scholarly journals BENTUK VISUAL KOSTUM TARI MERAK JAWA BARAT KARYA IRAWATI DURBAN ARDJO

JOGED ◽  
2020 ◽  
Vol 15 (1) ◽  
pp. 84-95
Author(s):  
Venny Agustin Hidayat
Keyword(s):  
Tail Feather ◽  
Dance Performance ◽  
Visual Form ◽  
The Creation ◽  
The Moment

Tari Merak Jawa Barat, merupakan jenis tarian tontonan (pertunjukan). Tari Merak pertama kali diciptakan oleh Rd. Tjetje Somantri pada tahun 1955. Kemudian pada tahun 1965, tari Merak dikemas kembali oleh Irawati Durban Ardjo, yang bertujuan untuk dipertunjukkan pada misi kesenian Soekarno. Tari Merak yang sering kita jumpai saat ini merupakan Tari Merak karya Irawati Durban Ardjo.Tarian ini mempresentasikan keindahan yang dimiliki oleh burung merak pada saat burung merak jantan melebarkan ekornya. Kebanyakan masyarakat Indonesia salah berasumsi jika tarian ini bercerita tentang kehidupan burung merak betina, sedangkan sang jantanlah yang memamerkan keindahan bulu ekornya. Sang jantan melakukan gerak-gerik yang tampak seperti tarian gemulai untuk menunjukkan pesona dirinya, sehingga sang betina terpesona dan bersedia kawin dengannya. Gerakan itulah yang mengekspresikan dibuatnya Tari Merak. Untuk mendukung keindahan tari, maka dibuat bentuk visual Merak pada kostum Tari Merak yang telah diinovasikan oleh Irawati. Irawati mengonsepnya melalui ide-ide kreatif dan mengindahkan esensi burung merak pada bentuk visual. Beberapa bagian kostum tari Merak Irawati, yaitu siger (mahkota), susumping, giwang (anting), kelat bahu, garuda mungkur, gelang tangan, kemben, ekor, Ikat pinggang, kacih, selendang, dan sinjang. Kostum yang memiliki banyak unsur estetika seperti garis (lurus, lengkung, bergelombang), bentuk (lingkaran, setengah lingkaran, persegi panjang, ekor merak, dan penyederhanaan burung merak), ornamen (ragam hias binatang, ragam hias tumbuhan, geometris, ulir). Beberapa motif yang digunakan yaitu motif ekor, bulu, ataupun keseluruhan bentuk burung merak. ABSTRACT Peacock Dance is a type of spectacle dance (performance). The Peacock Dance was first created by Rd. Tjetje Somantri in 1955. Then in 1965, the Merak dance was repackaged by Irawati Durban Ardjo, which aimed to be performed on Soekarno's art mission. The Peacock Dance that we often encounter at the moment is the Peacock Dance by Irawati Durban Ardjo. This dance presents the beauty of peacocks. The peacock is the inspiration for the creation of the Peacock dance and its beauty is found when the male peacock widens its tail. Most Indonesian people wrongly assume that this dance tells the story of the life of a female peacock, while the male exhibits the beauty of its tail feathers. The male performs movements that look like graceful dances to show his charms so that the female is fascinated and willing to marry him. That movement expresses the Peacock Dance. With the visual form of the Peacock Dance costume that has been innovated by Irawati. Irawati conceptualized it through creative ideas and heeded the essence of the peacock in visual form. Some parts of the Merraw Irawati dance costume, namely siger (crown), susumping, ear studs (earrings), kelat shoulders, garuda mungkur, wristbands, kemben, tail, belt, belts, shawls, and sinjang. Costumes that have many aesthetic elements such as lines (straight, curved, wavy), shapes (circles, semicircles, rectangles, peacock tails, and simplifications of peacocks), ornaments (various animal decoration, plant decoration, geometric, threaded). Some of the motifs used are the tail, feather, or overall shape motif.

scholarly journals Embodying the Site: the Here and Now in Site-Specific Dance Performance

2005 ◽  
Vol 21 (4) ◽  
pp. 367-381 ◽  
Author(s):  
Victoria Hunter
Keyword(s):  
Creative Process ◽  
Dance Performance ◽  
Site Specific ◽  
The Creation ◽  
Spirit Of Place ◽  
The Moment ◽  
The University ◽  
The Relationship

In this article, Victoria Hunter explores the concept of the ‘here and now’ in the creation of site-specific dance performance, in response to Doreen Massey's questioning of the fixity of the concept of the ‘here and now’ during the recent RESCEN seminar on ‘Making Space’, in which she challenged the concept of a singular fixed ‘present’, suggesting instead that we exist in a constant production of ‘here and nows’ akin to ‘being in the moment’. Here the concept is applied to an analysis of the author's recent performance work created as part of a PhD investigation into the relationship between the site and the creative process in site-specific dance performance. In this context the notion of the ‘here and now’ is discussed in relation to the concept of dance embodiment informed by the site and the genius loci, or ‘spirit of place’. Victoria Hunter is a Lecturer in Dance at the University of Leeds, who is currently researching a PhD in site-specific dance performance.

Conclusion

2018 ◽  
Author(s):  
Rachel Crossland
Keyword(s):  
Literature And Science ◽  
Evaluative Criteria ◽  
Specific Potential ◽  
The Creation ◽  
The Moment ◽  
Further Development

The conclusion returns to some of the ideas raised in the Introduction, specifically Gillian Beer’s suggestion that literature and science ‘share the moment’s discourse’. It argues for the relevance of this model to different periods and disciplines, while also suggesting some specific potential areas for further development in relation to the present study, including generalist periodicals. It also considers some of the evaluative criteria that have previously been suggested for studies in the field of literature and science, and raises some questions as to the direction in which that field of research should now move. The study concludes finally by suggesting that literature and science, as well as a range of other disciplines, some of which are included here, do more than share the moment’s discourse—they share in the creation, development, and modification of that discourse because they share the moment itself.

scholarly journals “ROCKET TO ROCKET”: SEBUAH KISAH TENTANG CITA-CITA DAN HARAPAN

2019 ◽  
Vol 5 (2) ◽  
pp. 107-120
Author(s):  
Yholanda Kunthi Anggriva ◽  
Mahendradewa Suminto ◽  
Agnes Karina Pritha Atmani
Keyword(s):  
Visual Form ◽  
2D Animation ◽  
Animated Film ◽  
Animation Technique ◽  
The Creation

Rockets are spacecraft, missiles, or flying vehicles that get a boost through rocket reactions to fluid materials. In this film the rocket represents dreams and hopes. The process of launching a rocket is the process of reaching someone's dream. The process of launching missiles into space is not easy, but that doesn't mean it can't. This film, invites the audience to be sure of hope and dare to fight for it. The creation of this animated film is presented in the form of 2D animation without using any narration or dialogue. As a support for the atmosphere, music is created that can build an atmosphere. Not forget the 12 principles of animation applied in this animated film to strengthen and improve the artistic impression as a support of visualization. The twodimensional animation technique is intentionally used because the visual form of 2D animation has a light but easy to remember impression.

The Compromise That Made the Republic and the Nation’s First Statistical Race

2013 ◽  
Author(s):  
Kenneth Prewitt
Keyword(s):  
United States ◽  
Public Policy ◽  
Affirmative Action ◽  
Social Science ◽  
American History ◽  
Starting Point ◽  
The Creation ◽  
The Republic ◽  
The Moment ◽  
The U.S

This chapter demonstrates how assumptions of racial superiority and inferiority tightly bound together statistical races, social science, and public policy. The starting point of this is constitutional language. The U.S. Constitution required a census of the white, the black, and the red races. Without this statistical compromise there would not have been a United States as it is today. In the early censuses slaves were counted as three-fifths of a person, a ratio demanded by slaveholder interests as the price of joining the Union. A deep policy disagreement at the moment of founding the nation was resolved in the creation of a statistical race. Later in American history the reverse frequently occurred. Specific policies—affirmative action, for example—took the shape they did because the statistical races were already at hand.

Anthology Publication and the Woman Poet

2020 ◽  
pp. 35-70
Author(s):  
Alexandra Socarides
Keyword(s):  
Literary Culture ◽  
American Woman ◽  
Women Poets ◽  
Women's Poetry ◽  
Wide Audience ◽  
The Creation ◽  
The Moment ◽  
First Time

Chapter 1 investigates the moment at mid-century when American women’s poetry was, for the first time, being collected and marketed to a wide audience. By looking closely at the structures and visual components of the anthologies of the late 1840s, this chapter shows just how vexed the placement of the “American woman poet” into literary culture was. While women poets had been deployed in the service of a narrative about American literary culture earlier, it was with the creation of these anthologies that a whole host of conventions got embraced by writers and editors alike. By highlighting the diversity of approaches and poems contained within these anthologies, this chapter returns to the ways in which women’s poetry resisted being flattened into one kind of poem and women poets into one image.

Decolonial linguistics as paradigm shift

2020 ◽  
pp. 289-300
Author(s):  
Salikoko S. Mufwene
Keyword(s):  
Paradigm Shift ◽  
The Political ◽  
Political Structure ◽  
Disciplinary Boundaries ◽  
Colonial Texts ◽  
The Creation ◽  
The Moment

This commentary focuses the creation of often contradictory disciplinary boundaries, practices, and institutions. It argues that writing on colonial linguistics can traverse several components of this knowledge project. These colonial texts can tell us about the researchers’ encounter with materials, i.e. the data of linguistics, and with the human sources of this data, the “informants.” They tell us about the search for patterns, the moment of generalization and theorizing. And they tell us about the workforce of the knowledge project, particularly its academic workers, and the publication of ‘results’. The collective character of the project, and its close but ambiguous relationship with the political structure of empire, stand out very clearly. There are various conclusions to be drawn at this point. One thing we can be sure about: there is struggle ahead before we have decolonized the academy.

scholarly journals Support to women who denounce experiences of violence based on her social network

2015 ◽  
Vol 23 (5) ◽  
pp. 865-873 ◽  
Author(s):  
Letícia Becker Vieira ◽  
Ivis Emília de Oliveira Souza ◽  
Florence Romijn Tocantins ◽  
Florentina Pina-Roche
Keyword(s):  
Social Network ◽  
Qualitative Study ◽  
Health Professional ◽  
Methodological Framework ◽  
Relational Context ◽  
Health Network ◽  
Secondary Network ◽  
The Social ◽  
The Creation ◽  
The Moment

Objective: to analyze the possibilities of help/support through the mapping and acknowledgement of the social network of women who denounce experiences of violence at a Police Precinct for Women.Method: qualitative study based on the theoretical-methodological framework of Lia Sanicola's Social Network, through interviews with 19 women.Results: the analysis of the network maps evidenced that the primary social network was more present than the secondary on and, despite consisting of significant relations, it demonstrates limitations. The women access the secondary network occasionally in the violence problem and/or its repercussions in their life and health. The discrete presence of the health network in the composition of the social network was revealed and, when mentioned, the relation between the health professional and the woman was characterized as fragile.Conclusion: the importance of the social network relates to the creation of spaces of help/support for the women beyond the moment of the aggression, which accompany them throughout their process of emancipation from an experience annulled by violence, considering that each woman acts and makes decisions in the relational context when she is ready for it.

scholarly journals THE FACT OF CREATION AND THE LIMITS OF SCIENTIFIC KNOWLEDGE

2020 ◽  
Vol 4 (1) ◽  
pp. 85-101
Author(s):  
Ion Marian CROITORU ◽  
Keyword(s):  
New Physics ◽  
The Body ◽  
Christian Theology ◽  
The World ◽  
The Creation ◽  
Science And Theology ◽  
To Come ◽  
The Times ◽  
The Moment ◽  
The Universe

Although scientific research is in full bloom regarding, for instance, the environment, the fact of creation cannot be ignored either, even if some scientists deny it, while others ascertain it, albeit from perspectives, however, foreign to the patristic vision specific of the Orthodoxy. Consequently, the limits of cosmology are structured as well by Christian theology, which shows that the study of the world, guided by laws of physics in a limited framework, is carried out inside the creation affected by the consequences of the primordial sin, so that the reality of the world before sin is known only to those who reach spiritual perfection and holiness, therefore, from an eschatological perspective, since they, too, go through the moment of separation of the soul from the body, waiting for the general resurrection. Therefore, a new way of being is affirmed in the Orthodox Church, by the personal experience of each believer, which is a transformation on the personal and cosmic level, according to Jesus Christ’s resurrected body, which means the reality of a new physics, which concerns both the beginning of the universe, but also its new dimension, at the Lord’s Second Coming, when heaven and earth will be renewed by transfiguration. Regarding the existence of the universe, the differences are given by the perceptions of two cosmologies. Thus, the theonomous cosmology highlights man’s purpose on earth, the necessity of moral and spiritual life, and the transfiguration of creation, explaining God’s presence in His creation, but also His work in it, namely the transcendence and the immanence in relation to the creation. The autonomous cosmology engenders the evolutionist theory, which leads to secularism and, consequently, to the gap between the contemporary man’s technological progress, and his spiritual and moral regress. Today, more scientists are turning their attention also to the data of the divine Revelation, the way it makes itself known by its organs, the Holy Scripture and the Holy Tradition, in the one Church, which will mean a deepening of the dialogue between science and theology in favour of the man from everywhere and from the times to come.

scholarly journals Prospects and principles for the creation of the "Dictionary of Agricultural Names of Central Slobozhanshchyna (Kharkiv Region)"

2019 ◽  
Keyword(s):  
Scientific Research ◽  
National Consciousness ◽  
Literary Language ◽  
Basic Principles ◽  
Practical Orientation ◽  
The People ◽  
Draft Version ◽  
The Creation ◽  
The Moment ◽  
Spiritual Potential

The growing interest in the study of the Ukrainian regional speech and the activation of attempts at its lexicographic representation are directly related to the two primary tasks of modern Ukrainian dialectological science. Such priority tasks of Ukrainian dialectology are the preparation of the Lexical Atlas of the Ukrainian language and drawing up the summary dialect dictionary today. The fulfillment of these tasks is possible only if the lexicographic representation of all local dialects of the Ukrainian language is more or less adequate. The "Dictionary of Agricultural Names of the Central Slobozhanshchina (Kharkiv Region)", developed by us, can contribute to a broader representation of the Central Slobozhanshchyna dialect. The purpose of our article is to cover the basic principles of compiling the dictionary entries of the "Dictionary of Agricultural Names of Central Slobozhanshchyna (Kharkiv Region)". Stacking dictionaries of various types has always been one of the most important practical tasks of linguistic science. Of course, dialectal vocabulary also plays a role in relation to such a practical orientation of linguistics. Regional (dialectal) dictionaries can fix and keep the elements of the living broadcasting are already lost by a literary language. They enrich the national spiritual potential, the general cultural fund of the people, reflect the origins of the national consciousness of the Ukrainian peasant. Such dictionaries directly reflect important fragments of the linguistic picture of the Ukrainian world. In the article we will also demonstrate the lexical and phraseological material of the dictionary developed by us. At the moment we have prepared a draft version of the "Dictionary of Agricultural Names of Central Slobozhanshchyna (Kharkiv Region)". It still contains dictionary entries for the letters A-G so far. We see the prospects of further scientific research in creation of the full "Dictionary of agricultural names of the Central Slobozhanshchina (Kharkiv region)".

scholarly journals BODY RECORD: PERJALANAN TUBUH DALAM BINGKAI TARI SRANDUL

JOGED ◽  
2021 ◽  
Vol 17 (1) ◽  
pp. 42-60
Author(s):  
Wisnu Dermawan
Keyword(s):  
Dance Performance ◽  
Creation Process ◽  
Central Java ◽  
The Creation ◽  
Younger Generation ◽  
The One ◽  
Traditional Arts ◽  
Bahasa Indonesia

ABSTRAK“Body Record” dalam Bahasa Indonesia berarti catatan atau rekaman tubuh. Karya tari ini menceritakan perjalanan manusia khususnya perjalanan tubuh tari penata. Karya tari dalam bentuk suita ini dibagi menjadi empat bagian, bagian pertama tentang kelahiran, dua tentang mengenal tari, tiga tentang konflik batin, dan empat mengenai kelahiran kembali.Tari Srandul menjadi inspirasi untuk menciptakan karya tari ini. Ketertarikan berawal dari menyaksikan pementasan tari Srandul di Dusun Dukuh Seman, desa Wonosari, Kecamatan Bulu, Kabupaten Temanggung, Jawa Tengah. Dari sekian banyak hal yang ditangkap dari tari Srandul, penata tertarik pada koreografi tunggalnya yang dihadirkan dalam sebelas segmen, tema perjalanan manusia, gerak mlampah sebagai representasi tema perjalanan manusia, dan tiga unsur pokok tari Srandul yaitu adanya tembang, tembung, dan tari. Tema ini kemudian dihubungkan dengan pengalaman empiris penata khususnya perjalanan tubuh tari penata. Koreografi tari ini merupakan koreografi tunggal yang ditarikan oleh penata tari sendiri. Pertimbangannya adalah untuk mempermudah proses penciptaannya, selain beranggapan bahwa yang paling mengerti tentang hidup dan perjalanan hidup yang pernah dihanyalah penata sendiri. Bisa juga dikatakan bahwa dalang dari kehidupan kita adalah diri kita sendiri. Gerak Mlampah sebagai representasi perjalanan manusia yang ada pada tari Srandul dijadikan transisi antar bagian dalam struktur tari. Melalui karya ini diharapkan muncul generasi-generasi muda untuk ikut terlibat dalam melestarikan dan mengembangkan seni tradisi yang ada di daerahnya masing-masing.  ABSTRACT "Body Record" in Indonesian means catatan or rekaman tubuh. This dance work tells about the human journey, especially the journey of choreographer’s dance body. This dance work in the form of suite is divided into four parts, the first part about birth, second about getting to know dance, third about inner conflict, and fourth about rebirth. Tari Srandul (Srandul dance) became the inspiration for creating this dance work. This interest started from watching the Srandul dance performance in Dusun Dukuh Seman, Desa Wonosari, Bulu District, Temanggung Regency, Central Java. Choreographer captures many things from the Srandul dance, and finally interested by the solo choreography presented in eleven segments, the theme about human journey, the movement of mlampah as a representation of the theme, and the three main elements of the Srandul dance, namely the presence of tembang, tembung, and dance. Then the choreographer connecting the theme with his empirical experience, especially the journey of the choreographer's dance body. This dance choreography is a solo work choreography that is danced by the choreographer himself. The choreographer dances the work that was created with the consideration to facilitate the creation process. In addition, the choreographer think that the one who understands the most about life and the journey of life that the choreographer has ever passed is only the choreographer himself. It could also be said that the mastermind of our lives is ourselves. Mlampah movements as a representation of the human journey in Srandul dance are used to move between parts in the dance structure. Through this work, it is hoped that it will create the younger generation to be involved in preserving and developing traditional arts in their respective regions. 

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