scholarly journals The Artistry and Creative Process in the Making of Malang Masks in East Java | Kesenian dan Proses Kreatif dalam Penciptaan Topeng Malang di Jawa Timur

SPAFA Journal ◽  
2021 ◽  
Vol 5 ◽  
Author(s):  
Guntur [n/a]
Keyword(s):  
Creative Process ◽  
Cultural Background ◽  
Qualitative Description ◽  
Facial Appearance ◽  
Unique Form ◽  
Common People ◽  
The Common ◽  
Visual Characteristics ◽  
Unique Style ◽  
And Function

The creative process in Malang mask making has a strong tradition of creation which has produced a unique form. The Malang mask art has been popularized based on the Panji story. Despite being properties of an art performance, the masks are works of art. The visual characteristics of the faces and their carved ornaments are the main elements that determine the typology of the mask’s facial appearance. The characteristics of form, color, expression, and function create a unique style or identity of the group of traditional mask artists in Malang. Masks can be classified according to four general types of character: the figure of Panji, antagonistic characters, servants, and animals. In terms of the traditionality of creation, including aspects of material, technique, and function in the community of craftsmen, the style of the masks refers to previously existing forms. This essay is a qualitative description of the artistry of Malang masks, through the formation of the Panji story – based on kidung as indigenous stories in the practice of adaptive Hinduism – and leaning on a dichotomy with the Kakawin form. Malang masks are used by the wayang topeng community in art performances to present the narration of the Panji story – against the spiritual cultural background of the common people. Process kreatif dalam pembuatan topeng Malang memiliki tradisi penciptaan yang kuat, dan telah menghasilkan bentuk yang khas. Topeng Malang dipopulerkan berdasarkan kisah Panji. Meskipun menjadi properti seni pertunjukan, topeng adalah karya seni. Karakteristik visual wajah dan ornamen ukir merupakan elemen utama yang membentuk tipologi perwajahan topeng. Karakteristik pada bentuk, warna, ekspresi, serta fungsi, menghasilkan gaya atau identitas unik dari kelompok seniman topeng tradisional di Malang. Klasifikasi topeng ada pada empat tipologi umum karakter tokoh: sosok Panji, tokoh antagonis, tokoh abdi, dan tokoh binatang. Dari sisi tradisionalitas penciptaan, yaitu aspek materialitas, teknik, dan fungsinya di komunitas perajin, gaya topeng mengacu kepada bentuk topeng yang ada sebelumnya. Esai ini mendeskripsikan secara kualitatif perwujudan artistik topeng Malang, melalui formasi kisah Panji - berdasarkan kidung sebagai cerita asli dalam praktek Hinduisme adaptif - dan bersandar pada dikotomi dengan bentuk Kakawin. Topeng Malang digunakan oleh masyarakat topeng wayang dalam pertunjukan seni untuk menampilkan narasi kisah Panji - dengan latar belakang kultural spiritual orang biasa.

Medien der Herrschaftskonstitution und -repräsentation und ihre Funktionen beim Aufbau des frühneuzeitlichen Fürstenstaates in Gotha

Daphnis ◽  
2013 ◽  
Vol 42 (2) ◽  
pp. 379-426
Author(s):  
Axel E. Walter
Keyword(s):  
Early Years ◽  
The Self ◽  
Common People ◽  
Self Presentation ◽  
Short Overview ◽  
Local Elite ◽  
Occasional Poetry ◽  
The Common ◽  
And Function

This paper focuses on selected media that were specifically used, in the early years of the reign of Ernest the Pious, for communication and interaction between the duke and the court, or between the local elite and the common people, as well as in the self-presentation of the court to the outside world. Firstly, official edicts are discussed, as an influential means of communication by the court and the [functional] elite, for the simultaneous enforcement and enactment of sovereignty; secondly the precisely calculated architectural program of Friedenstein castle is examined, as this relates different media to one another. The paper ends with a short overview of occasional poetry, which is directed at the court (and often written on its behalf), and not only strengthens, but also legitimizes and often even conceptualizes power. It is emphasized that in the case of courtly communication one should not only consider individual media, but also their development and function in context with other media, and therefore as media networks.

THE PROMULGATION OF LAW IN QIN AND WESTERN HAN CHINA

Early China ◽  
2021 ◽  
pp. 1-26
Author(s):  
Li Jingrong ◽  
Chen Songchang
Keyword(s):  
Subject Matter ◽  
Common People ◽  
Ex Post ◽  
Past Action ◽  
Ex Post Facto ◽  
The Subject ◽  
The Common ◽  
Local Courts ◽  
And Function

Abstract This article studies the promulgation of law in Qin and Western Han China (221 b.c.e.–9 c.e.) based primarily on excavated legal and administrative texts. It shows that a new law was handed down from the emperor to the relevant offices on the day of enactment. The article argues that, to an extent, the subject matter and function of a law determined for whom it was passed and promulgated. Depending upon the location, rank, and official duties of the offices, the laws known and used could be quite different. Although it was required that documents of imperial decisions be forwarded swiftly and safely by courier at the prescribed speed, delays in forwarding such documents to distant local offices were probably common in Qin and Western Han China. Evidence indicates that district- and prefecture-level officials publicized laws that needed to be made known by the common people, by reading them aloud in local gatherings, for example, or posting them in conspicuous places. The article further argues that a law came into effect in offices on the day it arrived at local courts or on the day it was enacted in the central court, depending on the existence of related extant laws. It concludes that a new law in Qin and Western Han China was ex post facto, as it reached backwards to a past action and retroactively attached liabilities to the action at the point when it was performed.

Between High Culture and Low Culture; and also The Difference Between Popular Culture and Folk Culture

2019 ◽  
Vol 7 (8) ◽  
pp. 12
Author(s):  
Kunal Debnath
Keyword(s):  
Popular Culture ◽  
Folk Culture ◽  
Common People ◽  
High Culture ◽  
The World ◽  
The Common ◽  
The Difference ◽  
Low Culture

High culture is a collection of ideologies, beliefs, thoughts, trends, practices and works-- intellectual or creative-- that is intended for refined, cultured and educated elite people. Low culture is the culture of the common people and the mass. Popular culture is something that is always, most importantly, related to everyday average people and their experiences of the world; it is urban, changing and consumeristic in nature. Folk culture is the culture of preindustrial (premarket, precommodity) communities.

Myths about COVID-19

2020 ◽  
Vol 11 (SPL1) ◽  
pp. 907-912
Author(s):  
Deepika Masurkar ◽  
Priyanka Jaiswal
Keyword(s):  
World Health ◽  
Indian Society ◽  
Common People ◽  
The World ◽  
New Type ◽  
The Media ◽  
Personal Level ◽  
Novel Virus ◽  
The Common ◽  
Health Organization

Recently at the end of 2019, a new disease was found in Wuhan, China. This disease was diagnosed to be caused by a new type of coronavirus and affected almost the whole world. Chinese researchers named this novel virus as 2019-nCov or Wuhan-coronavirus. However, to avoid misunderstanding the World Health Organization noises it as COVID-19 virus when interacting with the media COVID-19 is new globally as well as in India. This has disturbed peoples mind. There are various rumours about the coronavirus in Indian society which causes panic in peoples mind. It is the need of society to know myths and facts about coronavirus to reduce the panic and take the proper precautionary actions for our safety against the coronavirus. Thus this article aims to bust myths and present the facts to the common people. We need to verify myths spreading through social media and keep our self-ready with facts so that we can protect our self in a better way. People must prevent COVID 19 at a personal level. Appropriate action in individual communities and countries can benefit the entire world.

The Workers' Movement and Political Change in Spain, 1956–1977

2013 ◽  
Vol 83 ◽  
pp. 70-85 ◽  
Author(s):  
Xavier Domènech Sampere
Keyword(s):  
Social Dynamics ◽  
Labor History ◽  
Academic Research ◽  
The Political ◽  
Franco Regime ◽  
Common People ◽  
Progressive Decline ◽  
The Common ◽  
Open The Doors ◽  
Young Researchers

“That the number of our Members be unlimited” … Today we might pass over such a rule as a commonplace: and yet it is one of the hinges upon which history turns. It signified the end to any notion of exclusiveness, of politics as the preserve of any hereditary elite or property Group … To throw open the doors to propaganda and agitation in this “unlimited” way implied a new notion of democracy, which cast aside ancient inhibitions and trusted to self-activating and self-organising processes among the common people.E.P. Thompson, The Making of the English Working Class The decline of labor history in the research agenda of senior Spanish scholars matches the surprising interest in it of young researchers as indicated by the opening of new lines of research and the explosion of studies on other social movements that also have a strong class character in their origins. Moreover, despite the progressive decline of published academic research on the quintessential social movement, the truth is that its history is still crucial for understanding the political and social dynamics of the late Franco regime and the first years of democracy for at least two reasons.

Sign in / Sign up

Export Citation Format

Share Document