Rural Innovation Using Technology in Progressive Agriculture

Sustainable technology is an individual and group effort through the experts and professionals in rural as well as urban people. Rural innovation involves efficient execution of ideas, information, imagination, and innovative initiative in fulfilling social requirements, and new ideas are converted into something useful for the rural development. It starts with the proper utilization of resources, rural innovation, and modernization of agricultural activities. The study attempts to identify the use of sustainable technology with rural innovation, progressive agriculture, and women empowerment for rural development. The required data collected led to a discussion that the practices of modern farming with the active involvements of rural population and promoting individual performance and fine-tuning of green initiative among rural livelihoods. The results of this study include the difficulties in progressive effort on rural innovation vis-a-vis planning and executing of advanced farming, protecting traditional arts, and crafting through maximum involvement of rural women.

Baris Memedi Dance in Jatiluwih Village Tabanan Bali: A Strategy to Preserve Traditional Arts

The Baris Memedi dance depicts a group of ‘ghosts’ who live in haunted places such as graves, cliffs, and in large trees. It is danced by 7-15 male dancers. This dance is performed in Ngaben (cremation) ceremony called Pitra Yadnya, using the Baleganjur gamelan accompaniment. The objective of this study is to analyze the form of existence of the Baris Memedi dance in implementing the Pitra Yadnya ceremony. Another objective is to understand the strategy for its preservation as a traditional art so that this dance can live and be long-lasting until today. The additional objective is to find the uniqueness of the dance that it needs preservation. The method used was a qualitative method that considers the issues of cultural context, ideology, interests, power in the culture, and meaning which refers to the culturalistic-humanistic paradigm, namely civilizing humans and humanizing humans. Based on observation, Baris Memedi dance has four stages in its presentation form. The preservation strategy is the active role of supporting the community, the role of Jatiluwih Village apparatus, Jatiluwih artists’ participation, and the government’s support. The most important aspect of Baris Memedi it is inseparable from its community. The proponents of traditional arts should continue to pursue these preservation efforts so that the arts have cultural resilience through Ajeg Bali.

The Islamic Traditional Arts and the Traces of Science: A Study of Ethnomathematics in Ambe-Ambeken Dance in Aceh Singkil

<p>This research explores the origins of the Ambe-ambeken Dance from Singkil Regency, the form of the Ambe-ambeken Dance, and analyzes the ethnomathematics. As a cultural entity, the Singkil people have a dance known as the Ambe-ambeken or Sakhindayong dance. This study uses a descriptive qualitative method to describe the Ambe-ambeken dance based on historical, anthropological and mathematical approaches. Although the variety of movements looks simple at first glance, this dance is a form of technology of enchantment that is full of wisdom and has an essential role in shaping the community's personality and the spread of Islam in Singkil through the poems that are sung during the dance. Then from a different perspective, it was found that there is a mathematical element that many people do not realize in a traditional dance, namely a geometric transformation. This fact leads to a new assumption that culture in the past was built on spirituality and aesthetic values and by applying mathematical principles in various aspects of life.</p><p align="left"> <em>Penelitian ini mengungkap asal-usul Tari Ambe-ambeken dari Kabupaten Singkil, bentuk Tari Ambe-ambeken serta menganalisis etnomatematika pada Tari Ambe-ambeken Sebagai sebuah entitas kultural, masyarakat Singkil memiliki sebuah tarian yang dikenal sebagai tari Ambe-ambeken atau Sakhindayong.. Penelitian ini menggunakan metode kualitatif deskriptif, yang bertujuan untuk mendeskripsikan tari ambe-ambeken berdasarkan pendekatan Sejarah, Antropologi dan Matematika. </em><em>Meskipun sepintas ragam geraknya terlihat sederhana, tetapi tarian ini merupakan bentuk technology of enchantment yang sarat akan kearifan dan memiliki peranan penting dalam pembentukan kepribadian masyarakat serta penyebaran agama Islam di Singkil melalui syair-syair yang dibawakan selama tarian berlangsung. Kemudian dari sisi yang berbeda, ditemukan bahwa ada unsur matematika yang tidak disadari oleh banyak orang dalam suatu tarian tradisional, yakni berupa transformasi geometri. Fakta ini mengarahkan pada asumsi baru bahwa kebudayaan di masa lalu tidak hanya dibangun atas dasar spiritualitas dan nilai estetika semata, tetapi juga dengan menerapkan</em> <em>prinsip matematika dalam berbagai aspek kehidupan.</em></p>

THE DYNAMICS OF WAYANG GOLEK IN PANDEMIC AND GLOBALIZATION: TRADITIONAL ART SUSTAINABILITY

This research aims to explore the dynamics of wayang golek art and to highlight its sustainability in the future. Modernity, the acceleration of technological devices and globalization wave in the last two decades, transfers great pressure on traditional arts and culture. Wayang Golek, a performing art originally from West Java, has recently received a fairly strong wave of resistance due to changes in the social culture which is mainly leading to modernity. By using a qualitative approach, data collection techniques were carried out by interviewing two main players as the puppeteers of Wayang Golek. The data analysis uses the theory of Miles and Hubberman, and the theoretical study of Islamic studies. The results of the study show that 1) Wayang Golek has unique characteristics, where the talent needed tends to go through the "inheritance" tradition, 2) Wayang Golek can be a bridge for internalizing religious and humanist values for the community through unique stories based on custom, 3) the restriction of Wayang Golek performance due to the Covid-19 pandemic leads the puppeteers to be more creative to survive, such as creating videos and uploading them in YouTube and other social media, and 4) the preservation of this art depends on the serious attention of all parties, from the government, regional officials, and the community.Penelitian ini bertujuan untuk mengeskplorasi dinamika kesenian wayang golek, serta menyoroti keberlangsungan ‘hidup’ seni tradisional wayang golek dimasa yang akan datang. Era modernitas, akselerasi perangkat teknologi dan gelombang arus globalisasi dalam dua dekade terakhir, memberikan tekanan hebat pada wilayah seni dan budaya tradisional. Wayang Golek sebuah seni pertunjukkan yang berasal dari Jawa Barat akhir-akhir ini mengalami gelombang resistensi cukup kuat imbas dari perubahan kultur sosial masyarakat yang bergerak kearah modernitas. Dengan menggunakan pendekatan kualitatif, teknik pengumpulan data dilakukan dengan wawancara terhadap dua pemain utama sebagai “Dalang” Wayang Golek, observasi dan dokumentasi. Adapun analisis data menggunakan teori Miles dan Hubberman, dan kajian teoritis Islamic studies. Hasil penelitian menunjukkan bahwa 1) Seni Wayang Golek memiliki karakteristik unik, dimana bakat yang dibutuhkan cenderung melalui tradisi “warisan”, 2) Wayang Golek dapat menjadi jembatan internalisasi nilai-nilai religius dan humanis bagi masyarakat melalui cerita-cerita unik berbasis adat, 3) dilarangnya pagelaran Wayang Golek akibat pandemi Covid-19 membuat para dalang lebih kreatif untuk bertahan, seperti membuat video dan menunggahnya ke YouTube dan media sosial yang lain, dan 4) Kelestarian kesenian ini bergantung terhadap perhatian serius semua pihak baik dari pemerintah, pejabat daerah, maupun masyarakat.

Ragam Hias Kalong dalam Senibina Masyarakat Orang Ulu di Sarawak

Kajian berkaitan ragam hias Kalong masyarakat Orang Ulu di Sarawak ini akan memberi fokus terhadap penggunaan Kalong pada senibina yang dihasilkan oleh masyarakat Orang Ulu di samping meneroka tentang makna dan falsafah yang terkandung di sebalik penggunaannya dari perspektif kepercayaan tradisi. Secara umumnya, kesenian dalam masyarakat Orang Ulu tradisional banyak menjurus kepada kepercayaan mistik dan alam ghaib serta mempunyai interaksi yang baik sesama manusia dan alam. Kajian kualitatif ini berdasarkan data-data yang dikumpul dalam bentuk perkataan, sumber majalah, keratan-keratan akhbar dan jurnal-jurnal hasil penulisan pengkaji-pengkaji barat dan tempatan serta lain-lain rekod rasmi. Di samping itu juga, kaedah temu bual dengan responden-responden yang dipilih yang terdiri daripada enam orang daripada kalangan masyarakat Orang Ulu itu sendiri juga menyokong kajian ini. Penemuan dan interpretasi yang dibuat akan dapat menjelaskan mengenai makna penggunaan motif-motif Kalong yang diaplikasikan pada binaan-binaan penting ini dengan lebih tepat lagi. Kajian ini juga dapat mengenal pasti beberapa penggiat yang terlibat dalam menghasilkan karya Kalong serta menjelaskan tentang makna dan falsafah serta mengenal pasti motif Kalong yang menjadi identiti masyarakat Orang Ulu. Kalong Ornaments in the Architecture of the Orang Ulu Community in Sarawak Abstract: This research is about the decoration in the architecture of the Orang Ulu community in Sarawak. It focuses on the use of the bat motifs, whose meaning and philosophy in the perspective of traditional beliefs are also explored. In the Orang Ulu communities, traditional arts are related to mystical and supernatural beliefs. Human beings and nature are believed to interact in harmony. This is a qualitative study in which data are collected, interviews jotted, articles in magazines, newspapers, journals, written by local as well as foreign researchers, and official records are gleaned. Six respondents from the Orang Ulu community are randomly interviewed to help verify the data. These are interpreted to see the significance of the architecture in the Orang Ulu communities. A number of carvers are identified who shed light on the bat motifs that embody the Orang Ulu identity. Keywords: Architecture, Kalong, Orang ulu Community, Ornaments

Traditional arts and crafts of the peoples of Chukotka and its traditions in the modern subculture

В статье представлен обзор объектов декоративно-прикладного искусства коренного населения в Чукотском автономном округе. Материалом исследования послужили музейные коллекции Чаунского краеведческого музея, основу которых составляют предметы быта, этнографии и декоративно-прикладного искусства «оленных» (кочевых) и «сидячих» (оседлых) чукчей, эскимосов и других народов; а также архив Певекской школы искусств. Опираясь на опыт Чаунского краеведческого музея в области комплектования и экспонирования предметов декоративно-прикладного искусства, предлагается рассмотреть образцы традиционного чукотского искусства, а также его традиции в современной субкультуре. Под традиционным искусством понимается косторезное искусство народов Чукотки, а также вышивка из кожи и меха — такое разделение соответствует делению коренных жителей на кочевых и оседлых. Под современной субкультурой в данном случае понимается культура, созданная в многонациональном регионе в процессе ассимиляции местных жителей и так называемого «пришлого» населения — русских, украинцев и многих других. В результате происходили не только смешанные браки, но и взаимное обогащение культурных традиций — это ярко проявилось в проведении праздников, создании литературных произведений, а также в создании предметов декоративно-прикладного искусства. В собрании Чаунского краеведческого музея представлены подобные образцы декоративно-прикладного искусства как чукотских мастеров, так и мастеров других национальностей. The article presents an overview of objects of decorative and applied art of the indigenous population in the Chukotka. The research material was the museum collections of the Chaunsky Museum of Local Lore, which are based on household items, ethnography and decorative and applied art of the "reindeer" (nomadic) and "sedentary" Chukchi, Eskimos and other peoples; as well as the archive of the Pevek School of Arts. Based on the experience of the Chaunsky Museum of Local Lore in the field of acquiring and exhibiting objects of decorative and applied art, the author examines examples of traditional Chukchi art and its traditions in the modern subculture. Traditional art is understood as bone carving art of the peoples of Chukotka, as well as embroidery from leather and fur — this division corresponds to the division of indigenous people into nomadic and sedentary. In this case, the modern subculture is understood as a culture created in a multinational region in the process of assimilation of local residents and the so-called “newcomer” population — Russians, Ukrainians and many others. As a result, not only mixed marriages took place, but also the mutual enrichment of cultural traditions — this was clearly manifested in the celebration of holidays, the creation of literary works, as well as in the creation of objects of decorative and applied art. In the collection of the Chaunsky Museum of Local Lore, there are similar examples of decorative and applied art of both Chukchi masters and masters of other nationalities.

Undermining the gendered genre: Kabuki in manga

According to Jaqueline Berndt, Thomas LaMarre, and other critics, manga is a highly participatory media form. Narratives with vibrant characters and creative inconsistences in the plotline encourage the reader to recontextualise the text, create new contents and unfold activities which go beyond reading (such as fan art and CosPlay). Recent popularity of manga about Japanese traditional arts – for example, Kabuki – further expanded the potential interaction with manga and other popular media to include (re)discovering traditional Japanese culture. Examples, such as Kabukumon by Tanaka Akio and David Miyahara (Morning 2008-2011), or Kunisaki Izumo no jijō by Hirakawa Aya (Weekly Shōnen Sunday 2010-2014) and a variety of other manga, anime and light novels exemplify this tendency. Consequently, influential franchises, such as Naruto and One Piece boast adaptations as Super Kabuki stage-plays. Furthermore, Jessica Bauwens-Sugimoto observes how thematic and stylistic overreaching in contemporary manga further distort the notions of the gendered genre that lays at the foundation of the manga industry. In this case, Kabuki theatre as a theme employs a variety of gender fluid characters and situations. For this purpose, Kabuki manga utilise cross-genre narrative and stylistic tropes, from overtly parodying borrowed tropes, to homage, and covert inclusions. On the example of Kabuki-manga I will explore a larger trend in manga to employ elements of female genres in male narratives, thus expanding the target readership. My paper explores specific mechanism that facilitates reading manga cross-genre, I also inquire what novel critical potential thematic and stylistic exchange between audiences may entail.

MALAY GAMELAN: PLAYING TECHNIQUES OF THE KEROMONG AND GAMBANG

Malay gamelan is a traditional music ensemble that accompanies the Joget Gamelan dance and was found in the palace of Johor-Riau, Pahang, and Terengganu in the 19th century, before disappearing in 1942. Malay Gamelan was exclusively taught in the palace orally, that is, through the process of listening, observing, memorising, and repeating; much like other classical Malay traditional arts. This study was initiated to discuss some aspects of Malay gamelan music in detail as there is little documentation regarding Malay gamelan in the academic world. Several writings on Joget Gamelan were produced based on the 1966 discovery in Terengganu and the inaugural performance in 1969 at the University of Malaya. However, attention to the different aspects of Malay gamelan music was not exhaustive. This study explores the playing techniques of keromong and gambang that were traditionally taught and passed down among Malay gamelan practitioners. A qualitative method was used in this research, whereby the earliest recordings of Malay gamelan music were analysed and interviews were conducted with informants, or also known as adiguru of Malay gamelan practitioners who studied directly with the last generation of Terengganu court musicians. The objective of this study is to 1) identify the techniques of keromong playing in Malay gamelan, and 2) identify the techniques of gambang playing in Malay gamelan. Findings from this study will provide an understanding of the musical instruments and what defines the style of Malay gamelan music, as well as become a guide for future researchers and practitioners in efforts to conserve and preserve the Malay traditional art.

Wayang Gluthek: The Creativity and Innovation of Art Workers in Keeping Traditional Arts

Wayang Gluthek is one of the traditional arts from Malang Regency, East Java. Wayang Gluthek emerged because the conventional puppet show had ups and downs in its development due to advances in science and technology. This research aims to identify the wayang gluthek performance and examine the elements in the show. This type of research is a survey and development research conducted for five years. Research locations are in the Kalipare and Tumpang areas. Methods of data collection using interview methods, participatory observation methods, and methods of documentation. The data that has been obtained is then analyzed descriptively qualitatively. The results showed that Wayang Gluthek was born from various innovations and creative efforts made by art workers and the people’s need for cheap and efficient art without leaving essential points in the tradition of wayang purwa performances. From the Wayang Gluthek performance, we can understand that the intensive interaction between art workers and the community is an ongoing relationship and represents a mutually agreed upon phenomenon.