Semiotic Analysis of Kerja Adat Erdemu Bayu in Karonese

This research deals with Semiotic Analysis of Kerja Adat Erdemu Bayu in Karonese. This research was aimed to find out the values and meanings contained in the Karo tribe's wedding ceremony so that people do not consider the ceremonial rituals as mere obligations and customs. This research used descriptive qualitative method. The data were taken from the video of the Karonese wedding ceremony on YouTube channel which uploaded on 07 May 2021 and also through interview from an elder who really understands the customs of the Karonese tribe, especially in wedding ceremonies. There were found 15 symbols, they are beka buluh (male’s hood), uis jongkit dilaki (male’s sarong), uis jujung-jujungen (veil), uis ragi barat (sarong), amak tayangen (bed mat), kalang ulu (pillows), perembah (long chloth, baby carrier), beras meciho (pure rice), naruh manuk (egg), sumpit (basket rice), uis nipes (traditional cloth), lampu terlong (oil lamp /lamp), kudin (cooking pot), manuk asuhen (hen), perkakas dapur (kitchen utensils) each of which has an interpretation in the form of advice, prayers and wishes for the bride and groom in living their domestic life.

Podmorski nalazi u Mulinama na otoku Ugljanu

The article deals with underwater archaeological finds discovered in front of a complex of outhouses in Muline in the north-western part of the island of Ugljan. The finds include mostly pottery fragments and some glass collected during brief archaeological trial trenching conducted in 1997. The majority of fragments are amphora shards, but fragments of fine sigillata as well as coarse kitchenware were also found, along with several tegulae fragments, two oil lamp fragments and a whorl. Unfortunately, a large number of finds cannot be typologically classified, as they represent amphora belly and body fragments that do not provide sufficient data for more detailed classification. The paper presents only part of the specimens which it was possible to classify with certainty. Their classification determines the time frame to which the entire Antiquity and Late Antiquity complex belongs.

Using of Sun Power Plant to Light Out The Residential Environment of Lau Damak Village

Until now, it seems that electricity is still a challenge in Indonesia, there are still many who have not enjoyed electricity for those who live in suburban or coastal areas, and some are located not far from cities. The target area is relatively close to the center of the capital, but has escaped the attention of the government because the location is quite remote with a minimal population, so it is considered uneconomical to provide electricity to this area. This hamlet is also inhabited by less than 18 families, so that only those with an interest are left in and out of this hamlet. The remote location from one house to another makes the construction of the electricity network no longer efficient for State Electricity Company. Therefore, people must be willing to live without electricity. Lighting as a basic need must be met from an oil lamp (sentir). Some residents who have a few advantages will buy individual generators. This generator only operates from 06.30 pm to 09.00 pm. After entering the sleep time, the generator is immediately turned off, the lighting is continued using an oil lamp. The emergence of the USU Community Services Implementing Team to this partner area provided new hope for the community. The community enthusiastically complained about this condition and hoped that the USU Community Services Implementation Team could help with these residents' problems. The results of monitoring by the Community Services Implementing Team at several residents 'houses proved the residents' complaints. Electric lighting as a basic need for residents is believed to be able to be completed using existing knowledge at the university in the form of lighting using solar power. Science and Technology The USU Community Services Team through the joining program has now produced economical science and technology products and realizes the expectations of the people in this region. Now people can enjoy light for 24 hours using electricity from solar energy. The community would like to thank the team and university for the scientific products that were donated to this village.

Гадание по нагару лампады

Introduction. Oil lamp snuff divination practices used to be widespread enough in Tibet, Mongolia, Kalmykia, and other regions. Goals. The paper introduces into scientific discourse texts thereof in Chinese, Tibetan, and Mongolian. The analysis of the practices reveals values, logic, symbols, and structural patterns inherent to traditional societies. Materials. The article examines a number of sources, namely: 1) a Chinese text published in Hohhot (Inner Mongolia, PRC), 2) a Tibetan text posted on the website of Buddhist Digital Resource Center, 3) a Beijing xylograph of one Mongolian text stored at the Institute of Oriental Manuscripts of the RAS (St. Petersburg, Russia). The latter was checked against another copy of the Beijing xylograph submitted by Demberel Sükhee, a lecturer at the National University of Mongolia (Department of Philosophy and Religious Studies). Results. The article analyzes the traditional oil lamp snuff divination method and provides a comparative study of texts in three different languages, translating and transliterating the employed sources.

ASUH ASAH BABAKEH: ARYA TARI SEBAGAI UNGKAPAN KERINDUAN CUCU KEPADA ATUK

Asuh Asah Babakeh merupakan karya yang terinspirasi dari pengalaman empiris tentang kasih sayang seorang Atuk terhadap cucu. Atuk (bahasa Minang: kakek) merupakan salah satu orang yang berperan penting dalam pendidikan awal mengenali kehidupan penata tari. Beliau yang mengajar ilmu pengetahuan, agama, beragam cara hidup di dunia melalui nyanyian, cerita dan contoh peristiwa. Atuk telah wafat meninggalkan kesan yang mendalam sampai saat ini. Karya tari ini merupakan persembahan ucapan terima kasih untuk Almarhum dari lubuk hati yang terdalam. Asuh Asah Babakeh merupakan koreografi kelompok dengan garap kontemporer yang berakar dari tradisi Minangkabau. Garap gerak berpijak pada tari Babuai yang bernafaskan budaya Minangkabau. Demikian juga musik tarinya yang dikomposisi khusus untuk koreografi ini diharapkan dapat membangun nuansa budaya Minangkabau serta imajinasi tema untuk menguatkan dramatisasi pada setiap bagian koreografinya. Tema pada karya ini adalah ungkapan rasa rindu pada kasih sayang antara cucu dengan Atuk. Menggunakan tipe tari dramatik serta cara ungkap simbolis. Struktur Koreografi dibagi menjadi empat adegan. Menggunakan properti tari lampu togok (lampu minyak yang sudah dimodifikasi), serta properti panggung untuk menambah estetika penampilan serta menguatkan ekpresi tarinya. Karya ini ditarikan oleh 9 orang penari dan dipentaskan di panggung proscenium stage. ABSTRACT Asuh Asah Babakeh is a creation inspired by the empirical experience of a choreographer about the closeness and affection of a Atuk for grandchildren. Atuk (Minang language: grandfather) is one that plays an important role in early education in recognizing the lives of dance stylists. He teaches science, religion, various ways of living in the world through songs, stories and examples of events. Atuk has died leaving a deep impression until this day. This dance an offering of thanks to the deceased from the bottom of my heart. Asuh Asah Babakeh is a group choreography with contemporary work rooted in the Minangkabau tradition. Work on movements resting on the Babuai dance that breathes Minangkabau culture. Likewise, the dance music composed specifically for this choreography is expected to build the nuances of Minangkabau culture as well as the theme's imagination and strengthen the dramatization of each part of the dance. The theme in this work is an expression of longing for affection between grandchildren and Atuk. Using the type of dramatic dance and symbolic expression. The structure of Choreography is divided into four scenes. Using the togok lamp dance property (modified oil lamp), as well as the stage property to add aesthetic appearance and strengthen the dance expression. This work was danced by nine dancers and performed on the proscenium stage