scholarly journals “The Legend of Balinese Goddesses”: Komodifikasi Seni Pertunjukan Hibrid dalam Pariwisata Bali

2018 ◽  
Vol 8 (1) ◽  
pp. 35 ◽  
Author(s):  
Gede Suardana ◽  
I Nyoman Darma Putra ◽  
Nengah Bawa Atmaja
Keyword(s):  
Literature Review ◽  
Performing Arts ◽  
Cultural Tourism ◽  
Cultural Elements ◽  
Rich Variety ◽  
Marine Park ◽  
The People ◽  
Art And Culture ◽  
The Rich ◽  
Performing Art

This article examines the commodification of hybrid performing arts in Bali tourism, especially the “Bali Agung - The Legend of Balinese Goddesses” performed regularly at Bali Safari and Marine Park, Gianyar. Data were collected by observation techniques, interviews, and literature review, then discussed with commodity theory and cultural tourism ideology.The study shos that hybridity in this performance is evident from the blended of cultural elements of Bali, China, and Western technology. Hybrid tourism performing arts produced can be communal and institutional in ownership. The hybrid tourism performing art is communal because it is created without copyright so it belongs to the people of Bali, while the hybrid performing arts is institutional because it is created with copyright so that ownership and pro t is only enjoyed by the industry that ‘recreated dan performed’ it. Although di erent, communal and institutional hybrid tourism performing arts have been able to become arts that give new color to the rich variety of Balinese art and culture.

scholarly journals Performing Art and Culture Center Hamdan

2019 ◽  
Vol 3 (3) ◽  
pp. 342-350
Author(s):  
N. Vinky Rahman ◽  
Esra Monica Aruan
Keyword(s):  
Public Space ◽  
Performing Arts ◽  
Informal Education ◽  
Formal Education ◽  
The People ◽  
Arts And Culture ◽  
Art And Culture ◽  
Contemporary Architecture ◽  
Performing Art ◽  
Community Space

Performing Art and Culture Center is a building that functions as a center of activity to accommodate the creativity of the community in the field of art as well as public space facilities in the city of Medan. The center for arts and culture is expected to be able to respond to the problem of Medan City in providing community space and informal education facilities so that this function aims as a community space that can accommodate artistic activities with adequate facilities. The method used in designing this project is a data collection through field surveys and literature studies. This project is one of the functions in the revitalization of the Integrated Hamdan Area in Medan Maimun District. To reflect the concept of revival and as an innovative design, the theme of this project is contemporary architecture. This project will be a non-formal education facility that is educational and entertaining. With this function, Performing Arts and Culture can increase tourism in Medan, a place to create value for the creativity of the community, increase the sensitivity of the people of Medan city towards traditional and modern cultural arts, and make Medan a cultured city.

scholarly journals STRATEGI KOLABORASI DALAM SENI PERTUNJUKAN TRADISIONAL DI KABUPATEN SUBANG

2013 ◽  
Vol 5 (2) ◽  
pp. 294
Author(s):  
Irvan Setiawan
Keyword(s):  
Analytical Method ◽  
Performing Arts ◽  
Time Data ◽  
Time And Space ◽  
Secondary Sources ◽  
The People ◽  
Traditional Arts ◽  
Performing Art ◽  
Over Time

Abstrak Kesenian tradisional memegang peranan dalam pencirian dan menjadi kekhasan suatu daerah. Bagi wilayah administratif yang menjadi cikal bakal suatu kesenian daerah tentu saja tidak sulit untuk menyebut istilah kesenian khas dan menjadi milik daerah tersebut. Lain halnya dengan wilayah administratif yang tidak memiliki kesenian daerah sehingga akan berusaha menciptakan sebuah kesenian untuk dijadikan sebagai kesenian khas bagi daerahnya. Beruntunglah bagi Kabupaten Subang yang menjadi cikal bakal beberapa kesenian yang terlahir dan besar di daerahnya. Tidak hanya sampai disitu, Pelestarian dan pengembangan kesenian tradisional tampak serius dilakukan. Hal tersebut terlihat dari papan nama berbagai kesenian (tradisional) di beberapa ruas jalan dalam wilayah Kabupaten Subang. Seiring berjalannya waktu tampak jelas terlihat adanya perubahan dalam pernak pernik atau tahapan pertunjukan pada beberapa seni pertunjukan tradisional. Kondisi tersebut pada akhirnya mengundang keingintahuan mengenai strategi kolaborasi apa yang membuat seni pertunjukan tradisional masih tetap diminati masyarakat Subang. Penelitian ini dilakukan dengan menggunakan metode deskriptif analisis yang didukung dengan data lintas waktu baik dari sumber sekunder maupun dari pernyataan informan mengenai seni pertunjukan tradisional di Kabupaten Subang. Dari hasil penelitian diperoleh bahwa kolaborasi yang dilakukan meliputi kolaborasi lintas waktu dan lintas ruang yang masih dibatasi oleh seperangkat aturan agar kolaborasi tidak melenceng dari identitas ketradisionalannya.AbstractTraditional arts play a role in the characterization of a region. The Regency of Subang became the pioneer for inventing and creating some traditional arts. They were born and grew in the area, and their preservation and development are seriously taken into consideration. It is evident that some changes occurred over time, for example in the accessories or phase of performances at several traditional performing arts. ThisNaskah Diterima: 28 Februari 2013Naskah Disetujui: 2 April 2013condition makes the author curious about the strategy of collaboration that makes the people of Subang interested in traditional performing art. The author conducted descriptive analytical method supported by cross-time data either from primary or secondary sources. The result shows that the strategy of collaboration across time and space in traditional performing

scholarly journals EMPTY BENCH IN INDONESIAN PERFORMING ARTS STUDIES: AUDIENCE

2021 ◽  
Vol 18 (2) ◽  
pp. 83-91
Author(s):  
Kurnia Rahmad Dhani
Keyword(s):  
Literature Review ◽  
Performing Arts ◽  
Audience Studies ◽  
Exact Number ◽  
The Past ◽  
Research Theme ◽  
Performing Art ◽  
Art Experts

Many Indonesian performing art experts have stated that audience studies were conducted in minimal numbers. However, the exact number of research on performing art audiences in Indonesia remains unclear. The factors that influence it are still not known in detail. This paper used a literature review on seven nationally accredited performing arts journals from art institutes in Indonesia over the past ten years. The results showed that only 3 out of 1034 journal titles focusing on performing art audiences in the last ten years. From these findings, we can conclude that the study on the audiences is so scarce. This research theme is not interesting for performing art experts in Indonesia. Indonesian performing art experts and academicians have left the importance of audience studies. This paper also discusses the factors that influence the negligible of performing arts audience studies in Indonesia.

ANALISIS MUZIK DAN PERSEMBAHAN DIKIR BARAT DI KELANTAN – SATU PENILAIAN DAN PERSEPSI MASA HADAPAN

2014 ◽  
Vol 2 (2) ◽  
Author(s):  
SHAIPUDDIN Muhammad
Keyword(s):  
Performing Arts ◽  
Versus Group ◽  
The People ◽  
Art And Culture ◽  
New Ideas

AbstrakPersembahan dikir barat merupakan seni persembahan yang sangat terkenal di negeri Kelantan.Masyarakat di sini sangat menjaga identiti dan budaya ini sejak zaman berzaman lagi. Pengaruh muzikkhususnya irama Bollywood, telah menjadikan lagu-lagu dikir barat ini begitu mendapat tempat dihatipara peminat di Kelantan. Ia bertahan dan meniti disetiap bibir masyarakat di sini. Hari ini pengaruhdan kesan serta idea baharu telah mula menular pada setiap penggiat dan pendikir terutamanya dikirlagu. Mereka menjadikan nyanyian dan dikir lagu sebagai medium baharu untuk meraih populariti supayamereka mendapat tempat dikalangan peminat lagu-lagu dikir barat. Kesan perubahan ini telah membawakepada peningkatan persembahan dikalangan artis tempatan untuk mengadakan persembahan mereka.Kebanyakan masyarakat tempatan senang untuk menerima perubahan muzik dan persembahan di dalamdikir lagu yang dinyanyikan oleh penyanyi solo sahaja berbanding berkumpulan. Analisis dalam kajian initelah menunjukkan bahawa populariti lebih menjuruskan kepada perubahan muzik dan persembahan dimana ia lebih mempengaruhi minat pendengar dan penonton. Golongan lama pula lebih meminati terhadappersembahan secara tradisional. Bagaimana mereka menilai dan berpendapat di dalam perubahan muzikdan persembahan dikir barat ini. Diharapkan pandangan dan pendapat yang telah ditemui akan dapatmenyelamat dan memelihara seni dan budaya dikir barat ini dari terus diminati oleh setiap pelusuk rakyatdi Kelantan dan juga Malaysia. Abstract Dikir barat performances are very famous performing arts in Kelantan. The community here is keepingthe identity and culture since time immemorial yet. The influence of Bollywood music, especially rhythm,has a dikir barat songs are so getting a place in the hearts of fans of Kelantan. It survived and moved oneach lip of the community here. Today, the influence and impact as well as new ideas began to spreadat all players and especially pendikir chants songs. They make songs and chants of the song as a newmedium to gain popularity, so they have a place among fans of the songs dikir barat. The impression thesechanges have led to an increase in offerings by local artists to hold among their offerings. Most of the localcommunities where they are happy to accept the changes muzik and offerings in the doxology song sungby a soloist versus group most discussions. The analysis in this study shows that the popularity of morelead to changes in the music and performances in which it affects the interests of listeners and viewers.Older people are more interested in the traditional performances. How they assess and view the changesin the music and performances of this western chant. It is hoped that the views and opinions that havebeen found to be able to rescue and preserve the art and culture of western chants from all corners of thecontinued demand by the people in Kelantan and Malaysia.

scholarly journals Seni Pertunjukan Kuda Kepang Abadi di Desa Tanjung Morawa A, Medan - Sumatera Utara

2015 ◽  
Vol 6 (2) ◽  
pp. 99
Author(s):  
Inggit Prastiawan
Keyword(s):  
United States ◽  
Common Sense ◽  
United States Of America ◽  
Performing Arts ◽  
The People ◽  
Performing Art ◽  
North Sumatra

This research focuses on the ‘plaited horse dance’ Abadi Performing Arts in Tanjung Morawa A, Medan City North Sumatra, which is still alive, although it has been too long and too far from the origin. The horse dance has passed down by the descant of Javanese which have lived in North Sumatra for several generations. As common sense that the performing art has spread widely to several region out of Indonesia brought by Javanese people as migrant such as in Malaysia, Suriname, Hongkong, Japan, and United States of America. It is considered as one of Javanese arts which brought by Javanese wherever we live in line with their migration purposes area. Javanese community overseas, usually still hold the horse dance performing art for event related to the human cycle of life, including as part of their ritual ceremony or merely such entertainment for the people. In 1st suro (muharram, the first month in islamic calendar) commemoration, the horse dance performing art usually also staged.

scholarly journals Analysis of The Concept and Attraction and The Development od Tge "Langen Mandra Wanara" Art from Yogyakarta

2021 ◽  
Vol 317 ◽  
pp. 01007
Author(s):  
Nofansyah ◽  
Redyanto Noor
Keyword(s):  
Basic Concept ◽  
Performing Arts ◽  
Production Cost ◽  
Descriptive Analysis ◽  
Economic Situation ◽  
Analysis Method ◽  
The Public ◽  
Secondary Sources ◽  
The People ◽  
Performing Art

Langen Mandra Wanara is a Javanese dance-drama genre that tells Ramayana story taking place in the Kepatihan complex. It has become a very popular performing art and has been widely studied by the people of Yogyakarta. This study aimed to discuss the concept, attractiveness and development of the "Langen Mandra Wanara" art. The study used a descriptive analysis method. In this research, the data was the art of Langen Mandra Wanara from Yogyakarta, which was obtained from various secondary sources, including previous research journals, internet sites, books and documentation. The results showed that Langen Mandra Wanara has a basic concept called the Joged Mataram philosophy in dancing. At the beginning of its development, the art performance was marked by the appearance of a large number of wanara (monkey) dancers. Unlike other arts, Langen Mandra Wanara basically aims to provide entertainment to the public for free. In its development, Langen Mandra Wanara's performance declined due to the influence of the Dutch colonial economic situation. Currently, Langen Mandra Wanara shows tend to be concise, performed much shorter, and involve fewer players. Thus, the production cost of court performing arts can be reduced much cheaper than before.

scholarly journals Kajian Nilai Pendidikan Agama Hindu Dalam Fragmentari Katundung Sita Pada Pesta Kesenian Bali Ke 38 Tahun 2016

2018 ◽  
Vol 2 (2) ◽  
pp. 569
Author(s):  
Nengah Adi Widiastrawan ◽  
I Ketut Sudarsana ◽  
Ida Ayu Adi Armini
Keyword(s):  
Public Space ◽  
Religious Education ◽  
Performing Arts ◽  
Ethics Education ◽  
Provincial Government ◽  
Performing Artists ◽  
The People ◽  
Art And Culture ◽  
Arts Festival

<p><em>The preservation of art and culture in Bali, especially performing arts, has seen a lot of development since the idea of the Bali Arts Festival, the Bali Arts Festival held by the Bali Provincial government and the Balinese Community, is a public space and creativity event for Balinese performing artists to showing their best works of art. In the 38th Bali Arts Festival in 2016,InstituteHindu Dharma Negeri Denpasar performed a Fragmentary story with the title Katundung Sita which is based on the Mahabharata story. This Fragmentary tells about how was the exile of Dewi Sita in the middle of the forest by the Rama because hearing the people of Ayodhya Pura did not believe about the loyalty of Dewi Sita who has long been locked up in the Kingdom of Alengka by Rahwana. This research shows, (1) the staging structure in Fragmentari Katundung Sita can be divided into 6 parts, there are: 1. Prologue, 2. Chapter I, 3. Chapter II, 4. Chapter III, and 5. Chapter IV, and 6. Fragmentari’saccompaniment of Katundung Sita (2) The meaning inFragmentari Katundung Sita 1. As a preserver of culture or as a process of preserving culture that has been inherited by the ancestors especially in dance performances, 2. The harmonization of balance in the staging of Fragmentari Katundung Sita reflects life and balance between microkosmos and macrokosmos, 3. Aesthetics is the whole form of Fragmentari Katundung Sita which means beauty. (3) The value of Hindu religious education inFragmentariKatundungSita 1. The value of Nitisastra education which inFragmentari Katundung Sita that contains the concept of AstaBrata 2. The value of Ethics education which is in the performance it was found that as a leader or being a leader, people should be able to carry out the ethics as a leader who is able to control the characteristics that exist in him based on the concept of Asta Brata.</em></p>

Contested Theologies in the Book of Jeremiah

2021 ◽  
pp. 310-327
Author(s):  
Georg Fischer
Keyword(s):  
Hebrew Text ◽  
Greek Translation ◽  
Rich Variety ◽  
The Bible ◽  
The People ◽  
Book Of Jeremiah ◽  
The Rich ◽  
The One ◽  
Theological Message

The book of Jeremiah testifies to disputes about theologies on various levels. Comparison of the Hebrew text and the version of the Septuagint shows large differences regarding the manner in which they speak of God. These differences suggest that the Greek translation tried to evade unusual, challenging, or provocative aspects attributed to God by mitigating or omitting them. The opposition between YHWH, with Jeremiah on his side, and the people together with their leaders shapes the main conflict within the book. The latter wish a “comfortable” relationship without liability, whereas God and his prophet require an exclusive liaison and determination. In some passages, Jeremiah has views which differ from those of YHWH. These texts illustrate that even a prophet has to “learn,” to open himself to God’s broader horizons and distinct plans. (d) Some features of the theological message of the book of Jeremiah are unique and set it apart from all other scrolls of the Bible. Jeremiah thus conveys a particular, independent view of YHWH, which sometimes stands in contrast to Deuteronomy, Isaiah, and other writings, although sharing the same belief in the one and only God. (e) The theological struggles within the book of Jeremiah find a continuation in the conflict of contemporary interpretations. Instead of explaining the various positions with diachronic considerations, it seems sounder to understand the rich variety of theologies therein as due to the different characters, altered situations and circumstances, and to the development of the individuals within the course of history.

scholarly journals PARTISIPASI MASYARAKAT DALAM PENYELENGGARAAN FESTIVAL PALANG PINTU SEBAGAI ATRAKSI WISATA BUDAYA DI KAWASAN KEMANG JAKARTA SELATAN

2017 ◽  
Vol 5 (2) ◽  
pp. 48-61
Author(s):  
Indri Dwi Hartono ◽  
Riza Firmansyah
Keyword(s):  
Community Participation ◽  
Performing Arts ◽  
Strong Relationship ◽  
Cultural Tourism ◽  
Test Reliability ◽  
Analysis Method ◽  
Cultural Center ◽  
The People ◽  
Characteristic Relationship ◽  
Collection Methods

Palang Pintu Festival is an annual program organized by Forkabi (Betawi Children's Communication Forum) DPRT Bangka Kemang and Betawi Cultural Center namely Padepokan Manggar Kelape featuring Betawi culture and performing arts and community participation. The purpose of the festival is to preserve and introduce Betawi culture in Kemang area. This study discusses the elements of cultural tourism and the form of community participation in the Palang Pintu Festival. Data collection methods used were observations, surveys using questionnaires, interviews, and documentation then analyzed and presented in quanititative manner and supported by qualitative data, where the results will be presented in the percentage number. Technique of data analysis used in this research is with validity test, reliability test and also use rank spearman analysis method. The result of this research shows that the characteristic of society is seen from the age type dominated by the age of 15-25 years as much as 39 % and the sexes, both men and women are the same size because this research uses roscoe theory in determining the number of respondents, if the sample is divided into 2 then Per sub sample to 30 respondents respectively. The level of community participation in the Palang Pintu Festival is at a moderate level, this is because the community participating in the Kemang area is more interested if the activities are rewarded. For a community characteristic relationship with participation does not have a strong relationship or it can be said has nothing to do in participation with the characteristics of society in any category. Because of all the people who participated in the Palang Pintu Festival plays an important role in preserving and introducing Betawi Culture to the wider community.

scholarly journals HISTORIOGRAFI GLOBALISASI BATIK MASA KOLONIAL DAN TANTANGAN GLOBAL ERA KONTEMPORER

2018 ◽  
Vol 1 (2) ◽  
pp. 171-182
Author(s):  
Nuning Damayanti Adisasmito
Keyword(s):  
Cultural Heritage ◽  
Government Support ◽  
Indigenous Culture ◽  
Global Era ◽  
Rich Variety ◽  
The People ◽  
The World ◽  
History Of ◽  
World Cultural Heritage ◽  
The Rich

With regard to the long history of the creation of Batik Indonesia and its development, batik technique becomesone that is recognized as the world cultural heritage. UNESCO on October 2 , 2009 recognized belonging of Batik to the nation of Indonesia which became world heritage, then October 2nd  at once also celebrated as National Batik Day. This is the work of many parties and government support. Batik is a product of indigenous culture of Indonesia, especially made by the people of Java Island, but now scattered centers of batik industry almost throughout theIndonesian archipelago, not only in Pekalongan, Solo, Yogyakarta, Madura, Tasikmalaya, Cirebon, Garut. This fact adds to the rich variety of Batik Nusantara.

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