scholarly journals Pemertahanan Warisan Budaya Wayang Wong Gaya Yogyakarta dan Komodifikasinya untuk Atraksi Wisata di Kota Yogyakarta

Metahumaniora ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 68
Author(s):  
Prima Agustina
Keyword(s):  
Cultural Studies ◽  
Field Research ◽  
Tourist Attraction ◽  
Cultural Industry ◽  
Dance Movement ◽  
Dance Performance ◽  
Classical Dance ◽  
Intangible Heritage ◽  
Court Dance ◽  
The City

AbstrakWayang wong gaya Yogyakarta merupakan seni pertunjukan yang dasargerakannya adalah tari klasik gaya Yogyakarta atau Joged Mataram. Masyarakatmemanfaatkan warisan budaya wayang wong gaya Yogyakarta untuk atraksi wisata.Dalam perspektif kajian budaya, pemanfaatan tersebut merupakan industri budayayang menuntut komodifikasi. Data penelitian dikumpulkan dari kepustakaan,wawancara dengan pakar wayang wong gaya Yogyakarta, dan pengamatan di lokasipementasan, di tempat pembelajaran tari klasik di kota Yogyakarta. Hasil penelitianmenunjukkan bahwa untuk tujuan atraksi wisata pementasan wayang wong gayaYogyakarta mengalami perkembangan dan komodifikasi, tetapi masyarakat tetapmempertahankan aturan baku dari segi teknis tari dan penjiwaan dari para penarinya.Kata kunci: wayang wong, Yogyakarta, atraksi wisata, industri budaya, komodifikasiAbstractWayang wong is an outstanding dance performance in Java. Yogyakarta’s stylemeans that the dance movement has its basic on Yogyakarta’s classical court dance namedJoged Mataram. People in Yogyakarta present the show of this intangible heritage as touristattraction. Cultural studies acknowledge the practice as part of cultural industry whichrequire its commodification. Datas are obtained out of field research and litterature study:interviews with experts of wayang wong Yogyakarta style, observations in some classicaldance training societies in the city of Yogyakarta. The result indicate that transformation andcommodification in wayang wong performance occured due to tourist attraction. Nevertheless,communities continue their effort to preserve the court classical dance standard in term ofdance technicality and the highly controlled emotion of dancers expression.Keywords: wayang wong, Yogyakarta, tourist attraction, cultural industry,commodification.

scholarly journals Pemertahanan Warisan Budaya Wayang Wong Gaya Yogyakarta dan Komodifikasinya untuk Atraksi Wisata di Kota Yogyakarta

Metahumaniora ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 68
Author(s):  
Prima Agustina
Keyword(s):  
Cultural Studies ◽  
Field Research ◽  
Tourist Attraction ◽  
Cultural Industry ◽  
Dance Movement ◽  
Dance Performance ◽  
Classical Dance ◽  
Intangible Heritage ◽  
Court Dance ◽  
The City

AbstrakWayang wong gaya Yogyakarta merupakan seni pertunjukan yang dasargerakannya adalah tari klasik gaya Yogyakarta atau Joged Mataram. Masyarakatmemanfaatkan warisan budaya wayang wong gaya Yogyakarta untuk atraksi wisata.Dalam perspektif kajian budaya, pemanfaatan tersebut merupakan industri budayayang menuntut komodifikasi. Data penelitian dikumpulkan dari kepustakaan,wawancara dengan pakar wayang wong gaya Yogyakarta, dan pengamatan di lokasipementasan, di tempat pembelajaran tari klasik di kota Yogyakarta. Hasil penelitianmenunjukkan bahwa untuk tujuan atraksi wisata pementasan wayang wong gayaYogyakarta mengalami perkembangan dan komodifikasi, tetapi masyarakat tetapmempertahankan aturan baku dari segi teknis tari dan penjiwaan dari para penarinya.Kata kunci: wayang wong, Yogyakarta, atraksi wisata, industri budaya, komodifikasiAbstractWayang wong is an outstanding dance performance in Java. Yogyakarta’s stylemeans that the dance movement has its basic on Yogyakarta’s classical court dance namedJoged Mataram. People in Yogyakarta present the show of this intangible heritage as touristattraction. Cultural studies acknowledge the practice as part of cultural industry whichrequire its commodification. Datas are obtained out of field research and litterature study:interviews with experts of wayang wong Yogyakarta style, observations in some classicaldance training societies in the city of Yogyakarta. The result indicate that transformation andcommodification in wayang wong performance occured due to tourist attraction. Nevertheless,communities continue their effort to preserve the court classical dance standard in term ofdance technicality and the highly controlled emotion of dancers expression.Keywords: wayang wong, Yogyakarta, tourist attraction, cultural industry,commodification.

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

JOGED ◽  
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.

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

JOGED ◽  
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.

Transnational Habitus and Sociability in the City: Zimbabwean Migrants’ Experiences in Johannesburg, South Africa

2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Khangelani Moyo
Keyword(s):  
South Africa ◽  
Urban Space ◽  
Field Research ◽  
The South ◽  
Economic Networks ◽  
Social Field ◽  
Transnational Migrants ◽  
Telephone Calls ◽  
The City

Drawing on field research and a survey of 150 Zimbabwean migrants in Johannesburg, this paper explores the dimensions of migrants’ transnational experiences in the urban space. I discuss the use of communication platforms such as WhatsApp and Facebook as well as other means such as telephone calls in fostering the embedding of transnational migrants within both the Johannesburg and the Zimbabwean socio-economic environments. I engage this migrant-embedding using Bourdieusian concepts of “transnational habitus” and “transnational social field,” which are migration specific variations of Bourdieu’s original concepts of “habitus” and “social field.” In deploying these Bourdieusian conceptual tools, I observe that the dynamics of South–South migration as observed in the Zimbabwean migrants are different to those in the South–North migration streams and it is important to move away from using the same lens in interpreting different realities. For Johannesburg-based migrants to operate within the socio-economic networks produced in South Africa and in Zimbabwe, they need to actively acquire a transnational habitus. I argue that migrants’ cultivation of networks in Johannesburg is instrumental, purposive, and geared towards achieving specific and immediate goals, and latently leads to the development and sustenance of flexible forms of permanency in the transnational urban space.

TOURISM MOBILITY AT THE SUMMER OLYMPIC GAMES RIO 2016

2020 ◽  
Author(s):  
Amanda Cabral ◽  
Carolin Lusby ◽  
Ricardo Uvinha
Keyword(s):  
Olympic Games ◽  
Participant Observation ◽  
Field Research ◽  
Bus Rapid Transit ◽  
Rapid Transit ◽  
Structured Interviews ◽  
Tourist Attractions ◽  
Official Sources ◽  
The Relationship ◽  
The City

Sports Tourism as a segment is growing exponentially in Brazil. The sports mega-events that occurred in the period from 2007 to 2016 helped strengthen this sector significantly. This article examined tourism mobility during the Summer Olympic Games Rio 2016, hosted by the city of Rio de Janeiro, Brazil. This study expands the understanding of the relationship between tourism and city infrastructure, therefore being relevant to academics, professionals of the area and to the whole society due to its multidisciplinary field. The existence of a relationship between means of transportation and the Olympic regions as well as tourist attractions for a possible legacy was observed. Data were collected from official sources, field research and through participant-observation and semi structured interviews. Data were coded and analyzed. The results indicate that the city was overall successful in its execution of sufficient mobility. New means of transportation were added and others updated. BRT's (Bus Rapid Transit) were the main use of mass transport to Olympic sites. However, a lack of public transport access was observed for the touristic sites.

scholarly journals Neoliberal State Intervention and the Power of Community in Urban Regeneration: An Empirical Study of Three Village Redevelopment Projects in Guangzhou, China

2021 ◽  
pp. 0739456X2199466
Author(s):  
Siu Wai Wong ◽  
Xingguang Chen ◽  
Bo-sin Tang ◽  
Jinlong Liu
Keyword(s):  
Empirical Study ◽  
Urban Governance ◽  
Local Governance ◽  
Community Building ◽  
Field Research ◽  
Urban Regeneration ◽  
State Intervention ◽  
The State ◽  
Village Communities ◽  
The City

A key theme in urban governance research is how neoliberalism reshapes the state–society relationship. Our study on Guangzhou, where urban regeneration through massive redevelopment of “villages-in-the-city” uncovered interactions between the state, market, and community in local governance, contributes to this debate. Based on intensive field research to analyze three projects, we find that what really controls neoliberal growth in China is not simply the authoritarian tradition of the socialist state but also the power of the indigenous village communities. Our findings suggest that state intervention for community building is vital for rebalancing power relations between the state, market, and community.

Intégration et transformation d’une figure de la danse classique par la danse coréenne – une analyse comparée de la Pirouette en dehors et du Hanbaldeuleodolgi basée sur la notation Laban

2017 ◽  
Vol 56 (2) ◽  
pp. 309-327 ◽  
Author(s):  
Kyung-Eun Shim ◽  
Blandine Bril
Keyword(s):  
Detailed Analysis ◽  
20Th Century ◽  
Cultural Exchange ◽  
The West ◽  
Dance Movement ◽  
Classical Dance ◽  
Central Figure ◽  
Mechanical Constraints ◽  
Classical Ballet ◽  
Korean Dance

Due to cultural exchange between the West and Asia since the beginning of the 20th century, the Korean dance has integrated quite a few aspects of classical dance while transforming its figures. The transformation itself is what we are interested in. We focus on a central figure in classical ballet, la pirouette en dehors, which in the Korean dance is known as the Hanbaldeuleodolgi. Our research aims at understanding how is expressed in both cultures (France and Korea), a dance movement which comes under similar mechanical constraints (producing rotational forces) while displaying a unique aesthetic to each context. The detailed analysis of this figure is carried out based on the theory of Rudolf Laban.

scholarly journals A Field Study on Urban Rail Transits in City of Kuala Lumpur: Passenger Views on Train Noise and Vibration

2015 ◽  
Vol 773-774 ◽  
pp. 839-844 ◽  
Author(s):  
Mohd Idrus bin Mohd Masirin ◽  
Nur Farrina Johari ◽  
Noor Hafiza Nordin ◽  
Abdul Halid Abdullah ◽  
Mohd Isom Azis
Keyword(s):  
Research Work ◽  
Field Research ◽  
Sound Level ◽  
Urban Rail Transit ◽  
Vibration Velocity ◽  
Kuala Lumpur ◽  
The Public ◽  
Urban Rail ◽  
Noise Data ◽  
The City

Malaysia is a fast developing country which thrives on the growth of its population and economy. Kuala Lumpur is the capital of Malaysia with an area of 243 km2 has a population of 1.4 million [1]. From the statistics, the number of passengers using intercity train services in Malaysia in was 187,345,149 in the year 2012 [2]. Comfortability of a service is a major factor that influences the public. The research will be conducted at the City of Kuala Lumpur, PUTRA LRT (Kelana Jaya Line) and MONOREL Line is selected as the main focus of the research. The data collection will be conducted in the train coaches with two parameters. The noise and vibrations in the train coaches will be taken using the Sound Level Meter (NOR118) and Vibration Meter (Movipack 01dB-Steel) respectively. The noise data were obtained from the interior of the train coaches during operation, while the vibrations were obtained from the wall surface of the coach interior. The vibration aspect for this research is more focused on three parameters which are displacement (μm), vibration velocity (mm/s) and vibration frequency (Hz)[7]. Questionnaires were given out to the train passengers in order to obtain public opinions and satisfaction feedbacks relating their experiences on the train coaches. In this paper it also discusses on the outcomes of the field research work conducted and it was found that PUTRA LRT has a lower vibration value when compared to the MONOREL. The public opinion has also showed unanimous agreement to the field observations conducted by the researchers. However, MONOREL records lower noise levels compared to PUTRA LRT which means quieter journey experience to the commuters. It is hoped that this study will enable the operators to enhance their service weaknesses with the public playing a part in improving the urban rail transit in the City of Kuala Lumpur. Keywords:Comfortability,Noise,Vibration,LRT,MONOREL,

scholarly journals An Analysis of the Role of Lifestyle in Urban Tourism Sustainable Development (Case Study: Esfahan City)

2016 ◽  
Vol 11 (1) ◽  
pp. 209
Author(s):  
Arghavan Momtazpour ◽  
Masoud Taghvaei ◽  
Neda Rahmani
Keyword(s):  
Sustainable Development ◽  
Urban Space ◽  
Field Research ◽  
Simple Random Sampling ◽  
Urban Tourism ◽  
Statistical Population ◽  
The Sustainable Development ◽  
Cultural Elements ◽  
The City

Since urban space is one of the important places that tourism takes place, in order to create stability in tourism, the interaction between tourism planning and urban sustainable development should be investigated with regard to cultural elements. Lifestyle is derived from culture as a social phenomenon and affects it and is a reflection of human thoughts in relation with behavior, ethics and culture. Therefore, this aim of this research is to investigate the role of lifestyle in urban tourism sustainable development in Esfahan city, the third most populous city in Iran. This research’s goal is Practical and developmental and about the origin and method, it is descriptive, analytical and casual that has been done in a field research method. The statistical populations of this research are: tourism custodians, tourism experts, national tourists who have travelled to Esfahan city and local residents of all 15 municipal districts of the city. Simple random sampling method was utilized and 838 questionnaires were gathered from 4 statistical populations. In order to analyze the data, factor analysis test was utilized by smart PLS software. The results show that there are meaningful connections among the variables “lifestyle”, “sustainable development” and “urban tourism”. The most frequent factor that was selected by respondents for the concept of lifestyle in the statistical population was sociocultural factor (such as: visiting relatives and friends and attending soirees, traditional foods and drinks festivals, the desirability of Esfahan city in order to spend leisure time, the willingness toward group entertainment). For the concept “urban tourism”, all the populations chose urban texture significantly (such as: revival of workshops for producing traditional clothes, hand-made attractions, systematizing historical areas, developing sidewalk routes, constructing modern entertaining centers and systematizing landscapes and providing equipment for parks). About the sustainable development and its multi-dimensional nature, however, different factors were selected by respondents which in order of importance and frequency are economic, environmental, urban management, sociocultural, urban texture and political factors. Among the recommendations, a few can be stated: arranging cultural plans with a focus on soiree and elders’ reunions, holding traditional and religious festivals in different parts of the city, improving the condition of the existing theme parks and diversifying leisure and entertainment facilities of Esfahan city and pitching in municipal management and being parallel with plans of different organization in city. Especially by mayoralty as a trustee for city and cultural heritage could be mentioned as a tourism trustee.

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