scholarly journals ANALISIS KOREOGRAFI TARI KETIMANG BURONG SUKU SAWANG

JOGED ◽  
2019 ◽  
Vol 10 (1) ◽  
pp. 59-72
Author(s):  
Martha Sarassati Afnal
Keyword(s):  
Sequence Comparison ◽  
Daily Life ◽  
Energy Space ◽  
Motion Pattern ◽  
Transition Sequence ◽  
Space And Time ◽  
Choreographic Analysis ◽  
Male Dancers

Tari Ketimang Burong adalah sebuah pertunjukan tari yang lahir dari masyarakat suku Sawang Belitung. Tari ini adalah tari kelompok yang ditarikan oleh 6 orang penari laki-laki dan 6 orang penari perempuan secara berpasangan. Dilihat dari gerak, pola lantai, dan syair yang dilantunkan oleh para penyanyi memberikan gambaran mengenai kehidupan keseharian masyarakat suku Sawang yang dahulunya adalah suku yang menghabiskan hidupnya di lautan lepas.  Pemahaman analisis koreografi terdiri dari prinsip-prinsip kebentukan yang meliputi: keutuhan, variasi, repetisi, transisi, rangkaian, perbandingan dan klimaks.Dengan pendekatan Koreografi yang meliputi aspek bentuk, teknik, dan isi, serta menganalisis gerak tari dari aspek tenaga, ruang, dan waktu. Ketiga konsep tersebut merupakan satu kesatuan dalam bentuk tari yang tidak dipisahkan dan merupakan satu kesatuan bentuk tari yang utuh.  Tari Ketimang Burong suku Sawang merupakan suatu tari hiburan dengan bentuk koreografi tari kelompok. Koreografi dalam tari ini memiliki motif gerak yang sangat sederhana, setiap motif geraknya dilakukan berulang-ulang. Dari kesederhanan yang terdapat dalam tari Ketimang Burong menyimpan berbagai makna disetiap hal yang terkait dengan tari tersebut, diantaranya tema, gerak, kostum, pola lantai, dan syair yang menjadi aspek penting dalam tari Ketimang Burong. This researchment analyze choreography of Ketimang Burong as a dance that comes from Sawang’s People of Belitung. This dance is a group dance that was danced by 6 male dancers and 6 female dancers in pairs. This dance is a dance that’s very closely related to daily life of the Sawang’s people. Judging from the motion, pattern of the floor, and the lyrics that sung by the singer provide an overview of the tribe of Sawang people who were former as the tribe who spend their life  in the sea.  This Researchment uses choreography appoarch, covering the aspect of form, technique, and content. And analyze the motion of dance from the aspect of energy, space, and time. The three concepts are unity in the form of dance that is not separated and is a unified whole dance form. The understanding of choreographic analysis consists of the principles of deformity which include : wholeness, variety, repetition, transition, sequence, comparison and climax.  Ketimang Burong dance of Sawang’s people is a entertainment dance where the form of choreography is a group dance. Choreography in this dance has a very simply motif, it is like every single of motion motif is done repeatedly. From the simplicity of Ketimang Burong dance, there are various meaning in ever thing related to the dance among theme are theme, motion, costume, floor pattern, and poem which become important aspect in Ketimang Burong dance.

scholarly journals ANALISIS KOREOGRAFI TARI KETIMANG BURONG SUKU SAWANG

JOGED ◽  
2019 ◽  
Vol 13 (1) ◽  
pp. 59-72
Author(s):  
Martha Sarassati Afnal
Keyword(s):  
Sequence Comparison ◽  
Daily Life ◽  
Energy Space ◽  
Motion Pattern ◽  
Transition Sequence ◽  
Space And Time ◽  
Choreographic Analysis ◽  
Male Dancers

Tari Ketimang Burong adalah sebuah pertunjukan tari yang lahir dari masyarakat suku Sawang Belitung. Tari ini adalah tari kelompok yang ditarikan oleh 6 orang penari laki-laki dan 6 orang penari perempuan secara berpasangan. Dilihat dari gerak, pola lantai, dan syair yang dilantunkan oleh para penyanyi memberikan gambaran mengenai kehidupan keseharian masyarakat suku Sawang yang dahulunya adalah suku yang menghabiskan hidupnya di lautan lepas.  Pemahaman analisis koreografi terdiri dari prinsip-prinsip kebentukan yang meliputi: keutuhan, variasi, repetisi, transisi, rangkaian, perbandingan dan klimaks.Dengan pendekatan Koreografi yang meliputi aspek bentuk, teknik, dan isi, serta menganalisis gerak tari dari aspek tenaga, ruang, dan waktu. Ketiga konsep tersebut merupakan satu kesatuan dalam bentuk tari yang tidak dipisahkan dan merupakan satu kesatuan bentuk tari yang utuh.  Tari Ketimang Burong suku Sawang merupakan suatu tari hiburan dengan bentuk koreografi tari kelompok. Koreografi dalam tari ini memiliki motif gerak yang sangat sederhana, setiap motif geraknya dilakukan berulang-ulang. Dari kesederhanan yang terdapat dalam tari Ketimang Burong menyimpan berbagai makna disetiap hal yang terkait dengan tari tersebut, diantaranya tema, gerak, kostum, pola lantai, dan syair yang menjadi aspek penting dalam tari Ketimang Burong. This researchment analyze choreography of Ketimang Burong as a dance that comes from Sawang’s People of Belitung. This dance is a group dance that was danced by 6 male dancers and 6 female dancers in pairs. This dance is a dance that’s very closely related to daily life of the Sawang’s people. Judging from the motion, pattern of the floor, and the lyrics that sung by the singer provide an overview of the tribe of Sawang people who were former as the tribe who spend their life  in the sea.  This Researchment uses choreography appoarch, covering the aspect of form, technique, and content. And analyze the motion of dance from the aspect of energy, space, and time. The three concepts are unity in the form of dance that is not separated and is a unified whole dance form. The understanding of choreographic analysis consists of the principles of deformity which include : wholeness, variety, repetition, transition, sequence, comparison and climax.  Ketimang Burong dance of Sawang’s people is a entertainment dance where the form of choreography is a group dance. Choreography in this dance has a very simply motif, it is like every single of motion motif is done repeatedly. From the simplicity of Ketimang Burong dance, there are various meaning in ever thing related to the dance among theme are theme, motion, costume, floor pattern, and poem which become important aspect in Ketimang Burong dance.

Dickens, Industry, and Technology

2018 ◽  
pp. 435-451
Author(s):  
Richard Menke
Keyword(s):  
Public Health ◽  
Nineteenth Century ◽  
Daily Life ◽  
Spiritual Meaning ◽  
Human Power ◽  
Space And Time ◽  
Factory Production

This chapter discusses Dickens’s treatment of industry, technology, and invention, forces that were reshaping not only the culture, economics, and geography but also the texture of daily life in nineteenth-century Britain. While the growth of London and other cities demanded innovations in sanitation and public health, revolutionary technologies in transport and communication reshaped the very experience of space and time. Some of Dickens’s most vocal contemporaries saw machinery and factory production as embodying the evils of the age, but Dickens approached technology with a more hopeful sense of its ability to magnify human power, to provoke dreams and wonder, and ultimately perhaps to offer a kind of spiritual meaning. Dickens expresses this rich vision in a range of works, from novels and stories to the essays he wrote and commissioned for his journals.

scholarly journals The Transformation of Karo Traditional Dance Movement in Modern Choreography Form Gegeh Gundala-Gundala

2020 ◽  
Vol 2 (3) ◽  
pp. 765-775
Author(s):  
Martozet ◽  
Nurwani
Keyword(s):  
Creative Process ◽  
Modern Dance ◽  
Energy Space ◽  
Traditional Values ◽  
Literature Study ◽  
Unique Form ◽  
Dance Movement ◽  
Narrative Study ◽  
Space And Time ◽  
Traditional Dance

This study aims to form a choreography rooted in the motive movement of the Karo traditional dance in the form of the modern choreography Gegeh Gundala-Gundala. The three basic motives of the Karo traditional dance, namely Ertimbang, Bunga tan kawes kemuhen kudas kuteruh, and Rakut Meteguh are used as the basis for the development of motion with the method of developing the elements of motion, using the constructive dance creation method popularized by Jacqueline Smith such as the process of exploration, improvisation, composition, and evaluation. This creation process has formed a modern choreography rooted in new traditional values such as the theory conveyed by Soedarsono that modern dance is freedom in expressing movement techniques on stage, such as the Gegeh Gundala-Gundala choreography. The method in this research is. While the method of this research uses qualitative methods, describing a narrative study of dance creation including literature study, observation, studio work, and documentation. From the process of creating the Gegeh Gundala-Gundala choreography, a new and unique form was obtained, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala. Obtained a new and unique form, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala. Obtained a new and unique form, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala.

scholarly journals Traje e imaginário nos universos da moda e Festa de Dois de Julho: consonâncias entre ambos no processo de socialização nos espaços público e privado

Visualidades ◽  
2018 ◽  
Vol 16 (2) ◽  
Author(s):  
ISABEL CATARINA SUZART ARGOLO
Keyword(s):  
Daily Life ◽  
Shared Experience ◽  
Public And Private ◽  
The Public ◽  
Space And Time ◽  
Factors Of Influence

ResumoA concepção do traje como forma de comunicação (BARNARD, 2003) é apresentada sob um dos espectros da moda e do traje concebido para a festa cívica do Dois de Julho, em Salvador, Bahia. Propõe-se analisar a influência de suas distintas matrizes inspiradoras – o imaginário subjetivo (de quem cria a própria moda) e o repertório sígnico e simbólico (de quem constrói uma cosmética com os elementos da festa) – na experiência socialmente compartilhada no cotidiano das zonas públicas (SCHÜTZ, 2012; MAFFESOLI, 1989) e privadas (na criação de moda) e no circuito da Festa do Dois de Julho. Por sua vez, espaço e tempo são apresentados como fatores de influência neste processo de socialização e como agentes propulsores da imagética expressa no traje (BARNARD, 2003; WILSON, 1989). para a realização da pesquisa de campo.Abstract The design of the costume as a form of communication (Barnard, 2003) is presented under one of the fashion spectra and costume designed for the civic Festival of Dois de Julho in Salvador, Bahia (Brazil). It is analyzed the influence of its different inspirational matrices – the subjective imaginary (of those who creates the fashion itself) and the sign and symbolic repertoire (of who builds a cosmetic with the elements of the party) in the socially shared experience in the daily life of the public and private areas (in fashion creation) and in the circuit of the Festival of Dois de Julho. In turn, space and time are presented as factors of influence in this process of socialization and as agents propelling the imagery expressed in the costume.ResumenLa concepción del traje como forma de comunicación (BARNARD, 2003) se presenta en la gama de la moda y del traje diseñado para la fiesta cívica del Dois de Julho, en Salvador de Bahía. Se propone analizar la influencia de sus matrices inspiradoras – el imaginario subjetivo (de quien crea la propia moda) y los repertorios sígnico y simbólico (de quien construye una cosmética con los elementos de la fiesta), en la experiencia socialmente compartida en lo cotidiano de las zonas públicas y privadas (en la creación de moda) y en el circuito de la fiesta del Dois de Julho. Asimismo, el espacio y el tiempo son presentados como factores de influencia en el proceso de socialización y como agentes propulsores de la imagen expresada en el traje.

scholarly journals Sense Sphere of Buddhism in the Art World in The Boundless Rice Field by Nguyen Ngoc Tu

2013 ◽  
Vol 16 (3) ◽  
pp. 34-42
Author(s):  
Hien Thi Thu Phan
Keyword(s):  
Rice Field ◽  
Daily Life ◽  
Literary Work ◽  
Art World ◽  
Rural South ◽  
Space And Time ◽  
Current Affairs

The philosophy of Buddhism which encourages remaining tranquil, constraining one’s hatred, cultivating and expanding one’s compassion is thoughts composed in the literary work The Boundless Rice Field by Nguyen Ngoc Tu to breathe inspiration into readers. In the poetic world of The Boundless Rice Field, the cast of characters as well as images embracing space and time are structured and built on the contrast between the darkness of hatred, destruction, termination, death, despair and light of compassion, protection, life, faith, etc. The plot is widely known as current affairs closely connected to the daily life of farmers and peasants in the rural South; however, in this work, Nguyen Ngoc Tu’s words go beyond the private, the personnal self to express a universal message of humankind full of thirst for love, tolerance and salvation.

The Unity Principle – A New Paradigm in Theoretical Physics

2021 ◽  
pp. 1-10
Author(s):  
Peter r Kohut ◽  
Keyword(s):  
Energy Space ◽  
Theoretical Physics ◽  
New Paradigm ◽  
Dialectical Logic ◽  
One Dimensional ◽  
Space And Time ◽  
Physical Universe ◽  
The Universe ◽  
Matter Energy ◽  
Deep Crisis

Contemporary theoretical physics enters a deep crisis resulting from its positivistic and post-positivistic approach, which assumes that reality is mechanical and atomistic made of point-like particles or one-dimensional strings where the essence of matter, energy, space and time, gravity and other forces are undetectable mysteries. However, within this paper I will endeavour to show that the Universe (reality) is dialectical (relational) and is thus accessible by dialectical logic. The fundamental discovery of the Unity Principle derived on the base of dialectical logic is presented illustrating the exact mechanism how the physical Universe may work at its macro and micro levels. New fundamentals of theoretical physics are built

scholarly journals MENGEKSPRESIKAN TARI TRADISI MELALUI PENGEMBANGAN GERAK DARI ASPEK TENAGA, RUANG, DAN WAKTU

2019 ◽  
Vol 8 (4) ◽  
pp. 1
Author(s):  
Indrayuda Indrayuda ◽  
Harisnal Hadi
Keyword(s):  
Energy Space ◽  
Development Effort ◽  
Creative Work ◽  
Dance Movement ◽  
Space And Time ◽  
Traditional Dance

Abstract This article aims to express and explain the issue of how to express traditional dance through the development of motion from aspects of power, space, and time. Traditional dance as a source of arable is developed in the form of new motifs, which are arranged in a structured manner so that it forms a new arable dance. New dance works that are rooted in traditional dance moves are choreographically subjected to reconstruction and modification, so that a creative work takes the form of an artistic, aesthetic, dynamic, and groove development effort that is processed in terms of power, space, and time. The development of these three aspects can shape traditional dance works into new Minangkabau dance works, which are more dynamic, harmonious and attractive. Keyword: Traditional dance, movement, energy, space and time.

Health and Wealth

2020 ◽  
pp. 222-247
Author(s):  
Robert I. Rotberg
Keyword(s):  
At Risk ◽  
Chronic Disease ◽  
Middle Class ◽  
Daily Life ◽  
Medical Science ◽  
Space And Time ◽  
National Governments ◽  
Hiv Aids

Africa’s current 1 billion or so residents are healthier than they have ever been thanks to medical science, special attention in several key countries to chronic disease remediation, and the efforts of several American philanthropic enterprises. Life expectancies are up and morbidity is mostly down, allowing Africans to work more productively, enjoy more leisure, and exert middle class pressures on their respective national governments. Daily life has become a little less brutish in a Hobbesian manner than it once was. There is more space and time now for the cultivation of progress socially, economically, and politically. But children still die in great number from pneumonia, tuberculosis is rife, HIV/AIDS persists, and malaria has not yet been eradicated. So Africans are still at risk.

scholarly journals Dançamos? A construção do par dançante.

2020 ◽  
Author(s):  
Cláudia Marisa
Keyword(s):  
Symbolic Interactionism ◽  
Daily Life ◽  
Erving Goffman ◽  
Social Dance ◽  
Face To Face ◽  
Space And Time ◽  
The Common ◽  
Individual Body ◽  
The Way

When a couple dance, a face-to-face interaction is established putting into action a social and corporal file that belongs to a collective archetypal history. In fact, it is this collective archive that enables the communication between the dancing couple. When two persons, who do not know each other, decide to dance together they put into play (or should we say into dance) their common social file, but above all, the common file that interests their dance. Through dancing, the couple devises a choreographic repertoire that allow them to create a memory of a space and time, as well as the call of a legacy of rhythms and steps belonging to a universal choreographic library. The symbolic interactionism of which Erving Goffman is representative, have analyzed a series of daily life situations pointing out that Individuals shape their identity through contact with others. Goffman highlights the relevance of dance, mentioning the “ballroom” as the space par excellence of nonverbal relationships analysis. The author emphasizes that the dancer in a social dance context privileges almost exclusively the corporal communication, dissociating the semiotic use of the word, with a corporal vocabulary. Supported by Masayuki Suo’s film Shall we dance (1996), this paper aims to analyze, through the filter of symbolic interactionism, the way a dancing couple interacts, summoning a collective body and an individual body.

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