The Meaning of Rejang Pingit Dance Performance at Geriana Kangin Village, Karangasem,  Bali in the Global Era

This article discusses the meaning of Renteng Dance in the Saren Village of Nusa Penida. In Bali, there are many ceremonial dances, but recently many people have created ceremonial dances inspired by the Renteng Dance. This study focuses on the forms and meanings of the Renteng Dance shown in Saren Village. Data collected through observation, documentation study, and interviews with informants were analyzed descriptively using aesthetic theory and reception. It can be concluded that the people of Saren Village performed the Renteng Dance in the form of tari lepas which is a dance performance without stories. This can be seen from the presentation, choreography, and the music accompanying the performance. Renteng dance is accompanied by Balinese gamelan Balaganjur music with a specific movement dance performance structure. Saren community members support this dance because it has meaning as an expression of faith, social concern, and the interest in ecological preservation.

Download Full-text

The Meaning of Pura Agung Surya Bhuvana (PASB) in the Religious Lives in Jayapura in The Global Era

Humaniora ◽

10.21512/humaniora.v11i1.6222 ◽

2020 ◽

Vol 11 (1) ◽

pp. 59

Author(s):

I Wayan Rai S ◽

I Gusti Made Sunartha ◽

Ida Ayu Made Purnamaningsih ◽

Ni Made Ruastiti ◽

Yunus Wafom

Keyword(s):

Qualitative Method ◽

Multicultural Society ◽

Religious Activities ◽

Functional Theory ◽

Global Era ◽

The People ◽

Research Problems ◽

Data Source ◽

Religious Theory ◽

The Temple

The aim of this research was to be able to understand the meaning of the Pura Agung Surya Bhuvana (PASB) for the harmony of religious life in Jayapura in the global era. Lately, people’s lives in Jayapura had been highlighted by frequent turmoil. The research problems were (1) why did non-Hindus in Jayapura often visit the Pura Agung Surya Bhuvana? (2) How did they understand the Agung Surya Bhuvana temple in this global era? This research used a qualitative method. The data source of this research was the life of a multicultural society in the Agung Surya Bhavana temple in the global era. The selected informants included the chairperson of Parisada Hindu Dharma Indonesia Jayapura, chairperson of Parisada Hindu Dharma Indonesia Papua, stakeholders, pengempon, penyungsung, and temple visitors both Hindus and non-Hindus who often come to visit the temple. All data collected through observation techniques, interviews, FGDs, and documentary studies that were analyzed descriptively interpretatively using religious theory, symbol theory, and structural-functional theory. The results show that (1) Non-Hindus in Jayapura often visit the Agung Surya Bhuvana temple because Hindus at the temple are very kind, friendly welcoming them, often involved in religious activities at the temple, for sightseeing, for meetings between residents. (2) The people in Jayapura in this global era interpret Agung Surya Bhuvana temple as a place of worship, a meeting place for religious followers, a place of art, a place to strengthen multicultural life (multiculturalism), and as a vehicle to strengthen national integration.

Download Full-text

KOMUNIKASI SIMBOLIK TARI BARIS DAPDAP DALAM UPACARA PITRA YADNYA (NGABEN) DI BANJAR BEBALI DESA BEREMBENG KECAMATAN SELEMADEG KABUPATEN TABANAN

Jurnal Penelitian Agama Hindu ◽

10.25078/jpah.v2i1.467 ◽

2018 ◽

Vol 2 (1) ◽

pp. 187

Author(s):

I Gusti Ngurah Minanda Putra ◽

I Nengah Aryanatha ◽

I Ketut Wardana Yasa

Keyword(s):

Symbolic Interactionism ◽

Qualitative Method ◽

Research Approach ◽

Aesthetic Theory ◽

Dance Performance ◽

Symbolic Communication ◽

The People ◽

The Dead ◽

Sacred Dance

Tari Baris Dapdap is categorized in one of the scared dances. The performance of the scared dance influences the understanding of the society to the symbols related to the sacred dance performance. Symbolic Communication is done to find the same value that exists in the performance of Tari Baris Dapdap.Based on the background of the study, the problem of studies which were conducted in the study are: (1) How is the existance of Tari Baris Dapdap in Upacara Pitra Yadnya in Banjar Bebali Berembeng, Selemadeg Regency, Tabanan? (2) How is the Symbolic Communication that is contained in the performance of Tari Baris Dapdap in Upacara Pitra Yadnya in Banjar Bebali Berembeng, Selemadeg Regency, Tabanan? (3) What is the function of Tari Baris Dapdap in Upacara Pitra Yadnya in Banjar Bebali Berembeng, Selemadeg Regency, Tabanan? In identifying the problem of study, the theory used in this study is aesthetic theory, symbolic interactionism and structural functional. In analyzing the problem of study, the study used some methods, which are: research approach using qualitative method. The result of this study are: (1) The existance of Tari Baris Dapdap in Upacara Pitra Yadnya is still being preserved by the villager in Banjar Bebali as the worthy ancestral heritage. The dancer of Tari Baris Dapdap are the adult people with simple make-up, dress and gambelan, yet it is sacred. The dance is performed in the house of the dead (rumah ngaben); (2) Tari Baris Dapdap is the symbol of a sincere devotion of the people in Banjar Bebali; (3) Tari Baris Dapdap in Banjar Bebali is a sacred dance, which is special only for Upacara Pitra Yadnya and has the religious, social and aesthetics functions.

Download Full-text

Analisis Koreografi Tari Ganjur Pada Upacara Adat Erau Kutai Kertanegara Kabupaten Kutai Kertanegara, Kalimantan Timur

JOGED ◽

10.24821/joged.v10i2.1886 ◽

2017 ◽

Vol 10 (2) ◽

pp. 517-532

Author(s):

Agus Yulianti

Keyword(s):

Surrounding Area ◽

Dance Movement ◽

Dance Performance ◽

Classical Dance ◽

Art Form ◽

The People ◽

City District ◽

Evil Spirits ◽

Musical Accompaniment ◽

Male Dancers

Tari Ganjur merupakan kesenian yang berbentuk ritual dalam sebuah upacara adat yaitu Upacara Erau adat Kutai Kartanegara Ing Martadipura, yang dilestarikan oleh masyarakat kota Tenggarong, kabupaten Kutai Kartanegara, Kalimantan Timur.Tari Ganjur merupakan tarian Klasik yang dimiliki oleh Kesultanan Kutai Kartanegara Ing Martadipura dalam bentuk koreografi kelompok, karena dapat dilihat dari bentuk pertunjukan tari ganjur yang ditarikan oleh empat penari laik-laki. Di dalam tari Ganjur menggunakan sebuah properti Gada yang biasa disebut dengan ganjur. Tari Ganjur menggambarkan seorang pangeran yang sedang menjaga keamanan tiang ayu agar pada saat acara Bepelas Sultan tidak diganggu oleh roh-roh jahat. Tari Ganjur mengenakan busana atasan miskat sedangkan bawahannya mengenakan celana panjang berwarna hitam dipadukan dengan sarung Samarinda. Rias penari menggunakan rias natural, serta iringan tari menggunakan seperangkat alat gamelan Kutai.Dalam hal ini yang menjadi pokok permasalahan adalah analisis koreografi tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura. Untuk menjawab permasalahan tersebut, maka akan meminjam teori Y. Sumandiyo Hadi mengenai Koreografi Bentuk-Teknik-Isi. Menurut Y. Sumandiyo Hadi ketiga konsep bentuk, teknik, dan isi ini tidak dapat dipisahkan dalam sebuah pertunjukan tari. Dalam penelitian ini tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura dapat ditinjau dari aspek bentuk, teknik, dan isi. Aspek bentuk tari Ganjur terbagi menjadi tiga bagian, pembagian ini terlihat dari perpindahan iringan musiknya. Aspek teknik gerak tari Ganjur terdapat kesamaan dengan gerak tari Klasik yang ada di Surakarta dan Yogyakarta. Aspek isi tari Ganjur bertemakan keamanan yang bertujuan untuk menjaga keamanan daerah sekeliling Tiang Ayu. Kehadiran tari Ganjur dalam upacara Erau adat Kutai Kartanegara Ing Martadipura sangat berperan penting dalam acara bepelas sultan, karena kehadirannya diperuntukan menurunkan Pangeran Sri Ganjur untuk menjaga keamanan tiang ayu dari roh-roh jahat, dan kehadirannya selalu ada pada malam Bepelas Sultan. Ganjur dance is a ritual art form in a traditional ceremony that is customary Erau ceremony Kutai Ing Martadipura, preserved by the people of Tenggarong city, district, Kutai, East Borneo. Ganjur dance a classical dance that is owned by the Sultanate of Kutai Ing Martadipura in the form of choreography Group, because it can be seen from the form of dance performances ganjur danced by four male-male dancers. In Ganjur dance uses a property called Gada commonly called ganjur. Ganjur Dance depicts a prince who is guarding the security pole so that at the time of the Sultan Bepelas event is not disturbed by evil spirits. Ganjur Dance wearing a clothing top miskat while his subordinates dressed in black trousers combined with sarong Samarinda. The dancers makeup using natural makeup, dance accompaniment using a set of Kutai gamelan instruments.In this case an issue of concern is the analysis of dance choreography Ganjur Ceremony Indigenous Erau Martadipura Kutai Ing. To answer these problems, it will borrow Y. Sumandiyo Hadi theory regarding Choreography Form-Fill-technique. According to Y. Sumandiyo Hadi these three concepts of form, technique, and content can not be separated in a dance performance. In this study dance Ganjur Ceremony Indigenous Erau Kutai Ing Martadipura can be viewed from the aspect of forms, techniques, and content. Aspects of dance form Ganjur is divided into three parts, this division is seen from the transfer of musical accompaniment. Techniques of motion dance movement Ganjur there are similarities with Classical dance movement in Surakarta and Yogyakarta. Aspects of dance contents Ganjur themed security that aims to maintain the security of the surrounding area Tiang Ayu. The presence of dance in the ceremony Ganjur custom Erau Kutai Ing Martadipura very important role in the event bepelas sultan, because his presence is intended to lower the Prince Sri Ganjur to maintain the security of ayu pole of evil spirits, and his presence is always there at night Bepelas Sultan.

Download Full-text

Analisis Koreografi Tari Ganjur Pada Upacara Adat Erau Kutai Kertanegara Kabupaten Kutai Kertanegara, Kalimantan Timur

JOGED ◽

10.24821/joged.v8i2.1886 ◽

2017 ◽

Vol 8 (2) ◽

pp. 517-532

Author(s):

Agus Yulianti

Keyword(s):

Surrounding Area ◽

Dance Movement ◽

Dance Performance ◽

Classical Dance ◽

Art Form ◽

The People ◽

City District ◽

Evil Spirits ◽

Musical Accompaniment ◽

Male Dancers

Tari Ganjur merupakan kesenian yang berbentuk ritual dalam sebuah upacara adat yaitu Upacara Erau adat Kutai Kartanegara Ing Martadipura, yang dilestarikan oleh masyarakat kota Tenggarong, kabupaten Kutai Kartanegara, Kalimantan Timur.Tari Ganjur merupakan tarian Klasik yang dimiliki oleh Kesultanan Kutai Kartanegara Ing Martadipura dalam bentuk koreografi kelompok, karena dapat dilihat dari bentuk pertunjukan tari ganjur yang ditarikan oleh empat penari laik-laki. Di dalam tari Ganjur menggunakan sebuah properti Gada yang biasa disebut dengan ganjur. Tari Ganjur menggambarkan seorang pangeran yang sedang menjaga keamanan tiang ayu agar pada saat acara Bepelas Sultan tidak diganggu oleh roh-roh jahat. Tari Ganjur mengenakan busana atasan miskat sedangkan bawahannya mengenakan celana panjang berwarna hitam dipadukan dengan sarung Samarinda. Rias penari menggunakan rias natural, serta iringan tari menggunakan seperangkat alat gamelan Kutai.Dalam hal ini yang menjadi pokok permasalahan adalah analisis koreografi tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura. Untuk menjawab permasalahan tersebut, maka akan meminjam teori Y. Sumandiyo Hadi mengenai Koreografi Bentuk-Teknik-Isi. Menurut Y. Sumandiyo Hadi ketiga konsep bentuk, teknik, dan isi ini tidak dapat dipisahkan dalam sebuah pertunjukan tari. Dalam penelitian ini tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura dapat ditinjau dari aspek bentuk, teknik, dan isi. Aspek bentuk tari Ganjur terbagi menjadi tiga bagian, pembagian ini terlihat dari perpindahan iringan musiknya. Aspek teknik gerak tari Ganjur terdapat kesamaan dengan gerak tari Klasik yang ada di Surakarta dan Yogyakarta. Aspek isi tari Ganjur bertemakan keamanan yang bertujuan untuk menjaga keamanan daerah sekeliling Tiang Ayu. Kehadiran tari Ganjur dalam upacara Erau adat Kutai Kartanegara Ing Martadipura sangat berperan penting dalam acara bepelas sultan, karena kehadirannya diperuntukan menurunkan Pangeran Sri Ganjur untuk menjaga keamanan tiang ayu dari roh-roh jahat, dan kehadirannya selalu ada pada malam Bepelas Sultan. Ganjur dance is a ritual art form in a traditional ceremony that is customary Erau ceremony Kutai Ing Martadipura, preserved by the people of Tenggarong city, district, Kutai, East Borneo. Ganjur dance a classical dance that is owned by the Sultanate of Kutai Ing Martadipura in the form of choreography Group, because it can be seen from the form of dance performances ganjur danced by four male-male dancers. In Ganjur dance uses a property called Gada commonly called ganjur. Ganjur Dance depicts a prince who is guarding the security pole so that at the time of the Sultan Bepelas event is not disturbed by evil spirits. Ganjur Dance wearing a clothing top miskat while his subordinates dressed in black trousers combined with sarong Samarinda. The dancers makeup using natural makeup, dance accompaniment using a set of Kutai gamelan instruments.In this case an issue of concern is the analysis of dance choreography Ganjur Ceremony Indigenous Erau Martadipura Kutai Ing. To answer these problems, it will borrow Y. Sumandiyo Hadi theory regarding Choreography Form-Fill-technique. According to Y. Sumandiyo Hadi these three concepts of form, technique, and content can not be separated in a dance performance. In this study dance Ganjur Ceremony Indigenous Erau Kutai Ing Martadipura can be viewed from the aspect of forms, techniques, and content. Aspects of dance form Ganjur is divided into three parts, this division is seen from the transfer of musical accompaniment. Techniques of motion dance movement Ganjur there are similarities with Classical dance movement in Surakarta and Yogyakarta. Aspects of dance contents Ganjur themed security that aims to maintain the security of the surrounding area Tiang Ayu. The presence of dance in the ceremony Ganjur custom Erau Kutai Ing Martadipura very important role in the event bepelas sultan, because his presence is intended to lower the Prince Sri Ganjur to maintain the security of ayu pole of evil spirits, and his presence is always there at night Bepelas Sultan.

Download Full-text

The responsibility for performing civil service of the local civil servants in Vietnam

Linguistics and Culture Review ◽

10.21744/lingcure.v6ns1.2036 ◽

2021 ◽

Vol 6 ◽

Author(s):

Ngo Sy Trung

Keyword(s):

Qualitative Method ◽

Quantitative Method ◽

Civil Service ◽

Secondary Data ◽

Civil Servants ◽

Government Agencies ◽

Research Results ◽

The People ◽

Level Government

The study was carried out by qualitative method through collecting secondary data, combined with quantitative method through surveying opinions of 450 managers of 250 representative commune-level government agencies for three regions of the country. Research results have confirmed: Attitude to serve the people (ASP) plays the most important role and has the strongest influence on the responsibilities for performing civil service of civil servants; Next is work responsibility (WR) and work consciousness (WC). From the results of this study, the author suggests some contents that need to be researched and adjusted for managers to improve the quality of local civil servants to meet the requirements of serving the people.

Download Full-text

Renteng Dance in Saren Village, Nusa Penida as a Source of Inspiration for the Creation of Ceremonial Dances in Bali

Harmonia Journal of Arts Research and Education ◽

10.15294/harmonia.v21i2.32199 ◽

2022 ◽

Vol 21 (2) ◽

pp. 232-245

Author(s):

Ni Made Ruastiti ◽

Anak Agung Indrawan ◽

I Ketut Sariada

Keyword(s):

Performing Arts ◽

Qualitative Method ◽

Aesthetic Theory ◽

Functional Theory ◽

Aesthetic Taste ◽

New Findings ◽

Study Results ◽

The Creation ◽

Musical Accompaniment ◽

Research Show

This article aims to discuss the Renteng Dance in Saren Village, Nusa Penida, which is actually the forerunner of the Rejang Renteng Dance performance, which is now widely danced by mothers in the context of the dewa yadnya ceremony in Bali. Supposedly, as the forerunner of ceremonial dance performances, the Balinese people know the Renteng Dance. However, in reality, this is not the case. Balinese people seem to know more about the Rejang Renteng Dance than the Renteng Dance. (1) What is the form of the Renteng Dance in Saren Village? (2) Why is the Renteng Dance the source of the creation of ceremonial dance in Bali? This study uses a qualitative method with research data sources such as Renteng Dance performances, dancers, musicians, traditional elders, community leaders, and journals related to research results. Aesthetic theory and structural-functional theory were used to analyze all the data gathered during the observation, interviews, and literature review. The study results show that: (1) the community in Saren Village presents Renteng Dance in the form of a freelance dance (without a play). It can be seen from the way of presentation, the structure of the show, the make-up of clothes, and the musical accompaniment of the performance; and (2) the existence of Renteng Dance is the source of the creation of ceremonial dance in Bali because it has a unique appearance that is easy to imitate, according to their aesthetic taste and faith. The new findings of this research show that the level of conflict, aesthetic taste, and faith of the actors greatly influence the development and preservation of the performing arts.

Download Full-text

Dekonstruksi Estetika dan Makna Musik Gamat di Sawahlunto, Sumatera Barat

RESITAL JURNAL SENI PERTUNJUKAN ◽

10.24821/resital.v16i1.1272 ◽

2016 ◽

Vol 16 (1) ◽

pp. 25-35

Author(s):

Murniati Murniati

Keyword(s):

Social Integration ◽

Qualitative Method ◽

Artistic Expression ◽

Aesthetic Theory ◽

Social Culture ◽

Research Results ◽

New Form ◽

Different Cultures

Keberagaman budaya masyarakat lokal terlihat dari kekayaan ekspresi seni budaya masyarakat,di antaranya terdapat pada musik gamat. Tulisan ini melihat dekonstruksi estetika dan makna darifenomena perubahan bentuk dan struktur sajian musik gamat di masyarakat. Untuk membahasnyadigunakan teori dekonstruksi dan estetika dengan metode kualitatif. Dekonstruksi estetika musikgamat merupakan bentuk baru dari unsur tradisi dan modern, terdiri atas struktur yang saling terkaitdan membentuk sebuah sistem. Berdasarkan bentuknya, struktur ketradisian musik gamat mengalamipercampuran pada idiom instrumen, tangga nada, struktur permainan dan peran musisi, strukturlagu-lagu, serta konteks dan waktu pertunjukan. Berdasarkan penelitian disimpulkan bahwa estetikakeberagaman terwujud dari rasa saling menerima antarbudaya yang berbeda dalam pertunjukanmusik gamat. Dekonstruksi estetika musik gamat mengandung makna makna pembauran, kreativitasdan ekspresi serta estetika multikultural.Deconstruction of Aesthetics and Meaning of Gamat Music in Sawahlunto, West Sumatra.The variety of local social culture can be seen in the richness of cultural artistic expression, among others is inGamat music. This study deconstructs the aesthetics and meaning of the phenomena of the changes in formand structure toward the presentation of Gamat music in that society. For this purpose the deconstructionaland aesthetic theory are used with qualitative method. The deconstruction of the aesthetics of Gamat musicrepresents a new form from the traditional and modern element. It consists of interrelated structure andforms a system. Seen from its form, the structure of the tradition of Gamat music undergoes the mixture ofinstrumental idiom, the scale, the structure of performance and the role of musicians, the structure of thepieces as well as the context and time of performance. From the research results, it may be concluded thatthe aesthetics of diversity is formed from the sense of mutual acceptance towards different cultures in theperformance of Gamat music. The deconstruction of the aesthetics of Gamat music embodies the meanings of social integration, creativity and expresssion, and multicultural aesthetics as well.

Download Full-text

UPAYA PENINGKATAN MUTU PENDIDIKAN DI PONDOK PESANTREN HJ. HANIAH MAROS SULAWESI SELATAN

EDUKASI Jurnal Penelitian Pendidikan Agama dan Keagamaan ◽

10.32729/edukasi.v10i2.162 ◽

2012 ◽

Vol 10 (2) ◽

Author(s):

Abdul Muin

Keyword(s):

Qualitative Method ◽

Healthy Lifestyle ◽

Boarding School ◽

Education Quality ◽

Quality Of Education ◽

The People ◽

Interest And Motivation

AbstractThe purpose of this paper is to reveal how the quality of education in this Islamic boarding school is, particularly related to education facilities, curriculum and strategies of education quality improvements. This study used the qualitative method. Findings of this study are: first, education infrastructure and facilities are relatively complete and adequate, which are supported by the atmosphere of the Islamic boarding school that is full of simplicity and modesty by habituation in implementing clean and healthy lifestyle. Second, the tafaqquh fi-al din (understanding of religion)-based curriculum compiled by the Islamic boarding school occupies the same degree (equal) to the curriculum prepared by the Ministry of Religious Affairs, so that both tafaqquh fi-al din (understanding of religion) studies and general studies have high electability, which is able to increase the quality of education and also generates interest and motivation of the people (parents) to put their children to the Islamic boarding school. Third, education in the Islamic boarding school has a strong independency because it is supported by substantial financial resources.AbstrakTujuan tulisan ini untuk mengungkapkan bagaimana mutu pendidikan di pondok pesantren ini, khususnya berkaitan dengan sarana pendidikan, kurikulum dan sterategi peningkatan mutu pendidikan. Penelitian ini menggunakan metode kualitatif. Hasil temuan studi ini adalah: Pertama, sarana dan fasilitas pendidikan relatif lengkap dan memadai, ini didukung oleh suasana kehidupan pondok pesantren yang penuh kesederhanaan dan kebersahajaan dengan pembiasaan menerapkan pola hidup bersih dan sehat. Kedua, kurikulum yang berbasis tafaqquh fi-al din yang disusun oleh pondok pesantren ini menempati derajat yang sama (equal) dengan kurikulum yang disusun Kementerian Agama, sehinga baik kajian tafaqquh fi al-din maupun pelajaran umum memiliki electabilitas yang tinggi, hal ini mampu meningkatkan mutu pendidikan dan sekaligus membangkitkan animo dan motivasi masyarakat (orangtua) untuk memasukkan anaknya ke pesantren ini. Ketiga, penyelenggaraan pendidikan di pondok pesantren ini memiliki kemandirian yang kuat, karena didukung oleh sumber dana yang besar.

Download Full-text

Komparasi Unsur Budaya (Kepercayaan) pada Masyarakat Talaga, Majalengka dan Masyarakat Nagoya, Jepang

Metahumaniora ◽

10.24198/metahumaniora.v7i3.18848 ◽

2017 ◽

Vol 7 (3) ◽

pp. 306

Author(s):

Asri Soraya Afsari

Keyword(s):

Qualitative Method ◽

Field Method ◽

The Other ◽

Survey Method ◽

Cultural Comparison ◽

Other Hand ◽

The People ◽

Descriptive Qualitative

AbstrakPenelitian ini bertujuan mengkaji perbandingan kepercayaan masyarakat Talagadi Majalengka dan masyarakat Nagoya di Jepang. Kepercayaan yang dimaksud dalampenelitian ini adalah kepercayaan yang berhubungan dengan tabu atau pamali dankepercayaan yang berhubungan dengan keberuntungan pada kedua masyarakat tersebut.Untuk mencapai tujuan tersebut digunakan metode deskripstif kualitatif. Dalam memupudata digunakan metode lapangan karena peneliti terjun langsung ke masyarakat. Disamping itu, digunakan pula metode survey melalui penyebaran daftar kuesioner. Hasilpenelitian menunjukkan bahwa bentuk kepercayaan yang berhubungan dengan tabu ataupamali pada masyarakat Talaga dan Nagoya meliputi kegiatan yang dilakukan oleh manusia.Adapun kepercayaan yang berhubungan dengan keberuntungan pada kedua masyarakattersebut berkaitan dengan binatang, benda, dan kegiatan manusia. Sampai saat ini baikmasyarakat Talaga maupun Nagoya masih memegang teguh kepercayaan tersebut.Kata kunci: kepercayaan, Talaga, Nagoya, deskriptif kualitatif, komparasi budaya.AbstractThe aim of this research is to review the comparison of belief between the society ofTalaga in Majalengka and the society of Nagoya in Japan. The intended belief on this study isthe one related with a taboo or pamali, and the belief correlated to luck on both societies. Inachieving the goal, this research uses a descriptive qualitative method. To get the data, thewriter uses a field method that he (/she) directly involves with the people. On the other hand,the writer also uses a survey method by distributing questioners. The result shows that the beliefcorrelated with the taboo or pamali of Talaga and Nagoya societies covers the activities doneby human. Also with the belief related to luck of both societies corresponds to animals, things,and human’s activities. Until now, either Talaga society or Nagoya’s still keeps those beliefs.Keyword: belief, Talaga, Nagoya, descriptive qualitative, cultural comparison.

Download Full-text