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

2022 ◽  
Vol 21 (2) ◽  
pp. 256-265
Author(s):  
I Wayan Dana ◽  
Ni Kadek Juni Artini
Keyword(s):  
Cultural Context ◽  
Qualitative Method ◽  
Active Role ◽  
Cultural Resilience ◽  
Traditional Art ◽  
The Arts ◽  
Large Trees ◽  
Traditional Arts ◽  
Male Dancers

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. 

What Do We Know that Varèse Didn’t?

2015 ◽  
Vol 20 (1) ◽  
pp. 23-29
Author(s):  
Rajmil Fischman
Keyword(s):  
Cultural Context ◽  
Sound Production ◽  
Technological Development ◽  
Active Role ◽  
Strategic Decisions ◽  
Popular Art ◽  
Sound Control ◽  
Cultural Artefact ◽  
Insight Into

This article reflects on significant technological, musical and cultural processes that took place since Varèse envisioned the concept oforganised sound: understanding these processes may provide a strategic vantage point from which to gain insight into our evolving attitude to modern aesthetic and technological development and thus formulate informed strategic decisions concerning our relationship with the latter. The discussion begins by focusing on technological processes, including accelerated change, cycles of enhancement, obsolescence, retrieval and reversal, and the non-neutrality of technology. This is followed by a focus on musical issues resulting from the decoupling of sound control from sound production, interactivity, the expansion towards time-based media and the possible active role of audiences in the realisation of music. Discussion is then posited within the wider cultural context of modernism and the postmodern era, the eroding popular/art divide and the obsolescence of music as a cultural artefact resulting from technological change. This leads to the conclusion, which identifies tentative learning outcomes that may be helpful in formulating future strategic decisions.

scholarly journals REPRESENTASI KOMUNIKASI BUDAYA “NGARAK PENGANTIN BUAYA PUTIH” DALAM PERUBAHAN SOSIAL MASYARAKAT PADARINCANG

2017 ◽  
Vol 10 (2) ◽  
pp. 22
Author(s):  
Rahmi Mulyasih ◽  
Ahmad Sururi
Keyword(s):  
Social Change ◽  
Data Collection ◽  
Cultural Communication ◽  
Communication Model ◽  
Traditional Art ◽  
Community Activities ◽  
The Arts ◽  
Traditional Arts ◽  
The Impact ◽  
Made In

As one part of local wisdom, traditional art of Ngarak Pengantin Buaya Putih in Padarincang Village, Serang Regency experienced various dimensions of change in facing social change. The tendency is that people are slowly starting to display the outside culture in the wedding. This indicates a social change in Padarincang society, this social change is characterized by the reluctance of some younger generation to preserve the arts of " Ngarak Pengantin Buaya Putih ". The purpose of this study is to find out how the representation of cultural communication of White Buaya bride in the changes of social change at this time, the identification of efforts made in maintaining the traditional arts of white crocodile bride, the obstacles faced and the model of cultural communication in social change. The method used in this study is phenomenology with data collection techniques using interviews, observation and documentation. The results of the study and discussion show that the interaction and transactional communication model between Padarincang community and the outside community has resulted in the impact of social change which resulted in the local cultural stragnation. Although Padarincang society still strives to maintain the existence of art of " Ngarak Pengantin Buaya Putih " in the middle of social change and communication model that occurs in a responsive and transactional interaction. Various efforts of the stakeholders have been done in maintaining the existence of art of white crocodiles bride like the presence of sanggar, socialization and appreciation of local art displays in various community activities.

scholarly journals Strategi Dinas Perpustakaan dan Arsip Daerah (DPAD) Provinsi Jambi dalam Mengembangkan Perpustakaan Berbasis Inklusi Sosial untuk Mewujudkan Masyarakat Literate

2021 ◽  
pp. 93-107
Author(s):  
Khairunisa Khairunisa ◽  
Wenny Dastina ◽  
Buchari Katutu
Keyword(s):  
Data Collection ◽  
Private Sector ◽  
Program Development ◽  
Social Inclusion ◽  
Qualitative Method ◽  
Active Role ◽  
Limited Budget ◽  
Literate Society ◽  
Sampling Approach

ABSTRACT Introduction. The purpose of this study was to determine the Jambi Province DPAD Strategy in developing a Social Inclusion-Based Library to Create a Literate Society, constraining factors in developing a social inclusion-based library in an effort to create a literate community in the Jambi Province Regional Library and Archives Service, and the efforts made to overcome these obstacles. Data Collection Metod. This study used a descriptive qualitative method with a purposive sampling approach. Resilt and Discussions. The results of this study indicate that there are several strategies implemented by DPAD Jambi Province in developing social inclusion in libraries, namely: involving the active role of librarians, issuing policy regulations and forming a Synergy Team, holding stakeholder meetings, Launcing Ipustaka Jambi, and carrying out activities advocacy Peer Learning Meeting. The obstacles faced by the Jambi Province Regional Library and Archives Office in developing social inclusion- based libraries are limited budget funds and networks. As for the efforts made by the Regional Library and Archives Office of Jambi province in overcoming the constraints of developing social inclusion-based libraries, namely establishing cooperation with various parties, both from the province, district and private sector and utilizing the existing budget optimally. Conclusions. Based on the research that has been done on the DPAD strategy in developing a social inclusion-based library. With this strategy, it is hoped that this social inclusion program can run well and can be developed for program development in program recipient libraries, namely district libraries and village libraries. Keyword: Strategi, Inklusi Sosial, Perpustakaan Umum, Masyarakat Literate

scholarly journals AJARAN AGAMA HINDU SEBAGAI INSPIRASI PENCIPTAAN KARYA SENI LUKIS TRADISIONAL BALI

2020 ◽  
Vol 9 (1) ◽  
pp. 158
Author(s):  
I Wayan Agus Gunada
Keyword(s):  
Qualitative Method ◽  
Qualitative Data ◽  
Spiritual Values ◽  
Traditional Art ◽  
Hindu Religion ◽  
Pragmatic Research ◽  
Religious Teaching ◽  
The Creation ◽  
First Time

AbstrakPenelitian ini merupakan bentuk analisis serta kajian mengenai peran ajaran agama Hindu dalam proses penciptaan karya seni lukis umumnya seni lukis tradisional Bali. Seni lukis sebagai bagian dari seni rupa di Bali berkembang cukup pesat, dimana terdapat dua dikotomi seni lukis di Bali yaitu seni lukis tradisional di Bali dan Seni lukis modern. Seni lukis tradisional Bali merupakan bentuk seni lukis yang proses pembuatannya masih menggunakan tradisi-tradisi baik proses pembuatan dan bahan-bahan yang tradisional walaupun kini sudah umum ditemukan menggunakan alat serta bahan yang sudah tergolong modern, dan seni lukis tradisional Bali ini yang sudah berlangsung sejak dulu yaitu terdapat pakem-pakem serta prinsip yang dilakukan ketika proses penciptaan karya tersebut dikreasikan. Ketika seorang pelukis mencipta sebuah karya maka realita dan imajinasi menjadi sumber ide namun Seni lukis tradisional Bali memiliki ciri khasnya yang sangat kentara ketika dilihat secara langsung, yaitu penggambaran objek bentuk karyanya yang cenderung mengambil bentuk-bentuk alam, cerita-cerita rakyat, mitologi serta ajaran-ajaran agama Hindu yang direinterpretasikan melalui bentuk simbol-simbol didalamnya. Sehingga sebagian besar tema-tema yang dihadirkan dalam seni lukis tradisional Bali adalah mengimajinasikan ajaran-ajaran agama Hindu yang kental akan nilai-nilai spiritual dan memiliki nilai-nilai magis kedalam sebuah karya yang tidak hanya sekedar memuaskan pengalaman keindahan namun secara tidak langsung juga menjadi media wahana pengajaran ajaran agama Hindu. Penelitian ini bertujuan untuk menggambarkan bagaimana ajaran agama Hindu menjadi sumber inspirasi dalam penciptaan karya seni lukis tradisional Bali. Metode yang digunakan dalam mengkaji fokus penelitian ini adalah metode penelitian kualitatif deskriftif dengan pendekatan studi fenomenologi yaitu penelitian menggunakan data-data kualitatif untuk menggambarkan fenomena-fenomena ajaran agama Hindu yang menjadi sumber inspirasi penciptaan. Secara pragmatis penelitian ini diharapkan berdampak dalam memberikan informasi dan menambah wawasan terkait keberadaan seni lukis tradisional Bali sebagai bentuk kekayaan budaya bidang seni yang masih hidup serta keberadaannya yang masih lestari dan hidup di Bali.Kata Kunci: hindu, seni, lukis tradisional, bali.AbstractThis research is a form of analysis and study of the role of the Hindu religion in the process of creation of art painting generally traditional Balinese painting. Art painting as part of the art in Bali develops quite rapidly, where there is two art dichotomy in Bali is a traditional art painting in Bali and the art of modern paint. Traditional Balinese painting is a form of art painting that process is still using the traditions of both the making process and traditional materials although it is now common to be found using tools and materials that are already relatively modern, and the traditional Balinese painting that has been held since the first time is there are pakem and the principle that is done when the process of creation of the work is Reincreikan. When a painter creates a masterpiece, the reality and imagination become the source of ideas but the traditional Balinese painting has its distinctive characteristic when viewed directly, that is the depiction of the object of his form that tends to take the forms of nature, folklore, mythology, and teachings of Hindu religion that is interpreted by the form of symbols inside. So most of the themes presented in the art of traditional Balinese painting are too imaginative Hindu teachings that are strong in spiritual values and have magical values into a work that not only satisfies the experience of beauty but indirectly also becomes a medium of religious teaching of Hindu teachings. This research aims to illustrate how Hinduism's teachings are a source of inspiration in the creation of traditional Balinese art paintings. The method used in reviewing the focus of this research is a qualitative method of research with the approach of phenomenology study using qualitative data to describe the phenomena of Hindu religious teachings that are the source of the inspiration of creation. Pragmatic research is expected to have an impact on providing information and adding insight related to the existence of traditional Balinese art painting as a form of cultural richness of living arts and its existence that is still sustainable and living in Bali. Keywords: hindu, art, traditional painting, bali

scholarly journals TEACHING STRATEGY OF AL-ISLAM TEACHER ON INCREASING STUDENT’S MORALITY IN 9 GRADE OF SMP MUHAMADIYAH 15 SURABAYA

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Ahmad Fathullah
Keyword(s):  
Moral Education ◽  
Qualitative Method ◽  
Teaching Strategy ◽  
Active Role ◽  
Research Data ◽  
Family Factors ◽  
Moral Formation ◽  
And Behavior ◽  
Student’S Attitude

This study aimed to determine the role of teacher to student's morality education, the strategy of Al - Islam teacher to improve student morality, the supporting factors and inhibitors in building student's morality of 9 grade student in SMP Muhammadiyah 15 Surabaya. This study used descriptive qualitative method. The research data were collected by using observation, interview and documentation method, then analyzed by using inductive approach and validity test. The results indicated that: activities of moral formation that teachers do i.e. night prayer, tahfidz Qur'an, and dzuhur praying in congregation. Teaching strategies of PAI Teacher used inquiry strategies, approached to student by using a variety of methods such as lecturing method, habituation method, and counseling method. The supporting factors: (a) family factors or parent who has very active role to participate in fostering student's morality, (b) environment or community around the school, (c) the environment around student's residence has been thick with religious thing, (d) school’s rules to prevent student's delinquency. Inhibiting Factors are (a) there was no enough time to foster much morality on student. (b) Lack of school's provision. (c) Different student's attitude and behavior. (d) Uncontrollable student association. (e) Lack of students’ awareness to attend activities required by the school. (f) Inadequate supporting facilities and infrastructures. (g) The widespread of information today. Keywords: Role, Strategy, Moral Education

scholarly journals CULTURAL RESILIENCE IN KAMPUNG MAHMUD AS AN EFFORT TO PRESERVE HISTORIC AREA

2019 ◽  
Vol 5 (3) ◽  
pp. 151-158
Author(s):  
Cynthia Puspitasari
Keyword(s):  
Cultural Heritage ◽  
Qualitative Method ◽  
Resilience Theory ◽  
Cultural Resilience ◽  
City Life ◽  
Important Object ◽  
Object Of Study ◽  
The City ◽  
Historic Area

In order to achieve the concept of sustainable cities and communities, the historical and cultural richness of a city becomes one of the main sustainability modalities. The historical and cultural heritage of a city should be an important object protected by its existence and provide an identity. One of the important cultural heritages around Bandung is Kampung Mahmud. Kampung Mahmud is located 1.5 kilometres from the city of Bandung. This traditional village still holds the customs as cultural heritage and contribute to the development and spread of Islam in the city of Bandung. The existence of this village becomes an irony when its location lies between city life with all its modernity. How can the traditional kampung be able to have cultural resilience against other influences and challenges that can threaten sustainability? The study aimed to find the role of cultural resilience in Kampung Mahmud. The method used is a qualitative method that relates the instrument of cultural resilience theory to the facts that occur in the object of study. The output of this research is the principles of cultural resilience is successfully applied to Kampung Mahmud and can be an example for other regions.

scholarly journals PSIKOLOGIS DALAM SENI: KATARSIS SEBAGAI REPRESENTASI DALAM KARYA SENI RUPA

2020 ◽  
Vol 2 (2) ◽  
pp. 105
Author(s):  
Ernawati Ernawati
Keyword(s):  
Visual Arts ◽  
Personal Experience ◽  
Visual Art ◽  
Qualitative Method ◽  
Multidisciplinary Approach ◽  
Visual Image ◽  
Psychological Aspects ◽  
Visual Elements ◽  
The Arts

Tujuan penelitian ini adalah mengungkap peran aspek psikologis katarsis dalam karya seni rupa. Prinsip seputar psikis dapat dipraktikan dalam karya seni, salahsatunya gerakan seni rupa kontemporer. Kajian karya berdasarkan aspek psikologis, salah satunya katarsis termasuk hal yang krusial untuk dilakukan.  Metode pada penelitian ini menerapkan metode kualitatif dengan pendekatan multidisiplin (psikologi seni dan semiotika). Hasil penelitian menunjukkan bahwa Perspektif lebih obyektif karena seniman sebagai kreator berbanding lurus dengan karya yang disajikan. Elemen visual yang dipilih dan disajikan seniman tersusun berdasarkan kemampuan kreatif menyusun citra visual yang berangkat dari aspek pengalaman yaitu berupa rasa khawatir/kegelisahan atau ketakutan yang mendasarinya dalam berkarya. Karya seni yang terwujud representasi dari dunia psikis seniman sebagai kreator. Pendekatan psikologis dalam berkarya dengan dipadukan kemampuan akademik dari aspek keilmuan seni rupa setidaknya mampu memperkaya keilmuan dalam keberagaman seni rupa. Dalam konstelasi seni rupa Indonesia kontemporer, kajian dari perspektif psikologis, khususnya katarsis pada karya seni berelasi dengan psikobiografi atau pengalaman pribadi seniman. This research aims to explore the role of catharsis psychological aspects in visual artwork. The principle surrounding the psychic can be practiced in the artwork. One of them is contemporary art movements. A study of works based on psychological aspects, one of which is cathartic includes the crucial thing to do.  The method in this study implements a qualitative method with a multidisciplinary approach (the psychology of Art and semiotics). The results show that perspective is more objective because the artist as a creator is directly proportional to the work showed.The selected and presented visual elements by the artist are arranged based on a creative ability to compose a visual image that influences the experience aspect of worry/anxiety or fear underlying it in the works. The artwork embodied is a representation of the part of a psychic artist as creator. The psychological approach of working combined with the academic ability of the science aspect of the arts is at least, capable of enriching science in the diversity of visual arts. In the constellation of contemporary Indonesian visual art, a study from a psychological perspective, especially catharsis on artwork relates to a psychobiography or an artist's personal experience.

scholarly journals Peran Sanggar Seni Apo Lagaan terhadap Kontinuitas Sape’ Karaang Dayak Bahau di Kota Samarinda Kalimantan Timur

2021 ◽  
Vol 1 (2) ◽  
pp. 93-106
Author(s):  
Fernando Yonathan Tuah ◽  
Asril Gunawan ◽  
Zamrud Whidas Pratama
Keyword(s):  
Data Analysis ◽  
Qualitative Method ◽  
Research Data ◽  
Cultural Preservation ◽  
Government Agencies ◽  
Literature Study ◽  
Analysis Technique ◽  
Traditional Arts

Abstract: The art studio Apo Lagaan first appeared in Samarinda in 2007 and is still going on today. The Apo Lagaan art studio is an art studio that focuses on the traditional arts of the Bahau Dayak, especially the music of sape' karaang. This study aims to reveal the form of the Apo Lagaan Art Studio's role, the form of presentation of sape' karaang, and the meaning contained in the game. This study uses a qualitative method. The observation technique used includes the object of research and the determination of informants. The data collection techniques of this research include literature study, interviews, and documentation. The research data analysis technique is carried out by utilizing the data that has been found in the field. The results showed that the Apo Lagaan Art Studio had a role in the continuity of the sape' karaang in Samarinda City. The role of the Apo Lagaan Art Studio on the continuity of the sape' karaang in Samarinda City is carried out through studio activities related to activities, training, and performances of traditional Dayak Bahau music and dance. In addition, the Apo Lagaan art studio has also expanded its partnerships to several government agencies and schools to provide education to the general public about the importance of cultural preservation, especially by the younger generation.   Abstrak: Sanggar seni Apo Lagaan pertama kali muncul di Samarinda pada tahun 2007 dan masih bertahan hingga saat ini. Sanggar seni Apo Lagaan merupakan sanggar seni yang berfokus pada bidang kesenian tradisi Dayak Bahau khususnya musik sape’ karaang. Penelitian ini bertujuan mengungkap bentuk peran Sanggar Seni Apo Lagaan dan bentuk penyajian sape’ karaang serta makna yang terkandung dalam permainannya. Penelitian ini menggunakan metode kualitatif. Teknik observasi yang digunakan meliputi objek penelitian dan penentuan informan. Teknik pengumpulan data penelitian ini antara lain studi pustaka, wawancara, dan dokumentasi. Teknik analisis data penelitian dilakukan dengan memanfaatkan data-data yang telah ditemukan lapangan. Hasil penelitian menunjukkan bahwa sanggar seni Apo Lagaan memiliki peranan terhadap kontinuitas sape’ karaang di Kota Samarinda. Peranan Sanggar Seni Apo Lagaan terhadap kontinuitas sape’ karaang di Kota Samarinda dilakukan melalui aktivitas sanggar yang terkait dengan kegiatan, pelatihan, dan pementasan musik dan tari tradisi Dayak Bahau. Di samping itu, sanggar seni Apo Lagaan juga memperluas kemitraannya ke beberapa instansi pemerintah dan sekolah-sekolah guna untuk memberikan edukasi kepada masyarakat awam akan pentingnya pelestarian budaya terutama oleh generasi muda.

scholarly journals Constructing Meaning in Learning Containing the Living Environment

2020 ◽  
Vol 9 (1) ◽  
Author(s):  
R Wuryaningrum ◽  
F Aziz
Keyword(s):  
Environmental Sustainability ◽  
Cultural Context ◽  
Procedural Knowledge ◽  
Active Role ◽  
Living Environment ◽  
Linguistic Strategies ◽  
The Social ◽  
Descriptive Knowledge ◽  
Constructing Meaning

This research aims to describe the teacher's explanation in constructing the meaning of learning containing the living environment in Indonesia. This research uses descriptive explanatory method. The research was conducted by observing and analyzing classroom learning discourse in elementary schools labeled Adiwiyata or school whose learning is related to the living environment education. The results of the study show that the teacher's explanation contains an explanation of the object, concepts, and procedures; the explanatory strategy used by the teacher is a knowledge-transforming with a reference to the social and cultural context of the society that consists of (1) religiosity (2) dependence between humans and the environment, (3) human values to preserve nature, (4) social and cultural ethics as basic human characteristics. Verbal or linguistic strategies show the teacher's awareness in using language with metaphors and expressions to motivate. Through a verbal strategy it is known that the teacher's explanation is done efferently and aesthetically. The teacher's explanation constructs the meaning of descriptive and procedural knowledge. Descriptive knowledge is knowledge that makes the learner knows or understands. Procedural knowledge makes the learner is able to. The role of teacher explanation is supported by the government's active role in environmental sustainability programs.

scholarly journals The Role of Stakeholder in Fostering Traditional Art Awareness (A Case Study of Sundanese Local Song ‘Cianjuran’ Artist Training in Sumedang Regency West Java, Indonesia)

2016 ◽  
Vol 16 (1) ◽  
pp. 87 ◽  
Author(s):  
Julia Julia
Keyword(s):  
Data Collection ◽  
Cultural Awareness ◽  
Stakeholder Participation ◽  
West Java ◽  
Traditional Art ◽  
Traditional Artists ◽  
Research And Education ◽  
Traditional Arts

<p>This paper examines the process of seeding or training of Sundanese Song Cianjuran by artists in Sumedang regency that is conducted by a stakeholder of Sundanese traditional arts. The study was conducted using descriptive analytic methods, and data collection was done through observation and interviews. Results from the study explained that stakeholder participation was vital and influential towards the existence of Sundanese Song Cianjuran, especially in growing cultural awareness and in generating candidates for local traditional artists.</p><p><strong>How to Cite:</strong> Julia. (2016). The Role of Stakeholder in Fostering Traditional Art Awareness (A Case Study of Sundanese Local Song ‘Cianjuran’ Artist Training in Sumedang Regency West Java, Indonesia). <em>Harmonia: Journal of Arts Research And Education</em>, 16(1), 87-94. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6005</p><p> </p>

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