scholarly journals Seni Pertunjukan Tradisional Bali, Sebuah Renungan Sejarah

2021 ◽  
Vol 20 (1) ◽  
Author(s):  
I Gusti Ngurah Seramasara
Keyword(s):  
Performance Art ◽  
Culture System ◽  
Traditional Performance ◽  
Dominant Influence

The existence of Balinese performance art can be observed through a long journey based on such of clues like artifact and ancient inscription which are found and described the categories of our inheritance performance art at the present are existed since the age of Ancient Balinese. Through the awareness of history, the age of Ancient Balinese is made of by the relationships between Balinese and East Javanese kings. In another ways can be comprised that the Balinese performance art is included in ancient Balinese performance art which is known as the product of Javanese culture and Balinese tradition’s acculturation. The East Javanese culture’s inheritance has cultivated by the fallen of Balinese’s Kingdom under Majapahit since the governance of King Asta Sura, Ratna Bumi Banten which caused the dominant influence of Majapahit’s culture to the development of Balinese culture until now. Seen that the Balinese performance art has a meaning to regenerate and socialize the Balinese culture and can also assumed that traditional performance art is become the identity of Balinese culture. The changes of age and the existence of culture system will influence the form and structure of performance art so that in reconstructing of traditional performance art as a history moment is always limited by space, proceed with time and reconstruct to the artist’s style. The changes of form and art structure can be possessed as a history process while its meaning and characteristics are always powered and prevented the genuine of Balinese culture art.

scholarly journals Metamorphosis as Origin–Koji Yamamura’s Short Animation Franz Kafka’s A Country Doctor

Arts ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 54
Author(s):  
Kawashima
Keyword(s):  
Foreign Language ◽  
Short Story ◽  
Performance Art ◽  
Cultural Integration ◽  
Roman Poet ◽  
Foreign Culture ◽  
Modern Author ◽  
In The Beginning ◽  
Traditional Performance ◽  
Live Action

In the beginning was metamorphosis. This paradoxical thought, which the ancient Roman poet Ovidius and modern author Franz Kafka represented in their literary works, is visualized in Koji Yamamura’s short animation Franz Kafka’s A Country Doctor. Diverse metamorphoses that do and do not appear in the Kafka original are so elaborately and dynamically depicted in this animation that no live-action film could possibly represent them. In addition, the film itself can be seen as a metamorphosis, as it is an animation converted from a short story. Such a dominance of metamorphosis is also true for the transculturality and transnationalism of Yamamura’s animation. In a sense, the film results from a cultural integration of foreign language and image. However, this integration is also part of the swirl of metamorphosis. The traditional performance art Kyogen, which the director uses to voice the main characters in the animation, could not integrate foreign culture without its own diversification. Yamamura’s animation demonstrates that transculturality is another name for fundamental metamorphosis in which diversification and integration occur simultaneously.

scholarly journals FUNGSI SENI GEMBYUNG DALAM KEHIDUPAN MASYARAKAT PANJALU KABUPATEN CIAMIS

2010 ◽  
Vol 2 (3) ◽  
pp. 394
Author(s):  
Endang Supriatna
Keyword(s):  
Performance Art ◽  
Qualitative Approach ◽  
Performance Techniques ◽  
Traditional Performance ◽  
Descriptive Method

AbstrakGembyung sebagai kesenian buhun yang menjadi sebuah seni pertunjukan di Panjalu, hingga kini tetap bertahan dengan ciri ketradisionalannya. Bersama dengan pelaksanaan Upacara Nyangku maupun peringatan Maulid Nabi Saw. atau pada acara hiburan pada saat khitanan anak, Gembyung tampil bersahaja. Namun demikian, penampilannya tetap menyampaikan makna baik melaui gerak, lagu, gending musik, maupun sesajennya bahwa hidup akan terus bergerak seiring berlangsungnya sang waktu. Bagi masyarakat Panjalu, Seni Gembyung tidak hanya sebuah ungkapan ekspresi keindahan, namun lebih dari itu, Gembyung memiliki makna kecintaan serta penghormatan kepada asal-usul leluhur mereka. Tulisan ini berupaya mengupas fungsi Seni Gembyung pada masyarakat Panjalu. Ada dua bagian yang dibahas, pertama gambaran sosial budaya masyarakat Panjalu tempat kesenian ini tumbuh. Kedua, menjelaskan Seni Gembyung, mulai dari perkembangannya, lagu dan teknik pementasan, fungsi dan peranan kesenian ini pada masyarakat pendukungnya. Serta, upaya masyarakat Panjalu memelihara Seni Gembyung agar tidak tergerus oleh seni modern yang semakin deras berupaya menggeser seni lokal. Tulisan ini menggunakan metode deskriptif dengan pendekatan kualitatif. AbstractGembyung is a kind of traditional performance art in Panjalu that has a long history. Along with Nyangku ceremony or commemoration of Maulid Nabi Saw. (the birth of prophet Muhammad Saw.), or celebration after a child has circumsized, gembyung is played in a very plain way. The mystical music and the fragrance of the offerings accompanied the dancers in expressing their respect to the ancestors. This paper tries to reveal the function of gembyung art in the society of Panjalu. There are two parts to be discussed: firstly, the description of sociocultural setting of Panjalu society where the art has been developed. Secondly, explanation of gembyung art, beginning with the development, the songs, and the performance techniques. A descriptive method and qualitative approach were conducted in this paper.

scholarly journals Pasang Surut Gambuh Pedungan Di Tengah Laju Budaya Global

2007 ◽  
Vol 21 (2) ◽  
Author(s):  
I Nengah Sarwa ◽  
Wardizal Wardizal
Keyword(s):  
Qualitative Research ◽  
Performance Art ◽  
Subject Matter ◽  
Global Culture ◽  
Rapid Flow ◽  
The Subject ◽  
Traditional Performance

This article tries to discuss and analyze about the reality of global culture and its implication on traditional performance art. The subject matter of this analysis is the Pedungan Gambuh dance drama, a classical performance, previously a court/palace art, which is thought as the source of the Balinese music and dance drama. Data and facts presented here are drawn from our qualitative research entitled Stream of Pedungan Gambuh dance-drama in the surge of Global Culture. Our research suggests that Gambuh as an entertaining art has recently declined in the rapid flow of Global Culture.

scholarly journals FUNGSI SENI GEMBYUNG DALAM KEHIDUPAN MASYARAKAT PANJALU KABUPATEN CIAMIS

2010 ◽  
Vol 2 (3) ◽  
pp. 394
Author(s):  
Endang Supriatna
Keyword(s):  
Performance Art ◽  
Qualitative Approach ◽  
Performance Techniques ◽  
Traditional Performance ◽  
Descriptive Method

AbstrakGembyung sebagai kesenian buhun yang menjadi sebuah seni pertunjukan di Panjalu, hingga kini tetap bertahan dengan ciri ketradisionalannya. Bersama dengan pelaksanaan Upacara Nyangku maupun peringatan Maulid Nabi Saw. atau pada acara hiburan pada saat khitanan anak, Gembyung tampil bersahaja. Namun demikian, penampilannya tetap menyampaikan makna baik melaui gerak, lagu, gending musik, maupun sesajennya bahwa hidup akan terus bergerak seiring berlangsungnya sang waktu. Bagi masyarakat Panjalu, Seni Gembyung tidak hanya sebuah ungkapan ekspresi keindahan, namun lebih dari itu, Gembyung memiliki makna kecintaan serta penghormatan kepada asal-usul leluhur mereka. Tulisan ini berupaya mengupas fungsi Seni Gembyung pada masyarakat Panjalu. Ada dua bagian yang dibahas, pertama gambaran sosial budaya masyarakat Panjalu tempat kesenian ini tumbuh. Kedua, menjelaskan Seni Gembyung, mulai dari perkembangannya, lagu dan teknik pementasan, fungsi dan peranan kesenian ini pada masyarakat pendukungnya. Serta, upaya masyarakat Panjalu memelihara Seni Gembyung agar tidak tergerus oleh seni modern yang semakin deras berupaya menggeser seni lokal. Tulisan ini menggunakan metode deskriptif dengan pendekatan kualitatif. AbstractGembyung is a kind of traditional performance art in Panjalu that has a long history. Along with Nyangku ceremony or commemoration of Maulid Nabi Saw. (the birth of prophet Muhammad Saw.), or celebration after a child has circumsized, gembyung is played in a very plain way. The mystical music and the fragrance of the offerings accompanied the dancers in expressing their respect to the ancestors. This paper tries to reveal the function of gembyung art in the society of Panjalu. There are two parts to be discussed: firstly, the description of sociocultural setting of Panjalu society where the art has been developed. Secondly, explanation of gembyung art, beginning with the development, the songs, and the performance techniques. A descriptive method and qualitative approach were conducted in this paper.

scholarly journals Eksistensi Seni Pertunjukan Peresean pada Masyarakat Sasak Lombok

2019 ◽  
Vol 2 (1) ◽  
pp. 1-12
Author(s):  
Solikatun Solikatun ◽  
Lalu Wirasapta Karyadi ◽  
Ika Wijayanti
Keyword(s):  
Performance Art ◽  
Ethnic Community ◽  
Snowball Sampling ◽  
Good Relationship ◽  
Martial Art ◽  
The Subject ◽  
Life Values ◽  
Traditional Performance

Culture is the product of human creation, feeling, and will. Culture isnow shifting, for example, the shift of peresean tradition in Lomboksasak community. Through this study, the author is expected to find outthe existence of peresean tradition and the meaning of pereseantradition to the community. This employed an explorative qualitativeresearch method. The research took place in Karek Village, Praya BaratDaya Sub District, Lombok Tengah Regency. The subject of research wasDarek villagers, in this case, taken using snowball sampling technique.The result of research showed that Peresean tradition is a traditional artof Sasak ethnic community in which two men are fighting against eachother (pepadu) using weapon made of rattan stick and shield. Inperesean tradition, there are rule and sanction in its implementation.Peresean performance is now conducted at certain times, e.g. on villageor regency anniversary day, wedding party, low-season, RI independenceday, or in guest welcoming event. Values contained in peresean traditionare life values including appreciating fraternity, friendship, economy,kinship, belief, culture, and art value. Meanwhile, the meaning ofperesean tradition includes a means of showing off man’s bravery,agility, and sturdiness, martial art, sportsmanship spirit, selfappreciation,establishing good relationship, and friendship. So,peresean traditional performance art in Sasak Lombok ethniccommunity has shifted viewed from its rule, meaning, andimplementation time aspects.

scholarly journals TRADISI LISAN CEPUNG: SASTRA PERLAWANAN KOMUNITAS SASAK TERHADAP KEKUASAAN BALI DI PULAU LOMBOK (Cepung Oral Tradition: Literature Resistance of Sasak Community to Domination of Bali in Lombok Island)

2016 ◽  
Vol 8 (1) ◽  
pp. 47
Author(s):  
Nining Nur Alaini
Keyword(s):  
Performance Art ◽  
Oral Tradition ◽  
Vocal Music ◽  
Negative Behavior ◽  
Traditional Performance ◽  
Lombok Island ◽  
A Performance

Cepung merupakan seni pertunjukan tradisional yang tumbuh dalam komunitas Sasak di Pulau Lombok. Dalam tradisi ini dibacakan lontar Monyeh yang diiringi instrument-instrumen suling, redep (rebab dalam gambang kromong, Betawi) dan musik vokal menirukan bunyi gendang, kenceng, dan rincik. Lontar klasik Monyeh digubah dalam bentuk pantun dalam bahasa Sasak. Lontar ini mengisahkan seorang putri raja yang disisihkan delapan saudaranya.  Cerita Monyeh sebenarnya merupakan sebuah bentuk perlawanan komunitas Sasak terhadap hegemoni Karangasem di Pulau Lombok. Hal yang menarik adalah adalah bergabungnya  komunitas Bali dalam tradisi lisan ini. Cepung secara pragmatik dan kultural menjadi menarik, karena sastra yang semula merupakan sebuah perlawanan, pada akhirnya menyatukan dua komunitas, Sasak dan Bali dalam sebuah harmoni seni pertunjukan tradisi lisan.  Melalui kajian pragmatik, tulisan ini akan mengungkapkan tujuan nonliterer  dalam tradisi lisan Cepung. Dari kajian yang telah dilakukan disimpulkan bahwa keterlibatan suku Bali dalam tradisi lisan Cepung ini didorong oleh kekecewaan mereka terhadap perilaku negatif para penguasa Bali di Lombok. Oleh karena itu, melalui Cepung pula, mereka menyampaikan kekecewaannya.Abstract:Cepung is a traditional performance art that grows in Sasak in Lombok Island. In this tradition, Lontar Monyeh is recited while accompanied by suling (flute)  instruments, redep (fiddle in Gambang Kromong, Betawi) and vocal music imitating sound of gendang, kenceng, and rincik. Lontar Monyeh is composed in the form of rhyme in Sasak language. Monyeh story is actually a form of resistance of Karangasem Sasak community to the Karangasem hegemony in Lombok island.The interesting thing is that the community of Bali   takes a part  in this oral tradition. Cepung is pragmatically and culturally  interesting as  the original literature which was initially as a resistance, then eventually uniting the two communities, Sasak and Bali in a  performance art harmony  of oral tradition. Through the study of pragmatics, this study  will reveal the nonliterer purpose in the Cepung oral tradition. From the study it can be concluded that Balinese involve- ment in the tradition was triggered by their dissatisfaction with the negative behavior of  Balinese rulers in Lombok. Therefore,  they  also  expressed their disappointment through it.

Outcomes: Promoting Reflective Practice Using Performance Indicator Questionnaires

2010 ◽  
Vol 20 (2) ◽  
pp. 64-70 ◽  
Author(s):  
Mary Pat McCarthy
Keyword(s):  
Clinical Education ◽  
Performance Indicator ◽  
Clinical Skills ◽  
Self Assessment ◽  
Clinical Practicum ◽  
Self Reflection ◽  
Healthcare Settings ◽  
Language Pathology ◽  
Traditional Performance ◽  
The University

This article details the process of self-reflection applied to the use of traditional performance indicator questionnaires. The study followed eight speech-language pathology graduate students enrolled in clinical practicum in the university, school, and healthcare settings over a period of two semesters. Results indicated when reflection was focused on students' own clinical skills, modifications to practice were implemented. Results further concluded self-assessment using performance indicators paired with written reflections can be a viable form of instruction in clinical education.

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