scholarly journals ASAL USUL, PENGOLAHAN DAN SIMBOL RAGAM GERAK TARIAN SUMANGGAK ETNIK TOMBONUO

2019 ◽  
pp. 47-78
Author(s):  
CHENG JIA MIN ◽  
LOW KOK ON
Keyword(s):  
Ethnic Group ◽  
Research Methods ◽  
19Th Century ◽  
Field Trips ◽  
Musical Instruments ◽  
Dance Movement ◽  
Video Recordings ◽  
Dance Movements ◽  
Performance Context ◽  
The 19Th Century

ABSTRAK  Tarian Sumanggak moden telah diolah oleh Suana Kabora berdasarkan pergerakan ritual muinsamung dan monginsamung etnik Tombonuo di daerah Pitas, Sabah pada tahun 1983. Fokus kajian ini tertumpu kepada aspek perubahan, pengolahan dan simbol ragam gerak tarian Sumanggak moden. Bagi mengumpul data kajian, tiga siri kerja lapangan dijalankan di empat buah kampung di daerah Pitas. Kaedah temu bual, pemerhatian, rakaman video dan pengambilan gambar telah digunakan dalam kajian lapangan. Analisis secara interpretasi mendapati asal usul nama tarian Sumanggak diperoleh daripada perbuatan membuka gadur (bekas yang diperbuat daripada tembaga), yang dikenali sebagai adat Sumanggak. Persembahan tarian Sumanggak didapati mengalami perubahan dari zaman mengayau sehinggalah zaman kini. Tarian ini berasal daripada upacara muinsamung, yang dikendalikan semasa rombongan mengayau dalam perjalanan kembali ke kampung. Pada zaman pentadbiran British (akhir kurun ke-19), konsep persembahan tarian Sumanggak berubah kerana upacara muinsamung telah ditukar kepada upacara monginsamung. Oleh itu, aspek-aspek persembahan tarian Sumanggak seperti ragam gerak, kostum, alat muzik, dan prop mengalami perubahan dari segi fungsi dan pengolahan. Setiap ragam gerak didapati mempunyai simbol yang berkait rapat dengan ritual tradisional etnik Tombonuo.   ABSTRACT The modern Sumanggak dance was adapted by Suana Kabora in 1983, based on the movements depicted from the muinsamung and monginsamung rituals of the Tombonuo ethnic group in Pitas district, Sabah. This study focuses on the aspects of the performance, the adaption and the symbols that are portrayed in the dance movements of the modern Sumanggak dance. This study involved three field trips to collect data from four villages in Tombonuo in Pitas district. Among the research methods employed were interviews, observations, video recordings and photography. Based on the interpretation and analysis of the study, it was found that the name of the modern Sumanggak dance originated from the act of opening the gadur (vessel made of bronze), which is known as Sumanggak. The performance context of the Sumanggak dance focused on the head-hunting period to the British administration era until the present time. The Sumanggak dance originated from the muinsamung ritual, which was performed at the time of the arrival of the head-hunting group at their village. During the British administration era (end of the 19th century), the Sumanggak dance had undergone some modifications due to transition from the muinsamung ritual to the monginsamung ritual. The aspect of the dance movements, the costume, the musical instruments and the props had undergone changes in terms of function and adaption. Each symbol of the dance movement has also been found to be closely related to the muinsamung and monginsamung rituals.

MASJID BESAR RAJA HAJI ABDUL GHANI PULAU BURU KEPULAUAN RIAU

2018 ◽  
Vol 3 (2) ◽  
Author(s):  
Nurman Kholis
Keyword(s):  
Qualitative Research ◽  
Research Methods ◽  
19Th Century ◽  
Qualitative Research Methods ◽  
District Level ◽  
History Of ◽  
Chinese Buddhists ◽  
The Right ◽  
The 19Th Century ◽  
Level Government

Abstract. Many Muslims in the Riau Islands do not know the history of the development of Islamic theory from the center of power to spread to various corners. This is as the existence of the Great Mosque of Raja Haji Abdul Ghani (MBRHAG) on Buru Island, Karimun. Thus, to uncover the existence of this mosque, qualitative research methods are used so that history, architecture, and socio-religious functions can be known. Based on the results of the study it was concluded that the establishment of MBRHAG was initiated by Raja Haji Abdul Ghani. He was the first Amir (sub-district level government) of the kingdom of Riau-Lingga on Buru Island, in the 19th century. The architecture is a Chinese. Therefore, on the right side of this mosque is around 200 m, there is also the Sam Po Teng Temple and the Tri Dharma Dewa Bumi. Thus, the close location of the mosque with Chinese and Confucian worship houses's shows a harmonious relationship between Malay Muslims and Chinese Buddhists. In fact, in the continuation of this relationship there was information that a Chinese Buddhist had joined a Muslim friend to fast for half a month of Ramadan.Keywords: Mosque, Malay Muslims, Chinese Buddhists/Confucians, Harmonious RelationsAbstrak. Umat Islam di Kepulauan Riau banyak yang tidak mengenal sejarah perkembangan ajaran Islam dari pusat kekuasaan hingga tersebar ke berbagai pelosok. Hal ini sebagaimana keberadaan Masjid Besar Raja Haji Abdul Ghani (MBRHAG) di Pulau Buru, Karimun. Dengan demikian, untuk mengungkapkan keberadaan masjid ini digunakan metode penelitian kualitatif  agar dapat diketahui sejarah, arsitektur, dan fungsi sosial keagamaannya.  Berdasarkan hasil penelitian diperoleh kesimpulan bahwa pendirian MBRHAG diprakarsai oleh Raja Haji Abdul Ghani. Ia adalah Amir (pemerintah setingkat kecamatan) pertama kerajaan Riau-Lingga di Pulau Buru, pada abad ke-19. Adapun arsitekturnya adalah seorang Tionghoa. Karena itu, di sebelah kanan masjid ini sekitar 200 m juga terdapat Kelenteng Sam Po Teng dan cetya Tri Dharma Dewa Bumi. Dengan demikian, dekatnya lokasi masjid dengan rumah ibadah umat Tionghoa dan Khonghucu ini menunjukkan hubungan yang harmonis antara muslim Melayu dengan Budhis Tionghoa. Bahkan, dalam kelangsungan hubungan ini terdapat informasi seorang Buddhis Tionghoa pernah ikut temannya yang beragama muslim untuk berpuasa selama setengah bulan Ramadhan.Kata Kunci: Masjid, Muslim Melayu, Buddhis/Khonghucu Tionghoa, Hubungan Harmonis

scholarly journals KRYASHENS OF UDMURT PRIKAMYE REGION IN THE LAST THIRD OF THE XVIII - MIDDLE XIX CENTURY

2019 ◽  
Vol 13 (3) ◽  
pp. 485-494
Author(s):  
Nikolai Viktorovich Pislegin ◽  
Vladimir Sergeevich Churakov
Keyword(s):  
Ethnic Group ◽  
19Th Century ◽  
18Th Century ◽  
Territorial Unit ◽  
Late 18Th Century ◽  
Udmurt Republic ◽  
Class Status ◽  
Xix Century ◽  
The 19Th Century ◽  
Over Time

The article comes to view the development of Kryashens, which are connected with Udmurts or with the territory of the modern Udmurt Republic, in the last third of the 18th - middle 19th century. The area in question is the Malmyzh and Elabuga counties of Vyaka province and Mamadysh county of Kazan province. The “Udmurt old-christened” ethno-class status of the inhabitants of the settlements of the Srednekushket volost’ of the Malmyzh county, noted by the sources, was to some extent a “tribute to tradition”. In Mamadysh county in 1834 historically associated with the Udmurts Kryashen settlements were located in 3 volosts; the tendency for their assimilation, which was reflected in the middle of the 18th century, was completed here even earlier, in the first third of the 19th century. In Yelabuga county since its formation there was a old-christened small administrative-territorial unit. In the historical settlements of Kryashens, located in our days in the territory of the Udmurt Republic (Grakhov and Kizner districts), their Udmurt origin, with few exceptions, is not traced. The appearance of this sub-ethnic group of Tatars here was mainly due to migration processes from the nearest southern territory. In this period the norm for the Kryashens was shared with other peoples - Tatars, Mari, Udmurts, and later - Russians. The presence of Russians in historical Kryashen villages steadily increased over time. From the late 18th century the Kryashen volosts often included villages with different ethnic-caste identity. From the second quarter of the 19th century the disappearance of the Kryashen small administrative-territorial units began. It was caused, first of all, by transformations of the state in this sphere.

scholarly journals How do we Look at Prostitutes in Algeria, a Model of Western Domination? The Example of the Appearance of the "Ouled-Naïl" in Fromentin, Maupassant and Gide

Viatica ◽  
2018 ◽  
Author(s):  
Patrick AUROUSSEAU ◽  
Keyword(s):  
Ethnic Group ◽  
19Th Century ◽  
Sexual Exploitation ◽  
Literary Discourse ◽  
Traditional Practice ◽  
Sexual Tourism ◽  
The 19Th Century

This article traces the genealogy of the figure of the dancer or prostitute from the Ouled-Naïl ethnic group in Algeria from the second half of the 19th century onwards. It assesses the possible responsibility of writer-travellers in the sexual exploitation of these women. By focusing on three great writers of the time (Fromentin, Maupassant and Gide), it aims to measure the appreciation of prostitution in French literary discourse, initially perceived as traditional practice yet which gradually engendered sexual tourism.

scholarly journals Rohana Kuddus: Gender Dan Gerakan Sosial-Politik

2021 ◽  
Vol 1 (2) ◽  
pp. 59
Author(s):  
Soraya Oktarina
Keyword(s):  
Gender Equality ◽  
Research Methods ◽  
19Th Century ◽  
The Internet ◽  
Political Movements ◽  
Education Politics ◽  
West Sumatra ◽  
And Gender ◽  
The 19Th Century

Emancipation and Gender Equality became a hot issue in the 20s. Women are judged to be entitled to the same rights as men in education, politics, economics, and others. Rohanna Kuddus, a woman from Koto Gadang, West Sumatra, dedicates her life to improving women of origin. In the 19th century, Minangkabau women were still underprivileged and marginalized. Rohana Kuddus believes that women must make a move to change their condition. Various movements were pioneered by Rohanna Kudus, ranging from gender struggle movements to politics. Rohana Kuddus: Gender and Socio-Political Movements uses research methods to collect interview sources, books, journals, and data from the internet that discusses Ruhana Kuddus. The limit of this paper is to look at the movements of Rohanna Kuddus in achieving gender equality and the various political movements that are running.

scholarly journals Bentuk Penyajian Tari Sining Pada Masyarakat Gayo Aceh Tengah

2020 ◽  
Vol 3 (2) ◽  
pp. 493-505
Author(s):  
Maghfirah Murni Bintang Permata ◽  
Rika Wirandi ◽  
Berliana Denada
Keyword(s):  
Qualitative Research ◽  
Research Methods ◽  
Open Field ◽  
Main Property ◽  
Traditional Music ◽  
Musical Instruments ◽  
Spontaneous Movements ◽  
Dance Movements ◽  
Revitalization Effort ◽  
Field Area

This paper aims to describe the form of presentation of the sining dance in the Gayo community of Central Aceh Regency. Sining dance is a dance whose form of movement is inspired by nature. The movements are pure and use a lot of mimitive movements. This dance is also one of the traditional dances that was extinct and was then made a revitalization effort by the Central Aceh Kuta Dance Studio. This study focuses the problem on the form of presentation of the Sining Dance. To analyze the problem, Soedarsono used the theory of presentation forms, which said that, the form of presentation in dance has an understanding of how to present a dance as a whole, including the main elements or elements that support dance. These elements consist of dance movements, floor design, make-up, costumes, performance venues, props, and accompaniment music. This research uses qualitative research methods. This study concludes that the movements contained in the sining dance are mimitive and spontaneous movements, and tend to describe balance. Using a gayo openwork costume, accompanied by traditional music and traditional Gayo musical instruments. With two adult male dancers. Using upuh ulen-ulen cloth. Using a props made of pile board measuring 1.6 meters high. The shape of the board which is used as the main property is adopted from the Bere Numah shape. Meanwhile, the sining dance performance venue is currently adjusting to the location of the show provided, both on stage and in the open field area.

Trends in standardization of toponyms ending with -ova/-ovo, -eva/-evo, -ina/-ino

Neophilology ◽  
2020 ◽  
pp. 686-698
Author(s):  
Igor A. Dambuev
Keyword(s):  
Quantitative Analysis ◽  
Research Methods ◽  
19Th Century ◽  
Quantitative Research ◽  
Russian Empire ◽  
The State ◽  
Topographic Maps ◽  
Quantitative Research Methods ◽  
The Russian Empire ◽  
The 19Th Century

We investigate the features of variable names standardization of villages ending with -ova/-ovo, -eva/-evo, -ina/-ino. The relevance of the study is to improve the standardization of geographical names in order to ensure their unified and consistent use. The novelty of the study consists in the use of quantitative research methods towards the toponymy of different time sam-ples covering the last century and a half. As a source of variable and standardized names of villages, the State catalog of geographical names, normative legal acts, reference books of administrative divisions, lists of localities of the Russian Empire, and topographic maps are used. The toponymy of the territories of the modern Moscow, Bryansk, Vologda, Kaluga, Kurgan and Sverdlovsk regions is subjected to quantitative analysis. We establish that in the second half of the 19th century the names of villages ending with -ova, -eva, -ina prevailed in a quantitative sense over the names of villages ending with -ovo, -evo, -ino. Over the next century and a half, the proportion of names ending with -ova, -eva, -ina in all the analyzed regions consistently decreased, while the proportion of names with -ovo, -evo, -ino grew. If currently in some regions the names of villages with -ova, -eva, -ina are practically absent, in others they may still prevail over names with -ovo, -evo, -ino. This fact should be considered when standardizing variable toponyms.

Relexification in Canada: The Case of Métif (French-Cree)

1989 ◽  
Vol 34 (3) ◽  
pp. 339-350 ◽  
Author(s):  
Peter Bakker
Keyword(s):  
Ethnic Group ◽  
19Th Century ◽  
First Language ◽  
Population Group ◽  
French Canadian ◽  
Canadian Prairie ◽  
French Canada ◽  
European Descent ◽  
French And English ◽  
The 19Th Century

Métif is a language spoken in the Canadian prairie provinces and the American prairie states bordering Canada. There are probably between 3000 and 5000 people who speak Métif as their first language, most of them of advanced age. They are living mostly in scattered Métis settlements. The Métis are a nation of mixed Amerindian and European descent. From the 17th century on French Canadian fur traders and voyageurs travelled west-wards from French Canada. Many of them married Amerindian women, who were often Cree speaking. Around 1860 the Métis were the largest population group of the Canadian West, many of them multilinguals. From the first decades of the 19th century the Métis started to consider themselves as a separate ethnic group, neither European nor Amerindian (see e.g., Peterson and Brown 1985). The Métis are still a distinct people. The Métis nowadays often speak Cree, Ojibwa, Métif, French and English or a combination of these. They often speak particular varieties of these languages. Not only is the French spoken by the Métis markedly different from other North American French dialects the language called Métif is uniquely spoken among the Métis people. For more information on Métif and Métis languages, see the publications listed in Bakker (1989).

JONATHAN N. LIPMAN, Familiar Strangers: A History of Muslims in Northwest China, Studies on Ethnic Groups in China (Seattle: University of Washington Press, 1997). Pp. 302. $22.50 paper.

2000 ◽  
Vol 32 (1) ◽  
pp. 164-166 ◽  
Author(s):  
Thomas Barfield
Keyword(s):  
Ethnic Minority ◽  
Ethnic Group ◽  
19Th Century ◽  
Minority Group ◽  
Northwest China ◽  
Republic Of China ◽  
Chinese Muslims ◽  
China Studies ◽  
History Of ◽  
The 19Th Century

Chinese Muslims, known today as the Hui and during the 19th century as Dungans, present a particular problem for a historian. Why should Chinese-speaking believers in Islam constitute a separate ethnic group when believers in other religions of foreign origin (Buddhism and Christianity, for example) do not? Did Chinese Muslims have a common history across China, or has one been created for them because they are now labeled an ethnic minority group (minzou) in the People's Republic of China? Jonathan Lipman begins his history by challenging the whole notion of the “Hui” as an ethnic group, which he argues in his Introduction has been taken as an unproblematic category by both Chinese and Western scholars. Lipman prefers the term “Sino-Muslim” to “Hui” to emphasize the reality that these Muslims are and have been Chinese in culture for centuries and to distinguish them from non–Chinese-speaking Muslim groups in China.

scholarly journals A KALEVALA FINLANDESA: CONTEXTO HISTÓRICO, SEU PROCESSO DE COLETA E ESCRITA, QUESTÕES DE GÊNERO E POSSÍVEIS MOTIVOS MITOLÓGICOS

2020 ◽  
Vol 8 (2020) ◽  
pp. 226-256
Author(s):  
Victor Alves
Keyword(s):  
19Th Century ◽  
Field Trips ◽  
Historical Background ◽  
The Creation ◽  
Common Identity ◽  
The 19Th Century

Written in the 19th century, the Kalevala is held as the epic of the Finnish people. Its content was based in the traditional epic songs collected by Elias Lönnrot during eleven field trips through Finland and Karelia. The goal of the present paper is to present the historical background which gave birth to such a work, knowingly, the Romantism-influenced desire to build a Finnish common identity and to symbolically emancipate the country from foreign rulers. We are also going bring into light the processes of collection, textualization and edition took by Lönnrot during the creation of the Kalevala, as well as the models he had in mind while doing so. Finally, we are going to present a possible categorization of this material in regards to gender, also revealing some of its contents which are connected to mythological themes from the vernacular tradition.

scholarly journals ALEXANDER STREKAVIN’S (1889–1971) DRAWINGS OF MITAU – EVIDENCE FOR THE 19TH– EARLY 20TH-CENTURY INVENTIONS

2021 ◽  
Vol 4 ◽  
pp. 653-679
Author(s):  
Silvija Ozola
Keyword(s):  
Research Methods ◽  
20Th Century ◽  
19Th Century ◽  
Art History ◽  
Research Problem ◽  
Art Museum ◽  
Early 20Th Century ◽  
Research Goal ◽  
Technical Innovations ◽  
The 19Th Century

Mitau, the former capital of the Duchy of Courland and Semigallia, became the Courland Governorate centre with the Governor’s residence in a palace on an island formed by the Driksa, the branch of the Lielupe River, and great changes have taken place in this city. Artist Alexander Aleksandrovich Strekavin, who born in Mitau on 17 September 1889, studied art history, read books, investigated documents in the museum, listened to people’s stories and completed materials about events and the development of his native city. His drawings introduce with the new iron bridge for traffic and technical innovations – bicycles, the first car in the Baltics and the first phonograph in Mitau, clothes of citizens during the 19th century and at the beginning 20th century. Since the 1950s, six notebooks in Latvian with memoirs recalling by Aleksander Strekavin and an illustrative appendix – a collection of his drawings “The Atlas of Notes on Ancient Mitau” are in the funds of Jelgava History and Art Museum of Ģederts Eliass. Research object: drawings of artist Alexander Strekavin. Research goal: analysis of changes in Mitau during the 19th century and at the beginning 20th century. Research problem: Strekavin’s drawings stored in the funds of Jelgava History and Art Museum have not been studied. Research novelty: analysis of information on technical innovations included in “The Atlas of Notes on Ancient Mitau”. Research methods: studies of published literature, cartographic materials and archive documents.

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