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 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 “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.

scholarly journals BALINESE ART STUDIOS: THE LEARNING PROCESS OF ART AND CULTURE TO SUPPORT SUSTAINABLE TOURISM

2020 ◽  
Vol 4 (1) ◽  
pp. 68
Author(s):  
I Gde Agus Jaya Sadguna ◽  
I Gusti Agung Mas Krisna Komala Sari ◽  
Kumiko Shishido
Keyword(s):  
Learning Process ◽  
Performing Arts ◽  
Formal Education ◽  
Sustainable Tourism ◽  
Fine Arts ◽  
Education Institution ◽  
Tourism Industry ◽  
Hindu Religion ◽  
Art And Culture ◽  
Negative Impacts

Purpose: A lot of perspectives have been discussed about Bali and this paper will discuss it from the angle of the learning process of art and culture in the Balinese art studios in Gianyar Regency. Research methods: The research was conducted on the months of July and August 2019. Qualitative data was obtained during the research because the method of data collection was interviewing the owner of the dance studio. Results and discussions: One of the A’s in tourism is attraction and Bali have a strong attraction for tourists both domestic and foreign tourists. The art and culture is the breath of tourism in the island of Bali, which is based on the Hindu religion. The resources for these art and culture are nurtured in several forms, which one of them is through sanggar or studios, which is a non-formal education institution for learning Balinese art and culture. Various types of art and culture and developed and nurtured in these studios, such as performing arts, fine arts, and local wisdoms. The tourism industry has given positive and negative impacts for Balinese art and culture, depends on how one may argue if seen through different perspectives. Performing arts have flourished in terms of daily performances taken places in hotels and designated performance theaters. The types which can be easily watched are the music and dance of Bali. Conclusion: Tourism in this sense is not a direct aspect but, in the future, has a direct impact: providing culture resources for performances in tourism objects and destinations. This as a part of social sustainability, also the sanggars, is a part of the sustainable tourism family

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 Educação não formal e a cidade: memórias de infância e perspectivas (p. 56-82)

1969 ◽  
Author(s):  
Antonio Carlos Miranda ◽  
Renata Sieiro Fernandes
Keyword(s):  
Public Space ◽  
Informal Education ◽  
Formal Education ◽  
Public Spaces ◽  
Educational Opportunities ◽  
Right To The City ◽  
Childhood Memories ◽  
Adult Men ◽  
The City

Entender a cidade como lugar de educação, de forma institucionalizada ou não, é vê-la como campo de educação informal e não formal. A educação informal se caracteriza por experiências não intencionais, dentro do contexto de vivência individual e social do dia-a-dia e a não formal, por experiências de ensino-aprendizagem, com intencionalidade e planejamento e que, estruturalmente, não tem uma legislação nacional que regule e incida sobre ela. Dentre os usos e ocupações atuais do espaço público por contestação, manifestação, lazer, sob orientações políticas, étnicas, artísticas, ambientais, lúdicas pelo público adulto, têm surgidoexperiências que envolvem as crianças como sujeitos-cidadãos de direito à cidade. A partir de depoimentos ou narrativas de homens e mulheres adultos recolhidos por meio virtual, sobre os usos que fizeram, na infância, da rua e dos espaços públicos da cidade, bem como as expectativas ou perspectivas atuais com relação ao uso do nosso espaço público por crianças, jovens e adultos, busca-se refletir sobre o papel damemória (envolvendo o trabalho com lembranças e esquecimentos) na construção de histórias pessoais e sociais a fim de pensar as possibilidades educativas que acontecem na cidade em diferentes momentos históricos.Palavras-chave: Educação não formal. Memórias. Cidade educativa.Non-formal education and the city: childhood memories and perspectivesAbstractNon-formal education and the city: childhood memories and perspectives Understand the city as a place of education, institutionalized or not, is to see it as a field of non-formal and informal education. Informal education is characterized by unintentional experiences within the context of individual and social experience of the day-to-day. Non-formal education is characterized by experiences of teaching andlearning, with intentionality and planning and, structurally, has no national legislation regulating and focusing on it. Among the uses and current occupations of public space for contestation, manifestation, leisure, under political, ethnic, artistic, environmental, recreational guidelines for adult audiences, there have been experiments involving children as subjects-citizens right to the city. Based on statements or narratives of adult men and women collected by virtual means, on the uses they did in childhood, street and public spaces of the city as well as the current expectations or prospects regarding the use of our public space by children, youth and adults we seek to reflect on the role of memory (involving working with memories and forgetfulness) in the construction of personal and social histories in order to think the educational opportunities happening in the city at different historical moments.Keywords: Non-formal education. Memories. Educational city.La educación no formal y la ciudad: recuerdos y perspectivas de la niñezResumenEntender la ciudad como un lugar de educación, institucionalizada o no, es verlo como un campo de la educación no formal e informal. La educación informal se caracteriza por experiencias no intencionales en el contexto de la experiencia individual y social del día a día y no formal, por las experiencias de enseñanza y aprendizaje, con la intencionalidad y la planificación y, estructuralmente, no tiene legislación nacional para la regulación en centrarse en ella. Entre los usos y ocupaciones actuales de espacio público para la manifestación, reunión, recreación, bajo las directrices de recreo políticas, étnicas, artísticas, ambientales, para un público adulto, han surgido experiencias que involucran a niños como sujetos-ciudadanos el derecho a la ciudad. Sobre la base de las declaraciones o relatos de los hombresadultos y mujeres recogidos por medios virtuales, los usos que hacían en la infancia, em la calle y em los espacios públicos de la ciudad, así como las expectativas actuales o potenciales, en relación con el uso de nuestro espacio público por niños, jóvenes y adultos que buscamos reflexionar sobre el papel de la memoria (que implica trabajar con los recuerdos y el olvido) en la construcción de historias personales y sociales a pensar en las posibilidades educativas que tienen lugar en la ciudad en diferentes momentos históricos.Palabras-clave: Educación no formal. Recuerdos. Ciudad educativa.

scholarly journals DERADIKALISASI ISLAM MELALUI PENDIDIKAN MULTIKULTURAL BERBASIS KEARIFAN LOKAL PADA MASYARAKAT CIGUGUR

2017 ◽  
Vol 22 (1) ◽  
pp. 51
Author(s):  
Muhammad Arif
Keyword(s):  
Multicultural Education ◽  
Family Environment ◽  
School Environment ◽  
Informal Education ◽  
Formal Education ◽  
Three Dimensions ◽  
Ethical Guidelines ◽  
The People ◽  
The Family ◽  
Education School

Artikel ini bertujuan untuk mendeskripsikan konteks deradikalisasi Islam melalui pendidikan multikultural berbasis kearifan lokal. Untuk maksud tersebut, dilakukan penelitian mendalam pada masyarakat Cigugur. Penelitian menghasilkan temuan bahwa sikap toleran, saling menghargai, saling menghormati, dan bahkan saling bekerja sama yang tercipta dalam kehidupan masyarakat Cigugur yang multi agama dan multikultural didukung oleh aktualisasi pendidikan multikultural berbasis kearifan lokal yang mencakup tiga dimensi, yakni dimensi waktu, dimensi tempat, dan dimensi isi. Menurut dimensi waktu, pendidikan diselenggarakan dalam tiga fase, yakni sateuacan nitis (sebelum nitis), sateuacan boboran (sebelum lahir), dan saatosna boboran (setelah lahir). Menurut dimensi tempat, masyarakat Cigugur menyelenggarakan pendidikan di lingkungan keluarga (pendidikan informal), lingkungan sekolah (pendidikan formal), dan lingkungan masyarakat (pendidikan nonformal). Sementara, menurut dimensi isi, terdapat etika sebagai pedoman dan tuntunan berperilaku sosial yakni berupa cara ciri manusia dan cara ciri bangsa. This article aims to describe the context of the de-radicalization of Islam through multicultural education based on local wisdom. For this purpose, conducted in-depth research on Cigugur society. The study produced findings that tolerance, mutual respect, and even cooperate with each other in Cigugur society that’s multi-religious and multicultural, supported by the actualization of multicultural education based on local wisdom that includes three dimensions, namely the dimension of time, the dimensions of the place, and dimensional content. According to the dimension of time, education was held in three phases, namely “sateuacan nitis” (before mariage), “sateuacan boboran” (before birth), and “saatosna boboran” (after birth). According to the dimensions of the place, the people Cigugur education in the family environment (informal education), school environment (formal education) and community (non-formal education). Meanwhile, according to the dimensions of the content, there are ethical guidelines and guidance in social behavior, namely “cara ciri manusia” and “cara-ciri bangsa”.

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.

SENI KONTEMPORER BETAWI DI PESANGGRAHAN

2021 ◽  
Vol 3 (1) ◽  
pp. 77
Author(s):  
Indah Dwi Allanis ◽  
Mieke Choandi
Keyword(s):  
Public Space ◽  
Contemporary Art ◽  
Modern Technology ◽  
Contextual Approach ◽  
Traditional Art ◽  
Self Defense ◽  
Art And Culture ◽  
Public Area ◽  
Building Designs ◽  
Contemporary Architecture

Art and culture are one of the character that can build nation civilization. Betawi culture’s existence is included in traditional art as one of Indonesia’s cultural asset. Generally art is stated as human’s soul expression to beauty. To betawi people art is materialized in many forms like litearture, music, dance, self-defense and theatre. But the missing of interactive public space based on modern technology, that culture slowly will replaced with modern era.Betawi Contemporary Art in Pesanggrahan uses a contextual approach which examines four contextual parameters (culture, nature, urban, and physical buildings) and has an edutainment program. Where Edutainment is a new innovation to develop Betawi culture by combining education, entertainment and incorporating contemporary architecture in building designs to add architourism to the Pesanggrahan area. The concept of a new experience is to enjoy a culture with different media and provide a public space that can be used to interact and relax. Keywords: Architourism; culture; art; contemporary; public area AbstrakKesenian dan budaya merupakan salah satu karakter yang bisa membangun peradaban bangsa. Keberadaan budaya Betawi termasuk kesenian tradisional yang merupakan salah satu aset budaya Indonesia. Umumnya kesenian dinyatakan sebagai ekspresi jiwa manusia akan keindahan. Pada masyarakat Betawi kesenian terwujud dalam bermacam-macam bentuk seperti seni sastra, seni musik, seni tari, seni main pukulan (seni bela diri) dan seni teater. Namun tidak adanya wadah ruang publik yang interaktif berdasarkan teknologi modern membuat budaya tersebut lambat laun akan tergeser dengan era modern. Betawi Contemporary Art in Pesanggrahan menggunakan metode pendekatan kontekstual yang mengkaji empat parameter kontekstual (budaya, alam, urban, dan fisik bangunan) dan memiliki program edutainment. Dimana Edutainment sebagai inovasi baru untuk mengembangkan budaya Betawi dengan menggabungkan education, entertainment dan menggabungkan arsitektur kontemporer pada desain bangunan agar menambahkan Architourism pada Kawasan Pesanggrahan. Konsep pengalaman baru untuk menikmati sebuah budaya dengan media yang berbeda-beda dan memberikan ruang publik yang dapat di pergunakan untuk berinteraksi dan bersantai.

scholarly journals Mitos Keris dalam Novel Hunus Karya Sunaryono Basuki Ks

HUMANIS ◽  
2018 ◽  
pp. 572
Author(s):  
Sri Septi Dwi Jayanti Putri ◽  
Maria Matildis Banda ◽  
Sri Jumadiah
Keyword(s):  
Informal Education ◽  
Formal Education ◽  
The Novel ◽  
Main Character ◽  
Spiritual Power ◽  
Her Family ◽  
Religious Background ◽  
Supernatural Power ◽  
The People ◽  
Theory Of Literature

The object of this study was the novel Hunus by Sunaryono Basuki Ks. The novel Hunus was analyzed by using theory of structure and theory of literature sociology. The using of theory of literature sociology in this study was proper because the novel Hunus had an intense social depiction of traditional belief about the supernatural power of kris. The problems of study discussed were the structure of the novel and the myth of kris within the aspects of culture, religion, and education that were revealed in the novel Hunus. The structure of the novel Hunus encompassed: plots, characterization, and backgrounds. The plots of the novel Hunus used the plot of mix. The characterization was divided into the main character and the additional characters, the main character was Anthony Wright, and the additional characters were Anak Agung Ngurah Ari Maharani, Wayan, Husni, and Ida Bagus Sudiara. The background of place happened in Jakarta and England, the background of time was in 1990’s, and the background of social told about the life of Balinese people. The myth of kris in the novel Hunus was focused on three aspects; they were the aspects of culture, religion, and education. The aspect of culture discussed about the ceremony of Tumpek Landep. In the novel, it was explained about the procedures of Balinese people in purifying heirlooms, in this case it was kris, on the ceremony of Tumpek Landep. The aspect of religion discussed about the religious background of the characters who believed in the myth of kris. Tony with his personal religious principle considered that the myth of kris was just a fairytale or superstition which only applied to the people who believed it. Meanwhile Gung Ari (Tony’s wife) was Hindu that she believed in the myth of kris from generation to generation in the form of religious advice that had to be believed as customs which had existed in Balinese society. Then, his thought changed when he experienced the spiritual power of kris that "killed" everytime being impaled. Meanwhile Gung Ari (Tony's wife) was Hindu that she believed in the myth of kris from generation to generation in the form of spiritual advice or the ritual of Tumpek Landep that had to be believed. The aspect of education discussed about the education obtained by the religious characters that influenced the perspective towards the myth of kris that happened in the conflict of the novel. Getting the same formal education, but Gung Ari obtained an informal education from her family about the myth of kris. The myth of kris in the novel Hunus taught us that we must respect every faith in a society even though we were not born and grown in the belief of that myth.

scholarly journals Pemberdayaan Masyarakat dalam Meningkatkan Mutu Pendidikan Non-Formal

2018 ◽  
Vol 2 (1) ◽  
pp. 43
Author(s):  
M Ihsan Dacholfany
Keyword(s):  
Informal Education ◽  
Formal Education ◽  
Learning Centers ◽  
Cultural Conditions ◽  
The People ◽  
The Status ◽  
Race Ethnicity ◽  
The Relationship ◽  
Descriptive Method

The non-formal education of an education service that is not limited by age, time, gender, race (ethnicity, descent), economy, socio-cultural conditions, religion and so on, although formal education is an essential component of lifelong education, Informal education in the framework of lifelong educational services for the community is needed now and in the future. Herewith the Researcher uses analytic descriptive method with case study variation. Descriptive analytic method is a method of research that emphasizes the effort to obtain information about the status or symptoms at the time of the study, provide an overview of the phenomena, also further explain the relationship, and draw the meaning of a desired problem. The research in Learning centers al-Suroya in which there is Non Formal Education which is carried out especially Package B and Package C and others can fulfill a function in the effort to serve the needs of society outside the school system, the main target of non formal education and is needed by the community especially the people who want Continuing education, as well as developing the ability of interest and talent as well as training, in the hope that this program is implemented in accordance with the ability of the community despite many obstacles.

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