scholarly journals Makna Simbolik Tabu Pertunjukan Wayang Kulit Di Purbalingga, Karesidenan Banyumas, Jawa Tengah

2021 ◽  
Vol 20 (1) ◽  
Author(s):  
Sugeng Priyadi
Keyword(s):  
Rural Area ◽  
Rural Community ◽  
Cultural Conflict ◽  
Social Conflicts ◽  
Cultural Conflicts ◽  
Spiritual Conflict ◽  
Puppet Show ◽  
Wayang Kulit ◽  
Ethic Violation

The taboo of leather puppet show in the rural community of Purbalingga shows a plurality of socio-culture laying on the puppet myth that has changed into local legend. The myth said that Purbalingga is the region of Kurawa. This belief leads to such social conflicts as cultural conflict, marriage conflict, spiritual conflict, and ethic conflict. These conflicts are so obviously seen in the area. The cultural conflicts have triggered the taboo of puppet show in the rural area of Purbalingga. The taboo can be perceived as the phenomena of 1) a violence ang regret to the local puppet legend making some story sacral and taboo to perform, 2) a knight ascetics having some different meanings. Arjuna lived as an ascetic to get a weapon and a glory in the battle, while Yudhistira did that to achieve ultimate nobility in life, and 3) an ethic violation concerned with the characters, of puppet in the legend of Ramayana and Mahabarata, that are regarded as the ancestors of Purbalingga community.

scholarly journals COMPARISON TRADITIONAL FOLKLORE BETWEEN CHINESE PI YING AND INDONESIAN WAYANG KULIT

2020 ◽  
Author(s):  
Zhang Guannan
Keyword(s):  
Rural Area ◽  
Digital Technology ◽  
Han Dynasty ◽  
Animal Skin ◽  
Traditional Arts ◽  
Wayang Kulit ◽  
Traditional Stories

Chinese Pi Ying and Indonesian Wayang Kulit as known as the crystal of folklore from two different countries. This article is aim to make a comparison between these two traditional folklore.Pi Ying and Wayang Kulit both are made from wood and paper or animal skin. The function of these two folklore is giving a show or performance to audiences based on traditional stories or mythological stories. Compared with Wayang Kulit, Chinese Pi Ying was originated from Han Dynasty, earlier than Wayang Kulit. As traditional arts, coming with improvement of digital technology, Chinese Pi Ying and Wayang Kulit are losing their influence now, these two traditional folklore only can be seen more frequently in theater or rural area. Through this article, Pi Ying and Wayang Kulit will be analyzed, compared and found out the same and different aspects from these two traditional folklore, furthermore, this article will also give certain solutions to solve the problems these two folklore are facing.

scholarly journals Struktur Janturan Wayang Kulit Purwa Yogyakarta

2019 ◽  
Vol 3 (1) ◽  
Author(s):  
Endah Budiarti
Keyword(s):  
Structural Analysis ◽  
Grammatical Structure ◽  
Teaching Materials ◽  
The Third ◽  
Fourth Part ◽  
Puppet Show ◽  
Wayang Kulit

The purpose of this study was to find the structure janturan of the Yogyakarta shadow puppet. A further goal of this research is to find a method for learning puppetry language, especially janturan language. To achieve the above objectives, the researchers will first identify and categorize the structure of janturan carried out by Ki Hadi Sugito, Ki Timbul Hadiprayitno, Ki Suparman, and Mudjanattistomo. Second, the grammatical structure of the Yogyakarta senior puppeteers’ puppets wasthen reduced to the grammatical structure of the Yogyakarta shadow puppet show. To find the structure janturan of Yogyakarta Purwa shadow puppet, this study will apply structural analysis. The concept of tatas in chess aesthetics is the version of Soetarno et al. (2007) and the grammatical structure of the Sasangka version (1989) were used as analysis blades in this study. Janturan is the ukara-ukara (‘sentences’) kenès which are arranged in a complete, sequential, and not overlapping manner. As a ukara certainly has a grammatical structure. To be able to find the grammatical structure of scattering, the tatas concept and the grammatical theory of Javanese language are used. From the results of the study of the (grammatical) structure of the Yogyakarta senior mastermind’s succession, the following pattern is obtained: The first part is a section that contains worship. The second part of the janturan contains the greatness of the kingdom which is the center of storytelling. The third part of janturan contains the great king in the great kingdom who is the center of storytelling. The fourth part of the janturan is about the preparation of the trial and those present at the hearing. It is expected that the results of this study can improve teaching materials in thesubject of Bahasa Pedalangan, Pedalangan Rhetoric, and Basics of Pakeliran in the Pedalangan Department.Tujuan penelitian ini adalah menemukan struktur janturan wayang kulit purwa Yogyakarta. Tujuan lebih jauh dari penelitian ini ialah menemukan satu metode belajar bahasa pedalangan khususnya bahasa janturan. Untuk mencapai tujuan di atas, pertama-tama peneliti akan mengidentifikasi dan mengkategorikan struktur janturan yang dibawakan oleh Ki Hadi Sugito, Ki Timbul Hadiprayitno, Ki Suparman, dan Mudjanattistomo. Kedua, struktur gramatikal janturan dalang-dalangsenior Yogyakarta tersebut kemudian direduksi menjadi struktur gramatikal janturan wayang kulit purwa Yogyakarta. Untuk menemukan struktur janturan wayang kulit purwa Yogyakarta penelitian ini akan menerapkan analisis struktural. Konsep tatas dalam estetika catur versi Soetarno dkk. (2007) dan struktur gramatikal ukara versi Sasangka (1989) digunakan sebagai pisau analisis dalam penelitian ini. Janturanmerupakan ukara-ukara (‘kalimat-kalimat’) kenès yang disusun secara lengkap, urut, dan tidak tumpang tindih. Sebagai sebuah ukara tentu memiliki struktur gramatikal. Untuk dapat menemukan struktur gramatikal janturan digunakan konsep tatas dan teori struktur gramatikal bahasa Jawa. Dari hasil pelacakan terhadap struktur (gramatikal) janturan para dalang senior Yogyakarta, diperoleh pola sebagai berikut: Bagian pertama merupakan satu bagian yang berisi tentang doa pemujaan.  Bagian kedua dari janturan berisi tentang kebesaran kerajaan yang menjadi pusat penceritaan. Bagian ketiga dari janturan berisi tentang raja agung di kerajaan besar yang menjadi pusat penceritaan. Bagian keempat dari janturan berisi tentang persiapan sidang dan yang hadir di dalam sidang. Diharapkan hasil penelitian ini dapat menyempurnakanbahan ajar mata kuliah Bahasa Pedalangan, Retorika Pedalangan, dan Dasar-dasar Pakeliran di Jurusan Pedalangan.

scholarly journals NILAI-NILAI KARAKTER RITUAL KING HO PING SEBAGAI SUMBER BELAJAR IPS

2020 ◽  
Vol 5 (1) ◽  
pp. 24-29
Author(s):  
Eko Prasetyo Utomo
Keyword(s):  
Social Studies ◽  
Research Design ◽  
Social Life ◽  
Phenomenological Research ◽  
Qualitative Approach ◽  
Learning Design ◽  
Musical Performances ◽  
Puppet Show ◽  
Phenomenological Research Design ◽  
Wayang Kulit

The purpose of this research is to find out the King Ho Ping ritual procession and character values ​​in the King Ho Ping ritual as a source of social studies learning. This research uses a qualitative approach with a phenomenological research design. This research is located in the Hok Swie Bio temple in Bojonegoro Regency. The results showed that the King Ho Ping ritual began with a shadow puppet show continued with musical performances and Liong and Barongsai attractions. The climax of the ritual is to pray three times and the end of the ringing signal as a sign of the procession of the gunungan battle begins. Sub character values ​​that arise are 1) respecting differences in religion and belief; 2) firm stand; 3) cooperation between followers of religion; 4) appreciation of the nation's own culture 5) maintain the nation's cultural richness; 5) respect for diversity, ethnicity, religion and culture; 6) please help; 7) anti-discrimination; 8) lifelong pursuit; and 9) responsibilities. Marketer values ​​in the King Ho Ping ritual can be integrated in social studies learning materials in a thematic integrated social studies learning design based on topics, namely the integration of social life with the integration of geography, history, sociology, and economics. Tujuan dalam penelitian ini yaitu untuk mengetahui  prosesi ritual King Ho Ping dan nilai-nilai karakter dalam ritual King Ho Ping sebagai sumber belajar IPS. Penelitian ini menggunakan pendekatan kualitatif dengan desain penelitian fenomenologi. Penelitian ini berlokasi di kelenteng Hok Swie Bio Kabupaten Bojonegoro. Hasil penelitian menunjukkan bahwa ritual King Ho Ping dimulai dengan acara pergelaran wayang kulit dilanjutkan dengan karawitan dan atraksi Liong serta Barongsai. Puncak ritual dilakukan sembahyang sebanyak tiga kali putaran dan diakhir bunyi gendering sebagai tanda prosesi rebutan gunungan dimulai. Sub nilai-nilai karakter yang muncul yaitu 1) menghargai perbedaan agama dan kepercayaan; 2) teguh pendirian; 3) kerja sama antar pemeluk agama; 4) apresiasi budaya bangsa sendiri 5) menjaga kekayaan budaya bangsa; 5) menghormati keragaman, suku, agama dan budaya; 6) tolong menolong; 7) anti diskriminasi; 8) pembejaran sepanjang hayat; dan 9) tanggung jawab. Nilai-nilai karketer dalam ritual King Ho Ping dapat diintegrasikan dalam materi pembelajaran IPS dalam desain pembelajaran IPS terpadu tematik berdasarkan topik yaitu integrasi kehidupan sosial dengan keterpaduan geografi, sejarah, sosiologi, dan ekonomi.

scholarly journals Opportunities of Different Generations Participation in Rural Community Activities

2018 ◽  
Vol 66 (6) ◽  
pp. 1637-1646
Author(s):  
Gintarė Vaznonienė ◽  
Ilona Kiaušienė
Keyword(s):  
Data Analysis ◽  
Rural Area ◽  
Rural Community ◽  
Rural Areas ◽  
Systematic Approach ◽  
Statistical Data ◽  
Social Groups ◽  
Theoretical Research ◽  
Statistical Data Analysis ◽  
Community Activities

The success of rural community vitality and development is based on communication, participation and collaboration among different generations. Theoretical and empirical findings disclose that there is a lack of systematic approach characterising different generations (in this article young and elderly social groups) participation in local activities, not much attention is given to activities which join young and elderly groups whether to maintain young people in rural area or actively include elderly to common activities. Accordingly this article aims to explore participation forms and methods of different generations (youth and elderly) participation in rural community activities. The methodological background of this research is based on theoretical research methods, statistical data analysis and analysis of case of different generations’ participation in Šiauliai district municipality rural community activities. The research results disclose that different generations participation in rural community activities are various, but depends on rural areas and rural community‘s specific features. The suggested scheme based on evaluation of different generations’ participation in rural community activities can be adopted to any rural area and rural community, but being aware about the current situation of youth and elderly, also activities which are possible to be implemented in particular rural community.

scholarly journals Fungsi dan Makna Filosofi Tradisi Ruwatan dalam Ritual Hindu Bali (Persepektif Wayang Kulit Sudhamala dan Sapuhleger)

2021 ◽  
Vol 12 (2) ◽  
pp. 221
Author(s):  
I Ketut Muada
Keyword(s):  
Qualitative Methods ◽  
Performing Arts ◽  
Literary Work ◽  
Role Of Government ◽  
Puppet Show ◽  
Wayang Kulit ◽  
Broad Meaning

<p>The ritual of ruwatan in Balinese Hindu society basically removes or cleanses oneself from dirt, which is practiced almost the same in general throughout Bali. In ruwatan using wayang kulit media, there are two types of performing arts which contain the function and meaning of ruwatan, such as; puppet show gedog (weak puppet) and puppet show Peteng. The source of the pangruwatan play presented by the puppeteers refers to the ruwatan standard although in practice it changes according to the situation and conditions of the performance itself. The play taken in the wayang gedog is Sudhamala, while in the shadow puppet show at night it is Sapuhleger. Ruwatan or in Java known as murwakala has a broad meaning not only a literary work and pakeliran but its function and philosophy, it turns out that it refers to the micro and macro essence of humans as being creative, intellect and intention. This research specifically reveals problems regarding; the form of the play, the function and meaning of spiritual philosophy, as well as the role of government in relation to ritual rituals. In revealing this, the researchers used qualitative methods, as well as several theories that complement this research.</p><p> </p><p>Ritual<em> ruwatan</em> pada masyarakat Hindu Bali pada dasarnya membuang atau pembersihan diri dari kotoran, yang pelaksanaannya hampir sama pada umumnya diseluruh Bali. Dalam <em>ruwatan</em> dengan media wayang kulit, ada dua jenis seni pertunjukan yang mengandung fungsi dan makna ruwatan seperti; pertunjukan wayang <em>gedog</em> (wayang lemah) dan pertunjukan wayang <em>Peteng.</em>  Sumber lakon <em>pangruwatan</em> yang disajikan oleh para dalang mengacu pada pakem <em>ruwatan</em> walaupun dalam pelaksanaannya berubah menurut situasi dan kondisi pertunjukan itu sendiri. Lakon yang diambil dalam wayang <em>gedog</em> adalah <em>Sudhamala</em> sedangkan, dalam pertunjukan wayang kulit pada malam hari adalah <em>Sapuhleger</em>. <em>Ruwatan</em> atau di Jawa dikenal dengan <em>murwakala </em>mempunyai makna yang luas tidak hanya sebuah karya sastra dan pakeliran akan tetapi fungsi dan filosofinya, ternyata mengacu pada esensi mikro dan makro manusia sebagai insan yang berdaya <em>cipta, budi </em>dan <em>karsa</em>. Penelitian ini khusus mengungkap permasalahan tentang; bentuk lakon, fungsi dan makna filosopi ruatan, serta peranan pemerintah terkait ritual ruatan. Dalam mengungkap hal tersebut peneliti memakai metode kualitatif, serta beberapa teori-teori yang melengkapi penelitian ini.</p>

scholarly journals The Existence and Change of Wayang Potehi in Gudo, Jombang

2020 ◽  
Vol 2 ◽  
pp. 90-95
Author(s):  
Siti Muslifah ◽  
Rustopo ◽  
Sarwanto
Keyword(s):  
Performance Art ◽  
Performing Arts ◽  
Southern China ◽  
Mainland China ◽  
Political Policy ◽  
Jin Dynasty ◽  
Communist Ideology ◽  
Puppet Show ◽  
Wayang Kulit ◽  
Exciting Development

Wayang Potehi is a traditional puppet show art performance originating from Southern China. Performing arts in the form of Chinese puppets that entered the archipelago along with Chinese ethnic immigration from mainland China. There are estimates that the roots of Wayang Potehi have evolved more than 3000 years. Stronger historical evidence showing the existence of the Wayang Potehi in China has existed since the Jin dynasty (265-420 AD). Wayang Potehi in Indonesia at the time had experienced the glory and helped colour the cultural diversity that existed in Indonesia. The political phenomenon of 1965, namely China or communist ideology, was associated with the tragedy of the G30 S / PKI. Governmental policies that forbid everything that smells of Tioghoa also contributed to the existence of Wayang Potehi in Indonesia. Wayang Potehi has been suspended because of this political policy. The reformation era in 1998 with the lifting of the ban on all things Chinese, opened a new faucet for the revival of cultural arts including Wayang Potehi. An exciting development also occurred in Wayang Potehi in Gudo, Jombang, East Java. Wayang Potehi is essentially an example of a work that is equated with a traditional drama. Based on its essence, Wayang Potehi is basically a puppet show, because the performance and structure of the show can be said to be almost the same as puppet performance art in general. Some phenomena and indicators in the Wayang Potehi performance art that show this include: (1) using puppet puppets; (2) played by the dalang as a narrator or storyteller; (3) accompanied by music; (4) performed or displayed in a particular place, (5) has a clear duration of performance; (5) presenting certain stories or stories; (6) has a bangesresem aesthetics which includes jokes, nges, gregret and sem as well as the aesthetics that exist in wayang kulit purwa in Java. The existence or existence of Wayang Potehi in Indonesia, is part of the performing arts that is transformed so that this art can still exist and be part of the performing arts in the archipelago. The application of the principle of adaptation in terms of the plays played, the place and time of the performance of the show is one of the strategies for the continuity of the Wayang Potehi performance art to be re-accepted by the wider community. This will certainly support the understanding of multiculturalism which in general can be used to prevent national desintegration.  

An Epidemiological Study of Smoking Among Adult Males in a Rural Area of Hooghly District, West Bengal, India

2008 ◽  
Vol 3 (1) ◽  
pp. 47-49 ◽  
Author(s):  
Indranil Saha ◽  
Bobby Paul ◽  
Tushar Kanti Dey
Keyword(s):  
Rural Area ◽  
Rural Community ◽  
West Bengal ◽  
Cross Sectional Study ◽  
Adult Males ◽  
Community Based ◽  
Cross Sectional ◽  
Quit Smoking ◽  
Former Smokers ◽  
Education Needs

AbstractA community-based cross-sectional study was undertaken in a rural community of West Bengal, India among 329 adult males, during April to June, 2004 to find out the prevalence, characteristics of smoking and attitude of smokers towards quitting. 29.8% (98), 61.7% (203) and 8.5% (28) were found to be current, never and former smokers respectively. Among current smokers, 79.4% had started smoking before the age of 24 years. 23% of smokers cited the reason for smoking was to concentrate at work and to relieve anger and frustration. 53.8% wanted to quit smoking but lack of willpower (28.2%) became the major hindrance to quitting. 58.9% were uncertain about continuing smoking. Smoking is commonly practised in rural area of West Bengal, starting at quite an early age; hence awareness and health education needs to be stressed, so that prevention can be initiated.

Cross-Cultural Conflicts

2018 ◽  
pp. 79-96
Author(s):  
Narendra Singh Chaudhary ◽  
Radha Yadav
Keyword(s):  
Cross Cultural ◽  
Cultural Conflict ◽  
Future Research ◽  
Organization Performance ◽  
Cultural Conflicts ◽  
Research Perspectives ◽  
The Future ◽  
The Cross

The authors discuss in detail the meaning of conflict, cross-cultural conflict, the reasons for the conflicts, and its impact on overall organization performance and productivity. The authors also highlight and discuss the various strategies that can be worked out to reduce and resolve conflicts amicably and how to use conflicts for the betterment of the organization. The authors also focus upon the various issues and concerns that need to be taken care of while handling the conflicts and resolving them effectively. The authors have also drawn attention towards the future research perspectives, which will help organisations and management to address the cross-cultural conflicts and utilizing them for the betterment of the organisation in a constructive manner.

Living with dementia in rural Scotland

2020 ◽  
pp. 279-284
Author(s):  
Nancy McAdam
Keyword(s):  
Rural Area ◽  
Rural Community ◽  
Self Help

This chapter discusses what it is like for one individual with dementia living in a remote and rural area of Scotland. The benefits of living in a rural community are highlighted, as are the range of groups available that help the author to live well with dementia in her community. Self-help approaches are also discussed. Overall the chapter provides an inspiring account of a life well lived with dementia.

Ethno-Socio-Cultural Conflict: New Reality of Modernity (the end)

2013 ◽  
pp. 97-107
Author(s):  
N. Zagladin
Keyword(s):  
Industrial Relations ◽  
Cultural Conflict ◽  
Global Crisis ◽  
Cultural Conflicts ◽  
Cultural Contradictions ◽  
Practical Conference

The publication of the materials of the scientific and practical conference “Global crisis and its implications: aggravation of ethno-socio-cultural contradictions” (spring 2013) is continued. This issue is devoted to discussion of the specific features of ethno-socio-cultural conflicts’ manifestations in Russia. The following issues are regarded: 1) national specifics of ethno-socio-cultural conflicts’ manifestations; 2) status of social and industrial relations in the conditions of aggravation of ethno-socio-cultural conflict.

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