scholarly journals ASUH ASAH BABAKEH: ARYA TARI SEBAGAI UNGKAPAN KERINDUAN CUCU KEPADA ATUK

JOGED ◽  
2020 ◽  
Vol 16 (2) ◽  
pp. 159-175
Author(s):  
Ayang Sophia
Keyword(s):  
Early Education ◽  
Dance Music ◽  
Symbolic Expression ◽  
Aesthetic Appearance ◽  
The World ◽  
Contemporary Work ◽  
Deep Impression ◽  
Oil Lamp

Asuh Asah Babakeh merupakan karya yang terinspirasi dari pengalaman empiris tentang kasih sayang seorang Atuk terhadap cucu. Atuk (bahasa Minang: kakek) merupakan salah satu orang yang berperan penting dalam pendidikan awal mengenali kehidupan penata tari. Beliau yang mengajar ilmu pengetahuan, agama, beragam cara hidup di dunia melalui nyanyian, cerita dan contoh peristiwa. Atuk telah wafat meninggalkan kesan yang mendalam sampai saat ini. Karya tari ini merupakan persembahan ucapan terima kasih untuk Almarhum dari lubuk hati yang terdalam. Asuh Asah Babakeh merupakan koreografi kelompok dengan garap kontemporer yang berakar dari tradisi Minangkabau. Garap gerak berpijak pada tari Babuai yang bernafaskan budaya Minangkabau. Demikian juga musik tarinya yang dikomposisi khusus untuk koreografi ini diharapkan dapat membangun nuansa budaya Minangkabau serta imajinasi tema untuk menguatkan dramatisasi pada setiap bagian koreografinya. Tema pada karya ini adalah ungkapan rasa rindu pada kasih sayang antara cucu dengan Atuk. Menggunakan tipe tari dramatik serta cara ungkap simbolis. Struktur Koreografi dibagi menjadi empat adegan. Menggunakan properti tari lampu togok (lampu minyak yang sudah dimodifikasi), serta properti panggung untuk menambah estetika penampilan serta menguatkan ekpresi tarinya. Karya ini ditarikan oleh 9 orang penari dan dipentaskan di panggung proscenium stage. ABSTRACT Asuh Asah Babakeh is a creation inspired by the empirical experience of a choreographer about the closeness and affection of a Atuk for grandchildren. Atuk (Minang language: grandfather) is one that plays an important role in early education in recognizing the lives of dance stylists. He teaches science, religion, various ways of living in the world through songs, stories and examples of events. Atuk has died leaving a deep impression until this day. This dance an offering of thanks to the deceased from the bottom of my heart. Asuh Asah Babakeh is a group choreography with contemporary work rooted in the Minangkabau tradition. Work on movements resting on the Babuai dance that breathes Minangkabau culture. Likewise, the dance music composed specifically for this choreography is expected to build the nuances of Minangkabau culture as well as the theme's imagination and strengthen the dramatization of each part of the dance. The theme in this work is an expression of longing for affection between grandchildren and Atuk. Using the type of dramatic dance and symbolic expression. The structure of Choreography is divided into four scenes. Using the togok lamp dance property (modified oil lamp), as well as the stage property to add aesthetic appearance and strengthen the dance expression. This work was danced by nine dancers and performed on the proscenium stage

A GRASP ON THE NATURE OF LUNDAYEH THROUGH THEIR TRADITIONAL DANCE CULTURE

2015 ◽  
Vol 3 (2) ◽  
pp. 1-22
Author(s):  
LEE SUAN CHONG
Keyword(s):  
Ethnic Groups ◽  
West Coast ◽  
Dance Music ◽  
Human Knowledge ◽  
The West ◽  
Dance Culture ◽  
The Core ◽  
The World ◽  
Religious Aspects ◽  
Life Philosophies

AbstrakPenduduk Lundayeh terdapat di Tenom, Sipitang dan Long Pa Sia, di sepanjang pantai barat Sabah, Malaysia. Bentuk dan sistem tarian Lundayeh telah melalui perubahan dan variasi sejak kewujudan mereka di Borneo. Artikel ini mengkaji dalam pelbagai aspek, termasuk muzik, pakaian, pergerakan, fungsi dancerita-cerita daripada tarian tradisional yang diamalkan dalam masyarakat Lundayeh hari ini di Kemabong, Sabah. Tarian tradisional Lundayeh yang masih diamalkan berdasar terutamanya kepada aspek budaya, sosial dan agama hidup Lundayeh. Kajian ini membawa kepada penemuan corak pemikiran, falsafahhidup dan perspektif dunia Lundayeh yang dipengaruhi oleh agama dan budaya purba mereka. Tarian tradisional Lundayeh berfungsi sebagai satu saluran untuk memahami sifat orang Lundayeh sebagai salah satu kumpulan etnik kecil di dunia. Pemahaman tentang sifat orang Lundayeh akan terus menyumbang ke arah perkongsian dan penemuan dalam dimensi ilmu kemanusiaan yang baru.   AbstractLundayeh populations are found in the areas of Tenom, Sipitang and Long Pa Sia, along the west coast of Sabah, Malaysia. Lundayeh dance forms and systems have gone through changes and variations since their existence in Borneo. This paper looks into a variety of aspects, including music, costumes, movements, functions and stories of the traditional dances practiced in today’s Lundayeh communities in Kemabong, Sabah. The surviving traditional dances found to have stemmed from the core of Lundayeh cultural, social and religious aspects of life. The study leads to the discovery of the thinking patterns, life philosophies and world perspectives of Lundayeh that are strongly influenced by their religion and ancient culture. Dance music ultimately serves as a tool to understand the nature of Lundayeh people as one of the minor ethnic groups in the world. The understanding of the nature of Lundayeh would further contribute toward sharing and discovering another dimension of human knowledge and wisdom.

Gavel

2018 ◽  
pp. 214-224 ◽  
Author(s):  
James EK Parker
Keyword(s):  
International Law ◽  
Critical Evaluation ◽  
Sound Studies ◽  
Close Reading ◽  
World Today ◽  
The World ◽  
Contemporary Work

The gavel is one of the most widely recognized objects of law around the world today. Images of it are everywhere. Gavels feature in some of the most prominent institutions of international law as well as in many courts and legislatures internationally. Even in jurisdictions where the gavel doesn’t appear in conventional legal settings it can still be found at auctions, conferences, and meetings, and will be doing important juridical work. It is not, however, well understood. Drawing on contemporary work in sound studies and jurisprudence, and via a close reading of a film by Italian artist Diego Tonus, this chapter provides a critical evaluation of the gavel’s material, symbolic, and sonic lives. It suggests that the gavel is right at the centre of the global juridical imaginary, and that this serves as a reminder that sound matters in law in ways that are not yet adequately explored.

scholarly journals Paradigma Baru Dalam Museum Seni dan Budaya Jawa Ullen Sentalu

Humaniora ◽  
2011 ◽  
Vol 2 (1) ◽  
pp. 838
Author(s):  
Amarena Nediari
Keyword(s):  
New Paradigm ◽  
The Family ◽  
The World ◽  
Art And Culture ◽  
Historical Objects ◽  
Main Attraction ◽  
Deep Impression

The existence of the museum building as  conservation collection of historic objects often give the impression that the museum is an ancient building, dark and disheveled. While the new paradigm in the management of the museum is a museum not only as a place to store historical objects, but need to present the collection in an attractive package so that visitors interested in coming back again to the museum. Museum of art and culture of Java Ullen Sentalu, in Kaliurang has provided a new insight to the culture, especially Javanese culture in the family palace of Yogyakarta and Solo Palace. The main attraction of this Sentalu Ullen is to deliver information about the historic collection from the family palace is presented as a whole, so that leaves a deep impression for visitors. This museum has given the world a new concept in museums in Indonesia, which certainly can be applied to other museums in Indonesia.  

scholarly journals Genre and style priorities of accordion performance in traditional common culture of USA

2021 ◽  
pp. 150-155
Author(s):  
L. Shemet
Keyword(s):  
Folk Music ◽  
The United States ◽  
World Music ◽  
Dance Music ◽  
Musical Style ◽  
Important Place ◽  
Common Culture ◽  
The World ◽  
Historical Dynamics ◽  
Regional Specificity

The relevance of the study is determined by the wide popularity of accordion in various genres and styles of American folk music, significant achievements of American accordionists in preserving and developing performing traditions in accordance with the ethnocultural specifics of a particular region of the country and presentation of creative achievements of famous American folk groups in the world music space, as well as by lack of the studies on this issue in the field of musicology in Ukraine. The aim of the study is to define the genre and style priorities of accordion performance in the traditional common culture of Americans, highlight the regional specifics of styles and genres of American folk music, in the reproduction of which the accordion is directly involved, as well as describe textural, articulatory and picking, metric and rhythmic features of playing the instrument. The methodology. The methodological basis of the study is the interaction of scientific approaches, among which an important place is occupied by historical, cultural, systemic, structural and functional, musicological methods. The results. In the traditional common culture of Americans, the performance on the accordion is presented quite diversely in terms of the instruments, distribution areas, genre, and style palette of music performed. Historical, sociocultural and geopolitical factors, ethnocultural influences, multicultural tendencies determined the regional specificity of the instruments. The Cajun accordion, the diatonic button accordion, and the chromatic piano accordion have gained considerable popularity in the traditional common culture of various regions of the United States. Each of them took leading positions in the reproduction of a certain musical style: Cajun accordion — Cajun and Zydeco, diatonic button accordion — Cojunto, chromatic piano accordion — Zydeco. The button (diatonic or chromatic) and piano accordions were mainly used in the instrumental composition of dance music groups, in particular in the genre of polka, depending on the region with the corresponding ethnic specificity. The accordion performance vividly embodies the genre and style features of American folk music in the context of its historical dynamics and capability of artistic expression, including intonation expressiveness and characteristic techniques of playing, inherent in a certain design model of the instrument. The topicality of the study is to reproduce the genre and style specifics of accordion performance in the traditional common culture of Americans.

scholarly journals Robin John Tillyard, 1881 - 1937

1938 ◽  
Vol 2 (6) ◽  
pp. 339-345 ◽  
Keyword(s):  
Early Education ◽  
Road Surface ◽  
The Road ◽  
The World ◽  
On The Road ◽  
Queens College

The death of Robin John Tillyard, in his fifty-sixth year, took place in Australia on 13 January, 1937. It occurred as the result of a motor accident on the previous day which took place near Goulburn, on the road between Canberra and Sydney. Since Tillyard was one of the best known entomologists of the present day his tragic ending came as a shock to m any personal friends in various parts of the world. It appears that the car, in which he was being driven, skidded on a bad patch of road surface which had become greasy owing to a thunderstorm . T he vehicle overturned and he was throw n through the windscreen, sustaining a broken neck. H e was taken to the Goulburn Hospital where he survived without pain for fourteen hours after the accident. Born on 31 January, 1881, he was the son of J. J. Tillyard of Norwich. His early education was at Dover College and from there he gained scholarships both at Oxford and Cambridge. The choice fell on the last-named university and he entered Queens’ College with a scholarship in mathematics.

Relational leadership

2011 ◽  
Vol 64 (11) ◽  
pp. 1425-1449 ◽  
Author(s):  
Ann L Cunliffe ◽  
Matthew Eriksen
Keyword(s):  
Empirical Study ◽  
Leadership Theory ◽  
Relational Leadership ◽  
Responsible Leadership ◽  
The Everyday ◽  
The World ◽  
Contemporary Work ◽  
Relational Leadership Theory ◽  
Practical Implications

This article aims to extend contemporary work on relational leadership theory by conceptualizing leadership as embedded in the everyday relationally-responsive dialogical practices of leaders. Relational leadership requires a way of engaging with the world in which the leader holds herself/himself as always in relation with, and therefore morally accountable to others; recognizes the inherently polyphonic and heteroglossic nature of life; and engages in relational dialogue. This way of theorizing leadership also has practical implications in helping sensitize leaders to the importance of their relationships and to features of conversations and everyday mundane occurrences that can reveal new possibilities for morally-responsible leadership. We develop and illustrate the notion of relational leadership by drawing on the work of Bakhtin and Ricoeur, and on an empirical study of Federal Security Directors.

scholarly journals Early Childhood in Ethiopia: Initiatives in Education

2007 ◽  
Vol 8 (3) ◽  
pp. 275-281 ◽  
Author(s):  
Judit Szente ◽  
James Hoot ◽  
Selamawit Tadesse
Keyword(s):  
Early Childhood ◽  
Systems Theory ◽  
Primary Education ◽  
Early Education ◽  
Ecological Systems ◽  
Ecological Systems Theory ◽  
Education Programs ◽  
The World

This article informs readers about early childhood in one of the poorest nations in the world — Ethiopia. Within the context of ecological systems theory, it emphasizes the characteristics of early education programs such as pre-school and basic (primary) education, and creates connections with families' views about education. The article concludes with recommendations for further research.

scholarly journals The COVID-19 War in Ceramic Arts: Navigating Aesthetic and Symbolic Expressions

2021 ◽  
Vol 14 (1) ◽  
pp. 81-99
Author(s):  
Ponimin ◽  
Guntur
Keyword(s):  
Human Life ◽  
Visual Narrative ◽  
Symbolic Expression ◽  
Plastic Clay ◽  
3 Dimensional ◽  
Creative Idea ◽  
Southern Area ◽  
Ceramic Art ◽  
The World ◽  
Hand Massage

This paper reports on the production of a ceramic installation artwork that explores the story of the COVID-19 pandemic experienced by people throughout the world. The work is a symbolic expression in the form of a set of ceramic art models that portray the story of the battle between positive and negative values, expressed through a 3-dimensional visual ceramic installation consisting of an arrangement of statues that portray an imaginary battle between COVID-19 troops and Lord Krishna. The method used in the process of creating this work was a creative approach that combined appreciation and interpretation of the object of the creative idea. The artwork was made of plastic clay taken from the southern area of Malang regency, East Java, Indonesia, which was formed using a manual technique of direct hand massage and fired at a temperature of 900 °C. The COVID-19 phenomenon is imagined and visualized as a ceramic installation sculpture consisting of the imaginative figures of COVID-19 troops, led by the king of COVID-19 who is shown fighting with Lord Krishna. The result is a visual expression of the COVID-19 troops and their king, in several imaginative forms, carrying various weapons of war, in combat with the imaginary figure of Lord Krishna. The distinction of this work is its portrayal of a battle between positive and negative forces that have become a part of human life during the COVID-19 pandemic, expressed in a symbolic visual narrative through the arrangement of a set of ceramic sculptures.

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