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.  

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 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 KEBERADAAN RAPA’I DABO’IH GRUP BUNGONG SITANGKEE SEBAGAI REPRODUKSI BUDAYA DI PERKAMPUNGAN BEKAS EVAKUAS CARE KORBAN PASCA TSUNAMI ACEH

2019 ◽  
Vol 8 (2) ◽  
pp. 455
Author(s):  
Beni Andika ◽  
Fani Dila Sari
Keyword(s):  
Data Collection ◽  
Cultural Identity ◽  
Performance Art ◽  
Performing Arts ◽  
Qualitative Method ◽  
Cultural Reproduction ◽  
Government Organization ◽  
Original Culture ◽  
City District

AbstrakKreativitas grup Bungong Sitangkee mempertunjukan Rapa’i Daboi’h merupakan upaya reproduksi budaya di perkampungan bekas pengungsian NGO (Non Goverment Organization) CARE di perkampungan Teurebeuh Kecamatan Kota Jantho Kabupaten Aceh Besar. Rapa’i Dabo’ih adalah seni pertunjukan atraksi yang menakjubkan. Seni pertunjukan ini digemari karena bentuk sajian pertunjukan Rapa’i Dabo’ih yang atraktif dengan debus sebagai puncak dari permainan yang disertai instrumen Rapa’i dengan lantunan syair-syair berisikan syiar agama Islam. Reproduksi budaya adalah proses mempertahankan identitas budaya yang dilakukan oleh masyarakat korban pascatsunami yang sudah tinggal menetap di area bekas pengungsian sebagai  pelestarian dan eksistensi kebudayaan asalnya. Tujuan penelitian ini adalah mengungkap keberadaan Rapa’i Daboih sebagai  reproduksi budaya yang terjadi di perkampungan CARE bekas pengungsian korban pascatsunami di Aceh 2004 lalu. Identifikasi reproduksi budaya ditinjau dari pemkanaan ulang seni pertunjukan Rapa’i Dabo’ih oleh Grup Bungong Sitangkee di Kecamatan Kota Jantho Kabupaten Aceh Besar. Metode yang digunakan adalah metode kualitatif, pengumpulan data dilakukan melalui observasi dan mengamati pertunjukan dan wawancara. Hasil penelitian ini mengungkapkan bagaimana kebradaan reproduksi budaya dengan studi kasus Rapa’i Dabo’ih.Kata Kunci: rapa’i dabo’ih, reproduksi, budaya.AbstractThe Bungong Sitangkee group's creativity demonstrates Rapa 'i Daboi'h is an effort to reproduce culture in the CARE (Non Government Organization) in Teurebeuh village, JAntho City District, Aceh Besar District. Rapa’i Dabo’ih is an amazing performing arts performance. This performance art is favored because of the attractive form of the Rapa'i Dabo'ih show with debus as the culmination of the game accompanied by the Rapa'i instrument with the recitation of verses containing Islamic symbols. Cultural reproduction is the process of maintaining cultural identity carried out by post-tsunami victims who have settled in ex-refugee areas as a preservation and existence of their original culture. The purpose of this study is to uncover the existence of Rapa'i Daboih as a cultural reproduction that occurred in the CARE village of ex-refugee victims after the tsunami in Aceh in 2004. Identification of cultural reproduction is reviewed from the reopening of the Rapa 'i Dabo'ih performance by the Bungong Sitangkee Group in Kota Jantho District, Aceh Besar Regency. The method used is a qualitative method, data collection is done through observation and observing performances and interviews. The results of this study reveal how the existence of cultural reproduction with the Rapa'i Dabo'ih case study.  Keywords: rapa'i dabo’ih, reproduction, culture.  

scholarly journals The Multilingual Assessment Instrument for Narratives (MAIN): Adding Kam to MAIN

2020 ◽  
Vol 64 ◽  
pp. 147-151
Author(s):  
Wenchun Yang ◽  
Angel Chan ◽  
Natalia Gagarina
Keyword(s):  
Ethnic Minority ◽  
Southern China ◽  
Mainland China ◽  
Assessment Instrument ◽  
Narrative Development ◽  
Growing Up ◽  
Minority Children ◽  
Left Behind ◽  
Ethnic Minority Children ◽  
Minority People

This paper introduces the Kam version of the Multilingual Assessment Instrument for Narratives (LITMUS-MAIN). Kam is a minority language in southern China which belongs to the Kam-Tai language family and is spoken by the Kam ethnic minority people. Adding Kam to MAIN not only enriches the typological diversity of MAIN but also allows researchers to study children’s narrative development in a sociocultural context vastly distinctly different from the frequently examined WEIRD (Western, Educated, Industrialized, Rich, and Democratic) societies. Moreover, many Kam- speaking children are bilingual ethnic minority children who are “left-behind” children living in Mainland China, growing up in a unique socio-communicative environment.

Performing Arts

2020 ◽  
pp. 151-186
Author(s):  
Ted Nannicelli
Keyword(s):  
Moral Responsibility ◽  
Performance Art ◽  
Performing Arts ◽  
Art Music ◽  
Ethical Dimension ◽  
Bodily Harm ◽  
The Creation ◽  
Art Performance ◽  
Performing Art ◽  
The Relationship

In a discussion of three kinds of performing art—performance art, music, and theatre—this chapter explores three topics: (1) The performer’s moral responsibility to her- or himself. When this topic is broached in the criticism of an artwork, it is often because a performer has done something that raises the question of whether he or she should treat him- or herself in that way—often, but not always, in a way that involves bodily harm. (2) The ethical dimension of the relationship between performers. In cases of collaboration, the creation of such performances necessarily involves an interpersonal dynamic, which, in turn, has an essential ethical dimension. It also considers the additional complication of performances in which audience members contribute to the performance in a sufficiently robust way as to be regarded as co-performers or co-creators. (3) The ethical dimension established by the relationship between the performer(s) and the (non-interactive) audience, rather than performers and other performers.

Two new species of the genus Hamodes Guenée, 1852 (Lepidoptera: Erebidae: Erebinae) from China, with notes on a new record in mainland China

Zootaxa ◽  
2019 ◽  
Vol 4590 (5) ◽  
pp. 594
Author(s):  
FU-HONG WEI ◽  
MIN WANG
Keyword(s):  
New Species ◽  
Male Genitalia ◽  
New Record ◽  
Southern China ◽  
Mainland China ◽  
Two New Species ◽  
First Time

Two new species of the genus Hamodes Guenée, 1852, H. pseudobutleri sp. nov. and H. hainana sp. nov. are described from Southern China. Compared with the already known species H. butleri, the new species have a wider submarginal line on forewing and medial line on hindwing respectively; and in male genitalia, H. pseudobutleri sp. nov. has a shorter and curved saccular process, while H. hainana sp. nov. has a stouter saccular process. In addition, H. pendleburyi Prout, 1932 is recorded in mainland China for the first time. Adults and their genitalia are illustrated.

A new species of the genus Paramesotriton (Caudata: Salamandridae) from Fujian, southeastern China

Zootaxa ◽  
2016 ◽  
Vol 4205 (6) ◽  
pp. 549 ◽  
Author(s):  
ZHIYONG YUAN ◽  
YUNKE WU ◽  
JIAJUN ZHOU ◽  
JING CHE
Keyword(s):  
New Species ◽  
Southern China ◽  
Mainland China ◽  
Lateral Side ◽  
Southeastern China ◽  
Amphibian Species ◽  
Long Tail ◽  
Gill Filaments ◽  
A New Species ◽  
Nd2 Gene

New amphibian species have been constantly discovered throughout southern China, including from areas close to heavily populated cities that remain poorly surveyed for amphibian diversity. We describe a new species of the newt genus Paramesotriton from Fujian, a developed province on the southeastern coast of mainland China. The mitochondrial genealogy suggests that the new species is the sister taxon to Paramesotriton hongkongensis, separated by an uncorrected pairwise distances of 5.8% at the ND2 gene fragment analyzed. In addition to the genetic divergence, the new species can be readily differentiated from its congeners by having: a very rough skin; a continuous, orange, vertebral ridge; few warts on each side of the vertebral ridge; numerous small irregular orange-red or yellow spots on the chin, venter, underside of axillae, flanks, lateral side of the tail, base of limbs and cloaca; a small groove at the base of the vomerine tooth series; relatively long tail, relatively flat cloaca in females; normally developed eyes, and the absence of vestigial gills and gill filaments in adults. 

scholarly journals Association between dietary acid load and the risk of hypertension among adults from South China: result from nutrition and health survey (2015–2017)

2019 ◽  
Vol 19 (1) ◽  
Author(s):  
Shao-wei Chen ◽  
Gui-yuan Ji ◽  
Qi Jiang ◽  
Ping Wang ◽  
Rui Huang ◽  
...  
Keyword(s):  
Health Survey ◽  
South China ◽  
Southern China ◽  
Mainland China ◽  
Nutrition And Health ◽  
Cross Sectional ◽  
Dietary Acid Load ◽  
Related Data ◽  
Dietary Acid ◽  
Acid Load

Abstract Background Higher dietary acid load (DAL) was considered to be associated with an elevated risk of hypertension, while related data from mainland China remains scarce and incomplete. We aim to evaluate the association between DAL and the risk of hypertension among adults from South China. Methods We conducted a nutrition and health survey in Guangdong Province located in southern China from 2015 to 2017. A four-stage probability sampling method was utilized to select representative samples of citizens aged ≥18 years old. DAL was assessed by potential renal acid load (PRAL) and net endogenous acid production (NEAP). Participants were divided to 4 groups (Q1-Q4) according to the quartile points of PRAL or NEAP distributions. Generalized linear mixed effects models were applied to evaluate the association between DAL and the risk of hypertension. Results A total of 3501 individuals were eligible for this study and 45.9% was male participants. Hypertension rate was 30.7%. A higher PRAL was associated with higher prevalence rate of hypertension among the male (P-trend = 0.03). OR for Q2 was 1.34 (95%CI, 0.94–1.91), Q3 was 1.53 (95%CI = 1.08, 2.16) and Q4 was 1.51 (95%CI, 1.08–2.16) among the male. However, as for total participants, the female, the participants with ≤55 years or participants with > 55 years, the associations were lack of significance. With respect to association between NEAP and hypertension, non-significant results were identified. Conclusions The current study indicated male hypertension was associated with higher PRAL, while given to this study was cross-sectional design, further studies are warranted to verify the association.

scholarly journals KESENIAN & MATA PENCAHARIAN - Upaya Seniman Tradisional & Populer dalam Pemenuhan Nafkah

2017 ◽  
Vol 7 (1) ◽  
pp. 43
Author(s):  
Nurdien Harry Kistanto
Keyword(s):  
Performing Arts ◽  
Modern Technology ◽  
Way Of Life ◽  
Political Policy ◽  
Main Work ◽  
The Arts ◽  
Policy And Strategy ◽  
The Social ◽  
Self Actualization ◽  
Traditional Artists

The traditional and popular artists have their fans, who are associated with levels of society and socio-economic conditions of the artists. Most artists appreciate the arts as a forum for the fulfillment of subsistence and some other artists treat art not merely as the main work in making a living, but as self-actualization and calling in life. Democratization, way of life & lifestyle have encouraged and accelerated development of new traditions in the arts; industrialization that took place since the early 1970s emphasized the political, policy and strategy choices of economy, trade and commercial business and service-based industries, which are very influential on the lives of the type, variety and artistic tastes. Deployment mode of art with industry and trade system applies to the popular performing arts, both departing from the tradition of Java and the growing management and modern technology, which supported the creation and innovation. With such developments, the traditional artists tend to be marginalized and subsistence efforts to meet with arts performances tend to be unprofitable, while popular artists through the art of business and trade industries tend to prosper. This research, among others, find authentic evidence from the field to confirm the truth of these allegations carefully, so that building theory and the concept of "the efforts of traditional and popular artists in the fulfillment of living life" is a field-based, not based on theory and concepts of the social and cultural sciences - called grand theory. In addition to utilizing the resources of media such as newspapers, magazines and internet websites, techniques of field observation and interviews, as well as in-depth interviews, which are commonly used in qualitative research, the mainstay of this research data collection.

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