. Claiming to revive the indigenous Indian arts, crafts and textiles, the exhibition represents the politics of selected exhibits that catered to the taste1 and choice of the British. The exhibition helps in understanding the objective and importance of conducting imperial exhibitions, as exhibitions were also redefining the European homes. A detailed analysis of the exhibition foregrounds how colonial rule redefined the idea and representation of indigenous handicrafts and art. The indigenous handicraft was also immensely being guided by the European market. Thus, the paper focuses on the aspects and strategy adopted by the British at promoting and preserving Indian art and textile. Moreover, efforts at preservation of the arts got institutionalised in the form of art schools. These were set up for the purpose of promoting and building taste for Indian traditional art in the British markets. The paper attempts to understand how the British shaped the notion of heritage and cultural difference between the coloniser and colonised and the ‘self’ and the ‘other’ through the exhibition. By analyzing the Punjab Exhibition 1881, the paper aims to deal with some pertinent issues such as strategic organisation and representation of the exhibits, as well as the legacy of the exhibition during colonial rule. The paper argues that though the British took to organising exhibitions to promote and preserve Indian art and textile, but in reality, it was a disguise aimed at establishing imperial supremacy over the colonised and maintain a hierarchical relationship of aesthetic and traditional culture between the ruler and the ruled.