Indigenous Ritual Aesthetics on Stage: A Survey of Contemporary Syncretic Theatre of Oceania

<p>The use of indigenous ritual (both formal and informal), ritual performance, and mythology in modern Oceanic theatre speaks directly to cultural practitioners and informed audience/readers. Various contemporary syncretic plays originating from Oceania will be analyzed for their connection to indigenous ritual. These plays include John Broughton’s Te Hokinga Mai (The Return Home), Sudesh Mishra’s Ferringhi, Jo Nacola’s Gurudial and the Land, Briar Grace-Smith’s Ngā Pou Wāhine and When Sun and Moon Collide, Vilsoni Hereniko and Teresia Teaiwa’s Last Virgin in Paradise, Victoria Nalani Kneubuhl’s Ka Wai Ola, Albert Belz’ Te Maunga, and Makerita Urale’s Frangipani Perfume. Understanding the way in which syncretic theatre is created in postcolonial societies within Oceania will help to build a greater understanding of how cultures and communities are restructuring and reclaiming traditional cultural practices within their respective communities. Using various play-specific dramatic and anthropological theories, scripts are analyzed in order to identify the indigenous cultural element present within the respective scripts.</p>

Indigenous Ritual Aesthetics on Stage: A Survey of Contemporary Syncretic Theatre of Oceania

<p>The use of indigenous ritual (both formal and informal), ritual performance, and mythology in modern Oceanic theatre speaks directly to cultural practitioners and informed audience/readers. Various contemporary syncretic plays originating from Oceania will be analyzed for their connection to indigenous ritual. These plays include John Broughton’s Te Hokinga Mai (The Return Home), Sudesh Mishra’s Ferringhi, Jo Nacola’s Gurudial and the Land, Briar Grace-Smith’s Ngā Pou Wāhine and When Sun and Moon Collide, Vilsoni Hereniko and Teresia Teaiwa’s Last Virgin in Paradise, Victoria Nalani Kneubuhl’s Ka Wai Ola, Albert Belz’ Te Maunga, and Makerita Urale’s Frangipani Perfume. Understanding the way in which syncretic theatre is created in postcolonial societies within Oceania will help to build a greater understanding of how cultures and communities are restructuring and reclaiming traditional cultural practices within their respective communities. Using various play-specific dramatic and anthropological theories, scripts are analyzed in order to identify the indigenous cultural element present within the respective scripts.</p>

Makna Moderasi dalam Ritual Ngareremokeun Masyarakat Kasepuhan Cisungsang, Lebak-Banten

The Ngareremokeun ritual is a form of indigenous community belief in the Kasepuhan Cisungsang who live around the Mount Halimun Salak National Park (TNGHS) Lebak Regency, Banten Province toward customary law as the embodiment of ancestral mandates. The Ngareremokeun tradition is also evidence of various cultures acculturation without eliminating another cultural element. This paper aims to understand the meaning of moderation as reflected in the Ngareremokeun ritual and to show its relevance to the context of the community that owns the tradition and Indonesian society in general. This descriptive study emphasizes on qualitative data with a structuralist approach that aims to describe the moderation values reflected in the Ngareremokeun ritual. Data was collected through interviews with cultural actors and direct observation on the Ngareremokeun ritual. The results of this study indicate that the Ngareremokeun ritual is the evidence of knowledge resource and cultural expression of indigenous people in the Kasepuhan Cisungsang to maintain the sustainability of their traditions. The meaning of the symbols embodied in this tradition, the moderation values in the Ngareremokeun ritual is appropriate with the four indicators of religious moderation, namely national commitment, tolerance, non-violence, and accommodating to local culture. The moderation value can also be found in the attitudes and behavior of the Ngararemokeun’s actors and the indigenous people in Kasepuhan Cisungsang.

Transitivity Analysis of Proverbs in Achebe’s A Man of the People

The language of literary texts is adorned with proverbs, a cultural element which to some extent has become significant in the growth and development of African literature and in the portrayal of meaning assigned by the writer. This paper explores the relationship between linguistic structures and culturally constructed meaning in Chinua Achebe&rsquo;s novel A Man of the people by critically examining the transitivity of proverbs used in the work. This study is anchored on Halliday&rsquo;s Systemic Functional Grammar. The analysis reveals that Achebe uses more material processes, followed by mental processes and then relational and verbal processes. Furthermore, the types of transitivity process, participants, circumstatials contribute towards the construction of themes reflected in the novel. Based on the results, the paper concludes that Achebe uses a variety of transitivity processes as proposed by M.A.K. Halliday with the exception of existential and behaviour. He uses actors, sensers, carriers, identifiers, to convey message of his novel. Achebe mostly uses circumstances of extent, location, and manner to show that the actions take place in a certain place, time, and at a certain frequency. The paper concludes that Achebe&rsquo;s use of varieties of processes, participants and circumstances has made his novel interesting and readable.

TURKISH TEXTILES DESCRIBED IN PAINTINGS BY MILITARY PAINTER HALIL PASHA

During the Ottoman Empire, which was established in Anatolia after the Seljuks, many developments were made in the name of art for 600 years. Especially thanks to the Ottoman Empire's value to the artist and art, very good works have been produced in many fields. In addition to branches such as calligraphy, illumination, miniature and marbling, fabrics, carpets and rugs, which attract the attention of the whole world in the field of textile, were also woven. The art of weaving experienced its brightest period in terms of weaving technique, color and pattern in the Ottoman Empire. It is understood that weaving, which continued to be produced traditionally in Ottoman cities, continued its existence as an important cultural element and sector. The clothes of the Ottoman sultans kept after their death and the qualities of the fabrics used in the palace convey very important information at the point of understanding the importance of weaving. The diversity and richness of the weavings and textiles produced in many documents belonging to the period can be clearly seen. In this context, this rich weaving and textile diversity has taken an important place in Turkish culture. Especially this rich variety of weaving and textiles has been painted by many painters in almost every period and has gained an important place in terms of conveying information about their periods. In this study, some of Halil Pasha's paintings in which he displayed an objective and objective approach with a realistic style, some of which are in an orientalist style, are discussed as subject. In the study, will focus on Halil Pasha's life, his understanding of art and the textiles and clothing he depicted in some of his paintings. The textiles and clothes in the paintings were discussed in terms of characteristics such as color, pattern, and texture. Key Words: Textile, weaving arts, clothing, painting, carpet.

Domestication as Strategy in Translating Religious Cultural Elements into English

People with different beliefs and religions around the world discovered that Quran enlightens the way of life. Therefore, it results in emergence of progressive efforts of translating this sacred text into many languages that has been carried out particularly in 20th century. However, translating sacred text is far more difficult than other type of texts. There are religious culture-specific-items that carry peculiar meaning and must be translated into appropriate equivalent in target culture. Thus, the meaning encompassed in that equivalent, and the description that characterized the meaning will be compatible with its original. Moreover, translating these items by applying domestication strategy will bring the text close to the target reader. It is because the equivalent provided in target language is familiar and well-known to the readership. Yet, this strategy puts the cultural gap to its intended meaning, especially when the text is related to the religious culture-specific-item, which is only known to the source readership. Therefore, the present article aims to investigate the domestication strategy in translating religious cultural elements into English. This study is qualitative, and the data are analyzed descriptively using document analysis. Disclosing the meaning of domesticated equivalent, the study adopts componential analysis by Newmark (1988). The study contributes to enhancing the procedure of componential analysis by validating the cultural element categorization with experts and referring exegesis as main source in identifying the characteristic of meaning. It is found that domestication strategy can only provide the adequate meaning to the closest when it comes together with compensation strategy.

PERANCANGAN PROGRAM EKOWISATA KERAJINAN TANGAN KOTA PALEMBANG PROVINSI SUMATERA SELATAN

ABSTRAKKota Palembang memiliki keanekaragaman sumberdaya budaya. Kesenian merupakan salah satu unsur budaya yang mencerminkan ciri khas suatu daerah asal kesenian. Kerajinan tangan merupakan salah satu kesenian Kota Palembang yang berpotensi sebagai daya tarik wisata. Ekowisata kerajinan tangan memiliki pengaruh dalam melestarikan produk kerajinan, meningkatkan perekonomian dan mensejahterakan para pengrajin tradisional di Kota Palembang. Tujuan penelitian ini adalah menginventarisasi dan mengindentifikasi sumberdaya kerajinan tangan di kota Palembang agar dapat dijadikan objek dalam rancangan program ekowisata di Kota Palembang Provinsi Sumatera Selatan. Metode yang digunakan yaitu studi literatur, wawancara, observasi langsung dan penyebaran kuisioner. Sumber daya wisata kerajinan tangan yang diinventarisasi terbagi menjadi dua klasifikasi yaitu kerajinan bahan keras dan bahan lunak. Terdapat empat kerajinan tangan di Kota Palembang yaitu terdiri dari satu kerajinan bahan keras dan tiga kerajinan bahan lunak. Sumber daya kerajinan tangan dianalis berdasarkan tujuh indikator penilaian Avenzora (2008) untuk mendapatkan hasil penilaian potensi sumber daya kerajinan tangan unggulan. Potensi kerajinan unggulan di Kota Palembang yaitu kerajinan Laker, Kain Songket, Kain Jumputan dan Ukir Kayu. Berdasarkan hasil identifikasi menunjukkan bahwa stakeholders setuju dan siap jika kerajinan tangan kota Palembang dimasukan ke dalam objek program ekowisata. Program Ekowisata dirancang dengan konsep eksplorasi kerajinan tangan yang melibatkan interaksi antara wisatawan dengan para pengrajin. Adanya program ekowisata kerajinan tangan ini diharapkan dapat merangsang pertumbuhan ekonomi kawasan dengan kapasitas masyarakat untuk mengelola sumberdaya. ABSTRACTPalembang City has the diversities of cultural resources. Art is the cultural element that reflects the characteristics of an area. The Handicraft is one of Palembang City's arts which has the potential as a tourist attraction. Handicraft ecotourism has the influences in preserving the handicraft products, improving the economy, and the welfare of traditional craftsmen in Palembang City. This research purpose is to inventory and identify the handicraft resources in Palembang city so that they can be used as objects in the ecotourism program design in Palembang City, South Sumatra Province. The method used is literature study, interview, direct observation, and the questionnaire distribution. The handicraft tourism resources that are inventoried are divided into two classifications, namely the handicrafts with hard materials and soft materials. There are four handicrafts in Palembang City, consisting of one hard material handcraft and three soft material handicrafts. The handicraft resources were analyzed based on the seven assessment indicators from Avenzora (2008) to get the results of the superior handicraft resources potential assessment. The superior handicrafts potentials in Palembang are Laker, Songket, Jumputan, and the wood carving. Based on the identification results, it shows that the Stakeholders agree and are ready if Palembang handicrafts are included in the ecotourism program object. The Ecotourism program is designed with the handicraft exploration concept that involves interaction between the tourists and the craftsmen. The handicraft ecotourism program is expected to stimulate regional economic growth through the resource arranged by the community.

Devadasi System and its Caste Dynamics

Caste is an ‘integral component’ of Indian society. Almost all the social groups in Indian subcontinent have their specific rites and rituals. It consolidated them within certain compartmentalized caste category. In this context, there was a custom where girl children were used to dedicate to the ‘Hindu’ temples for the religious service to the deity in the name of devadasi. The system became an important cultural element in the medieval Indian society. The system evolved with its unique functionality in the Indian tradition. The dedicated young girls came from different castes and assigned duties accordingly. However, it was not classified as a separate caste. It became an interesting historical question. This particular paper focused on the devadasi custom and its caste dynamics in the historical past.

Translation Strategy of Cultural Aspects in Lat Cartoons: The Kampung Boy

This paper discusses the translation of the Malay cultural elements into Japanese by focusing on translation techniques used by the translator in a cartoon The Kampung Boy (Budak Kampung カ ン ポ ン ボ ー イ). The Kampung Boy is a graphic biographic book of the famous cartoonist, Dato 'Mohd Nor Khalid or better known as Dato' Lat, who appealed to the life of his childhood in a village in the Kinta Valley, Perak, in the 1950s and early in the year 1960, as well as the stories of family life in the rural and traditional customs. The book was first published in Malaysia in Malay and English in 1979 and was translated into several languages ​​, including Japanese. This paper is a qualitative study using comparative methods, analyzing cultural details based on translation theories, semantic theory, and sociolinguistic theory. Comparisons are also conducted to identify translation strategies adopted by translators in translating cultural elements in this work. This paper is guided by the translation strategy submitted by translation figures such as Newmark (1988) and Abdullah & Ainon Mohd (2007). Six (6) samples of cultural elements have been selected, i.e., related to birth, head shaving, circumcision, recite the Quran, traditional wedding, and games. The findings show that translators tend to use loan techniques with explanatory notes compared to other six (6) samples from twelve (12) selected samples. The sample translated with this loan strategy is a cultural element in custom culture/ideology. At the same time, five (5) samples use replacement techniques, and one (1) sample using a generalization strategy.

RUANG PEMBERDAYAAN DAN EKSPLORASI POTENSI AIR DI WADUK TOMANG

At the author’s self-authentication stage during the COVID-19 pandemic, looking at perspective of water in Jakarta that has been capitalized and controlled by the fresh water scarcity campaign. The perspective of water divided into fresh water and polluted water, that raises resident’s concerns about living in utilizing water. This makes the vital programs in large water reservoirs, such as Tomang Reservoir, that can be a place to properly empower the district, the integration between humans and water brings out the potential of this water. With the experimental architecture method and Bio-Integrated Design, spatial narrative in Tomang Reservoir presents space and visual that created by the water of Tomang Reservoir, and can provide benefits for humans and the environment, starts from the desire to save, accept, waiting, and start to realize moments, ideas, or new things to get to dwelling, so that the programs that formed can recover the environment and human’s survival. Not only to produce architectural buildings, but also non-architectural, and the result can be widely disseminated and trigger the enthusiasm for the residents in other places to process and utilize water. This project that redefining water can present a cultural element in responding to water between fresh water and polluted water, and the results can also be enjoyed by the wider community. This also answers the challenges of The Future of Dwelling itself. Keywords: Culture; Dwelling; Reimagining Water; Water DimensionAbstrakPada tahap otentikasi diri penulis selama pandemi ‘Covid-19’, melihat gambaran gambaran tentang air di Jakarta yang telah di kapitalisasi dan dikendalikan oleh kampanye kelangkaan air bersih. Pandangan mengenai air terbagi menjadi air bersih dan air kotor memunculkan kekhawatiran masyarakat dalam berhuni dalam memanfaatkan air. Hal ini membuat adanya program vital pada tempat penampungan air besar seperti Waduk Tomang dapat menjadi wadah untuk memberdayakan kawasan dengan baik, integrasi antara manusia dan air memunculkan potensi dari air tersebut, Dengan metode arsitektur eksperimental yang didukung dengan Bio-Integrated Design, narasi spasialitas di Waduk Tomang menghadirkan ruang dan visual hasil cipta atau produk dari ‘air’ Waduk Tomang yang dapat memberikan keuntungan bagi manusia dan lingkungan. Dimulai dari keinginan menyelamatkan, menerima, menunggu dan memulai merealisasikan momen, ide, atau hal yang baru untuk menuju dwelling. Sehingga program yang terbentuk dapat memperbaiki lingkungan serta keberlangsungan hidup manusia. Tidak hanya menghasilkan banguna arsitektural tetapi juga produk air kreatif non-arsitektural, hasilnya dapat disebarkan secara luas dan memicu semangat masyarakat di tempat lain dalam mengolah dan memanfaatkan air. Sehingga dapat dikatakan dari proyek memaknai kembali air dapat menghadirkan unsur budaya dalam menanggapi air antara air bersih dan kotor yang hasilnya juga dapat dinikmati oleh masyarakat luas. Hal ini juga menjawab tantangan dari The Future of Dwelling itu sendiri.