Partisan alignment and political corruption: Evidence from a new democracy

Politik Uang dan Prospek Konsolidasi Demokrasi Indonesia

Journal of Education, Humaniora and Social Sciences (JEHSS) ◽

10.34007/jehss.v4i1.609 ◽

2021 ◽

Vol 4 (1) ◽

pp. 190-196

Author(s):

Ali Nurdin

Keyword(s):

Secondary Data ◽

Political Corruption ◽

Descriptive Study ◽

Democratic Process ◽

The Reformation ◽

Qualitative Descriptive ◽

New Democracy ◽

Legislative Election

Until the fifth legislative election (2019) in the Reformation Era, money politics was still a disease in the democratic process in Indonesia. Instead of decreasing, the practice of money politics in the last election has become even more massive, vulgar, and brutal. Meanwhile, the prospect of Indonesian democracy, which was considered optimistic, so that it is considered a new democracy has recently tended to decline. This study tries to see the link between money politics and the prospect of consolidating Indonesia's democracy by utilizing secondary data through a qualitative descriptive study. The results of the study show that the quality of Indonesian democracy has decreased in recent years, partly due to the proliferation of political corruption practices, including money politics. Indonesia's prospects for a developed and stable democracy still require a long struggle, especially regarding serious eradication of political corruption, including corruption related to elections such as money politics.

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Dancing in Early Productions of The Beggar's Opera

Dance Research ◽

10.3366/drs.2015.0136 ◽

2015 ◽

Vol 33 (2) ◽

pp. 143-158

Author(s):

Jeremy Barlow ◽

Moira Goff

Keyword(s):

Political Corruption ◽

Italian Opera ◽

Box Office ◽

The Many

John Gay's The Beggar's Opera was accepted for production by John Rich, manager at the Theatre Royal, Lincoln's Inn Fields, and received its premiere in January 1728. With its twin satirical targets of Italian opera and political corruption, and its fresh approach to musical entertainment, the opera had an unprecedented success during its first season and continued to be performed every year in London for the remainder of the century. Alongside the many songs, the libretto indicates three contrasting ensemble dances, introduced at key moments of the drama. These dances have been overlooked in most studies of The Beggar's Opera. The article investigates the significance of the dances within the ballad opera, the dancers who may have performed them and what they may have been dancing. Each dance and its music is analysed in detail, and placed within the context of the dance repertoire and wider theatrical background at Lincoln's Inn Fields. The authors also demonstrate the importance of dance in attracting audiences at Lincoln's Inn Fields; and show how, as box office receipts for The Beggar's Opera eventually declined, Rich stimulated demand by introducing divertissements and entr'acte dances unrelated to the show.

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