scholarly journals TRADISI PEMENTASAN TARI GANDRUNG TELAGA SAKTI DI DESA PAKRAMAN LIMO KECAMATAN NUSA PENIDA KABUPATEN KLUNGKUNG (KAJIAN BENTUK, FUNGSI, MAKNA)

2018 ◽  
Vol 2 (1) ◽  
pp. 409
Author(s):  
Ni Pande Made Widiasih ◽  
Ni Wayan Sumertini ◽  
. Poniman
Keyword(s):  
Selection Process ◽  
Cultural Preservation ◽  
Symbolic Meaning ◽  
Dance Movement ◽  
Dance Performance ◽  
Religious Ceremony ◽  
The People ◽  
History Of ◽  
Performance Conditions ◽  
Ritual Process

<p><em>T</em><em>h</em><em>e Tradition of Gandrung Telaga Sakti Dance Performance in Pakraman Limo  village  Nusa  Penida   Sub-district  Klungkung  Regency  is  a  hereditary tradition recognized by the people of Pakraman  Limo village as a sacred tradition to complement the religious ceremony. The uniqueness of Gandrung Telaga Sakti Dance is when this dance will be staged performed a ritual process, such as the selection  process   of  dancers,   place  and  time  of  staging  and  the  series  of ceremonies  performed before the staging  of Gandrung  Telaga  Sakti Dance. The results of this study are as follows: 1). Shape Gandrung  Telaga Sakti Dance   including;   History   of  Gandrung   Telaga   Sakti  Dance   Performance, Conditions to Become Dancer  Gandrung  Telaga Sakti Dance, Gandrung  Telaga Sakti Dance Movement, Gandrung  Telaga Sakti Dance Performance,  Dance Performance   Gandrung   Telaga  Sakti,  Gandrung   Telaga  Sakti  Dance  Stage, Upakara  Gandrung Telaga Sakti Dance, and Supporting Equipment Gandrung Telaga  Sakti Dance. 2). The function of Gandrung  Telaga  Sakti dance performances  include art  function and  cultural  preservation,  religious  function and social function. 3). The meaning of staging of Gandrung  Telaga Sakti Dance is symbolic meaning, meaning of aesthetics and meaning of harmony and balance.</em></p>

scholarly journals Symbolic Meaning of Dance Movement of Dagong Tradition of Indigenous People of Liong in the Village of Bantan Tengah Sub-District

2020 ◽  
Vol 2 (1) ◽  
pp. 19-29
Author(s):  
Yosi Dwi Zulniati ◽  
Indrayuda Indrayuda
Keyword(s):  
Indigenous People ◽  
Indigenous Peoples ◽  
Symbolic Meaning ◽  
Dance Movement ◽  
Self Identity ◽  
The People ◽  
Central District ◽  
Research Findings ◽  
Ritual Process ◽  
The Village

This research aims to reveal, explain and analyze about: the symbolic meaning of the motion of Dagong dance, and the reason why the people still maintain the dance of Dagong tradition to date. This study uses a qualitative approach with a descriptive method. Data collection is done by observation, documentation and library study. Based on the research findings shows that (1) the symbolic meaning in the Dagong dance can be seen from each of the movements that have meaning and intent in it in the village of Bantan Tengah Sub-district of Bengkalis. Can be reviewed from the historical aspects of Dagong dance There is no change of movement from the past to the present, this dance is already empty because of the absence of dancers anymore. This dance is commonly performed by the indigenous peoples who were married and the event of seventeen Augustusan in the village to enliven. Then from the customary aspect of the existence of Dagong dance makes one that must be done if there is a ceremony of indigenous peoples Liong wedding party because this dance in the Sacred tribe think B Agi Indigenous Liong and there is a ritual process. (2) The process of implementation in the Ritual first by Bomo or the chief of the tribe, then when finished the event of new Ritunya dancers and musicians began to perform the dance. (3) The reason that society still maintains because this dance is a hereditary dance that is considered sacred by the indigenous people, although it is now almost extinct because of the absence of dancers anymore. And this dance is also a distinctive characteristic or self-identity, the original public ID of the tribe liong in village Bantan Central District BantanBengkalis District Riau Province

scholarly journals Analisis Koreografi Tari Ganjur Pada Upacara Adat Erau Kutai Kertanegara Kabupaten Kutai Kertanegara, Kalimantan Timur

JOGED ◽  
2017 ◽  
Vol 10 (2) ◽  
pp. 517-532
Author(s):  
Agus Yulianti
Keyword(s):  
Surrounding Area ◽  
Dance Movement ◽  
Dance Performance ◽  
Classical Dance ◽  
Art Form ◽  
The People ◽  
City District ◽  
Evil Spirits ◽  
Musical Accompaniment ◽  
Male Dancers

Tari Ganjur merupakan kesenian yang berbentuk ritual dalam sebuah upacara adat yaitu Upacara Erau adat Kutai Kartanegara Ing Martadipura, yang dilestarikan oleh masyarakat kota Tenggarong, kabupaten Kutai Kartanegara, Kalimantan Timur.Tari Ganjur merupakan tarian Klasik yang dimiliki oleh Kesultanan Kutai Kartanegara Ing Martadipura dalam bentuk koreografi kelompok, karena dapat dilihat dari bentuk pertunjukan tari ganjur yang ditarikan oleh empat penari laik-laki. Di dalam tari Ganjur menggunakan sebuah properti Gada yang biasa disebut dengan ganjur. Tari Ganjur menggambarkan seorang pangeran yang sedang menjaga keamanan tiang ayu agar pada saat acara Bepelas Sultan tidak diganggu oleh roh-roh jahat. Tari Ganjur mengenakan busana atasan miskat sedangkan bawahannya mengenakan celana panjang berwarna hitam dipadukan dengan sarung Samarinda. Rias penari menggunakan rias natural, serta iringan tari menggunakan seperangkat alat gamelan Kutai.Dalam hal ini yang menjadi pokok permasalahan adalah analisis koreografi tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura. Untuk menjawab permasalahan tersebut, maka akan meminjam teori Y. Sumandiyo Hadi mengenai Koreografi Bentuk-Teknik-Isi. Menurut Y. Sumandiyo Hadi ketiga konsep bentuk, teknik, dan isi ini tidak dapat dipisahkan dalam sebuah pertunjukan tari. Dalam penelitian ini tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura dapat ditinjau dari aspek bentuk, teknik, dan isi. Aspek bentuk tari Ganjur terbagi menjadi tiga bagian, pembagian ini terlihat dari perpindahan iringan musiknya. Aspek teknik gerak tari Ganjur terdapat kesamaan dengan gerak tari Klasik yang ada di Surakarta dan Yogyakarta. Aspek isi tari Ganjur bertemakan keamanan yang bertujuan untuk menjaga keamanan daerah sekeliling Tiang Ayu. Kehadiran tari Ganjur dalam upacara Erau adat Kutai Kartanegara Ing Martadipura sangat berperan penting dalam acara bepelas sultan, karena kehadirannya diperuntukan menurunkan Pangeran Sri Ganjur untuk menjaga keamanan tiang ayu dari roh-roh jahat, dan kehadirannya selalu ada pada malam Bepelas Sultan.  Ganjur dance is a ritual art form in a traditional ceremony that is customary Erau ceremony Kutai Ing Martadipura, preserved by the people of Tenggarong city, district, Kutai, East Borneo. Ganjur dance a classical dance that is owned by the Sultanate of Kutai Ing Martadipura in the form of choreography Group, because it can be seen from the form of dance performances ganjur danced by four male-male dancers. In Ganjur dance uses a property called Gada commonly called ganjur. Ganjur Dance depicts a prince who is guarding the security pole so that at the time of the Sultan Bepelas event is not disturbed by evil spirits. Ganjur Dance wearing a clothing top miskat while his subordinates dressed in black trousers combined with sarong Samarinda. The dancers makeup using natural makeup, dance accompaniment using a set of Kutai gamelan instruments.In this case an issue of concern is the analysis of dance choreography Ganjur Ceremony Indigenous Erau Martadipura Kutai Ing. To answer these problems, it will borrow Y. Sumandiyo Hadi theory regarding Choreography Form-Fill-technique. According to Y. Sumandiyo Hadi these three concepts of form, technique, and content can not be separated in a dance performance. In this study dance Ganjur Ceremony Indigenous Erau Kutai Ing Martadipura can be viewed from the aspect of forms, techniques, and content. Aspects of dance form Ganjur is divided into three parts, this division is seen from the transfer of musical accompaniment. Techniques of motion dance movement Ganjur there are similarities with Classical dance movement in Surakarta and Yogyakarta. Aspects of dance contents Ganjur themed security that aims to maintain the security of the surrounding area Tiang Ayu. The presence of dance in the ceremony Ganjur custom Erau Kutai Ing Martadipura very important role in the event bepelas sultan, because his presence is intended to lower the Prince Sri Ganjur to maintain the security of ayu pole of evil spirits, and his presence is always there at night Bepelas Sultan.

Unvailing the Symbolic Meaning of Terracotta Plaques From Pilak Monastery, Tripura, India

2020 ◽  
pp. 61-83
Author(s):  
Ruma Karmakar
Keyword(s):  
The State ◽  
Symbolic Meaning ◽  
Outer World ◽  
The People ◽  
History Of

Tripura, one of the smallest states of India, is very famous to the people of India because of its own hidden treasures and the atmospheric beauty of nature. Various temple architecture, stone and metal sculptures which have been scattered all over the state made her historically significant, but due to proper expose it still remains in darkness. Globalization and emergence of technology nowadays vastly helps tour lovers to choose their destinations. Observing the present scenario, in this chapter the researcher explores and introduces the richness and the hidden wealth of history of Tripura through a bird's eye view of the Pilak Monastery to the outer world.

scholarly journals PEMENTASAN TARI TOPENG KERAS PADA PURNAMA KAENEM DI DESA PAKRAMAN MUNDUK PAKEL DESA GADUNG SARI KECAMATAN SELEMADEG TIMUR KABUPATEN TABANAN (Perspektif Nilai Pendidikan Agama Hindu)

2018 ◽  
Vol 2 (1) ◽  
pp. 163
Author(s):  
Putu Mariani ◽  
Gusti Nyoman Mastini ◽  
I Made Dian Saputra
Keyword(s):  
Religious Education ◽  
Participant Observation ◽  
Descriptive Analysis ◽  
Structured Interview ◽  
Value Theory ◽  
Cultural Preservation ◽  
Dance Performance ◽  
Qualitative Descriptive ◽  
Education Value ◽  
Ritual Process

<p><em>Topeng Keras Dance Performance in Pakraman Village Munduk Pakel, Gadung Sari Village, East Selemadeg District, Tabanan Regency is one of the ceremonies of Dewa Yadnya. Topeng Keras Performance is held every four months full moon, which starts from full sasih kaenem to tilem kasanga. Because sasih is a hot sasih in the scale and niskala. With this stunning Topeng </em><em>Keras Dance can neutralize all evil forces.</em><em> Based on the above description, the issues to be lifted are: (1) How to Make a </em><em>Topeng Keras Dance Performance in Pakraman Village Munduk Pakel, Gadung Sari Village, East Selemadeg Sub-district, Tabanan District, (2) Is Function of </em><em>Topeng Keras Dance Performance in Village Pakraman Munduk Pakel, Gadung Sari Village, East Selemadeg Sub-district, Tabanan District, (3) The value of education of Hinduism is what is contained in Topeng Keras Dance Performance in Pakraman Village Munduk Pakel, Gadung Sari Village, East Selemadeg District, Tabanan Regency.</em><em> This research uses several theories to analyze the problems in the research, such as structural functionalism, and value theory. Methods Data collection is non-participant observation, structured interview, literature and documentation. The collected data was analyzed by qualitative descriptive analysis method with reduction step, and conclusion drawing.</em></p><p><em>The results obtained are as follows: (1) The form of </em><em>Topeng Keras dance performances in Pakraman Munduk Pakel Village, which begins with several stages of the meeting stage and stage of making banten. Then proceed with the process of ritual matur piuning and mendak </em><em>Topeng, Mendak Ida Bhatara, then the process of staging </em><em>Topeng Keras Dance, and end with Nyineb ritual process. (2) The function of </em><em>Topeng Keras dance performance in Pakraman Munduk Pakel is to neutralize negative forces, religious function, cultural preservation function, and unifying function of society. (3) The values of Hindu Religious Education contained in Topeng Keras Dance Desa Pakraman Munduk Pakel namely Tri Hita Karana Education Value, Education Value of Sradha and Bhakti, Education Value of Tat Twam Asi, Value of Aesthetic Education, and Value of Social Education of Society. </em></p>

scholarly journals Analisis Koreografi Tari Ganjur Pada Upacara Adat Erau Kutai Kertanegara Kabupaten Kutai Kertanegara, Kalimantan Timur

JOGED ◽  
2017 ◽  
Vol 8 (2) ◽  
pp. 517-532
Author(s):  
Agus Yulianti
Keyword(s):  
Surrounding Area ◽  
Dance Movement ◽  
Dance Performance ◽  
Classical Dance ◽  
Art Form ◽  
The People ◽  
City District ◽  
Evil Spirits ◽  
Musical Accompaniment ◽  
Male Dancers

Tari Ganjur merupakan kesenian yang berbentuk ritual dalam sebuah upacara adat yaitu Upacara Erau adat Kutai Kartanegara Ing Martadipura, yang dilestarikan oleh masyarakat kota Tenggarong, kabupaten Kutai Kartanegara, Kalimantan Timur.Tari Ganjur merupakan tarian Klasik yang dimiliki oleh Kesultanan Kutai Kartanegara Ing Martadipura dalam bentuk koreografi kelompok, karena dapat dilihat dari bentuk pertunjukan tari ganjur yang ditarikan oleh empat penari laik-laki. Di dalam tari Ganjur menggunakan sebuah properti Gada yang biasa disebut dengan ganjur. Tari Ganjur menggambarkan seorang pangeran yang sedang menjaga keamanan tiang ayu agar pada saat acara Bepelas Sultan tidak diganggu oleh roh-roh jahat. Tari Ganjur mengenakan busana atasan miskat sedangkan bawahannya mengenakan celana panjang berwarna hitam dipadukan dengan sarung Samarinda. Rias penari menggunakan rias natural, serta iringan tari menggunakan seperangkat alat gamelan Kutai.Dalam hal ini yang menjadi pokok permasalahan adalah analisis koreografi tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura. Untuk menjawab permasalahan tersebut, maka akan meminjam teori Y. Sumandiyo Hadi mengenai Koreografi Bentuk-Teknik-Isi. Menurut Y. Sumandiyo Hadi ketiga konsep bentuk, teknik, dan isi ini tidak dapat dipisahkan dalam sebuah pertunjukan tari. Dalam penelitian ini tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura dapat ditinjau dari aspek bentuk, teknik, dan isi. Aspek bentuk tari Ganjur terbagi menjadi tiga bagian, pembagian ini terlihat dari perpindahan iringan musiknya. Aspek teknik gerak tari Ganjur terdapat kesamaan dengan gerak tari Klasik yang ada di Surakarta dan Yogyakarta. Aspek isi tari Ganjur bertemakan keamanan yang bertujuan untuk menjaga keamanan daerah sekeliling Tiang Ayu. Kehadiran tari Ganjur dalam upacara Erau adat Kutai Kartanegara Ing Martadipura sangat berperan penting dalam acara bepelas sultan, karena kehadirannya diperuntukan menurunkan Pangeran Sri Ganjur untuk menjaga keamanan tiang ayu dari roh-roh jahat, dan kehadirannya selalu ada pada malam Bepelas Sultan.  Ganjur dance is a ritual art form in a traditional ceremony that is customary Erau ceremony Kutai Ing Martadipura, preserved by the people of Tenggarong city, district, Kutai, East Borneo. Ganjur dance a classical dance that is owned by the Sultanate of Kutai Ing Martadipura in the form of choreography Group, because it can be seen from the form of dance performances ganjur danced by four male-male dancers. In Ganjur dance uses a property called Gada commonly called ganjur. Ganjur Dance depicts a prince who is guarding the security pole so that at the time of the Sultan Bepelas event is not disturbed by evil spirits. Ganjur Dance wearing a clothing top miskat while his subordinates dressed in black trousers combined with sarong Samarinda. The dancers makeup using natural makeup, dance accompaniment using a set of Kutai gamelan instruments.In this case an issue of concern is the analysis of dance choreography Ganjur Ceremony Indigenous Erau Martadipura Kutai Ing. To answer these problems, it will borrow Y. Sumandiyo Hadi theory regarding Choreography Form-Fill-technique. According to Y. Sumandiyo Hadi these three concepts of form, technique, and content can not be separated in a dance performance. In this study dance Ganjur Ceremony Indigenous Erau Kutai Ing Martadipura can be viewed from the aspect of forms, techniques, and content. Aspects of dance form Ganjur is divided into three parts, this division is seen from the transfer of musical accompaniment. Techniques of motion dance movement Ganjur there are similarities with Classical dance movement in Surakarta and Yogyakarta. Aspects of dance contents Ganjur themed security that aims to maintain the security of the surrounding area Tiang Ayu. The presence of dance in the ceremony Ganjur custom Erau Kutai Ing Martadipura very important role in the event bepelas sultan, because his presence is intended to lower the Prince Sri Ganjur to maintain the security of ayu pole of evil spirits, and his presence is always there at night Bepelas Sultan.

scholarly journals PEMENTASAN TARI REJANG GAYUNG DALAM UPACARA NGUSABHA NINI DI DESA PAKRAMAN PILAN KECAMATAN PAYANGAN KABUPATEN GIANYAR (Kajian Filosofis)

2018 ◽  
Vol 2 (1) ◽  
pp. 385
Author(s):  
Ni Luh Supadmi ◽  
Ni Made Ramiati ◽  
I Made Wika
Keyword(s):  
Final Stage ◽  
Religious Tradition ◽  
Social Function ◽  
Cultural Preservation ◽  
Dance Performance ◽  
Religious Ceremony ◽  
Three Stages ◽  
The Village ◽  
Sacred Dance ◽  
Aesthetic Meaning

<p><em>In Bali, especially Hindus in carrying out their religious teachings are implemented by performing religious ceremonies. The religious ceremony in Hinduism is called Yadnya which means sacrifice. Hindus in conducting religious ceremonies are never separated from the existence of artistic elements such as music (gamelan) and dance performances, especially Wali Dance or (sacred dance). Like the staging of Rejang Gayung Dance in Ngusabha Nini ceremony which is part of the religious ceremony that is Yadnya God. The performance of Dance of Rejang Gayung in Ngusabha Nini Ceremony is conducted by Pakraman Pilan Village, Payangan District, Bangli Regency. Dance Performance Rejang Gayung is a religious tradition that has a uniqueness in the village Pakraman Pilan.The staging of Rejang Gayung Dance is held once a year by the village prince (Jero Kebayan, Jero Kebau, and jero kesinggukan) which is female, the movement is very plain / simple, wearing local traditional Hindu kebaya dress, white cloth, yellow scarf and at its time accompanied by gamelan, performed at the ceremony of Ngusabha Nini. The process of pemujaanya with three stages: the first stage, int stage and the final stage. The function of staging Dance Rejang Gayung namely: function relegius, social function, and cultural preservation function. The meaning contained in the performance of Rejang Gayung Dance is: philosophical meaning, meaning harmony and aesthetic meaning.</em></p>

Contredanse and Caribbean Bodies

2017 ◽  
Author(s):  
Yvonne Daniel
Keyword(s):  
Puerto Rican ◽  
Nonverbal Communication ◽  
Dance Movement ◽  
Dance Performance ◽  
Social Dance ◽  
Caribbean Islands ◽  
History Of ◽  
The Caribbean

This chapter examines the varied meanings attached to social dance, with particular emphasis on contredanse-derived practices in the Caribbean islands. Drawing on fieldwork conducted in 2005–2006, it considers how Caribbean bodies dance sovereignty in front of world powers and the ways that they affirm island and regional integrity in the nonverbal communication of dance performance. After providing an overview of the historical patterns of Caribbean set dancing and the history of the Caribbean from the sixteenth to the eighteenth centuries, the chapter turns to practices such as Cuban contradanza and tumba francesa, Puerto rican contradanza and los seises, and Dominican sarandunga. It then discusses dance movement and dance categories; King and Queen pageantry that typically accompanies quadrille practices; and Queen performance. The chapter suggests that historical contredanse forms represent important values that have influenced past and present performers.

scholarly journals TRADISI MALAM SELIKURAN KRATON KASUNANAN SURAKARTA

2019 ◽  
Vol 17 (1) ◽  
pp. 21-32
Author(s):  
Syamsul Bakri ◽  
Siti Nurlaili Muhadiyatiningsih
Keyword(s):  
Analytical Methods ◽  
Symbolic Meaning ◽  
Creative Work ◽  
Symbolic Language ◽  
Historical Continuity ◽  
The People ◽  
History Of ◽  
The Universe

Abstract: This paper describes the process of constructing a tradition called as Malem Selikuran in Keraton Kasunanan Surakarta, the meaning of symbol in Malem Selikuran, and the relevance of the symbolic meaningtoward the people’s lives. The analytical methods implemented in this paper were historical continuity, verstehen and hermeneutic. The results are synthesized as the following. First, Malem Selikuran tradition is ahistorical product of the process from adaptation of Islam in Javanese culture. This religious cultural product simultaneously became a distinctive religious characteristic in Keraton Kasunanan Surakarta, as the successorto the relay of the Islamic Javanese Kingdom of Mataram. Second, the tradition has the orders of moralities that apply symbolic language. Javanese people use the symbols to convey moral and religious messages. The message of Malem Selikuran ritual with various ritual equipment shows that the people of Surakarta Kasunan Palace uphold the importance of maintaining the harmony between humans and Allah SWT, and also between humans and the universe (amemayu hayuning bawana) based on the spirit of monotheism, morals and sufism. Third, the relevance of the symbolic meaning of Selikuran Keraton Surakarta for the people’s lives is on the historical and cultural plains. Historically, the ceremony of it reminds us of how Islam and Javanese culture havedistinctive characteristics of integration in the history of Islamization in Java. Likewise, culturally, Malem Selikuran tradition is a creative work of Muslims in Java in order to give an identity to their community.

scholarly journals vidriera de Nuestra Señora del Pilar, el ‘honor de nuestro pueblo’

STUDIUM ◽  
2020 ◽  
Author(s):  
Javier Mur Royo
Keyword(s):  
Key Words ◽  
Symbolic Meaning ◽  
The Internet ◽  
Stained Glass ◽  
The People ◽  
Palabras Clave ◽  
History Of ◽  
Tourist Guides

Proyectada en 1908 y colocada en 1914, la vidriera de Nuestra Señora del Pilar fue una de las primeras vidrieras artísticas fabricadas por La Veneciana. Pese a ocupar el mayor ventanal de la catedral-basílica de Zaragoza permanece ignorada por las guías turísticas e Internet. Este trabajo arroja luz sobre dicho vitral, su diseñador y el arte sobre cristal. Analizamos su composición pilarista en el contexto de la historia civil, religiosa y legendaria de Zaragoza. Concluiremos con el profundo significado simbólico de esta vidriera que consagra a la Virgen del Pilar como el honor del pueblo zaragozano, aragonés y español así como un elemento del espíritu de la reconciliación hispano-francesa de 1908. Palabras clave: vidriera artística, El Pilar, Zaragoza, La Veneciana, Guyonnet, relaciones hispano-francesas. Abstract Projected in 1908 and placed in 1914, the stained-glass window of Nuestra Señora del Pilar was one of the first artistic stained-glass windows manufactured by La Veneciana. Despite occupying the largest window of the cathedral-basilica of Zaragoza remains ignored by tourist guides and the Internet. This work sheds light on this stained-glass window, your designer and art on glass. Next, we will analyze its ‘pilarista’ composition, a synthesis of the civil, religious and legendary history of Zaragoza. We will conclude with the deep symbolic meaning of this stained-glass window, which consecrates the Virgen del Pilar as the honor of the people of Zaragoza, Aragon and Spain. Eventually, this article constitutes an invitation to consider this work as an element of the spirit of Spanish-French reconciliation of 1908. Key words: stained-glass, El Pilar, Zaragoza, La Veneciana, Guyonnet, Spanish-French relations.

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