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 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 عنايةُ الصحَّابة بضبط الحديثِ دراسة تأصيلية

2016 ◽  
Vol 11 (12) ◽  
Author(s):  
Said Yusuf Ahmed Al-Subh ◽  
Mohamed Akhiruddin Ibrahim
Keyword(s):  
Analytical Method ◽  
Inductive Method ◽  
The People ◽  
Starting Point ◽  
The Future ◽  
Mental Abilities ◽  
Small Parts ◽  
Over Time

This study discusses the rigorousness of Sahaba in memorizing the Hadith of Prophet Muhammad peace be upon him. What is meant by memorization? What are its kinds? How did it happen? How did the Sahaba use to memorize the Hadith? What are the reasons for memorization? So this study aims at defining Hadith authentication, its kinds and the different reasons behind the rigorous memorization of the honorable Hadith by the Sahaba. This, in turn, will confirm for the future researchers the rigorousness in the link of Hadith Chain which is its starting point. The researcher has used the inductive method to clarify the reasons behind the strong points in authentication, which are included in the Hadith and their small parts of the general principles of the narrations. He also used the analytical method in studying the narrations. The researcher came up with two kinds of authentication: memorizing by the hearth and by writing, especially the Sahaba were known for their distinguished ability in memorization. This distinguished ability can be ascribed to different reasons; some of them are related to their own mental abilities, others ascribed to their closeness to the Prophet Muhammad peace be upon him and time and place (era). They (companions of the Prophet peace be upon him) memorized Al-hadith thoroughly, and they told these Hadith to the people carefully and rigorously. Over time, this has given the future researchers in Prophet Muhammad (peace be upon him) Hadiths' science the confidence and convenience in depending on the narrations in terms of the chain and its initiation where the revisionists and skeptics are paying attention.

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 Uga Bandung Pengetahuan Orang Sunda dalam ramalan dan Antisipasi terhadap Perubahan Fenomena Alam

2011 ◽  
Vol 3 (3) ◽  
pp. 503
Author(s):  
Nandang Rusnandar
Keyword(s):  
Analytical Method ◽  
Qualitative Approach ◽  
Secondary Sources ◽  
The People ◽  
Depth Interview ◽  
The City

AbstrakPenelitian mengenai Uga Bandung Pengetahuan Orang Sunda dalam“ramalan” dan ”Antisipasi” terhadap Perubahan Fenomena Alam, bertujuan untukmendeskripsikan Uga Bandung yang beredar di masyarakat Bandung. Metode yangdipergunakan adalah metode penelitian deskriptif dengan pendekatan kualitatif. Datadiperoleh melalui wawancara mendalam dan penggunaan dokumen. Uga Bandungmendeskripsikan perjalanan dan perkembangan sebuah kota yaitu Kota Bandungsebagai pusat orientasinya yang pada akhirnya menjadi Bandung heurin ku tangtung.Uga Bandung pun di dalamnya mengungkapkan nilai-nilai dalam bentuk simbolsebagai antisipasi terhadap fenomena perubahan alam, sehingga perubahan itu dapatdikendalikan sesuai dengan situasinya. AbstractUga Bandung describes the progress and development of the city of Bandung from thevery beginning until today’s populous city. Uga Bandung contains certain values in theform of symbols for anticipating the change in nature. The main goal of this researchis to describe Uga Bandung that are vastly known among the people of Bandung. Theauthor conducted descriptive analytical method and qualitative approach. Data wereobtained through in-depth interview and secondary sources.

Geochemical characterization of proposed waste dumps over time and space

2008 ◽  
pp. 243-252
Author(s):  
Susan Poos ◽  
Larry Breckenridge ◽  
Dan Thompson ◽  
Amy Hudson
Keyword(s):  
Time And Space ◽  
Geochemical Characterization ◽  
Waste Dumps ◽  
Over Time

scholarly journals Struktur Pertunjukan dan Interaksi Simbolik Barongan Kusumojoyo di Demak

2019 ◽  
Vol 3 (2) ◽  
pp. 111
Author(s):  
Prasena Arisyanto ◽  
Mei Fita Asri Untari ◽  
Riris Setyo Sundari
Keyword(s):  
Performing Arts ◽  
Symbolic Interaction ◽  
Research Result ◽  
Analysis Data ◽  
Study Data ◽  
Data Validation ◽  
Design Data ◽  
The Difference ◽  
Traditional Arts ◽  
Performing Art

Barongan is one of traditional arts owned by society in Demak regency. Barongan born and developed together with its supporting community, one of them is Barongan Kusumojoyo’s group. This research aims to analyze the structure and symbolic interaction of Barongan Kusumojoyo performing arts. Research methods use qualitative with ethnographic design. Data collection use observation, interview, and document study. Data analysis use theory of form of the show, structural functional, and symbolic interaction, with three steps of analysis. Data validation use technical triangulation and source triangulation. Research result conclude that structure of Barongan Kusumojoyo performing arts often change for each perform. The difference is caused by the purpose of each different performing. Performing structure for entertainment and performing structure for aesthetic or art festival are different. Main difference is seen by story in every perform, especially in aesthetic perform. Symbolic interaction in Barongan Kusumojoyo performing art can be observed from ornament of the show like ornament in mask, property, costume, and sesajen. Ornaments that appear are cultural ornament and decorative ornament. The most important is audience and sponsor feel happy and satisfied with Barongan Kusumojoyo performing arts.

scholarly journals TRANSFORMASI PENCAK SILAT PARIAN MENJADI TARI GARIGIAK DI ISTANO TUAN GADANG BATIPUAH KECAMATAN BATIPUAH KABUPATEN TANAH DATAR

2019 ◽  
Vol 8 (1) ◽  
pp. 137
Author(s):  
Auliana Mukhti Maghfirah ◽  
Erlinda Erlinda
Keyword(s):  
Performing Arts ◽  
Qualitative Method ◽  
Function Theory ◽  
Defense Style ◽  
Martial Art ◽  
Self Defense ◽  
The People ◽  
Form Theory ◽  
Traditional Arts ◽  
Special Meaning

AbstrakTari Garigiak adalah satu bentuk seni pertunjukan tradisi di Istano Tuan Gadang Batipuah Kabupaten Tanah Datar, yang gerak tarinya bersumber kepada gerakan Silek Parian. Silek Parian merupakan seni beladiri  yang berkembang di Nagari Baipuah Ateh yang di akuui oleh masyarakat keberadaan tari tersebut. Oleh karenanya tari Garigiak diakui pula sebagai produk budaya asli Kecamatan Batipuah, yang memiliki makna khusus dalam kehidupan masyarakat pendukungnya. Tari Garigiak, memiliki gaya gerak yang tidak jauh berbeda dari Silek Parian itu sendiri. Karena bila gaya Silek Parian masih memperlihatkan gaya beladiri yang berbentuk fisik maupun penyaluran tenaganya seperti pertarungan, namun dalam tarian ditampilkan terlihat lebih indah karena sudah mengalami proses stilisasi. Dengan demikian kesenian tradisional tari Garigiak dapat dikatakan sebagai hasil dari proses kreativitas, berupa produk baru yang diciptakan oleh keturunan Tuan Gadang Batipuah. Meskipun secara teks  merupakan adaptasi dari Silek Parian. Tujuan penelitian ini untuk melihat faktor penyebab terjadinya transformasi dalam Silek Parian menjadi tari Garigiak di Kecamatan Batipuah.  Metode yang digunakan adalah metode kualitatif, pengumpulan data dilakukan melalui observasi dan mengamati kesenian tradisional khususnya tari tari Garigiak, dokumentasi audio dan visual serta wawancara dengan sejumlah tokoh adat dan masyarakat. Penelitian ini dianalisis dengan teori bentuk, teori fungsi dan teori kreativitas. Secara umum, penelitian ini memperoleh hasil berupa sejauh mana kreativitas dan perwujudan gerak Silek Parian dalam kesenian tradisional masyarakat di Nagari Batipuah ateh yang terfokus pada tari Garigiak.Kata Kunci: Silek Parian, tari Garigiak, masyarakat.AbstractGarigiak dance is a form of traditional performing arts at Istano Tuan Gadang Batipuah Tanah Datar District, whose dance moves are sourced from the Silek Parian movement. Silek Parian is a martial art that developed in Nagari Baipuah Ateh which was acknowledged by the community where the dance was. Therefore Garigiak dance is also recognized as a genuine cultural product of the Batipuah District, which has special meaning in the lives of its supporting communities. Garigiak dance, has a style of motion that is not much different from the Silek Parian itself. Because if the style of Silek Parian still shows a self-defense style in the form of physical as well as channeling its energy like a fight, in the dance it appears to look more beautiful because it has undergone a stylization process. Thus the traditional arts of Garigiak dance can be said to be the result of the process of creativity, in the form of new products created by the descendants of Tuan Gadang Batipuah. Although text is an adaptation of Silek Parian. The purpose of this study was to look at the causes of the transformation in the Silek Parian into the Garigiak dance in Batipuah District. The method used is a qualitative method, data collection is done through observation and observing traditional arts, especially Garigiak dance, audio and visual documentation and interviews with a number of traditional leaders and the community. This research was analyzed by form theory, function theory and creativity theory. In general, this research obtained results in the form of the extent of the creativity and manifestation of the movement of Silek Parian in the traditional arts of the people in Nagari Batipuah ateh which focused on the Garigiak dance.  Keywords: Silek Parian, Garigiak dance, society. 

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 THE MMONWU MASQUERADE OF THE ISOKO AND UKWUANI PEOPLE: A RELIGIO-RITUAL FACTOR OF CONTACT IN THE WESTERN NIGER DELTA OF NIGERIA

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Uwomano Benjamin Okpevra
Keyword(s):  
Economic Impact ◽  
Analytical Method ◽  
Intergroup Relations ◽  
Niger Delta ◽  
Intergroup Contact ◽  
Cultural Institution ◽  
Secondary Sources ◽  
The People ◽  
The Impact

A major factor of contact amongst the people of the Western Niger Delta of Nigeria, which for want of a more appropriate term, maybe described as cultural, between the Isoko and her Ukwuani neighbours is the religio-ritual factor. One of the ancient and wide-ranging religio-ritual factors, which helped to promote intergroup contact between the Isoko and her Ukwuani neighbours, was associated with the Mmonwu masquerade, a socio-cultural institution. The work therefore examines the impact of the Mmonwu masquerade on the relations between the Isoko and Ukwuani people of the western Niger Delta of Nigeria. The work was carried out with the use of primary and secondary sources, using the historical and analytical method. The result/findings shows that, the Isoko-Ukwuani Mmonwu Masquerade is not an original Isoko-Ukwuani culture, but came as a cultural intercourse with their Igbo Neighbours. The work further shows that the Mmonwu Masquerade has a viable socio-cultural, religio-ritual, and economic impact on intergroup relations of the Isoko-Ukwuani Peoples.

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.

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