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>

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.

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.

Transnational Festivals, a European Alternative, Les Boréales and Reims Scènes d’Europe

2015 ◽  
Author(s):  
Anne-Marie Autissier
Keyword(s):  
Performing Arts ◽  
Critical Comment ◽  
European Identity ◽  
Research Project ◽  
Cultural Policies ◽  
Cross Border ◽  
Contemporary Work ◽  
Arts Festival

At a time when concepts of European identity and integration are receiving increased critical comment, something to which Dragan Klaić devoted much of his attention, it is appropriate that research on festivals should examine and discuss the extent to which they are able to provide special opportunities for promoting knowledge, understanding and experience of Europe across borders and beyond. For those festivals that possess such qualities of ‘Europeanness’, such focused research should analyse those qualities and what can be learnt from studying the festivals that possess them. This chapter proposes to explore these important questions and themes through an examination of Les Boréales and the Reims Scènes d’Europe festivals. Analysis of the latter was undertaken in the context of the European Festival Research Project 1 , and of the former for a research project piloted by the Observatory for Cultural Policies in Grenoble for the Ministry for Culture and Communication of France 2 (Autissier and Deniau, 2013). This chapter is also the continuation of an investigation published in The Europe of Festivals (Autissier, 2008) 4 . This analysed the role of cross-border festivals and cross-border festival ‘twinning’ schemes. It highlighted in particular the pioneering role played by events such as Perspectives, a live performing arts festival based in Sarrebrück (Germany), which operates in close collaboration with cultural organisations in Forbach and Sarreguemines (France), and of the Mira! Festival, which takes place in the south of France and which introduces its audience to contemporary work from Spain and Portugal. Also analysed were the blossoming cross-border initiatives between France and Belgium. From reconciliation to a culture of cross-border sharing, I believe such initiatives aim to promote borders as meeting sites, as well as places for mutual discovery 5 (Autissier, 2008, pp73-87). For the purposes of this chapter, I will examine two festivals that take place in regional French capitals, and which aim to straddle European borders, criss-crossing the continent from north to south and east to west.

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.

PEMANFAATAN RUANG PUBLIK SEBAGAI WADAH TRANSAKSI KULINER PADA LURUNG KAMPUNG PAJEKSAN – JOGONEGARAN, YOGYAKARTA

2017 ◽  
Vol 10 (5) ◽  
pp. 301
Author(s):  
Septi Kurniawati Nurhadi
Keyword(s):  
Public Space ◽  
Central City ◽  
Main Axis ◽  
The People ◽  
Usage Patterns

Abstract : Pajeksan and Jogonegaran kampongs are located in central city of Yogyakarta, while the lurung Pajeksan – Jogonegaran kampongs is the border as well as the main axis for the people living that are currently evolving as the houses for workers in the Malioboro area. The beneficial usage of the lurung has grown as the fulfillment of the people’s need for food. The usage is increasing and posing an intervention on the lurung space. This research is aimed to discover the use and the influence of culinary transaction space, culinary activity and form of element transaction space in the community of lurung Pajeksan - Jogonegaran kampongs. This is done by using the Behavior mapping. The result of identifying and analyzing is use to obtain the special characteristic that happen in the society so that they are able to keep their existence. The usage patterns of public space as the culinary transaction space in lurung Pajeksan - Jogonegaran kampongs is linier and it follows the shape of an elongated lurung with the greatest usage occurs at the junction of the driveway towards the kampongs. The usage of the lurung is directly related to the aspect of environment, neighborhood, and economic aspectKeyword : Lurung Pajeksan – Jogonegaran,The Usage of Lurung, and Culinary Transaction Space Abstrak: Kampung Pajeksan dan Jogonegaran merupakan dua kampung yang terletak di pusat kota Yogyakarta, sedangkan lurung kampung Pajeksan – Jogonegaran merupakan batas sekaligus menjadi poros utama kehidupan warga yang saat ini kampung tersebut berkembang sebagai hunian bagi pekerja di kawasan Malioboro. Pemanfaatan lurung berkembang sebagai pemenuhan kebutuhan pangan warga kampung. Pemanfaatan tersebut kian meningkat dan menimbulkan intervensi ruang pada badan lurung. Penelitian ini bertujuan untuk mengetahui pemanfaatan dan pengaruh wadah transaksi kuliner, aktivitas kuliner serta elemen pembentuk wadah transaksi yang dilakukan masyarakat pada lurung kampung Pajeksan–Jogonegaran. Hal tersebut dilakukan dengan menggunakan metode Behavior mapping. Hasil identifikasi dan analisis tersebut digunakan untuk memperoleh kekhasan yang terjadi dalam masyarakat sehingga dapat mempertahankan keberlangsungannya. Pola pemanfaatan ruang publik sebagai wadah transaksi kuliner yang terdapat pada lurung kampung Pajeksan – Jogonegaran berbentuk linier memanjang yang mengikuti bentuk lurung dengan pemanfaatan terbesar terjadi pada persimpangan menuju jalan masuk kampung. Pemanfaatan tersebut tidak terlepas dari aspek lingkungan,ketetanggaan,dan ekonomi.Kata Kunci: Lurung kampung Pajeksan - Jogonegaran, Pemanfaatan lurung, dan Wadah Transaksi Kuliner.

MURAL, KEKUATAN MODAL, DAN MASYARAKAT

DeKaVe ◽  
2013 ◽  
Vol 1 (1) ◽  
Author(s):  
Akbar Annasher
Keyword(s):  
Public Space ◽  
Public Spaces ◽  
Communication Media ◽  
Mural Painting ◽  
The People ◽  
The Media ◽  
Mural Art ◽  
The City ◽  
The Voice ◽  
Special Region

Broadly speaking, this paper discusses the phenomenon of murals that are now spread in Yogyakarta Special Region, especially the city of Yogyakarta. Mural painting is an art with a media wall that has the elements of communication, so the mural is also referred to as the art of visual communication. Media is a media wall closest to the community, because the distance between the media with the audience is not limited by anything, direct and open, so the mural is often used as media to convey ideas, the idea of ??community, also called the media the voice of the people. Location of mural art in situations of public spatial proved inviting the owners of capital to use such means, in this case is the mural. Manufacturers of various products began racing the race to put on this wall media, as time goes by without realizing the essence of the actual mural art was forced to turn to the commercial essence, the only benefit some parties only, the power of public spaces gradually occupied by the owners of capital, they hopes that the community can view the contents of messages and can obtain information for the products offered. it brings motivation and cognitive and affective simultaneously in the community.Keywords: Mural, Public Space, and Society.

Atskaņotājmākslas attīstība Liepājā un Otrā pasaules kara ietekme uz mūziķu likteņiem

2021 ◽  
pp. 338-351
Author(s):  
Vēsma Lēvalde
Keyword(s):  
World War Ii ◽  
Soviet Union ◽  
Performing Arts ◽  
Symphony Orchestra ◽  
Historical Study ◽  
World War ◽  
National Socialist ◽  
Performing Artists ◽  
Cultural Life ◽  
The Soviet Union

The article is a cultural-historical study and a part of the project Uniting History, which aims to discover the multicultural aspect of performing art in pre-war Liepaja and summarize key facts about the history of the Liepāja Symphony Orchestra. The study also seeks to identify the performing artists whose life was associated with Liepāja and who were repressed between 1941 and 1945, because of aggression by both the Soviet Union and National Socialist Germany. Until now, the cultural life of this period in Liepāja has been studied in a fragmentary way, and materials are scattered in various archives. There are inaccurate and even contradictory testimonies of events of that time. The study marks both the cultural and historical situation of the 1920s and the 1930s in Liepāja and tracks the fates of several artists in the period between 1939 and 1945. On the eve of World War II, Liepāja has an active cultural life, especially in theatre and music. Liepāja City Drama and Opera is in operation staging both dramatic performances, operas, and ballet, employing an orchestra. The symphony orchestra also operated at the Liepāja Philharmonic, where musicians were recruited every season according to the principles of contemporary festival orchestras. Liepāja Folk Conservatory (music school) had also formed an orchestra of students and teachers. Guest concerts were held regularly. A characteristic feature of performing arts in Liepaja was its multicultural character – musicians of different nationalities with experience from different schools of the world were encountered there. World War II not only disrupted the balance in society, but it also had a very concrete and tragic impact on the fates of the people, including the performing artists. Many were killed, many repressed and placed in prisons and camps, and many went to exile to the West. Others were forced to either co-operate with the occupation forces or give up their identity and, consequently, their career as an artist. Nevertheless, some artists risked their lives to save others.

The use of acting techniques in career development

2021 ◽  
Author(s):  
Mariya Aleksandrovna Akimenkova
Keyword(s):  
Career Development ◽  
Performing Arts ◽  
Educational Institutions ◽  
Psychotherapeutic Interventions ◽  
The People ◽  
Circle Of Friends ◽  
Main Activity ◽  
The Voice ◽  
And Training

The article shows that in career development, the use of acting techniques opens up new opportunities. The author traces the development of the Russian acting school, created by K.S. Stanislavsky and later revised and supplemented by his students, in the modern socio-economic situation. The article demonstrates that despite the fact that for many years this school was aimed exclusively at educating and training people who want to connect their lives with the theater, it had a significant impact on amateurs as well. Passion for the performing arts was traced among people of a wide variety of professions, which contributed to the creation of numerous amateur theaters. This tendency was especially evident in educational institutions. Pupils and students under the guidance of an experienced director tried to take steps in the stage space, received grateful responses, but continued to be content with the role of an amateur actor, without encroaching on the laurels of a professional. Nevertheless, after that, their main activity, regardless of the direction, moved to a completely different level. Without any psychotherapeutic interventions, the attitude to oneself, to the people around, and to situations changed, the speech apparatus and the timbre of the voice were transformed, phobias and depressive tendencies disappeared. As a result, participants in amateur theaters acquired a new circle of friends and promotions, or they radically changed their field of activity, opening completely new prospects for themselves. The article examines these possibilities in the framework of the modern situation, when the entire range of theater and acting means may be in demand by representatives of other professions.

A Study on the Transition of Yedang International Performing Arts Festival

2021 ◽  
Vol 21 ◽  
pp. 229-244
Author(s):  
Won-Soub Pyo ◽  
◽  
Mi-Kyong Yu
Keyword(s):  
Performing Arts ◽  
Arts Festival

Traditional Ritual, Water Conservation, and Islamic Thought

2016 ◽  
Vol 2 (2) ◽  
pp. 120-145
Author(s):  
Mohammad Fathi Royyani ◽  
Abdul Syukur
Keyword(s):  
Natural Environment ◽  
Water Conservation ◽  
Sustainable Living ◽  
The People ◽  
Islamic Thought ◽  
Art And Culture ◽  
Anthropological Approach ◽  
Symbolic Practices

Traditional ritual is a kind of expression of art and culture as well as a form of human appreciation of nature, gained through long term and perpetual processes. Traditional ritual thus can thus be regarded as traditional wisdom. Kawin Cai is one of the traditional rituals in Kuningan society derived from inter religious views. Through this ritual we could tell that the people respect their natural environment for sustainable living. Nonetheless, most of the symbolic practices in the ritual are no longer understood by the people, so that anthropological approach is needed to interpret them.

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