Analisis Bahan Ajar Pembelajaran Kacapi Bani Ambara Pada Mata Pelajaran Seni Budaya Di Sma Negeri 1 Ciamis

In SMAN 1 Ciamis there is learning Art and Culture in which learning the art of traditional music. Where every student must learn to play a typical musical instrument of West Java, Kacapi. SMAN 1 Ciamis is the only high school in ciamis area that learns traditional musical instruments in learning Art and Culture in the classroom, especially in the practice of playing harp instruments using kacapi kawih. Related to Kacapi's learning in Art and Culture subjects at SMAN 1 Ciamis, researchers are interested in researching how materials and teaching materials are arranged by Art and Culture teachers in order to achieve learning objectives. Because Kacapi learning is rarely taught in other public schools. With the hope that the results of this research can motivate other schools to continue to develop learning in arts and culture subjects and can increase knowledge for the field of art education, especially music arts. This research uses descriptor method with qualitative approach. This research was conducted at SMAN 1 Ciamis located at Jalan Gunung Galuh No. 37, Ciamis District, Ciamis Regency, West Java. The data source used is by conducting observations, interviews, documentation studies and literature studies. Then the data will be analyzed using research deepening analysis techniques with steps to reduce data, present data and draw conclusions. Based on the data analysis conducted, it was concluded that the teaching materials in kacapi kawih learning at SMAN 1 Ciamis are in accordance with the curriculum of high school level. And the teaching material of kacapi kawih learning is a learning module with etude kacapi teaching materials made by art and culture teachers with an adaptation of the simplified Etude kacapi Mang Koko.

Yoruba Epistemology, Art, Language and the Universe of Meanings: A Meta-Analysis

I had the rare privilege of delivering in proxy the original paper of Professor Moyo Okediji at the African Studies Association meeting, where it was first presented on December 2, 2016. Although short in quantity, I consider it to be loaded in quality, contents, intents, intensities, and in its ability to problematize a discourse critical to our understanding of indigenous scholarship and all its epistemological implications that span the entire landscape of the humanities. Indeed, Okediji’s pedagogy is the proverbial Yoruba drum of “ògìdìgbó” which is revealed only to the wise and the prudent, and they are the only two capable of effectively dancing to its rhythm. The paper reminds one of the title of the memoir of Ellen DeGeneres, the famous American comedian, titled Seriously . . . I’m Kid[1]ding. Even as a non-apologist of Ellen DeGeneres, or of any other American comedian for that matter, one would find profound meaning to that title, and embrace it as very deep and philosophical. Like in many Shakespearean plays, many truths are expressed in the acts of the jesters, not in the court of the privileged kings and pundits. This is exactly the way I responded to Okediji’s beautiful write-up. It got me thinking. It is a needed shock therapy, an organic rendition of an intellectual exposition of the Yoruba art. This commentary is janus-faced. On one hand, it looks at the unique way in which Moyo Okediji critiqued the work of Rowland Abiodun, Yoruba Art and Language: Seeking the African in African Art. On the other, it concurs with Abiodun’s thesis of the indispensability of the Yoruba language and oral tradition in the understanding of the Yoruba art. In his contribution to the roundtable forum on Professor Abiodun’s book at the African Studies Association in Washington, DC (December 1-3, 2016), Okediji provided his full presentation in Yoruba language, unalloyed (see the first essay in this forum). In order to broaden the scope of his readership and audiences, I chose to translate his write-up to the English language (Appendix 1). However, I used the translation to underscore the challenges of inter-cultural interpretation. The translation process demonstrates the problem of using one language to dissect another language without the depth of knowledge of the cultural make-up of the originator of the text. The attempt provides the data in which we are able to draw conclusions on a variety of issues: One, it highlights the futility of translation of a cultural theme at any level; two, it speaks to the frustration inherent in the imposition of one language over the art and culture of another; and three, it demonstrates the need for a cultural understanding between the originator of a text and the translator as precluding any reasonable translation and/or interpretation of the text. Using my attempt at translating as an example, I argue that at the very best what my effort could produce was an interpretation rather than a translation of Okediji’s text. I then argue that Okediji’s text brings to light the main thrust of Abiodun’s argument, which is that the indigenous language that births the art and culture of a people is the only channel through which the said art and culture could be most accurately interpreted or critiqued. Any attempt at superimposing other languages on the art can only result in a secondary, if not tertiary, interpretation and consequently a watered-down version of the original. The corollary is that such attempt will of necessity tamper with the sacred epistemological authenticity of the language-art-culture continuum.

On the Imperative of Language for Understanding African Art

I was deeply touched and honored by the roundtable organized at the 2016 African Studies Association Conference to focus on my book, Yoruba Art and Language: Seeking the African in African Art (2014). I want to thank Professor Funṣọ Afọlayan for contacting and bringing together a formidable group of scholars of Yorùbá art and culture to that end. I was gratified that, by and large, all the panelists endorsed my premise on the fundamental importance of language in Yorùbá art studies. The first paper by Moyọ Okediji was a pleasant surprise. Even though this possibility has always existed, as I had taught a course in Yorùbá art entirely in Yorùbá language at the University of Ifẹ (renamed Ọba ̀ ́fẹmi Awo ́ ́lọẃ ọ University) in ̀ the 1980s1 , no one was expecting that his entire contribution to the roundtable discussion would be presented in Yorùbá language. Why not? I realized. The language is as fully developed as any other language in the world and it can, and should be spoken as well as written -- especially when we discuss Yorùbá art. For the benefit of those not literate in Yorùba language, Michael Af ́ ọlayan gave an elegant translation of Okediji’s paper in English. The excellent contents and presentation by Okediji touched on issues that lay at the heart of my book, namely its methodology and its insistence on the need for a Yorùbá voice to be heard literally and metaphorically in art historical discourse.

Fenomena Taubat pada Komunitas Forsabda di Tulungagung

<p class="06IsiAbstrak">This research is motivated by the phenomenon where modern humans experience inner anxiety. The condition of human happiness is not only the satisfaction of physical needs, but also the fulfillment of inner needs. In the perspective of Sufism, efforts to fulfill inner needs are carried out by getting closer to God. Efforts to get closer to God in the science of Sufism begin with repentance. From those studies this research's aim is to study the phenomenon of repentance in cultural actors (javanes culture). In the area around the researcher, one of the cultural actors community is Forsabda (Art and Culture Discussion Forum). This study aims to determine the meaning and application of repentance to Forsabda activists. This research is a qualitative research with a phenomenological method. Data mining was carried out on Forsabda Tulungagung activists, to five participants with semi-structured interviews, participant observation and documentation methods. Participants were selected using a purposive sampling method with the following criteria: 1) Have a minimum age of 25 years, 2) Actively participate in Forsabda activities, 3) Willing to provide information. The data collected were analyzed using interpretative phenomenological analysis (IPA) techniques. The results of this study indicate that there are four meanings of repentance for Forsabda activists, namely self-awareness, self-evaluation, tawhidan, and habluminAllah. While the application of repentance to Forsabda activists is muhasabah, tawakal, tawadhu, istiqomah, gratitude, and inner peace.</p>

Bee Representations in Human Art and Culture through the Ages

The field of bioaesthetics seeks to understand how modern humans may have first developed art appreciation and is informed by considering a broad range of fields including painting, sculpture, music and the built environment. In recent times there has been a diverse range of art and communication media representing bees, and such work is often linked to growing concerns about potential bee declines due to a variety of factors including natural habitat fragmentation, climate change, and pesticide use in agriculture. We take a broad view of human art representations of bees to ask if the current interest in artistic representations of bees is evidenced throughout history, and in different regions of the world prior to globalisation. We observe from the earliest records of human representations in cave art over 8,000 years old through to ancient Egyptian carvings of bees and hieroglyphics, that humans have had a long-term relationship with bees especially due to the benefits of honey, wax, and crop pollination. The relationship between humans and bees frequently links to religious and spiritual representations in different parts of the world from Australia to Europe, South America and Asia. Art mediums have frequently included the visual and musical, thus showing evidence of being deeply rooted in how different people around the world perceive and relate to bees in nature through creative practice. In modern times, artistic representations extend to installation arts, mixed-media, and the moving image. Through the examination of the diverse inclusion of bees in human culture and art, we show that there are links between the functional benefits of associating with bees, including sourcing sweet-tasting nutritious food that could have acted, we suggest, to condition positive responses in the brain, leading to the development of an aesthetic appreciation of work representing bees.

The language of lace and embroidery from the court of Louis XIV through to contemporary haute couture

<p>The history of thread work is a story of practicality and functionality, but it is also a tale of power, fashion, virtuosity, decorum, art and culture. Thread work has played a role as a visual language in France for many centuries, continually evolving in its techniques and range of expressive and stylistic possibilities and thus in its significance as a communicative medium. In more recent times, thread work has come to be considered as a form of social and cultural discourse in its own right that is consequently referred to as ‘visual rhetoric’. Following this unique form of visual discourse through the history of fashion allows consideration of the development of identity and gender roles in French society as well as the interrelated narratives of the creative processes involved in the production of lace and embroidery. These reflections lead in turn to consideration of the ways processes of production and consumption were disrupted and transformed by major events, by sumptuary laws and political edicts. The language of thread work has been encoded and decoded by all socio-economic classes, and is underwritten by tensions between power and dependency, rich and poor, light and dark, public show and private domesticity. It has the capacity to express identities and to enhance communities. In more recent times the reconsideration of the value of thread work in the design concepts of haute couture has seen a revitalisation of the appreciation of this medium in an industry associated with luxury, exclusivity and creativity. The language of thread-work remains ambivalent and complex in France today, signifying an innocuous ‘feminine’ pastime on the one hand, and a valued professional skill and cultural heritage on the other.</p>