scholarly journals Kaawakan Ulun

JOGED ◽  
2017 ◽  
Vol 8 (2) ◽  
Author(s):  
Fauji Romansyah

“Kaawakan Ulun” merupakan sebuah judul karya koreografi pada tugas akhir yang penata tempuh pada semester genap tahun akademik 2015/2016. Koreografi Kaawakan Ulun menceritakan tentang pengalaman penata yang kembali dan menemukan kenyamanan dalam bergerak, menari serta kebudayaan penata dengan melihat tradisi dari daerah penata. Kata Kaawakan Ulun, berasal dari kata dasar Awak dan Ulun, kedua kata tersebut diambil dari bahasa daerah suku Banjar, salah satu suku yang ada di Kalimantan Selatan.            Koreografi Kaawakan Ulun, hadir dalam bentuk koreografi kelompok, yang menggambarkan atau menceritakan pengalaman penata yang tidak tahu akan tari tradisional dari daerah penata sendiri. Seiring berjalannya waktu, penata mulai merasa malu karena tidak mengetahui tari tradisional yang berasal dari Kalimantan Timur. Penata mulai mencari tahu dan mempelajari tari tradisional Kalimantan Timur, melalui teman-teman yang ada disekitarnya yang berasal dan memiliki kebudayaan yang sama dengan penata. Sehingga akhirnya penata sadar, bahwa tari tradisional sangatlah istimewa dan indah, sehingga munculah ide untuk menggarap unsur budaya tradisional dengan ketubuhan yang penata miliki, untuk dikolaborasikan hingga menjadi satu kesatuan yang harmonis dan indah.            Koreografi Kaawakan Ulun ini, penata masukan beberapa unsure budaya yang ada di Kalimantan Timur, yaitu unsur budaya Pedalaman atau Dayak dan unsur budaya Pesisir atau Melayu Kutai. Koreografi ini di dalamnya juga hadir permainan Flag Marching Band sebagai salah satu properti tari. Musik pengiring koreografi ini juga mengikuti kedua unsure budaya tersebut. Sumber suara pada musik pengiring ini tidak hanya bersumber dari alat musik tradisional dan musik digital yang diciptakan melalui program komputer saja, namun juga bersumber dari suara vokal seperti senandung, agar suasana khas dari Kalimantan Timur tambah terasa. "KaawakanUlun" is the title of choreographic creation on the final project that artist btained on the second semester of the 2015/2016 academic years. This dance tells about flashback of  choreographer’s experiences that found comfort in moving. KaawakanUlun , derived from the base word Awak and Ulun, that words are taken from Banjar language , one of the ethnic in South Kalimantan. This dance presented in a form of choreography group. The dance describes the choreographer’s experience who did know traditional dances from choreographer’s own. Over time, the choreographer began to feel embarrassed because he did not know the traditional dances that originated from East Kalimantan. Furthermore, the choreographer began to seek out and learned traditional dance of East Kalimantan from friends who comes from the same culture. Finally choreographer understood that traditional dance is very special and beautiful. So came idea to make creation with element that choreographer has. It was be collaborate and became a harmonious and beautiful dance.            Choreographer combined some elements of that exist in East Kalimantan. That ware outback area or Dayak culture and coastal or Malay culture. In this dance choreographer used Marching Band flags as one of the properties dance. The music followed both of the cultures. The musical accompaniment not only from musical instruments and digital music that created by using computer program but also from the sound like humming so the atmosphere like East Kalimantan tasted.

JOGED ◽  
2017 ◽  
Vol 7 (2) ◽  
Author(s):  
Fauji Romansyah

“Kaawakan Ulun” merupakan sebuah judul karya koreografi pada tugas akhir yang penata tempuh pada semester genap tahun akademik 2015/2016. Koreografi Kaawakan Ulun menceritakan tentang pengalaman penata yang kembali dan menemukan kenyamanan dalam bergerak, menari serta kebudayaan penata dengan melihat tradisi dari daerah penata. Kata Kaawakan Ulun, berasal dari kata dasar Awak dan Ulun, kedua kata tersebut diambil dari bahasa daerah suku Banjar, salah satu suku yang ada di Kalimantan Selatan.            Koreografi Kaawakan Ulun, hadir dalam bentuk koreografi kelompok, yang menggambarkan atau menceritakan pengalaman penata yang tidak tahu akan tari tradisional dari daerah penata sendiri. Seiring berjalannya waktu, penata mulai merasa malu karena tidak mengetahui tari tradisional yang berasal dari Kalimantan Timur. Penata mulai mencari tahu dan mempelajari tari tradisional Kalimantan Timur, melalui teman-teman yang ada disekitarnya yang berasal dan memiliki kebudayaan yang sama dengan penata. Sehingga akhirnya penata sadar, bahwa tari tradisional sangatlah istimewa dan indah, sehingga munculah ide untuk menggarap unsur budaya tradisional dengan ketubuhan yang penata miliki, untuk dikolaborasikan hingga menjadi satu kesatuan yang harmonis dan indah.            Koreografi Kaawakan Ulun ini, penata masukan beberapa unsure budaya yang ada di Kalimantan Timur, yaitu unsur budaya Pedalaman atau Dayak dan unsur budaya Pesisir atau Melayu Kutai. Koreografi ini di dalamnya juga hadir permainan Flag Marching Band sebagai salah satu properti tari. Musik pengiring koreografi ini juga mengikuti kedua unsure budaya tersebut. Sumber suara pada musik pengiring ini tidak hanya bersumber dari alat musik tradisional dan musik digital yang diciptakan melalui program komputer saja, namun juga bersumber dari suara vokal seperti senandung, agar suasana khas dari Kalimantan Timur tambah terasa. "KaawakanUlun" is the title of choreographic creation on the final project that artist btained on the second semester of the 2015/2016 academic years. This dance tells about flashback of  choreographer’s experiences that found comfort in moving. KaawakanUlun , derived from the base word Awak and Ulun, that words are taken from Banjar language , one of the ethnic in South Kalimantan. This dance presented in a form of choreography group. The dance describes the choreographer’s experience who did know traditional dances from choreographer’s own. Over time, the choreographer began to feel embarrassed because he did not know the traditional dances that originated from East Kalimantan. Furthermore, the choreographer began to seek out and learned traditional dance of East Kalimantan from friends who comes from the same culture. Finally choreographer understood that traditional dance is very special and beautiful. So came idea to make creation with element that choreographer has. It was be collaborate and became a harmonious and beautiful dance.            Choreographer combined some elements of that exist in East Kalimantan. That ware outback area or Dayak culture and coastal or Malay culture. In this dance choreographer used Marching Band flags as one of the properties dance. The music followed both of the cultures. The musical accompaniment not only from musical instruments and digital music that created by using computer program but also from the sound like humming so the atmosphere like East Kalimantan tasted.


2021 ◽  
Vol 10 (1) ◽  
pp. 11-16
Author(s):  
Handi Wiyono

Jaranan Buto is one of the arts that live in Banyuwangi in addition to other arts. As a performing art, in every presentation Jaranan Buto uses accompanying music. At the beginning of its creation, the musical accompaniment of Jaranan Buto consisted of several instruments and pieces. Over time, the musical accompaniment of Jaranan Buto has experienced developments so as to form a structure for presenting the musical accompaniment of Jaranan Buto which is now commonly used. This study discusses the structure of the musical accompaniment of Jaranan Buto and its various imitations. This study used a descriptive qualitative approach by interviewing Setro Asnawi (80 years) as the creator of Jaranan Buto and Mariyono (55 years) as the second generation of Jaranan Buto Sekar Diyu dancers who were still active until this research was written. Analysis of research data starts from domain analysis, observation focused on the accompaniment of Jaranan Buto from the beginning of the stage, trance to exiting the stage, taxonomic analysis, selected observations to the final stage, namely component analysis. From these results it can be concluded that the elements of musical imitation in the accompaniment of Jaranan Buto consist of imitation of musical instruments and imitation of pieces performed from other arts.


2004 ◽  
Vol 78 (1-2) ◽  
pp. 5-41 ◽  
Author(s):  
Julian Gerstin

Investigates descriptions of Afro-Caribbean dances in early chronicles and historical material. Author focuses on choreography, as well as on musical instruments and their use. He pays special attention to descriptions of the Martinican kalenda dance. He discusses descriptions from the 18th c. of black Caribbean dance in French and other colonies, by priests and others, of the kalenda as a couple dance within a ring, and descriptions of other widespread early dances in the Caribbean, such as chica. Author notes that in these early descriptions the authors focus obsessively on eroticism, thus simplifying and exaggerating the dances as sexual, and ignoring their variety. Further, he analyses early chronicles on other widespread dances in the circum-Caribbean, such as stick-fighting dances, bamboula, djouba, and belair, comparing with present-day Caribbean dances, and on "challenge dancing" involving a dance soloist "challenged" by a lead drummer, found, for instance, in kalenda and rumba. In addition, the author focuses on the dances' musical accompaniment by drums, and the drum types and methods, specifically transverse drumming and drumming with sticks on the side of the drum, found today in kalenda, and other Caribbean styles. He points at the inaccuracy of some chronicles, mixing up dance names, and recurring superficiality and stereotypes. He nonetheless concludes from them that slaves from the Congo/Angola region probably played a crucial role in forming these early dance styles, and that their spread was connected with French colonialism and slavery and migrations from (once) French colonies. He describes probable Congolese/Angolan influences, such as pelvic isolation, challenge dances, couple dancing within a circle, and transverse drumming, but indicates that these are over time combined with other African and other influences.


2011 ◽  
Vol 16 (2) ◽  
pp. 166-175 ◽  
Author(s):  
Michael Gurevich ◽  
A. Cavan Fyans

This article adopts an ecological view of digital musical interactions, considering first the relationship between performers and digital systems, and then spectators’ perception of these interactions. We provide evidence that the relationships between performers and digital music systems are not necessarily instrumental in the same was as they are with acoustic systems, and nor should they always strive to be. Furthermore, we report results of a study indicating that spectators may not perceive such interactions in the same way as performances with acoustic musical instruments. We present implications for the design of digital musical interactions, suggesting that designers should embrace the reality that digital systems are malleable and dynamic, and may engage performers and spectators in different modalities, sometimes simultaneously.


2021 ◽  
Vol 66 (1) ◽  
pp. 23-38
Author(s):  
Joyanta Sarkar ◽  
Anil Rai

"Meghalaya is a richly inhabited Indian state. Drums, flutes of bamboo and hand-held small cymbals are a common ensemble. The advent of Christianity in the middle of the 20th century marked the start of a decline in tribal popular music. Over time, Meghalaya’s music scene has evolved, attracting many talented artists and bands from both traditional and not-so traditional genres. Any of the most recent Meghalaya musicians and bands is: The Plague Throat, Kerios Wahlang, Cryptographik Street Poets, etc., Soulmate, Lou Majaw, and Snow White. Meghalaya’s music is characterised by traditional instruments and folk songs. The Musical Instruments of Meghalaya are made from local materials. Meghalayan people honour powerful natural forces and aim to pacify animistic spirits and local gods. The instruments are made of bamboo, flesh, wood, and animal horn. Any one of these musical instruments is considered to have the ability to offer material benefits. The Meghalaya musical instrument is an essential part of traditional folk music in the region. In this article, we offer an overview of the folk musical instruments of Meghalaya. Keywords: Idiophone, Aerophone, Chordophone, Membranophone, Trumpet. "


2021 ◽  
Vol 3 (2) ◽  
pp. 1-10
Author(s):  
Suganya Aravinthon

From the earliest days of the Tamil music tradition, music was considered to be a combination of vocal music, instrumental music and dance. Each of these musical genres is closely intertwined. Knowledge of one helps to know about the other. Instrumental music has been interpreted as accompaniment to solo music and dance and as a solo specialty. In Bharata's book 'Natyashasthram', musical instruments are generally divided into four categories as nerve (tata) hole (kasira) ¸ skin (avanatta) ¸ kana (kanja). In this context, it is a research paper on the history and use of the Nagaswaram and thavil instruments, which are referred to today as the Mangala Vaathyam, which the Tamils ​​have merged with their culture.  This article also examines in detail the ideological changes that have taken place over time in the use of these two musical instruments. At the same time, the use of these instruments in the sociological context is taken into account. Finally, this article is a historical study of the lineage of musicians who have mastered these instruments.


2020 ◽  
Vol 39 (8) ◽  
pp. 558-565
Author(s):  
Balakrishnan Kunjan ◽  
Witan Ardjakusumah ◽  
Kevin McDonald ◽  
Hannah Booth ◽  
Seda Rouxel ◽  
...  

In all exploration processes, the evaluation of basins, permits, and individual prospects changes over time with incremental availability and quality of data, technical effort expended, and knowledge gained. The NU prospect, located in the Mahakam Hilir PSC (East Kalimantan), is an example in which geologic chance of success (GCOS) predictions can change over time with increasing acquisition and availability of geophysical and geologic data and the studies done on them. We show how studies done on any one prospect or group of prospects can progressively increase/decrease the chance of at least one success in an exploration campaign of several wells. After a series of four wells was drilled in the PSC, which did not deliver commercial success, a change in approach was required to continue exploration. This included the acquisition of airborne gravity gradiometry data, initial trial prestack depth migration (PSDM) reprocessing of two key 1989 vintage 2D lines, acquisition of vintage well data from four Sambutan Field wells, acquisition of nine vintage 2D seismic lines over the field, and PSDM reprocessing of the nine 2D seismic lines. All data were then integrated to build a new geologic model. As a result, the NU prospect GCOS progressively moved from less than 10% to nearly 40%.


Land ◽  
2018 ◽  
Vol 7 (3) ◽  
pp. 108 ◽  
Author(s):  
Carina van der Laan ◽  
Arif Budiman ◽  
Judith Verstegen ◽  
Stefan Dekker ◽  
Wiwin Effendy ◽  
...  

In Indonesia, land cover change for agriculture and mining is threatening tropical forests, biodiversity and ecosystem services. However, land cover change is highly dynamic and complex and varies over time and space. In this study, we combined Landsat-based land cover (change) mapping, pixel-to-pixel cross tabulations and expert knowledge to analyze land cover change and forest loss in the West Kutai and Mahakam Ulu districts in East Kalimantan from 1990–2009. We found that about one-third of the study area changed in 1990–2009 and that the different types of land cover changes in the study area increased and involved more diverse and characteristic trajectories in 2000–2009, compared to 1990–2000. Degradation to more open forest types was dominant, and forest was mostly lost due to trajectories that involved deforestation to grasslands and shrubs (~17%), and to a lesser extent due to trajectories from forest to mining and agriculture (11%). Trajectories from forest to small-scale mixed cropland and smallholder rubber occurred more frequently than trajectories to large-scale oil palm or pulpwood plantations; however, the latter increased over time. About 11% of total land cover change involved multiple-step trajectories and thus “intermediate” land cover types. The combined trajectory analysis in this paper thus contributes to a more comprehensive analysis of land cover change and the drivers of forest loss, which is essential to improve future land cover projections and to support spatial planning.


1977 ◽  
Vol 14 (1) ◽  
pp. 144-152 ◽  
Author(s):  
S. D. Deshmukh ◽  
S. D. Chikte

During the course of an R and D project, it is often meaningful and possible to evaluate its status, so that this information may be used for making better financing decisions over time. The project status changes stochastically due to the internal (technological) and the external (market) uncertainties, the former being partially controlled by expenditure of resources. In addition to the resource expenditure strategy, the manager must also decide when to terminate the project. Once the project is terminated, a terminal return is collected, whose value depends on the final project status. It is shown that the project should be terminated if the current status is either too low or too high to make further expenditure worthwhile. Otherwise, for an intermediate (promising) status of the project, an aggressive investment strategy is shown to be optimal. Thus, the model unifies the problems of optimally undertaking, financing and terminating an R and D project in face of various uncertainties.


Academia Open ◽  
2021 ◽  
Vol 4 ◽  
Author(s):  
Faizal Alif Hidayat ◽  
Nurdyansyah

Management is essential for any activity or group in an effort to achieve the desired goal. Management activities consist of planning, organizing, placement, briefing, cultivation, communication, and decision making conducted by each organization with the aim to coordinate various resources owned by the company so that an efficient product or service is produced. Extracurricular activities are activities that are commonly done outside the classroom and outside the lesson hours to develop the potential of human resources owned by students, both related to the application of science obtained and in a special sense to guide learners in developing the potential and talents that exist in him develop the potential and talents that exist in him through mandatory activities and choices. Marching Band is a group of people who play one or more songs using a number of combinations of musical instruments (inflatable, percussion, and a number of instruments) together. The marching band's performance is a combination of the music (inflatable and punching) as well as the line-up action of the players.


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