scholarly journals BENTUK PENYAJIAN TARI LUKAH GILO DI MASYARAKAT SIJUNJUNG, SUMATERA BARAT

JOGED ◽  
2019 ◽  
Vol 10 (1) ◽  
pp. 73-90
Author(s):  
Devi Kurnia Santi
Keyword(s):  
Cultural History ◽  
Main Property ◽  
Musical Instruments ◽  
Customary Law ◽  
The Arts ◽  
Three Stages

Tari Lukah Gilo merupakan salah satu kesenian yang hidup dan berkembang di Sijunjung, Sumatera Barat yang syarat dengan kekuatan supranatural dan unsur magis. Tari ini menggunakan lukah (bubu) sebagai properti utamanya. Pada dasarnya, tarian ini berupa kontrol atau pengendalian lukah (bubu). Keunikan pada tarian ini terletak pada  properti lukah yang dapat menari dan bergerak sendiri setelah dibacakan mantera oleh kulipah, sehingga lukah tersebut akan melompat dan juga menari tanpa digerakkan oleh seseorang.    Masalah dalam penelitian ini adalah bentuk penyajian tari Lukah Gilo di masyarakat Sijunjung, Sumatera Barat. Dalam membedah masalah yang ada, penelitian ini menggunakan metode deskripsi analisis dengan menggunakan pendekatan antropologi sebagai konteks dalam melihat keberadaan tari Lukah Gilo, yang dipengaruhi oleh aspek sosial, budaya, sejarah, latar belakang dan masyarakat pendukungnya. Untuk membedah bentuk penyajian tari dengan melihat analisis bentuk penyajian tari Lukah Gilo melihat tiga tahap proses pertunjukan, yaitu (1) proses persiapan yang meliputi mempersiapkan lukah, lukah direndam, lukah dipakaikan baju dan dirias, (2) pelaksanaan atau pementasan dipimpin oleh kulipah dengan menghadirkan jin untuk meng-gilo-kan lukah, (3) penutup untuk mengembalikan para jin ke tempat semula saat dipanggil.   Berdasarkan hasil yang diperoleh, penyajian tari Lukah Gilo menarik dikarenakan tarian ini tidak hanya berfungsi sebagai hiburan, akan tetapi juga untuk menguji ketangkasan dari anak-anak muda dan masyarakat Minang dalam mengontrol lukah yang sudah diberi mantera. Bentuk penyajian juga telah mengalami banyak perkembangan, terlihat pada penggunaan kostum dan alat musik sebagai iringannya. Meskipun bertentangan dengan agama Islam, namun tari Lukah Gilo tetap berada pada undang-undang adat, yaitu adat nan diadatkan sebagai warisan nenek moyang, dan  tidak bertentangan dengan falsafah adat Minangkabau “Adat basandi syarak, syarak basandi kitabullah”.   Lukah Gilo dance is one of the arts that is alive and thriving in the Sijunjung, West Sumatera that terms with supernatural powers and magical elements. This dance used lukah (bubu) as its main property. Basically, this dance form’s the control of lukah (bubu). The uniqueness of this dance lies in lukah’s property who’s can dance or moves on its own after the spell was recited by kulipah.   The problem in this research is a presentation form of Lukah Gilo dance in Sijunjung society, West Sumatera. In dissecting the problem, this research using the method of the description of the analysis with the use of anthropology approach as context in view of the existence of the Lukah Gilo dance which is influenced by social, cultural, history, background, and community supporters. To dissect the form of the presentation of dance by looking at the analysis of the presentation form of Lukah Gilo dance sees three stages of the show process, (1) the preparatory process which includes preparing lukah, soaked the lukah, lukah wearing costume and applied makeup, (2) the implementation or performance is led by kulipah for presenting jin, (3) cover to restore the jin to the original place when called.   Based on the results obtained, presenting of Lukah Gilo dance are interesting, because the dance is not only serves as an entertainment, but also to test the agility of young kids and Minang’s society in controlling lukah already given a mantra. The presentation form also has undergone many developments, looks at the use of costume and musical instruments as accompaniment. Although contrary to Islam religion, but Lukah gilo dance remains on customary law, there is adat nan diadatkan  as the inheritance of the ancestors, and doesn’t conflict with the Minangkabau philosophy “adat basandi syarak, syarak basandi kitabullah”.   

scholarly journals BENTUK PENYAJIAN TARI LUKAH GILO DI MASYARAKAT SIJUNJUNG, SUMATERA BARAT

JOGED ◽  
2019 ◽  
Vol 13 (1) ◽  
pp. 73-90
Author(s):  
Devi Kurnia Santi
Keyword(s):  
Cultural History ◽  
Main Property ◽  
Musical Instruments ◽  
Customary Law ◽  
The Arts ◽  
Three Stages

Tari Lukah Gilo merupakan salah satu kesenian yang hidup dan berkembang di Sijunjung, Sumatera Barat yang syarat dengan kekuatan supranatural dan unsur magis. Tari ini menggunakan lukah (bubu) sebagai properti utamanya. Pada dasarnya, tarian ini berupa kontrol atau pengendalian lukah (bubu). Keunikan pada tarian ini terletak pada  properti lukah yang dapat menari dan bergerak sendiri setelah dibacakan mantera oleh kulipah, sehingga lukah tersebut akan melompat dan juga menari tanpa digerakkan oleh seseorang.    Masalah dalam penelitian ini adalah bentuk penyajian tari Lukah Gilo di masyarakat Sijunjung, Sumatera Barat. Dalam membedah masalah yang ada, penelitian ini menggunakan metode deskripsi analisis dengan menggunakan pendekatan antropologi sebagai konteks dalam melihat keberadaan tari Lukah Gilo, yang dipengaruhi oleh aspek sosial, budaya, sejarah, latar belakang dan masyarakat pendukungnya. Untuk membedah bentuk penyajian tari dengan melihat analisis bentuk penyajian tari Lukah Gilo melihat tiga tahap proses pertunjukan, yaitu (1) proses persiapan yang meliputi mempersiapkan lukah, lukah direndam, lukah dipakaikan baju dan dirias, (2) pelaksanaan atau pementasan dipimpin oleh kulipah dengan menghadirkan jin untuk meng-gilo-kan lukah, (3) penutup untuk mengembalikan para jin ke tempat semula saat dipanggil.   Berdasarkan hasil yang diperoleh, penyajian tari Lukah Gilo menarik dikarenakan tarian ini tidak hanya berfungsi sebagai hiburan, akan tetapi juga untuk menguji ketangkasan dari anak-anak muda dan masyarakat Minang dalam mengontrol lukah yang sudah diberi mantera. Bentuk penyajian juga telah mengalami banyak perkembangan, terlihat pada penggunaan kostum dan alat musik sebagai iringannya. Meskipun bertentangan dengan agama Islam, namun tari Lukah Gilo tetap berada pada undang-undang adat, yaitu adat nan diadatkan sebagai warisan nenek moyang, dan  tidak bertentangan dengan falsafah adat Minangkabau “Adat basandi syarak, syarak basandi kitabullah”.   Lukah Gilo dance is one of the arts that is alive and thriving in the Sijunjung, West Sumatera that terms with supernatural powers and magical elements. This dance used lukah (bubu) as its main property. Basically, this dance form’s the control of lukah (bubu). The uniqueness of this dance lies in lukah’s property who’s can dance or moves on its own after the spell was recited by kulipah.   The problem in this research is a presentation form of Lukah Gilo dance in Sijunjung society, West Sumatera. In dissecting the problem, this research using the method of the description of the analysis with the use of anthropology approach as context in view of the existence of the Lukah Gilo dance which is influenced by social, cultural, history, background, and community supporters. To dissect the form of the presentation of dance by looking at the analysis of the presentation form of Lukah Gilo dance sees three stages of the show process, (1) the preparatory process which includes preparing lukah, soaked the lukah, lukah wearing costume and applied makeup, (2) the implementation or performance is led by kulipah for presenting jin, (3) cover to restore the jin to the original place when called.   Based on the results obtained, presenting of Lukah Gilo dance are interesting, because the dance is not only serves as an entertainment, but also to test the agility of young kids and Minang’s society in controlling lukah already given a mantra. The presentation form also has undergone many developments, looks at the use of costume and musical instruments as accompaniment. Although contrary to Islam religion, but Lukah gilo dance remains on customary law, there is adat nan diadatkan  as the inheritance of the ancestors, and doesn’t conflict with the Minangkabau philosophy “adat basandi syarak, syarak basandi kitabullah”.   

Peran Teknologi Dalam Mengembangkan Potensi Ekspor Topeng Malangan (Analisis Situasional Dan Rencana Solusi)

2018 ◽  
Vol 2 (1) ◽  
pp. 35
Author(s):  
Nurida Finahari
Keyword(s):  
Production Process ◽  
Wood Species ◽  
Management System ◽  
Raw Materials ◽  
Business Management ◽  
Production Equipment ◽  
Cultural Events ◽  
The Arts ◽  
Puppet Show ◽  
Three Stages

The art of chisel mask is developed in Tumpang Malang area as part of dance costume fairs, puppet show andcultural ritual, although in its development, this mask sculpture is also sold and become a tourism commodity. The potentialsales of mask sculptures is increasing, especially because of the demanders are foreign tourists, cultural enthusiasts andcomponent of tourism activities. That is, Topeng Malangan has the potential to be developed as an export commodity. Thesales system is still limited to cultural events or when there is a visit of education and tourism to the arts-padepokan. Thisprompted some people around the padepokan to start a home industry to meet the availability of the mask. In general, theproblems encountered by the craftsmen are (1) availability of raw materials, especially for suitable wood species, (2)production equipment, especially for pre-carving process and preservation of product, (3) there is no standard marketingscheme, (4) does not have a business management system, and (5) highly skilled craftsmen are still very limited. The solutionsoffered are divided into three stages: (1) technological strengthening, including strengthening production process technologyand increasing the number of craftsmen; (2) establishing business management; and (3) establishing trademarks, copyrightsand product marketing expansions

Legal History and Historiography in Colonial Sub-Saharan Africa

2018 ◽  
Author(s):  
Richard Waller
Keyword(s):  
Cultural History ◽  
Legal History ◽  
Social Impact ◽  
Customary Law ◽  
Sub Saharan Africa ◽  
Court Records ◽  
Sub Saharan ◽  
Distribution Of Power ◽  
Judicial Procedures ◽  
Criminal Matters

Increasingly, the study of law in colonial Africa has moved out of the domain of legal scholarship per se, where it had its origins in the 1940s, and into that of social and cultural history; it has also shifted from a rules-based approach, primarily concerned with legal codes and judicial institutions, to one that focuses on process and explores the complex relationship between law and culture. As the field has expanded, it has divided into sub-branches. Some remain within the scope of legal history, defined as the study of how legal codes and judicial procedures have developed and changed and of the issues of principle that arose; others are more concerned with the social impact of law, how the establishment of colonial legal regimes, including customary law and the courts where cases could be heard, presented new dilemmas and opportunities and altered the distribution of power in African communities. Beyond this, historians have also used legal records, especially court records, as social documents without being directly concerned with their particular legal and judicial contexts. Once their limitations and the difficulties of interpretation that they present have been understood, such records offer potentially rich insights into family and household affairs as well as into more obviously civil or criminal matters.

The Emotive Object in Medieval China

2019 ◽  
Vol 6 (1) ◽  
pp. 56-95
Author(s):  
Jeffrey Moser
Keyword(s):  
Cultural History ◽  
Common Ground ◽  
Conceptual Structures ◽  
The Arts ◽  
Medieval China ◽  
Northern Song ◽  
History Of ◽  
Philosophical Texts ◽  
The Aesthetic ◽  
Grave Goods

Abstract This article considers the emotional status of grave goods in medieval China. Its purpose is twofold. First, the author investigates the conceptual structures available for interpreting the emotional processes involved in medieval burials. He argues that it is possible, and indeed productive, to read grave goods as traces of emotional operations and, in so doing, to articulate a dimension of the embodied processes that structured and motivated wider developments in the social and cultural history of China. Second, the author demonstrates how sensory-based analyses of grave goods can elucidate intermediating processes among the conceptualization of emotion in philosophical texts, the representation of emotion in the literary and visual arts, and the actual experience of emotion in premodern China. Using the recently discovered cemetery of the Northern Song Lü family as a case study, he articulates the emotional function of the aesthetic appreciation that occurred when selecting objects for burial. In explaining the relationship between the sensorial affect of the grave goods and the family's commitment to the abstract ideal of sincerity, the author uses the concept of the emotive object to chart common ground for histories of thought and the arts in China.

Writing Cultural History in Early Modern Europe: Christophe Milieu and his Project

1999 ◽  
Vol 52 (2) ◽  
pp. 342-365
Author(s):  
Donald R. Kelley
Keyword(s):  
Early Modern ◽  
Cultural History ◽  
Early Modern Europe ◽  
Philosophy And Literature ◽  
The Arts ◽  
The World ◽  
Human Understanding ◽  
History Of ◽  
The Universe ◽  
Comprehensive History

AbstractChristophe Milieu's De Scribenda Vniversitatis rervm historia libri qvinqve (Basel, 1551) interprets the "universe of things" (universitas return) within an evolutionary and historical framework consisting of five connected and progressive "grades" (gradus) of existence accessible to human understanding: nature (natura), the world of God's creation and man's animal aspect; prudence (prudentia), including the arts of survival; government (principatus), the stage of civil society and political history; wisdom (sapientia), equivalent to civilization and including the higher sciences and philosophy; and literature (litetatura), in which knowledge of the preceding phases of "progress" (progressio) is expressed in writing. Milieu's "narrative" constitutes a pioneering and comprehensive history of western culture.

scholarly journals Superdiversiteit en culturele mobiliteit in Europees hoger onderwijs: een casestudie in culturele geschiedenis

2021 ◽  
Vol 69 (5 Zeszyt specjalny) ◽  
pp. 187-202
Author(s):  
Ludo Beheydt
Keyword(s):  
Learning Styles ◽  
Cultural History ◽  
Cultural Change ◽  
Sudden Change ◽  
Complex Mixture ◽  
Course Content ◽  
The Arts ◽  
History Of ◽  
Cultural Persistence ◽  
Cultural Mobility

The present article shows how the changing societal context in Europe is imposing a reshaping of the internationalisation of higher education. It argues that internationalisation has mainly focused on intensifying the mobility of students and staff, but has neglected the drastic change in European society brought about by “super-diversity” (Vertovec, “Super-diversity” and Super-diversity), that “diversification of diversity” which, over a couple of decades, has transformed the population of Europe into a highly complex mixture of people from different places, with different languages, religions and cultures. The consequence of this sudden change is that there is now an urgent need to “move beyond mobility” and to reshape internationalisation through “cultural mobility” (Greenblatt) in course content and learning styles. The second part of this article elaborates on a proposal for concrete course content in line with Greenblatt’s manifest to modify conventional ways of thinking about mobility. Taking account of “cultural mobility”, the proposed course in the Cultural History of the Arts tries to create a balance between cultural persistence and cultural change by introducing international content and interculturalism. The case study thereby highlights possible directions for future internationalised course development.

scholarly journals From Orpheus to Bob Dylan: the Story of "Words and Music"

2017 ◽  
Vol 27 (2) ◽  
pp. 277-301
Author(s):  
Walter Bernhart
Keyword(s):  
Cultural History ◽  
Musical Theatre ◽  
Bob Dylan ◽  
Cultural Conditions ◽  
The Arts ◽  
History Of ◽  
The Relationship

This paper tells a story of the relationship between “words and music” from the viewpoint of changing tendencies to either convergence or distance between the two forms of communication, depending on whether aesthetic dispositions and cultural conditions favour the merging or the drifting apart of both media. Thus, “fusionist” and “separatist” tendencies in the development of the arts are identified as manifested, in Western cultural history, by the impressive span of intermedial interaction extending from early mythical origins (Orpheus) to most recent manifestations (Bob Dylan). The focus is on the history of European musical theatre and the European song tradition. In the latter case, “interpretive” and “non-interpretive” songs are distinguished depending on whether the link between “words and music” is on the semantic or on the prosodic level. Contemporary pop songs, as represented by Dylan, are finally discussed in the context of the terminological framework presented and in view of the age-old tradition of singer-poets.

scholarly journals Learning from the historical culture of American people for the current society

2019 ◽  
Vol 3 (1) ◽  
pp. 32-47
Author(s):  
Siyung Liu ◽  
Fatihiya Alley
Keyword(s):  
Everyday Life ◽  
Cultural History ◽  
American People ◽  
Historical Understanding ◽  
General Sense ◽  
High Culture ◽  
Past Time ◽  
The Past ◽  
The Arts ◽  
Historical Culture

We learned more about the contribution of cultural history towards the current society for the American people. In the most general sense, historical culture is a holistic meta-historical concept that opens the investigation of how people deal with the past. The term “historical” refers to past events, including thoughts and ideas. The term “culture” comprises shared attitudes, values, and perceptions of a group of people. Cultural history is not simply the study of high culture or alternatively of peoples' past rituals. It is best characterized as an approach which considers the domain of representation and the struggle over meaning as the most fruitful areas for the pursuit of historical understanding. history is the aggregate of past events while culture is the arts, customs, and habits that characterize a particular society or nation. Cultural history brings to life a past time and place. In this search, cultural historians study beliefs and ideas, much as intellectual historians do. These are reflected in the products of deliberately artistic culture, but also include the objects and experiences of everyday life, such as clothing or cuisine.

scholarly journals Bentuk Penyajian Tari Sining Pada Masyarakat Gayo Aceh Tengah

2020 ◽  
Vol 3 (2) ◽  
pp. 493-505
Author(s):  
Maghfirah Murni Bintang Permata ◽  
Rika Wirandi ◽  
Berliana Denada
Keyword(s):  
Qualitative Research ◽  
Research Methods ◽  
Open Field ◽  
Main Property ◽  
Traditional Music ◽  
Musical Instruments ◽  
Spontaneous Movements ◽  
Dance Movements ◽  
Revitalization Effort ◽  
Field Area

This paper aims to describe the form of presentation of the sining dance in the Gayo community of Central Aceh Regency. Sining dance is a dance whose form of movement is inspired by nature. The movements are pure and use a lot of mimitive movements. This dance is also one of the traditional dances that was extinct and was then made a revitalization effort by the Central Aceh Kuta Dance Studio. This study focuses the problem on the form of presentation of the Sining Dance. To analyze the problem, Soedarsono used the theory of presentation forms, which said that, the form of presentation in dance has an understanding of how to present a dance as a whole, including the main elements or elements that support dance. These elements consist of dance movements, floor design, make-up, costumes, performance venues, props, and accompaniment music. This research uses qualitative research methods. This study concludes that the movements contained in the sining dance are mimitive and spontaneous movements, and tend to describe balance. Using a gayo openwork costume, accompanied by traditional music and traditional Gayo musical instruments. With two adult male dancers. Using upuh ulen-ulen cloth. Using a props made of pile board measuring 1.6 meters high. The shape of the board which is used as the main property is adopted from the Bere Numah shape. Meanwhile, the sining dance performance venue is currently adjusting to the location of the show provided, both on stage and in the open field area.

A Cultural History of Memory in the Eighteenth Century

2020 ◽  
Keyword(s):  
Eighteenth Century ◽  
Cultural History ◽  
French Revolution ◽  
Collective Identity ◽  
Age Of Revolution ◽  
Arts And Sciences ◽  
The Arts ◽  
History Of ◽  
The Aesthetic

The Cultural History of Memory in the Eighteenth Century places in sharp relief the contrast between inspiring ideas that heralded an auspicious future and immemorial traditions that cherished a vanishing past. Waxing large during that era was the European Enlightenment, with its projects for reform and optimistic forecasts about the prospect of making a better world. Heritage was reframed, as martyrs for the cause of religious liberty and heroes for the promotion of the arts and sciences were enshrined in a new pantheon. They served as icons marking a pathway toward a presumed destiny, amid high hopes that reason would triumph over superstition to guide the course of human affairs. Such sentiments gave reformers a new sense of collective identity as an imagined community acting in the name of progress. Against this backdrop, this volume addresses a variety of themes in memory’s multi-faceted domain, among them mnemonic schemes in the transition from theist to scientific cosmologies; memory remodeled in the making of print culture; memory’s newfound resources for introspection; politics reimagined for the modern age; the nature of tradition reconceived; the aesthetics of nostalgia for an aristocracy clinging to a tenuous identity; the lure of far-away places; trauma in an age of revolution; and the emerging divide between history and collective memory. Along the way, contributors address such topics as the idea of nation in early modern politics; the aesthetic vision of Hubert Robert in his garden landscapes; the transforming effects of the interaction between mind and its mnemonic satellites in print media; Shakespeare remembered and commemorated; the role of memory in the redesign of historiography; the mediation of high and popular culture through literature; soul-searching in female autobiography; and commemorative practices during the French Revolution.

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