PERLINDUNGAN HUKUM TERKAIT EKPRESI BUDAYA TRADISIONAL “LAGU TRADISIONAL ACEH” DALAM BINGKAI HAK CIPTA

Traditional Cultural Expression is an intellectual work that needs to be protected. Traditional Cultural Expression is rooted in three words: tradition, culture, and expression. The meaning of "expression", expresses a clear goal, idea or feeling. In this paper, the author raises an example of a traditional cultural expression, namely the cultural expression of traditional Acehnese songs owned by the local Acehnese people. Songs such as "Bungong Jempa", are a small example of the traditional wealth of the Acehnese people that should be preserved and protected by the government. The purpose of this study is to find out how is the protection related to traditional cultural expressions in Indonesia? And has the method of recording/inventorying traditional cultural expressions in Indonesia provided maximum protection for the cultural expressions of traditional Acehnese songs? The benefit of this research is that it is hoped that it can provide benefits for the development of legal knowledge in Indonesia and can provide insight or information to the public, especially regarding the object of copyright as one of the productive waqf in Indonesia.

Determining Forms of Expressions of Food Violence in Venezuela

In the present investigation, the existence of various forms of expression of food violence in Venezuela was determined, through the measurement of contextualized variables within the established classification. The existence and aggravation of forms of economic expression of food violence were determined, with a relative improvement in food availability but an increase in the difficulty of access: the basic food basket was located in December 2020 at $180.16, and the minimum wage at $6.35, which covers only 3.5% of the basic food basket. Additionally, a substantial increase in the use of the US dollar was determined, in parallel to the Venezuelan legal tender (Bolívar) as well as the introduction of the electronic currency “Petro”, which distorts the food access market and hinders the accessibility. Likewise, the effectiveness index for the delivery of food subsidies and the ability to satisfy the basic food basket through the food programs was determined. The existence of forms of moral expression of food violence was determined by observing in the respondents, high levels of dissatisfaction in the delivery criteria both in a general and community way and high levels of inappropriate perception of the use of propaganda or political advertising in the delivery of help with the no consulted use of the image of the beneficiaries. Forms of emotional expression of food violence were evidenced, showing high levels of dissatisfaction and uncertainty in the ability to purchase food, as well as high levels of anguish. Forms of cultural expression of food violence were determined, by determining changes in the ancestral and traditional eating pattern of the Venezuelan, as well as high measurements of dissatisfaction in the forced change in said pattern, as well as in the alteration of tastes and preferences expressed by the respondents have experienced. Sanitary forms of expression of food violence were evidenced, by determining considerable percentages in the consumption of basic products such as flour and sugar in bulk with ignorance of the brand and origin of the food and high levels of dissatisfaction with the realization of this type of consumption. No physical forms of expression of Food Violence were evidenced when the queues for food access were apparently stopped, and the use of body markings.

The Geographies of Artists and Stall holders at Afrikaans Arts Festivals, South Africa

South African arts festivals have been the subject of considerable research, with a focus on the economics, attendee patterns and impacts on local communities. Importantly, numerous role-players (stall holders, artists, festival attendees, amongst others) contribute to the diversity, origin and character of these arts festivals. Despite this, little is known of their mobility, spatiality and geographies. To this end, artists and stall holders across five large Afrikaans Language Arts festivals were interviewed to establish their itineraries, travel behaviours, festival involvement and cultural expression. On this basis, this study hopes to enable a better understanding of the geographies of Afrikaans arts festivals. Results suggest that artists and stall holders contribute significantly to shaping the geographies of these arts festivals as they are the most mobile of all participants. Their mobility creates a shared or communal festival geography – albeit now severely disrupted by COVID-19 – across Afrikaans arts festival boundaries. Unfortunately, this shared geography may also undermine the local flavour, authenticity, and regional diversity of such arts festivals.

Haumanu Ipukarea reviving tūrangawaewae, identity and place

<p>Landscapes are a fundamental component for the identity of people. This is evident through the eyes of the indigenous Māori people who express, like many indigenous cultures, that identity is formed from ones interconnected relationship to the land. For Māori, land is embodied as a part of their identity formed by the principle of whakapapa and importantly mātauranga. Mātauranga Māori is the comprehensive body of traditional indigenous knowledge built over centuries of both physical and metaphysical paradigms. Much of the knowledge obtained, originated from te taiao, where the importance of mountains, rivers, lakes, forests and place, established one’s sense of tūrangawaewae. Since the first colonial migrations to Aotearoa/New Zealand, much of the traditional knowledge acquired and developed over generation’s are at great risk of western dominance. Western science and knowledge has altered the endemic Aotearoa/New Zealand landscape dramatically depleting many natural ecologies. Forests and waterways continue to be in jeopardy from commercialisation and urbanisation, where the current urban environment questions the way we appreciate and make sense of our endemic natural landscape. Alterations to the land has prompted changes in people’s beliefs and values, and sense of identity. Mātauranga has slowly begun to be reintroduced into the urban environment as a progressive way forward. This research builds upon the concept to promote mātauranga, reconnecting people and place, and improving one’s sense of identity. With more than 88% of Māori now residing in urban areas, and many non-Māori unaware of indigenous cultural values and beliefs, the focus looks to provide a place of gathering, learning, engaging, reflecting, healing and belonging, preserving and appreciating Aotearoa/New Zealand’s cultural expression of the landscape. The research looks upon a regenerating valley system near the heart of Wellington City, reviving the Māori beliefsof ki uta ki tai and that of hīkoi. The research looks at opportunities to better express and understand bi-culturalism</p>

Haumanu Ipukarea reviving tūrangawaewae, identity and place

<p>Landscapes are a fundamental component for the identity of people. This is evident through the eyes of the indigenous Māori people who express, like many indigenous cultures, that identity is formed from ones interconnected relationship to the land. For Māori, land is embodied as a part of their identity formed by the principle of whakapapa and importantly mātauranga. Mātauranga Māori is the comprehensive body of traditional indigenous knowledge built over centuries of both physical and metaphysical paradigms. Much of the knowledge obtained, originated from te taiao, where the importance of mountains, rivers, lakes, forests and place, established one’s sense of tūrangawaewae. Since the first colonial migrations to Aotearoa/New Zealand, much of the traditional knowledge acquired and developed over generation’s are at great risk of western dominance. Western science and knowledge has altered the endemic Aotearoa/New Zealand landscape dramatically depleting many natural ecologies. Forests and waterways continue to be in jeopardy from commercialisation and urbanisation, where the current urban environment questions the way we appreciate and make sense of our endemic natural landscape. Alterations to the land has prompted changes in people’s beliefs and values, and sense of identity. Mātauranga has slowly begun to be reintroduced into the urban environment as a progressive way forward. This research builds upon the concept to promote mātauranga, reconnecting people and place, and improving one’s sense of identity. With more than 88% of Māori now residing in urban areas, and many non-Māori unaware of indigenous cultural values and beliefs, the focus looks to provide a place of gathering, learning, engaging, reflecting, healing and belonging, preserving and appreciating Aotearoa/New Zealand’s cultural expression of the landscape. The research looks upon a regenerating valley system near the heart of Wellington City, reviving the Māori beliefsof ki uta ki tai and that of hīkoi. The research looks at opportunities to better express and understand bi-culturalism</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.

Parodies of Religious Hymns in Žemaitijan Carnival: Social Interaction and Cultural Expression: Everyday Life, Festivities and Ritual Forms

On costumed processions in Žemaitija on Shrove Tuesday, the ‘beggars’ were and are among the main characters, as attested by the mask’s distribution area, the name ‘Shrovetide beggars’ being given to the whole band of masked people, and the relative abundance of the costumed “beggars”’ songs. This study examines some examples from the repertoire of Shrove Tuesday carnival songs in Žemaitija, parodies of religious hymns and folk songs, which the performers called hymns and which were performed in imitation of sacred singing. The present analysis identifies their features, origins and function at the Shrove Tuesday carnival.

The idea of a beautiful death in Italian literature of the Great War

Through the comparative reading of Italian literature of the Great War (letteratura di guerra) published between 1915 and 1940, it will be shown that both among veterans of the conflict and civilian writers there existed a standardised image of falling ‘beautifully’ in combat that entailed specific components relating to location, time, final gestures and last invocations, and which aimed to make death in battle more militarily and culturally palatable for Italian audiences. At the same time, the letteratura di guerra presented naturalistic descriptions of the anonymous mass death of peasant soldiers and, thereby, created a pathos of beauty and suffering that made the Italian literature of the Great War prototypical for a new kind of spiritual realism that became one of the mainstreams of cultural expression in Fascist Italy.

Middle Stone Age Bifacial Technology and Pressure Flaking at the MIS 3 Site of Toumboura III, Eastern Senegal

Over the past decade, the increasing wealth of new archaeological data on the Middle Stone Age (MSA) in Senegal and Mali has broadened our understanding of West Africa’s contributions to cultural developments. Within the West African sequence, the phase of Marine Isotope Stage 3 (MIS 3, ca. 59-24 ka) yielded so far the best known and extensive archaeological information. The site of Toumboura III encompasses an occupation dated by optically stimulated luminescence (OSL) to between 40 ± 3 ka and 30 ± 3 ka. It provides the largest, well-dated, and stratified lithic assemblage in West Africa for the MSA and sheds light on an unprecedented cultural expression for this period, adding to the notable diversity of the late MSA in this region. We conducted a technological analysis of the lithic components following the chaîne opératoire approach. The lithic assemblage features a prevalence of bifacial technology and the exploitation of flakes as blanks for tool production. The craftspeople manufactured distinct types of bifacial tools, including small bifacial points shaped by pressure technique. The new data from Toumboura III demonstrate behavioral patterns that are entirely new in the region. By revealing behavioral innovations and technological particularities, these results on the techno-cultural dynamics during the MIS 3 phase of the MSA enhance our understanding of the complex Pleistocene population history in this part of Africa.

Nilai- Nilai yang Terkandung dalam Satua Cetrung

<em><span lang="EN-US">Balinese literature is historical evidence of Balinese society, which is one part of the national culture which is domiciled as a vehicle for cultural expression which contains aesthetic, religious, and socio-political processing of Balinese society. Satua Bali is one of the traditional Balinese literatures called oral literature. Satua is also a means of moral and character education in children that must be instilled from an early age to shape children's character. By providing indirect guidance through satua (fairy tales), the character, mentality, attitude, and behavior of the child will definitely be affected as well. This is because the aspect of the value of the unit is indeed very high, useful, and useful. Satua Cetrung is a literary work that contains noble values and can be used as a guide in life. The values contained include: religious, logical values , and ethical values.</span></em>