MAKNA SIMBOLIK TUJUH UMBUT DALAM TRADISI NUJUH HARI PASCA KEMATIAN PADA MASYARAKAT DESA KARANG TANDING KECAMATAN PENUKAL UTARA KABUPATEN PALI

Death is something that everyone experiences. Man does not know when he died. Every society has a different tradition in commemorating the day of the dead. The people of Karang Tanding Village always serve seven umbut on the seven days of death. So this research is important to find out the symbolic meaning and people's views about the seven umbut cuisine in the tradition of nujuh days after death. The type of research used is field research). Types of qualitative data The data sources in this study consist of primary data and secondary data. Primary data were obtained directly from religious leaders, traditional leaders and the community of Karang Tanding Village by interview and documentation. Secondary data is taken from books and journals related to the problem being studied. Data collection techniques in this thesis are observation, interviews, and documentation. The data analysis techniques in this thesis are data reduction, data presentation, and verification. This study resulted in the finding that the symbolic meaning of the seven umbuts is to pray for the dead in the hope that good deeds and deeds performed during life can continue to provide benefits not only to the deceased, but also to children, families and communities. This tradition is a form of respect for the ancestral spirits of the ancestors of the Karang Tanding village. The people of Karang Tanding village view the tradition of seven umbut cuisine in the implementation of the tradition of seven days after death as a legacy of tradition and does not violate religious teachings. This tradition is seen as a prayer, homage to ancestral spirits and as consolation for bereaved families. The tradition is still carried out because it does not burden residents and seven umbut are used as the main menu.

La ciudad contemporánea: Identidad y patrimonio

Esta reflexión crítica de corte teórico-filosófica toma como objeto de estudio la ciudad y, más específicamente, la transformación que ha sufrido esta idea o conceptualización frente a las nuevas formas de vida, de organización y de control, potencializadas por el desarrollo de la tecnología y la colonización del pensamiento y la vida. Los habitantes de los pueblos o espacios rurales sufren transformaciones en su estilo de vida con la expansión de la ciudad o mancha urbana, generando la aparición de las formas de vida modernas y tecnológicas que se desarrollan en estas y a las cuales se adaptan. Las prácticas de agricultura poco a poco son desplazadas por las nuevas tecnologías de la urbanización; junto con ello las costumbres y tradiciones se modificarán creando una combinación entre lo urbano y lo rural, poniendo sobre la mesa la discusión en torno a la identidad de los habitantes. Un ejemplo de esto es el poblado de Ocotepec, en el estado de Morelos, cuyo proceso de urbanización resulta más que evidente. Lo interesante de Ocotepec consiste en el hecho de que en el 2014 la UNESCO le otorgó al pueblo el reconocimiento como patrimonio inmaterial cultural por sus costumbres del Día de Muertos, y además de que es considerado pueblo indígena. Esto fue posible porque frente a la expansión de la ciudad y su urbanización se contempló dentro del discurso político de la UNESCO el proteger este patrimonio. De aquí que se vuelva fundamental abordar los temas de la identidad, el patrimonio y las ciudades contemporáneas, caracterizadas como “machas urbanas”, lo que abre la reflexión en torno a las dos categorías que nos permitirán aquí analizar éstas: se trata del lugar y del no lugar, de la mano de Marc Augé. This philosophical reflection takes the city as the object of study and specifically the transformation of this idea or this concept before the new forms of life, of organization and control, increased by the technological development and the colonization of thought and life. The inhabitants of a town suffer transformations in their lifestyle with the expansion of a city or an urban spraw, generating new modern and technological ways of life. The agriculture becomes replaced by new technological urbanization and also the ways and traditions change, creating a combination between the country and the urban that questions the identity of their population. As an example of this there is a country called Ocotepec in the state of Morelos, Mexico. The most interesting part of this town is that in 2014 the UNESCO granted Ocotepec the cultural heritage recognition because of the day of the dead, and that it is considered a native country. From this point on becomes fundamental the approach to the subjects of identity, heritage and contemporary cities, also named urban spraws, that open a new reflection in two categories: one being space and the other not space, following Marc Augé proposal.

THE REPRESENTATION OF MEXICAN CULTURE IN DISNEY PIXAR’S MOVIE ENTITLED “COCO”

The aims of this research are (1) to find out the meaning of the day of the dead holiday (Día de Los Muertos) based on the movie; (2) to elaborate on the importance of the day of the dead holiday (Día de Los Muertos); and (3) to find out how to deal with a family conflict during the day of the dead holiday (Día de Los Muertos). This study uses a qualitative approach to address research problems as it enables the researcher to perform in-depth studies of a specific phenomenon. The findings or this research are (1) The meaning of the day of the dead holiday (Día de Los Muertos) based on Coco has some indicators such as symbols, heroes, and ritual (2) How the main character deals with his family conflict is that (a) The conflict which comes from the family culture is making the main character to become a rebel. Conflict is highly present in families; however, in general, the presence of conflict is not problematic by itself. (b) parents are making decisions about what they consider is best for all family members.

Building communitas through symbolic performances: Mexican metal and the case of Cemican

The Latin American metal collective represents a big portion of the metal artists and fandom in the American continent. México has a powerful metal scene and an equally strong devotee population. There is one particular band that represents a collective voice capable of depicting the nation in the present moment. Cemican is a band that fits into the genre called Aztec folk metal. Their albums have shown an affinity for Aztec and Mayan mythology, and their sound is a flux between the sordid loudness of thrash and death metal riffs and the vibrations of pre-Hispanic instruments. Their performances present re-enactments of rituals reminiscent of the capture of enemy warriors and the heart extractions performed on these. Local audiences get drawn in by the sound of metal but also by the recognition of themselves through the Mexican elements. Mexican audiences reach a certain level of community at the moment of witnessing their performance; this sense of community extends to aspects including feelings of exploration and belonging. Today, México stands as a fertile land for metal music, where elements from two colliding cultures and belief systems can be integrated, and the resulting artefact achieves an indomitable sound. Traditions like the Día de los Muertos (or ‘Day of the Dead’) and its closeness to the idea of death as comical, as well as the merging of polytheism and Christianity have given metal music in México its own communal identity. The search for authenticity in identity is also a fact that is present in Mexican metal music through symbolic practices and representations. The paradigm and dynamic change as the conglomeration of European-influenced sounds clash with the religious syncretism of the actual Mexican people.

The profane sphere of All Saints’ Day and the social aspects of cemeteries

The modern pop-culturization of All Saints’ Day has encouraged the author to explore the profane sphere of this festival, using selected examples from Łódź cemeteries, as well as to write a short comparative description of a Latin American festival honouring the dead celebrated in early November. In the 20th century, visiting cemeteries in Poland on 1st November acquired some attributes of recreation and cultural tourism, visible in the atmosphere of a country fair and the ludic character of the cemetery surroundings, as well as the visitors’ commemorative, contemplative and cognitive motivations. Due to cultural changes, All Saints’ Day is increasingly perceived as a tourist event or even a cultural tourism product. The article presents a comparative description of the All Saints’ Day celebrations in Poland and the Day of the Dead in Latin America, and an analysis of visitors at selected Łódź cemeteries along with a description of the cemetery surroundings on 1st November 2019. The author has used unpublished research results from 2004, as well as discussing the secular and recreational aspects of All Saints’ Day.

R. Bukharaev’s poem “Day of the Dead”: Ways of self-identification of a Lyrical Subject

The Russian-language creative works of “foreign” authors is studied in the context of a transcultural model of artistic development in modern literary studies. Literary postcolonial discourse is focused on the character research, which is based on the boundaries of homogeneous cultures, and the principles of its representation in the literature. The subject architectonics of R. Bukharaev’s poem “Day of the Dead” is analyzed in the aspect of the problem of identity and self-identification of the lyrical subject for the first time in this article. The dynamics of the subject- figurative structures corresponding to different stages of the hero’s spiritual ascent is educed: from the problematization of identity and separation from the “I” of its substitutes to the way out of the painful bogdom and finding true self. The ways of self-determination of the lyrical hero, who is in dialogic relations both with his counterparts and with super-subjects of a special type — history, country and nature are determined. It has been established that historical and literary allusions and reminiscences from the works of world literature perform an identifying function. They educe a universal and panhuman source in the attitude and mental structure of an ordinary person. The author highlights the phenomenon of a cultural interference that occurs as a result of the overlapping of different codes and national-artistic traditions on which the Russian-speaking poet focuses on. The results of the study are significant for understanding the artistic and aesthetic nature of literature, which implements the phenomenon of the cultural borderlands.

Día de Muertos: de la compartencia a un producto comercial

In this paper we are going to analyze the celebration of the Day of the Dead as a cultural manifestation that has been transforming through time. This analysis will be carried around the phases of heritage culture: codification, institutionalization and commodification of culture.