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Journal articles on the topic 'Indonesian art history'
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1
Lee, Doreen. "A Troubled Vernacular: Legibility and Presence in Indonesian Activist Art." Journal of Asian Studies 74, no. 2 (March 23, 2015): 303–22. http://dx.doi.org/10.1017/s002191181400223x.
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Activist art and political resistance became popular aesthetics in the work of Indonesian artists after the fall of the New Order in 1998. In subsequent years, more art alternatives have emerged in cities and small towns across Indonesia, including diverse and vernacular modes of artistry such as street art and community-based international festivals. Where artists formerly focused their energies on critiquing the state, present art initiatives have become far more diffuse, counter-establishment, and localized in their approach. Local artists started the Jogja mural movement to rebrand Yogyakarta as a city of murals, while Jatiwangi Art Factory, an arts collective founded in a semi-industrialized village in West Java, has become a haven for performance arts and community-based projects for Indonesians and foreign artists in residence. This article looks at such experiments of legibility and presence as a new means of redefining publics and broadening the domain of political participation in Indonesia.
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Kurniawan, Iwan Jaconiah. "Intercultural Interaction: Indonesia and Soviet Society in the Sphere of Art Paintings in the Second Half of the XXth Century." Contemporary problems of social work 6, no. 2 (June 29, 2020): 65–71. http://dx.doi.org/10.17922/2412-5466-2020-6-2-65-71.
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the paper studies the problem of defining an intercultural interaction. The authors analyzed scientific works to identify and classify the Indonesian social realism art painting. In the second half of the XXth century, Indonesian artists had a close relationship with the Soviet Society in the sphere of fine art. The true influence can be found in the social-realism art movement between 1950–1965s in Indonesia during the first President Soekarno era. But the social-realism art movement was no longer because of the horizontal political conflict on September 30, 1965 as well-known as revolution. During the President Soeharto regime (1965–1999), all social realism fine art was destroyed. Socialist and communist ideology was banned in Indonesia. That’s why they represented socialism and communism style not growing freely until now. However, some paintings can be saved abroad by Russian scientists and art collectors. Since 2016, more than 30 Indonesian social-realism paintings were conserved, served, and shown into a historical exhibition in the State Museum of Moscow Oriental Art. These paintings became important in Indonesian social realism art history
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Kurniawan, Michael Nathaniel. "Rethinking Art, Design, and Cultural History for the Indonesian Design Education and Creative Economy." Humaniora 10, no. 2 (August 5, 2019): 135. http://dx.doi.org/10.21512/humaniora.v10i2.5465.
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This research used extensive literature reviews of the history of Design HE, Art and Design History, Creative and Cultural Industries, Cultural Heritage Studies, and Design Studies to rethink the history, concepts, and common teaching practices of Art, Design, and Cultural History within the Design HE curriculum, especially for the Visual Communication Design Undergraduate program as it contributed to almost all of the creative industries’ sub-sectors. It is discovered that since the Industrial Revolution, the Design HE, the art and cultural museum, and the economy actually shares a strong correlation that has long been rejected and mostly forgotten. Exploring this correlation helps to determine the role of cultural heritage in the creative economy and to position Indonesian cultural heritage as central in the design curriculum. On this account, Art, Design, and Cultural History subject(s) should encourage designers to create new designs as active efforts to preserve past cultural values that also function as creative and critical interventions towards the global creative economy phenomenon.
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Wicaksono, Satrio Hari. "Eksotika Lee Man Fong : Sebuah Kolaborasi Apik Seni Rupa Modern dan Seni Lukis Tradisi China." Journal of Urban Society's Arts 4, no. 2 (December 26, 2018): 123–31. http://dx.doi.org/10.24821/jousa.v4i2.2163.
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In the development of Indonesian art, many artists who then fill out the history of the art of this country with a wide range of distinctive characteristics as a statement of the identity of the artist in his work, not to mention Lee Man Fong. Characteristics that are present in his work is a new breakthrough that combines the character of modern Western art with Eastern art, particularly China. A different viewpoints but can be combined and harmonized beautifully by the artist. With the approach does, Lee Man Fong able to get admission in the middle of rampant identity themes that are starting to be an important theme in the struggle of Indonesia. While many doubted the sense of nationalism, because the themes present in his work is more about the daily life and explores the theme instead filled with the spirit of struggle, but the emotional intimacy that is present in his work is able to capture the reality of the life of the Indonesian people that might escape from the views of many. A manifestation of the artist's love of the little things around it. Didn’t many artists are able to portray himself as a strong identity in his work, but Lee Man Fong's capacity and unique views will present a new visual way to penetrate the sustainability of Indonesian art that has evolved during that time. The use of methods, techniques, perspectives, and understanding which is a collaboration between the schools of modern and classic is the force that makes Lee Man Fong became one of the distinguishing elements. An approach that provides a fresh new look and adds such a richness of Indonesian art.
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Hidayatullah, Panakajaya. "Islam, National, and Local History in Tabbhuwan Walisanga Performance Art." Journal of Urban Society's Arts 7, no. 2 (December 13, 2020): 94–108. http://dx.doi.org/10.24821/jousa.v7i2.3827.
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Tabbhuwân is a Madurese tradition of performing arts. In the present context, modern culture influences many young people. It has become a restlessness for the clerics who then think of strategies on how to incorporate Islamic values in the younger generation today. In 2015 in Situbondo, Wali Sanga boarding school established a tabbhuwân wali sanga art group. Tabbhuwân is considered a way of preaching according to the conditions and culture of the community of Madura Situbondo. The players consist of the santri of the younger generation of Islamic boarding schools. Tabbhuwân wali sanga features Islamic drama performances that elevate the play of Islamic history and Indonesia. The play included Islamic history (stories of the companions of the Prophet Muhammad), local history, the history of the entry of Islam on Java (walisanga), and the history of Indonesian independence, one of which was titled ‘Jihad Resolution.’ Besides, tabbhuwân also includes elements of Madurese culture, including language, traditional music, expression, decoration, and discourse. Tabbhuwân plays a role in the spread of Islam, preserving Madurese culture and instilling nationalism in society through historical themes. The lower-middle-class community assumes that tabbhuwân is a means to understand the historical, social, and cultural realities occurring today. Tabbhuwân also influences fostering a sense of nationalism through heroic historical values, especially to the younger generation. In this case, tabhuwân imagines Indonesia in the discourse of religious nationalism. Islam, Nasional, dan Sejarah Lokal dalam Seni Pertunjukan Tabbhuwan Walisanga. TabbhuwânadalahsenipertunjukantradisimasyarakatMadura.Dalamkontekskekinian, budaya modern banyak mempengaruhi kaum muda. Hal ini menjadi keresahan para ulama yang kemudian memikirkan strategi bagaimana memasukkan nilai-nilai Islam pada generasi muda saat ini. Pada tahun 2015 di Situbondo, Pondok Pesantren Wali Sanga mendirikan kelompok seni tabbhuwân wali sanga. Tabbhuwân dianggap sebagai cara dakwah yang sesuai dengan kondisi dan budaya masyarakat Madura Situbondo. Para pemainnya terdiri dari para santri generasi muda pondok pesantren. Tabbhuwân wali sanga menampilkan pertunjukan drama Islam yang mengangkat lakon sejarah Islam dan Indonesia. Lakon tersebut meliputi sejarah Islam (cerita para sahabat Nabi Muhammad), sejarah lokal, sejarah masuknya Islam di Jawa (walisanga), dan sejarah kemerdekaan Indonesia, salah satunya bertajuk ‘Resolusi Jihad’. Selain itu, tabbhuwân juga memasukkan unsur budaya Madura yang meliputi bahasa, musik tradisional, ekspresi, ragam hias dan wacana. Tabbhuwân berperan dalam penyebaran agama Islam, pelestarian budaya Madura dan menanamkan nasionalisme dalam masyarakat melalui tema sejarah. Masyarakat kelas menengah ke bawah menganggap tabbhuwân sebagai cara memahami realitas sejarah, sosial dan budaya yang terjadi saat ini. Tabbhuwân juga memiliki pengaruh dalam menumbuhkan rasa nasionalisme melalui nilai-nilai sejarah yang heroik, khususnya kepada generasi muda. Dalam hal ini, tabhuwân membayangkan Indonesia dalam wacana nasionalisme agama.
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Aragon, Lorraine V. "Copyrighting Culture for the Nation? Intangible Property Nationalism and the Regional Arts of Indonesia." International Journal of Cultural Property 19, no. 3 (August 2012): 269–312. http://dx.doi.org/10.1017/s0940739112000203.
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AbstractThis article analyzes how intangible cultural expressions are re-scripted as national intellectual and cultural property in postcolonial nations such as Indonesia. The mixing of intellectual and cultural property paradigms to frame folkloric art practices as national possessions, termed “intangible property nationalism,” is assessed through consideration of Indonesia's 2002 copyright law, UNESCO heritage discourse, and the tutoring of ASEAN officials to use intellectual and cultural property rhetoric to defend national cultural resources. The article considers how legal assumptions are rebuffed by Indonesian regional artists and artisans who do not view their local knowledge and practices as property subject to exclusive claims by individuals or corporate groups, including the state. Producers' limited claims on authority over cultural expressions such as music, drama, puppetry, mythology, dance, and textiles contrast with Indonesian officials' anxieties over cultural theft by foreigners, especially in Malaysia. The case suggests new nationalist uses for heritage claims in postcolonial states.
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Effendi, Tonny Dian. "Topics on Chinese Indonesian Issues in Book Publication in the Post-Reform Indonesia." Journal of Asian Research 2, no. 1 (January 22, 2018): 1. http://dx.doi.org/10.22158/jar.v2n1p1.
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<span lang="IN"><em><em>Chinese Indonesian still becomes an issue in the Indonesian democracy and there are many publication in books about Chinese Indonesian issues. They are not only just share information but also indicate as respons to political change. This article discusses about the development book publication or literature on the issue of the Chinese Indonesian community in the post-reform Indonesia. It focuses to the topic of the content of the books. This research was qualitative research with the library research method. Data obtained from observation to books about Chinese Indonesian and analysed by the content analysis method. The results of this study indicate that there is development of topics about the Chinese Indonesian issues. At the beginning of the reform in 2000 until 2005, they much-discussed about discrimination, conflict and anti-Chinese sentiment, identity and culture. While the post 2005, the topics become more diverse, covers culture (art, food, tradition, literature, religion, architecture, etc.), identity, biography, history, role in Indonesian society and new issue such as women’s issues. It at least shows two important points. First, it shows the self confidency from Chinese Indonesian community to show themselves as part of Indonesian nation. Second, it shows some identity expression like political, cultural, Chinese diaspora, local Indonesia and religion identity.</em></em></span>
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Domos, Erma. "MOTIVASI SISWA SMA TERHADAP PELAJARAN BAHASA MANDARIN." Inovbiz: Jurnal Inovasi Bisnis 6, no. 2 (January 25, 2019): 195. http://dx.doi.org/10.35314/inovbiz.v6i2.876.
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In the opinion of Indonesian schools, Chinese study has one short coming. This continued for 30 years making many young Indonesians cannot speak Chinese language (Mandarin) and unable to speak dialect too. As society progresses, Chinese once again became Indonesians second language without the auxiliary aid of parents, the teaching of Indonesian literature and language rested on the teacher. Under this special conditions, no one has researched into the Indonesian students method of studying Chinese Language. The author admits personality affect and so does family background, race hence educational level of the language teacher will deeply influence the Indonesian students study of Chinese language. A research of Bandung students in Indonesia shows, diligent study of Chinese language has many reasons. Some students feel that studying Chinese is a kind of challenge, some study because of the encouragement of their parents, while others study out of admiration for China and Chinese culture. Through the study of Chinese language can appreciate Chinese art, culture, history and morality. In addiction, it can help in securing employment. In this research, which is based on a related international study, it referenced previous studies on studying Chinese language as a foreign language through a questionnaire. Survey focusing on the motivation and analysis factors of Bandung Indonesian student. This research focused on 5 high schools and a total of 534 students and drew some interesting conclusions. As students study Chinese language, gender, age, grade, origin, length of study, level of parents and teachers have great relevance.
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Priagana, Mochammad Rashad Putra, Elizabeth Susanti, and Miki Tjandra. "PROMOTION DESIGN OF INDONESIAN BATIK MUSEUM FOR YOUNG GENERATIONS THROUGH INSTAGRAM." Serat Rupa Journal of Design 6, no. 2 (July 29, 2022): 204–19. http://dx.doi.org/10.28932/srjd.v6i2.4619.
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Batik is a traditional Indonesian fabric with a blend of art and technology that has been recorded by UNESCO as one of the intangible world heritages. The Indonesian Batik Museum was established by the government to preserve, provide insight, and understanding of Nusantara batik to the public. To keep up with the times, museums are currently more focused on the visitor experience and not just as a repository of collections. However, at this time, there is still a lack of public interest in visiting and a lack of promotion on Museum Batik Indonesia’s social media. Hopefully, after visiting Museum Batik Indonesia, the mindset of visitors about Indonesian batik will change. The purpose of this promotional design is to increase the interest of the younger generation in visiting the Museum Batik Indonesia. Batik is Indonesia’s proud asset and deserves to be preserved, so it is necessary to introduce the history, meaning and various types of batik to the younger generation. Museum Batik Indonesia is a facility that can include education about Indonesian batik. The promotion design of Museum Batik Indonesia is using the AIDA (Awareness, Interest, Desire, Action) marketing strategy on Instagram. The design of this promotion includes various information about Museum Batik Indonesia and knowledge about batik in general, which is expected to increase the interest of the younger generation to wear, understand and love Indonesian batik.
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Zaelani, Mohamad. "INDONESIAN THEATER 1985-1995: A PERSPECTIVE OF DESCRIPTION PROCESSES SOCIAL CHANGE AND VALUE." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 17, no. 1 (January 31, 2018): 123–36. http://dx.doi.org/10.21009/bahtera.171.10.
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AbstractThis research seeks to depict the history of Indonesian theater development from 1985 to 1995. This period is deliberately chosen because at that time it is seen that New Order power reached the top of its consolidation. Is there correlation between theater as a part of the reflection of society's expression and the repressive-authoritarian situation of the New Order government? With the approach of sociology of art, during that period, theater in Indonesia reflectedthe changes in society socially and in terms of values. One of these changes was the collapse of the conception of human wholeness (in terms of flesh and blood) in theater in Indonesia, because humans weremerely the object of the state power that tended to be authoritarian.Keywords: Indonesian theater 1985-1995, social changes and values, silent theater, theater ideas.
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Andika Putra, Emasyah, and Erfahmi Erfahmi. "PDRI DALAM KARYA SENI LUKIS." Serupa The Journal of Art Education 10, no. 4 (December 28, 2021): 316. http://dx.doi.org/10.24036/sr.v9i3.112256.
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The purpose of this painting with the PDRI idea is to visualize a heroic event that is starting to be forgotten. The method of creating painting works through stages (1) Preparation, (2) Elaboration, (3) Synthesis, (4) Realization of concepts, and (5) completion. Ten paintings about heroic events of PDRI were created. The whole work tells about the synergy between the community guerrillas and the PDRI to expel the Dutch and gain Indonesian sovereignty. This painting is an interesting medium to identify the history of PDRI. Besides, this work is also expected to be a motivation in appreciating the history of the Indonesian nation.Keywords: PDRI, Indonesian Republic,art painting
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KITLV, Redactie. "Book reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 168, no. 2-3 (2012): 337–75. http://dx.doi.org/10.1163/22134379-90003565.
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Andrea Acri, Helen Creese, and Arlo Griffiths (eds), From Laṅkā Eastwards: The Rāmāyaṇa in the literature and visual arts of Indonesia (Dick van der Meij) Michael Arthur Aung-Thwin and Kenneth R. Hall (eds), New perspectives on the history and historiography of Southeast Asia: Continuing explorations (David Henley) Steven Farram, A short-lived enthusiasm: The Australian consulate in Portuguese Timor (Hans Hägerdal) R. Michael Feener, Patrick Daly and Anthony Reid (eds), Mapping the Acehnese past (William Bradley Horton) Geoffrey C. Gunn, History without borders: The making of an Asian world region, 1000-1800 (Craig A. Lockard) Andrew Hardy, Mauro Cucarzi and Patrizia Zolese, (eds), Champa and the archaeology of Mỹ Sơn (Vietnam) (William A. Southworth) Jac. Hoogerbrugge, Asmat: Arts, crafts and people; A photographic diary, 1969-1974 (Karen Jacobs) Felicia Katz-Harris, Inside the puppet box: A performance of wayang kulit at the Museum of international folk art (Sadiah Boonstra) Douglas Lewis, The Stranger-Kings of Sikka (Keng We Koh) Jennifer Lindsay and Maya H.T. Liem (eds), Heirs to world culture: Being Indonesian 1950-1965 (Manneke Budiman) Trần Kỳ Phương and Bruce M. Lockhart, The Cham of Vietnam: History, society and art (Arlo Griffiths) Krishna Sen and David T. Hill (eds), Politics and the media in twenty-first century Indonesia: Decade of democracy (E.P. Wieringa) Andrew N. Weintraub (ed.), Islam and popular culture in Indonesia and Malaysia (Andy Fuller) Meredith L. Weiss, Student activism in Malaysia: Crucible, mirror, sideshow (Richard Baxstrom) Widjojo Nitisastro, The Indonesian development experience: A collection of writings and speeches of Widjojo Nitisastro (J. Thomas Lindblad)
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Felix, John. "Pengertian Seni sebagai Pengantar Kuliah Sejarah Seni Rupa." Humaniora 3, no. 2 (October 31, 2012): 614. http://dx.doi.org/10.21512/humaniora.v3i2.3405.
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Until these days, for most people art is something that is abstract, hard to understand, and beyond their capability to understand. Every people asked about art will have their own opinion or definition about art, and these definitions are various to each other. For the student who is in the middle of class or course especialy the one that is related to art, the unpleasent impact of not knowing what is the meaning of art will be experienced in every class, especially in the History of Western Art, History of Indonesian Art or History of Graphic Design. Students who don’t understand the meaning of art will have difficult time to absorb what exactly the purpose of art is, why human made art, which item is art and which item is not art. This writing tries to explain the definition of art from several diffrent angles of view. The goal of the writing is to make the students who are in the middle of learning anything relating to art, first have an understanding about what art is. For the lecturer, this writing will give them something to make their work easy on lecturing about anything relating to art because the student has already understood about what art is.
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Pane, Ismail. "Peradaban Islam di Indonesia." Journal of Education and Culture 3, no. 1 (January 19, 2023): 15–20. http://dx.doi.org/10.58707/jec.v3i1.369.
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Islam in Indonesia as a religion with the most adherents has its own uniqueness in the history of its development. Indonesian Islam is propagated, taught and adhered to peacefully and without coercion. There are several theories about the history of the arrival of Islam in Indonesia.The diversity of theories is caused by the phenomenon of complexity, namely Islam does not originate from one place/country, nor is it brought by one group of people and not all at once Islam was developed by Ulama through three channels namely; cultural (da'wah, education, art, culture, and marriage), structural (politics and power), economy (trade routes). In other words, the process of Islamization in Indonesia is influenced by political power and the spirit of preaching.
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Wittesaele, Charlotte R. A. "Art, land reclamation and green governmentality in Indonesia: Teja Astawa's Dewa Murka and Tita Salina's 1001st Island — The Most Sustainable Island in Archipelago." Journal of Southeast Asian Studies 52, no. 2 (June 2021): 309–35. http://dx.doi.org/10.1017/s0022463421000503.
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The artworks 1001st Island — The Most Sustainable Island in Archipelago (2015–16) by Tita Salina and Dewa Murka (2016) by Teja Astawa are compared as a means to provide insight into ways artists have been interrogating recent urban discourse in Indonesian contemporary art. This article engages with the critical vocabulary proposed by urban historian Abidin Kusno, which analyses green discourse in the changing Indonesian urban landscapes of the post-Suharto era, and explores how these two artworks reflect Kusno's analysis. Salina's multi-media installation and Astawa's painting address two land reclamation projects in areas that have faced rapid urbanisation: Jakarta and Bali. The artworks evoke questions about tradition, spirituality, environmental sustainability and socioeconomic inequality. The artworks are formally and contextually analysed before being compared and evaluated in relation to Indonesian urban history and discourse. Both artists reflect Kusno's critical analysis of green discourse in Indonesia. Salina's work shares parallels with the tools applied by the government in Jakarta, as her artistic practice similarly requires communities to participate in its creation. Meanwhile, Astawa's work mostly reflects the narrative of green discourse. This conclusion invites further investigation into the Java-centrism of urban discourse and the varying ways in which green discourse may be taking place across the Indonesian archipelago.
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Waterson, Roxana. "Pengantar Seni Rupa Islam di Indonesia (Introduction to Indonesian Islamic Art). By Wiyoso Yudoseputro. Bandung: Penerbit Angkasa, 1986. Pp. vi, 173. Illustrations, Bibliography. [In Indonesian.]." Journal of Southeast Asian Studies 24, no. 1 (March 1993): 148–49. http://dx.doi.org/10.1017/s0022463400001545.
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Iswahyudi. "A Multicultural Approach in Learning Review of Indonesian Fine Arts." World Journal of Education and Humanities 3, no. 1 (October 22, 2020): p1. http://dx.doi.org/10.22158/wjeh.v3n1p1.
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Multicultural awareness in Indonesia has been widely discussed since the Dutch colonial era. According to Furnivall, that the plural society in the Dutch East Indies consisted of two unique characteristics, which were horizontally marked by social unions based on differences in ethnicity, religion and tradition. Then vertically, the structure of the society is marked by sharp differences between the upper and lower layers. In this case, there are two key words, namely between the peaks of regional culture and foreign culture, in this case if there is a fading of the sense of unity because they think that one ethnic group feels that its culture is superior to another, there will be inequality which endangers the multicultural nature. Based on this, in order to avoid learning the history of Indonesian fine art that is not based on multiculturalism, in this case it has long been initiated with a more democratic substance as in the Archipelago Art Review course since the 1980s on the grounds that there are many artistic remains outside the islands of Java, Sumatra and Bali which has been built since the end of prehistoric times.
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Abidin, Aslan, Nurhayati Rahman, and Inriati Lewa. "Postmodernism in The Art Concept of Putu Wijaya." ELS Journal on Interdisciplinary Studies in Humanities 4, no. 4 (December 9, 2021): 431–36. http://dx.doi.org/10.34050/elsjish.v4i4.18368.
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This research will explore the life journey of a prominent Indonesian writer, Putu Wijaya. His life history is traced especially his connetion to traditionality and modernity, starting from childhood until graduating from high school in Bali, as a student to his graduation in Yogyakarta, then moving to settle and making art in Jakarta. The three places gave him an intense understanding of the traditionalities of Bali, Java, and the Archipelago. At the same time, the three places also provide him with an understanding of modernity. The various forms of traditionality and modernity mingled in Wijaya’s works, traditionalities such as fairy tales, wayang stories, and even mystical things that do not make sense also influence Wijaya's way of thinking. Meanwhile, one of the important modernities that also influenced him since childhood was Indonesian language. The language was chosen and designed based on the modern thinking of linguists Von de Wall, HC Klinkert, and Van Ophuijsen from the Dutch colonial state. Wijaya's mingling of traditionality and modernity allows him to write fluently various things, including the absurd and the absurd. His understanding of himself and his readers who were victims of feudalism and colonialism, made him write literary works to make his readers think more freely. This makes Wijaya's literary works tend to have a postmodernist style
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Adi, Danendro. "Looking at the Japanese Automotive Industry through Indonesian Published Manga." Humaniora 8, no. 3 (October 19, 2017): 265. http://dx.doi.org/10.21512/humaniora.v8i3.3680.
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This article discussed manga and visual language that had been used on the Japanese fiction graphic narrative as a case study and graphic biography as a comparison. It implemented literature study approach on illustration, specifically, sequential art literature to obtain data as well as finding a theoretical framework to strengthen research results. The article began with a brief history of Japanese comics, then would be discussed the definition and common form of manga and how-to extent the media to convey the information and to identify the visual approach to narrating the information. It finds that modern manga has a potential to become an effective medium to narrate the Japanese culture, growth, and its technological advances that have gained global recognition.
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Tul Jannah, Raundoh, Endro Legowo, and Achmed Sukendro. "The Pejuang Dance by S. Ngaliman Condropangrawit as a Representation of the Traditional War Strategy and State Defense of the Indonesian People." International Journal of Research and Innovation in Social Science 06, no. 06 (2022): 764–67. http://dx.doi.org/10.47772/ijriss.2022.6623.
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The wars that have occurred in Indonesia since the arrival of the Portuguese in 1912 in Malacca have carved out a long history of seizing the independence which was declared on August 17, 1945, from the hands of the colonialists. This cannot be separated from the struggle of the fighters throughout the country, including women. The struggle is then retold through the art of folk dance, which is usually performed when people gather. The Pejuang Dance or Fighters Dance is one of Supadi Ngalimat Condropangrawit’s masterpieces that depicts the resistance of the Indonesian people, where not only men but women also play a direct role. The research method used is a qualitative method with literature studies and direct interviews with a dance educator from the State University of Semarang, Indonesia. As a result, dynamic and rhythmic dance movements liven up the atmosphere that took place during the struggle, there were training movements to play weapons, practice archery or known as gandhewa and form defensive fortifications. The movements in the Pejuang dance are a picture of traditional war strategies like a guerrilla and the high spirit of defending the country against the sovereignty of the Indonesian nation.
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Tussyahada, Amalia, and Priscila Fitriasih Limbong. "NOVEL RAHASIA SALINEM KARYA BRILLIANT YOTENEGA DAN WISNU SURYANING ADJI: PERSPEKTIF GASTROCRITICISM." SEMIOTIKA: Jurnal Ilmu Sastra dan Linguistik 23, no. 2 (July 15, 2022): 136. http://dx.doi.org/10.19184/semiotika.v23i2.32514.
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Indonesia as a culinary paradise has a variety of foods, while literature as a medium can be used as a tool to introduce various Indonesian culinary delights. This study aims to discuss food issues, especially “pecel”, to reveal the secrets of story characters in showing their identity and as an effort to preserve the culinary arts of the Indonesian archipelago. This study uses a qualitative method with a gastro criticism perspective. The research object is the novel Rahasia Salinem by Brilliant Yotenega and Wisnu Suryaning Adji. In this study, food in literature is not only used as the story's object, but both have material, physical, social, and cultural relationships. The results showed four concepts from the perspective of gastro critism, namely (1) food and pleasure, (2) food and art (bricolage), (3) food and names, and (4) food and history. The results of this study are expected to contribute to the development of literary studies in a cultural context as an effort to introduce and preserve local cuisine through literary works.
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Putra, I. Dewa Alit Dwija, and Sarena Abdullah. "Early Symptoms of Modernism in Traditional Balinese Painting Began in Northern Bali." Idealogy Journal 5, no. 2 (September 28, 2020): 59–72. http://dx.doi.org/10.24191/idealogy.v5i2.226.
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The history of significant changes in traditional Balinese art towards modern art took place in the 1930s in the village of Ubud, South Bali. Visual changes in Balinese art are unlike changes in modern art in the West or in Indonesian modern art. The visuals show a strong traditional style, although signs of modernity as this paper will argue, can be found. Modern Balinese art in Ubud in the 1930s actually started in North Bali in the 1870s. It was the role of two Dutchmen named Van der Tuuk and W.O.J. Nieuwenkamp, a linguist and academic artist, who contributed to the introduction of modern art to North Balinese artists. The interaction between the two Dutchmen and the local artists gave birth to arts that are slightly different from traditional arts in Bali. This paper will discuss the shift from traditional to modern painting done by Balinese artists in this early period that resulted in the transition of traditional to modern art through the changes in techniques and media; and themes and functions of these visuals. As such, this marks a shift from art that are no longer spiritual but lean more towards the profane.
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Agatha, Michellina, Aldian Ramadhan, Annida Thian, and Anissa Lestari Kadiyono. "Preservation Of Art Culture As A Form Of Enhancing The Identity Of The Cireundeu Community As A Sunda Indigenous Ethnic Group." Gondang: Jurnal Seni dan Budaya 6, no. 2 (December 5, 2022): 261. http://dx.doi.org/10.24114/gondang.v6i2.33051.
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Sundanese culture is a national heritage that must be preserved as an ethnic group feature in Indonesia. However, as time goes on, a growing number of young people are losing their knowledge of the history, culture, and traditions that constitute the foundation of Indonesian identity. The target of this research is the Sundanese people in Cimahi City, West Java. This research intends to raise the awareness of the people in the Cireundeu Community about the preservation of Sundanese art which has the potential to become a richness of tranditions as identity, characteristics, revenue sources and economic productivity, and others. The undertaking consisted of observing the Angklung Buncis and Karinding art activities. In its implementation, this study obtained data from the community and also art figures from West Java. The research was carried out by employing a qualitative method with triangulation techniques. The primary data was obtained from experts in the field of art, while secondary data was acquired from literature reviews. The findings of this study aim to conserve Sundanese arts, particularly angklung buncis and karinding, which have a significant and valuable impacts on the society. The people of Cireundeu can demonstrate that the preservation of traditional arts in the face of modernization has its own beauty and provides economic prosperity, as well as fosters a greater sense of cultural pride in society.
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DJATMIKO, Andreas Andrie. "IMPROVEMENT OF NATIONALISM REFLECTED IN PANCASILA'S 3rd SILA THROUGH THE ART OF REOG KENDHANG." DISEMINASI: Jurnal Pengabdian kepada Masyarakat 1, no. 2 (September 16, 2019): 69. http://dx.doi.org/10.33830/diseminasi.v1i2.959.2019.
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Community Service is one of the programs that are needed by the community today. This is done as an effort to respond to the needs of the community and is real program and realistic, especially in the fields of education, social, economic and cultural. Community Service Program is a program that is learning, studying and serving that is realized in the form of introduction and appreciation of community development through the clarity of planned change programs and problem solving methods regarding the ability to choose and use the right skills.
A big nation is a nation that wants to respect its culture. Indonesia has a diversity of cultures that are characteristic and assets of the Indonesian nation. But most of the younger generation has forgotten a lot of the culture of the nation. The tendency of the younger generation now prefers outside cultures and many younger generations are less able to sort out most of which have negative impacts rather than a positive impact on themselves and others as well as the environment. There is a need for character education so that the younger generation can be relied upon in the future according to the nation's culture, such as being responsible for mutual cooperation, mutual assistance and good manners.
Reog Kendhang's art proves that local culture can increase the sense of community nationalism and be able to become social controls so as not to fall into bad lifestyle. The formation of a national culture that can truly reunite all components of the nation's culture, therefore it is necessary to have a deeper introduction to history and cultural heritage in search of the identity of a pluralistic Indonesian society.
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DJATMIKO, Andreas Andrie. "IMPROVEMENT OF NATIONALISM REFLECTED IN PANCASILA'S 3rd SILA THROUGH THE ART OF REOG KENDHANG." Diseminasi: Jurnal Pengabdian kepada Masyarakat 1, no. 2 (September 16, 2019): 69–82. http://dx.doi.org/10.33830/diseminasiabdimas.v1i2.524.
Full textAbstract:
Community Service is one of the programs that are needed by the community today. This is done as an effort to respond to the needs of the community and is real program and realistic, especially in the fields of education, social, economic and cultural. Community Service Program is a program that is learning, studying and serving that is realized in the form of introduction and appreciation of community development through the clarity of planned change programs and problem solving methods regarding the ability to choose and use the right skills.
A big nation is a nation that wants to respect its culture. Indonesia has a diversity of cultures that are characteristic and assets of the Indonesian nation. But most of the younger generation has forgotten a lot of the culture of the nation. The tendency of the younger generation now prefers outside cultures and many younger generations are less able to sort out most of which have negative impacts rather than a positive impact on themselves and others as well as the environment. There is a need for character education so that the younger generation can be relied upon in the future according to the nation's culture, such as being responsible for mutual cooperation, mutual assistance and good manners.
Reog Kendhang's art proves that local culture can increase the sense of community nationalism and be able to become social controls so as not to fall into bad lifestyle. The formation of a national culture that can truly reunite all components of the nation's culture, therefore it is necessary to have a deeper introduction to history and cultural heritage in search of the identity of a pluralistic Indonesian society.
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Mohan, Urmila. "THE INDONESIAN ALCOVE AT THE AMERICAN MUSEUM OF NATURAL HISTORY: Art, Culture Areas, and the Mead‐Bateson Bali Project." Museum Anthropology 44, no. 1-2 (September 2021): 11–23. http://dx.doi.org/10.1111/muan.12233.
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Głąb, Katarzyna Marta. "PANCASILA SAKTI MUSEUM. A MARTYROLOGICAL MUSEUM WHICH CONSTRUCTS THE IDENTITY OF THE INDONESIANS." Muzealnictwo 58, no. 1 (July 27, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.2236.
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Pancasila refers to the five rules which constitute the philosophical basis for the functioning of the “imagined nation” of Indonesia, announced on 1 June 1945 by Sukarno, the first president of Indonesia. From the very beginning, Pancasila aroused great emotions and was subjected to various interpretations. The ways in which it was understood as the fundaments of the state also varied many times from 1945. One thing beyond any doubt is that Pancasila has shaped Indonesian society, even though it has repeatedly been redefined and its significance questioned. The Pancasila Sakti Museum holds a particularly important place in the history of Indonesia and the memory of the inhabitants of this multi-ethnic, multi-cultural and multilingual archipelago. It is the best-known museum complex from the rule of General Suharto (1965–1998) for whom the state’s identity, culture, tradition and art became one of the most important elements of politics. For him the museum became the ideological foundation of the Orde Baru or New Order, as the time of his reign is referred to. To this day, it is a place of commemoration in the meaning of a lieu de mémoire. It is also a traumatic place marked by the martyrs’ death of seven generals in 1965. In the way it is constructed, it resembles a sanctuary where the deceased generals are “victims” as understood by Durkheim, who appear as instances sanctifying torment and fighting purposes. The article reveals the circumstances of the museum’s founding, the history of its development, and above all its significance in establishing the state’s identity for the Indonesian people.
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Stutje, Klaas. "The Diamond from Banjarmasin: A Story in Facets." Rijksmuseum Bulletin 70, no. 4 (December 14, 2022): 340–55. http://dx.doi.org/10.52476/trb.13473.
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This article tells the socio-political life story of the Banjarmasin diamond that is on display in the Rijksmuseum’s nineteenth-century colonial room. How the diamond came into the possession of the Dutch in 1859 was not entirely clear, although both in the Netherlands and in Indonesia it is cited as a typical example of ‘war booty’ and ‘looted art’. It is therefore used in debates about contemporary identity formation, like the Dutch approach to their violent colonial past and Indonesian post-colonial nation building. But the stone has more to tell: stories about war and violent subjugation, about resistance and the co-optation of the local rulers, about trade and monopolization and about colonial pretension. On the basis of a provenance report written as part of the Pilot Project Provenance Research on Objects of the Colonial Era, this article aims to shed more light on various moments in the diamond’s life story, from mining to exhibition. This also makes it clear that the present-day debate about its painful history and its possible restitution to Indonesia will be not the conclusion but a brand-new chapter in the diamond’s long socio-political history.
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Tan, Li Wen Jessica. "Unfinished Revolutions." Prism 18, no. 2 (October 1, 2021): 479–500. http://dx.doi.org/10.1215/25783491-9290688.
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Abstract This article examines Wei Beihua's modernist works, which have receded into the shadows of Sinophone Malayan (Mahua) literary history, in relation to Indonesian poet Chairil Anwar, to excavate a neglected route of transculturation at the height of Southeast Asia's nationalist movements during the 1950s. Unlike Anwar's modernist poems that thrive in Indonesia, Wei Beihua's works were considered outliers during a period when realist literature was deemed an effective tool for social mobilization in postwar Malaya. Nonetheless, it is critical for us to recognize that Wei Beihua did not reject realism or underestimate the role of literature in nation building. This article argues that Wei Beihua's idea of modernism is premised on an artist's affective and self-reflexive engagement with realism, which gives rise to a dialectical tension. The tension between his advocacy of an artist's individualism, which is inspired by Anwar, and the impetus of responding to nationalism manifests in his meta-fictional short stories that reflect on the varying motivations behind art creation. His works offer a productive perspective to reconsider the modernist artist's role during revolution and “the limits of realism” of revolutionary works when art was deemed integral to nation building in postwar Southeast Asia.
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Safitri, Ragil, and Sugirin Sugirin. "Senior high school students’ attitudes towards intercultural insertion into the ELT: Yogyakarta context." EduLite: Journal of English Education, Literature and Culture 4, no. 2 (September 4, 2019): 261. http://dx.doi.org/10.30659/e.4.2.261-274.
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Experts in English Language Teaching often consider culture as the fifth skill in foreign language learning as cultural literacy is a must in 21st-century learning. Thus, this study is to investigate students’ interest in the insertion of Big ‘C’ and little ‘c’ themes from different countries into the English classroom. In this study, the researcher distributed a questionnaire to 58 students in a senior high school in Yogyakarta. The study indicated that the respondents’ preferences were mostly about local culture (Yogyakarta and Indonesian culture), followed by target culture (culture of English-speaking countries) and international culture. In accordance with the cultural themes, they showed a relatively higher preference toward Big ‘C’ over the little ‘c’ culture. Concerning Indonesian culture, the students were excited in learning about art/literature, history, and food while for Yogyakarta culture includes history, foods, and lifestyles. Meanwhile, for target culture (Britain, America, and Australia), the students were eager to learn about lifestyles and foods. The last, for international culture, the cultural themes of lifestyles and music/sports were preferred by the students.
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Febrian, Harry. "Satire In The Making Rhetorical Analysis Of Habieb Rizieq Menjawab’ Facebook Fan Page." Jurnal ULTIMA Comm 6, no. 2 (December 1, 2014): 85–101. http://dx.doi.org/10.31937/ultimacomm.v6i2.416.
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Religious extremism is one of the major problems for Indonesia in the post-Soeharto era. The freedom that Indonesian people enjoyed after years of dictatorship by Soeharto also became a fertile ground for the idea of religious intolerances. Many effort are done by NGO’s, government, and also religious institution to promote the moderate view to counter this intolerances. But with the rise of social media, Habieb Rizieq Menjawab (HRM) Facebook Fan page—with more than 70 thousand followers, making it one of the most followed for religious affiliated figure— which is a parody of one of the famous hardline religious organization with the same name, stands out, because it is arguably the first of its kind in Indonesian social media landscape (Lakshmi, 2012) With around 69 million active users in 2014 (Purnell, 2014), making it the fourth largest country with Facebook user in the world, it’s hard to not look the important role this social media can play in Indonesia society. HRM becomes a unique and novel way for Indonesians to promote moderation and to counter the intolerances view. Satire itself has a long a history as tools to voice a counter view. Goodall, H., Cheong, P., Fleischer, K., & Corman, S., (2012) show that this kind of communication has been used, for example, since the pre-Islamic Arab through Second World War. Most recent examples can be seen in the Middle East. Countries such Egypt and Syria, which have been known for their use of literature, art, and humor as tools of political protest, seen a more flourished and fertile ground for a more mature comedic art forms, such as the ever-present political cartoon (Leila, 2012). This study will examine the usage of HRM Facebook Fan page, including status updates and image postings, seen with the perspective of critical theory of satire (Griffin, 1994) as a way to offer a counter-narrative, and an intervention to violent extremist narrative (Ashour, 2010) and Shetret (2011). The methodology to do it will be using the Rhetorical Analysis, with focus on Metaphorical Approach (Foss, 2009), This study hopes to examine how satire and social media can become a tool to fight the spread of religious intolerant ideas. It is also hoped that this study can serve as a base for further study on this topic.
Keywords: Satire, Facebook, Rhetorical Analysis, Religious Intolerances, Counter Narrative
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Krauss, Werner. "Chinese Influence on Early Modern Indonesian Art ? Hou Qua : a Chinese Painter in 19th-century Java." Archipel 69, no. 1 (2005): 61–86. http://dx.doi.org/10.3406/arch.2005.3928.
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Wong, Nicholas Y. H. "Inter-imperial, Ecological Interpretations of the “Five Coolies” Myth in Penang and Medan." Prism 19, no. 2 (September 1, 2022): 319–36. http://dx.doi.org/10.1215/25783491-9966667.
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Abstract This article proposes resource extraction politics as a lens to analyze the relationship between Malaysian Chinese (or Mahua) literature and the global literary economy. Rather than ascribe Mahua literature to its present national boundaries and diasporic communities, the article locates its formation in inter-imperial nodes of trafficked labor and art production, as well as a global system of colonial plantations. The article revisits Zeng Huading's 曾華丁 (1906–1942) short story (1928) and Ba Ren's 巴人 (1901–1972) historical drama (1949) about the myth of five Chinese coolies and their execution in 1871 for murdering a Dutch foreman in a Deli tobacco plantation in East Sumatra. The Anglo-Dutch migration corridor, or the cross-straits coolie trade between the two imperial jurisdictions of Penang (Straits Settlements) and Medan (East Sumatra), now part of Malaysia and Indonesia respectively, was one Nanyang connection, but these writers have been discussed separately within Mahua and Yinhua 印華 (Indonesian Chinese) contexts. Ba Ren, in particular, is studied as a leftist writer who contributed artistically to the Indonesian and Chinese revolutions in the 1940s and 1950s. Here, the article rethinks Ba Ren's legacy within a Mahua corpus, and Zeng Huading's fiction within a cross-straits history of labor. This ecological reading of their works also highlights their critique of Mahua's peripheralization within a world economy and global literature.
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Aryanti, Riza, and Masrilayanti Masrilayanti. "State of the art of seismic risk and loss assessment in structures." E3S Web of Conferences 331 (2021): 07013. http://dx.doi.org/10.1051/e3sconf/202133107013.
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Earthquakes are known as one of the disasters that have fatal consequences for human safety. However, inevitably, the earthquake itself is not the leading cause of the losses suffered by humans, both material and soul. The most powerful thing in human safety is infrastructure such as buildings, bridges, and houses. Therefore, an in-depth analysis of the risk factors that the infrastructure will experience in a natural disaster is needed. There is a variable seismic hazard in the Southeast Asia region, ranging from high seismic hazard allied with the underneath of the Indonesian and Philippine archipelagos to moderate and low seismic tremors associated with a sizeable stable region on the Sunda Shelf. This paper describes the history of seismic risk and loss assessment of infrastructures. The method used is by doing literature reviews of the most recent research relating to seismic risk and assessment around the world. More than fifteen research results are studied and discussed to get a deep knowledge about seismic risk and the assessment of loss due to seismic disaster.
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Rizky, Amanda. "RE-AKTUALISASI KISAH PERJALANAN LAKSAMANA CHENG HO DI CIREBON MELALUI BATIK (Kajian Batik di Cirebon serta hubungannya dengan Bahasa Rupa Tradisi)." Corak 8, no. 1 (May 29, 2019): 27–42. http://dx.doi.org/10.24821/corak.v8i1.2688.
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Admiral Cheng Ho (Zheng He), one of the migrants from China who introduced his culture to the Indonesians. Cirebon has benefited greatly from its expedition. However, not much remains of Admiral Cheng Ho still preserved by Cirebon. Whereas Admiral Cheng Ho has contributed a lot of useful knowledge to the port and the kingdom in Cirebon, which at that time port of Cirebon known as the Port of Muara Jati became famous throughout Java and even abroad. Preserving the history of Admiral Cheng Ho's journey and its relics in Cirebon can enrich the cultural treasures to the Indonesian nation. One effort to preserve it is with batik, because batik is one of the cultural image of the Indonesian nation that easy to spread widely and the variety of Cirebon batik decoration is influenced by the ornaments from China. In order to create a textile that can tell the journey of Admiral Cheng Ho, this research will use comparative study with qualitative methods to find linkages between batik in Cirebon and Bahasa Rupa Tradisi, which later will be applied to the design. The collaboration of travel story of Admiral Cheng Ho and batik will create contemporary art that communicative and gives a new breath for Indonesian textile. Keywords: admiral cheng ho, bahasa rupa tradisi, batik, cirebon, re-actualizasion Laksamana Cheng Ho (Zheng He), salah satu pendatang dari Cina yang memperkenalkan budayanya kepada bangsa Indonesia. Cirebon banyak memetik keuntungan dari ekspedisinya. Namun, tidak banyak peninggalan Laksamana Cheng Ho yang masih dilestarikan oleh Cirebon. Padahal Laksamana Cheng Ho telah banyak berkontribusi memberikan ilmu pengetahuan yang berguna untuk pelabuhan dan wilayah kerajaan di Cirebon, yang pada masa itu pelabuhan Cirebon dikenal sebagai Pelabuhan Muara Jati menjadi terkenal di seantero Jawa bahkan mancanegara. Melestarikan sejarah perjalanan Laksamana Cheng Ho dan peninggalannya di Cirebon dapat memperkaya khasanah kebudayaan bangsa Indonesia. Salah satu upaya untuk melestarikannya adalah dengan batik, karena batik merupakan salah satu citra budaya bangsa Indonesia yang mudah menyebar luas dan ragam hias batik Cirebon banyak dipengaruhi oleh ragam hias dari Cina. Demi menciptakan tekstil yang bisa menceritakan perjalanan Laksamana Cheng Ho, maka penelitian ini akan meggunakan strategi studi komparatif dengan metode kualitatif untuk menemukan keterkaitan antara batik di Cirebon dan Bahasa Rupa Tradisi, yang nantinya akan diaplikasikan pada perancangan. Kolaborasi kisah perjalanan Laksamana Cheng Ho dan batik akan menciptakan karya seni rupa kontemporer yang komunikatif dan memberikan nafas baru bagi tekstil Indonesia. Kata kunci: bahasa rupa tradisi, batik, cirebon, laksamana cheng ho, re-aktualisasi
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Hestiningtyas, Rhomina, Achmad Syarief, and Agung Eko Budiwaspada. "LINO PRINTING DALAM ILUSTRASI CERITA RAKYAT SABAI NAN ALUIH LINO PRINTING IN THE SABAI NAN ALUH FOLKTALE ILLUSTRATIONS." Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain 4, no. 1 (August 1, 2021): 67. http://dx.doi.org/10.25105/jsrr.v4i1.9972.
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<p><strong><em>Abstract</em></strong></p><p><em>Lino Printing is one of the manual printing techniques that belongs to the High printing technique which is part of the graphic arts. In the history of the development of graphic arts in Indonesia, it has been able to become a means of publishing news of Indonesian independence, but the nature of this printing technique that can be duplicated makes graphic art not develop because it is considered not exclusive and its originality is doubtful However, the interesting characteristic became the inspiration to use this technique in illustration work based on the narrative in the story of Sabai nan Aluih. This research uses practice lead research method. This method is used so that the work process can be done more freely. The story of sabai nan Aluih was chosen as a form of concern for Indonesian folklore.</em></p><p><em>Keywords: lino-printing, illustration, Indonesian folklore, Sabai nan Aluih.</em></p><p><strong> </strong></p><p><strong> </strong></p><p><strong>Abstrak</strong></p><p>Lino Printing adalah salah satu teknik cetak manual yang termasuk dari teknik cetak Tinggi yang merupakan bagian dari seni grafis. Dalam sejarah perkembangan seni grafis di Indonesia mampu menjadi sarana publikasi berita kemerdekaan indonesia, namun sifat teknik cetak ini yang dapat di duplikasi membuat seni grafis tidak berkembang karena dianggap tidak eksklusif dan diragukan originalitasnya. Tetapi ciri khas yang menarik menjadi inspirasi untuk menggunakan teknik ini dalam karya ilustrasi yang berdasarkan narasi dalam cerita Sabai nan Aluih. Penelitian ini menggunakan metode practice lead research. metode ini digunaka agar proses berkarya dapat di lakukan dengan lebih leluasa. Cerita sabai nan Aluih di pilih sebagai wujud kepedulian terhadap cerita rakyat Indonesia.</p><p><strong>Kata kunci: </strong><em>lino-printing,</em> ilustrasi, cerita rakyat Indonesia, Sabai nan Aluih.</p>
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Riyanto, Bedjo, Nurhayatu Nufut Alimin, and Endri Sintiana Murni. "Lifestyle Ambiguity: The Visuals of Cigarette Advertisements in the Dutch East Indes Era." Harmonia: Journal of Arts Research and Education 22, no. 2 (December 31, 2022): 227–40. http://dx.doi.org/10.15294/harmonia.v22i2.38636.
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The focuses of this research are the visual style reconstruction of cigarette advertisements published in magazines during the colonial era of the Dutch East Indies and the expressions of lifestyle recorded in them. This study examines the visualization and visual style of cigarette advertisements published in magazines in Indonesia from 1925 to 2000. This study also aims to reconstruct the lifestyle in the visual representation of cigarette advertisements as a reflection of the process of social change in Indonesian society during the colonial to the post-colonial period (1925 - 2000). This research employed descriptive analytical methodology, with the main theory of the social history of Art and David Chaney’s lifestyle theory. The visual style of Oriental Modern Eclecticism captures the Indies’ hybrid lifestyle expression, namely: a pseudo-modernity lifestyle as a result of the integration among the colonized communities which were spread across the Dutch East Indies (1925-1942). The cigarette advertisements of that era presented an imaginary world that depicted the harmonious social interactions of various social layers which is contrary to the social reality of the segregated colonial life.
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Ratnawati, Ratnawati, and Ibnu Amar Muchsin. "Implementation Of Nusantara Musicals Ideas In The Song Of Yadapati Tiwikrama By Djiwoastra." Jurnal Seni Musik 11, no. 1 (June 30, 2022): 59–69. http://dx.doi.org/10.15294/jsm.v11i1.56241.
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Djiwoastra is a folk metal band from Surakarta that has succeeded in combining two genres of music, namely metal and tradisional indonesian music. The song Yadapati Tiwikrama contains the idiomatic indonesian archipelago, taking the theme of the history of the maritime wars in 7th century. This research was qualitative with data collection techniques in the form of observation, interviews, and documentation. The results of the study indicated that there was aplication of ideas that contain idiomatic archipelagoes through musical compositions and concepts in the song Yadapati Tiwikrama in the form of : 1) Interpretation of the superiority of the Javanese maritime troops in the invasion of the Po Nagar in the 7th century through motifs, intervals, and textures on musical compositions, 2) there are cultural elements contained in the song, such as : a) traditional art elements in the form of Balinese Bale Ganjur Bali Instrument, b) language elements by the pronunciation of Balinese incantation that adopt the idea of suluk Sidakarya, c) religious elements by the concept of the religion system of the God of the ocean.
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Masitoh, Imas Siti, and Ajat Sudrajat. "Nilai-Nilai Kearifan Lokal Kesenian Gaok Sebagai Sumber Pembelajaran Sejarah." Diakronika 22, no. 1 (June 30, 2022): 96–115. http://dx.doi.org/10.24036/diakronika/vol22-iss1/240.
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Abstract
Gaok art is an art in the form of an oral tradition in the Kulur Village community which contains a description of the social and cultural life of the community in the past. This study aims to explore the values of local wisdom contained in the art of Gaok in Kulur Village, Majalengka District and describes its potential as a source of historical learning. The research method used in this research was qualitative ethnograpghy with data collected through literature study, interviews, and observations. The results obtained indicate that there are local wisdom values in the art of Gaok, namely religious, social, language, knowledge, economic, technology, and artistic. These values can be used as a source of learning Indonesian history at the 10th grade of senior high school level. The integration of the local wisdom values of Gaok art as a source of historical learning is very important in order to build historical awareness and instill good characteristics in students, especially in the Majalengka area, to allow them to become civilized people who shall not abandon their local culture.
Keywords: Gaok Art, Local Wisdom Values, Historical Learning Resources.
Abstrak
Kesenian gaok merupakan kesenian berupa tradisi lisan masyarakat Desa Kulur yang di dalamnya berisi mengenai gambaran kehidupan sosial dan budaya masyarakatnya pada masa lampau. Penelitian ini bertujuan untuk menggali nilai-nilai kearifan lokal yang terdapat dalam kesenian gaok di Desa Kulur, Kecamatan Majalengka dan mendeskripsikan potensinya sebagai sumber pembelajaran sejarah. Metode penelitian yang digunakan yaitu kualitatif etnografi dengan teknik pengumpulan data melalui studi kepustakaan, wawancara, dan observasi. Hasil yang diperoleh menunjukkan bahwa terdapat nilai-nilai kearifan lokal dalam kesenian gaok, yaitu nilai religi, sosial, bahasa, pengetahuan, ekonomi, teknologi, dan seni. Nilai-nilai tersebut dapat dijadikan sebagai sumber pembelajaran sejarah Indonesia pada jenjang SMA/MA kelas X. Pengintegrasian nilai-nilai kearifan lokal kesenian gaok sebagai sumber pembelajaran sejarah sangatlah penting guna membangun kesadaran sejarah dan membina karakter peserta didik khususnya di daerah Majalengka agar menjadi manusia beradab yang tidak meninggalkan budaya lokalnya.
Kata Kunci: Kesenian Gaok, Nilai-Nilai Kearifan Lokal, Sumber Pembalajaran Sejarah.
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Behrend, Tim, Nancy K. Florida, Harold Brookfield, Judith M. Heimann, Harold Brookfield, Victor T. King, J. G. Casparis, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 156, no. 4 (2000): 807–68. http://dx.doi.org/10.1163/22134379-90003831.
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- Tim Behrend, Nancy K. Florida, Javanese literature in Surakarta manuscripts; Volume 2; Manuscripts of the Mangkunagaran palace. Ithaca, New York: Cornell University Southeast Asia Program, 2000, 575 pp. - Harold Brookfield, Judith M. Heimann, The most offending soul alive; Tom Harrisson and his remarkable life. Honolulu: University of Hawai’i Press, 1998, 468 pp. - Harold Brookfield, Victor T. King, Rural development and social science research; Case studies from Borneo. Phillips, Maine: Borneo Research Council, 1999, xiii + 359 pp. [Borneo Research Council Proceedings Series 6.] - J.G. de Casparis, Roy E. Jordaan, The Sailendras in Central Javanese history; A survey of research from 1950 to 1999. Yogyakarta: Penerbitan Universitas Sanata Dharma, 1999, iv + 108 pp. - H.J.M. Claessen, Francoise Douaire-Marsaudon, Les premiers fruits; Parenté, identité sexuelle et pouvoirs en Polynésie occidentale (Tonga, Wallis et Futuna). Paris: Éditions de la Maison des Sciences de l’Homme, 1998, x + 338 pp. - Matthew Isaac Cohen, Andrew Beatty, Varieties of Javanese religion; An anthropological account. Cambridge: Cambridge University Press, 1999, xv + 272 pp. [Cambridge Studies in Social and Cultural Anthropology 111.] - Matthew Isaac Cohen, Sylvia Tiwon, Breaking the spell; Colonialism and literary renaissance in Indonesia. Leiden: Department of Languages and Cultures of Southeast Asia and Oceania, University of Leiden, 1999, vi + 235 pp. [Semaian 18.] - Freek Colombijn, Victor T. King, Anthropology and development in South-East Asia; Theory and practice. Kuala Lumpur: Oxford University Press, 1999, xx + 308 pp. - Bernhard Dahm, Cive J. Christie, A modern history of South-East Asia; Decolonization, nationalism and seperatism. London: Tauris, 1996, x + 286 pp. - J. van Goor, Leonard Blussé, Pilgrims to the past; Private conversations with historians of European expansion. Leiden: Research School CNWS, 1996, 339 pp., Frans-Paul van der Putten, Hans Vogel (eds.) - David Henley, Robert W. Hefner, Market cultures; Society and morality in the new Asian capitalisms. Boulder, Colorado: Westview Press, 1998, viii + 328 pp. - David Henley, James F. Warren, The Sulu zone; The world capitalist economy and the historical imagination. Amsterdam: VU University Press for the Centre for Asian Studies, Amsterdam (CASA), 1998, 71 pp. [Comparative Asian Studies 20.] - Huub de Jonge, Laurence Husson, La migration maduraise vers l’Est de Java; ‘Manger le vent ou gratter la terre’? Paris: L’Harmattan/Association Archipel, 1995, 414 pp. [Cahier d’Archipel 26.] - Nico Kaptein, Mark R. Woodward, Toward a new paradigm; Recent developments in Indonesian Islamic thought. Tempe: Arizona State University, Program for Southeast Asian Studies, 1996, x + 380 pp. - Catharina van Klinken, Gunter Senft, Referring to space; Studies in Austronesian and Papuan languages. Oxford: Clarendon Press, 1997, xi + 324 pp. - W. Mahdi, J.G. de Casparis, Sanskrit loan-words in Indonesian; An annotated check-list of words from Sanskrit in Indonesian and Traditional Malay. Jakarta: Badan Penyelenggara Seri NUSA, Universitas Katolik Indonesia Atma Jaya, 1997, viii + 59 pp. [NUSA Linguistic Studies of Indonesian and Other Languages in Indonesia 41.] - Henk Maier, David Smyth, The canon in Southeast Asian literatures; Literatures of Burma, Cambodia, Indonesia, Laos, Malaysia, the Philippines, Thailand and Vietnam. Richmond: Curzon, 2000, x + 273 pp. - Toon van Meijl, Robert J. Foster, Social reproduction and history in Melanesia; Mortuary ritual, gift exchange, and custom in the Tanga islands. Cambridge: Cambridge University Press, 1995, xxii + 288 pp. - J.A. de Moor, Douglas Kammen, A tour of duty; Changing patterns of military politics in Indonesia in the 1990’s. Ithaca, New York: Southeast Asia Program, Cornell University, 1999, 98 pp., Siddharth Chandra (eds.) - Joke van Reenen, Audrey Kahin, Rebellion to integration; West Sumatra and the Indonesian polity, 1926-1998. Amsterdam University Press, 1999, 368 pp. - Heather Sutherland, Craig J. Reynolds, Southeast Asian Studies: Reorientations. Ithaca: Southeast Asia Program, Cornell University, 1998, 70 pp. [The Frank H. Golay Memorial Lectures 2 and 3.], Ruth McVey (eds.) - Nicholas Tarling, Patrick Tuck, The French wolf and the Siamese lamb; The French threat to Siamese independence, 1858-1907. Bangkok: White Lotus, 1995, xviii + 434 pp. [Studies in Southeast Asian History 1.] - B.J. Terwiel, Andreas Sturm, Die Handels- und Agrarpolitik Thailands von 1767 bis 1932. Passau: Universität Passau, Lehrstuhl für Südostasienkunde, 1997, vii + 181 pp. [Passauer Beiträge zur Südostasienkunde 2.] - René S. Wassing, Koos van Brakel, A passion for Indonesian art; The Georg Tillmann collection at the Tropenmuseum Amsterdam. Amsterdam. Royal Tropical Institute/Tropenmuseum, 1996, 128 pp., David van Duuren, Itie van Hout (eds.) - Edwin Wieringa, J. de Bruin, Een Leidse vriendschap; De briefwisseling tussen Herman Bavinck en Christiaan Snouck Hurgronje, 1875-1921. Baarn: Ten Have, 1999, 192 pp. [Passage 11.], G. Harinck (eds.)
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Pramono, Andi, Tiara Ika Widia Primadani, Yudhistya Ayu Kusumawati, Bambang Kartono Kurniawan, and Febby Candra Pratama. "Upcycling Fabric Waste for Home Decoration by Implementing Islamic Art Approach." Journal of Islamic Architecture 7, no. 2 (December 22, 2022): 253–61. http://dx.doi.org/10.18860/jia.v7i2.15795.
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Humanity's activities cause the destruction that occurs in the world as a caliphate, as stated in Surah Ar-Rum (30), verse 41 of the Quran. One of the products that might harm the ecosystem is waste. Various countries, including the Indonesian Government, have competed with numerous initiatives and policies to save environmental sustainability. The author of this study provided training on how to conserve the environment by processing trash, particularly fabric waste. Bina Nusantara University's community development initiative invites numerous assisted MSMEs to participate in a waste management training session. Participants are instructed on how to transform fabric waste into useful interior products. The techniques conducted start from joining fabric waste with patchwork, quilting, and applique connection techniques. From the connection results, the product's value can be increased again by adding a digital screen printing technique. Islamic Art is one of the many motifs that can be used. Implementing Islamic geometric patterns and floral, vegetal, and calligraphy designs on interior accessories are some examples of Islamic art motifs. Apart from being able to decorate the interior of the home, particularly by giving it an Islamic feel, the objective of creating this product is to conserve the environment through upcycling technology.
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Gavin, Traude. "South-East Asia - Paul Michael Taylor (ed.): Fragile traditions: Indonesian art in jeopardy. x, 171 pp., map [on endpapers]. Honolulu: University of Hawaii Press, 1994. $28." Bulletin of the School of Oriental and African Studies 60, no. 3 (October 1997): 601–2. http://dx.doi.org/10.1017/s0041977x00033127.
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Pramana Widagda, Sidiq, Hermawan Prasetyanto, Totok Suharto, and Suselo Heru Yuwono. "Atraksi Pencaksilat Merpati Putih Sebagai Daya Tarik Wisata Dalam Upaya Melestarikan Warisan Budaya Indonesia." Media Wisata 20, no. 1 (April 29, 2022): 136–47. http://dx.doi.org/10.36276/mws.v20i1.316.
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ABSTRACT
Merpati putih is a pencak silat which is an original Indonesian cultural heritage that is very feasible to be preserved and developed. The existence of Merpati Putih has proven that this pencak silat school provides enormous benefits for fitness, health and the good name of the nation. This paper is carried out in order to explore data and information regarding the history of the development of PPS Merpati Putih, and how the development of Merpati Putih Pencak Silat as a cultural attraction and how to maintain it so that it becomes a martial art as it emerged. With a descriptive literature method, this paper was developed through a qualitative approach, where various data are collected, studied, reduced, described, analyzed, then interpreted. From the research conducted, it can be concluded that Merpati putih is a Pencak Silat of the Empty Hand (Betako) Martial Arts which has existed since the first colonial period, then de facto and de jure was inaugurated on April 2, 1963 in Yogyakarta. Merpati Putih is one of the pencak silat schools that originated from the Mataram Sultanate and then developed to become a member of IPSI, the Martial Arts Federation for World Peace (MAFWP), and the International Pencak Silat Federation or Persilat (International Pencak Silat Federation). Merpati Putih has been used as a medium and medium in introducing Indonesia to the international scene. In many existing activities, there is always a positive content, in order to maintain and develop Merpati Putih pencak silat as a cultural heritage from the ancestors of the Indonesian nation.
Key words: pencak silat, white dove, cultural heritage
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Susanto, Mikke, and Irwandi Irwandi. "Sejarah dan Makna Fotografi Karya Pelukis Istana, Dullah." Rekam 16, no. 1 (June 8, 2020): 1–14. http://dx.doi.org/10.24821/rekam.v16i1.3847.
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History and Meaning of Photography of a Palace Painter, Dullah. The existence of Dullah the painter is equal with other famous painters, such as Affandi, Basoeki Abdullah, S. Soedjojono and Hendra Gunawan. In 1950 to 1960, he was appointed by President Sukarno as a palace painter. Apart from painting, he also liked to take pictures. His object was around his work as a palace painter and President Sukarno's figure. Reviewed from the historical approach and the meaning explored in it, the photos have an interesting connection. Those photos hold important narratives, especially in the field of history for the Indonesian people. Dullah's photography was able to record the life of President Sukarno while at the palace and outside the presidential palace. The photos clearly illustrate the human side of Sukarno, as a father, a leader, and an art lover. By knowing the connection,, photographs of Dullah's work need to be socialized to the public and can be used as a means of national education for Indonesia, especially for prospective leaders. ABSTRAKEksistensi pelukis Dullah sejajar dengan pelukis ternama lain, seperti Affandi, Basoeki Abdullah, S. Soedjojono, dan Hendra Gunawan. Pada tahun 1950 hingga 1960, ia ditunjuk Presiden Sukarno sebagai pelukis istana. Selain melukis, ia juga hobi memotret dengan objek sekitar pekerjaannya sebagai pelukis istana dan figur Presiden Sukarno. Setelah dikaji dari pendekatan sejarah dan digali makna di dalamnya, foto-foto tersebut memiliki simpul menarik. Foto-foto tersebut menyimpan narasi penting, khususnya dalam bidang sejarah bagi bangsa Indonesia. Fotografi Dullah mampu merekam kehidupan Presiden Sukarno pada saat di istana dan di luar istana presiden. Sisi kemanusiaan Sukarno digambarkan dalam foto-foto tersebut, baik sebagai ayah, pemimpin, maupun penyuka seni. Dengan mengetahui simpul tersebut, foto-foto karya Dullah ini perlu disosialisasikan kepada publik dan dapat digunakan sebagai sarana pendidikan kebangsaan bagi Indonesia, terutama bagi para calon pemimpin.
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Pinem, Masmedia. "Sejarah, Bentuk dan Makna Arsitektur Gereja GPIB Bethel Bandung." Jurnal Lektur Keagamaan 14, no. 2 (December 31, 2016): 347. http://dx.doi.org/10.31291/jlk.v14i2.505.
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This article attempts to describe the history, together with the characteristic architecture of GPIB Bethel. GPIB is the abbreviation of the ‘Protestant Church in Western Indonesia’. Built in Bandung, in 1948, it is located in Jalan Wastukencana 1, in the Village of Babakan Ciamis, Sub District of Sumur Bandung, City of Bandung. This type of church structure was designed by Schoemaker, a Dutch architect, who combined and syintisized between basic needs, concepts, and values of each genre that came from developed world archictecture in that time. The model was already well-known as an “essential expression” of European Chris-tianity. Exsisted Elements of church was adapted from world development architecture in that era. The elements of mass and figure have been des-cribed as spiritual manifestations of Christianity. There is perhaps an element of art deco its architectural decoration. The church of Bethel is now a building categorized as ‘A’, meaning that it is to be conserved in its models and functions, prohibited by law from any changes to its functions - it is now a legally protected part of the Indonesian legacy.
Keywords: Church, History, Type, Architecture, Bandung.
Artikel ini ingin menggambarkan sejarah, bentuk, dan arsitektur Gereja GPIB Bethel. GPIB adalah singkatan dari Gereja Protestan di Indonesia bagian Barat, berdiri sejak tahun 1948 dan terletak di Jalan Wastukencana No. 1, Kelurahan Babakan Ciamis, Kecamatan Sumur Bandung, Kotamadya Bandung. Model arsitektur yang didesain oleh Schoemaker seorang arsitek Belanda yang merupakan sintesis dari kebutuhan, konsep, dan nilai-nilai yang dimiliki oleh masing-masing aliran-aliran dalam perkembangan arsitektur dunia sebagai produk arsitektur pada zamannya yang merupakan “essential expression” bagi kekristenan di Eropa. Elemen-elemen yang ada merupakan adaptasi dari pengaruh zaman yang berkembang saat itu. Elemen pada tatanan massa dan ruang serta elemen pelingkup ruang yang dijumpai memiliki makna kerohanian sebagai perwujudan nilai-nilai Kristianitas. Begitu juga elemen-elemen dekoratifnya merupakan suatu produk zaman yang dipengaruhi oleh arsitektur art deco yang sangat berkembang pada zaman itu. Gereja ini adalah termasuk salah satu tipe bangunan yang berkualitas ‘A’ dan telah dikonservasi tanpa perubahan bentuk dan fungsi yang signifikan, sehingga ia termasuk dalam kategori bangunan Cagar Budaya yang dilindungi oleh Undang-Undang.
Kata Kunci: Gereja, Sejarang, Bentuk, Arsitektur, Bandung.
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Bela Sari and Haerawati Idris. "DETERMINANT OF INDEPENDENT NATIONAL HEALTH INSURANCE OWNERSHIP IN INDONESIA." Malaysian Journal of Public Health Medicine 19, no. 2 (April 1, 2019): 109–15. http://dx.doi.org/10.37268/mjphm/vol.19/no.2/art.177.
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The increasing of Independent National Health Insurance (NHI) membership is one of the indicators to achieve Universal Health Coverage. One of the challenges in extending such coverage is reaching it out to the informal sector. This study was aimed to analyze the determinants of Independent NHI ownership in Indonesia. This study used cross-sectional design, and the data were derived from Indonesian Family Live Survey (IFLS) 2014. 6,888 individuals aged ≥40 years were the sample of this study. To analyze the data, chi-square analysis and logistic regression were used. Based on the analysis, the proportion of respondent with Independent NHI is 16.6%. The ownership of independent NHI is influenced by the following factors: age 40-55 (PR=1.72 95%CI 1.41-2.09, p-value <0.001), Sumatra Island (PR=7.67 95%CI 5.55-10.59 p-value<0.001), very rich (PR = 2.26 95%CI 1.85-2.75 p-value <0.001), history of chronic disease (PR=1.33 95%CI 1.15-1.53 p-value<0.001), junior high school (PR = 2.21 95%CI 1.92-2.55 p-value<0.001), and urban (PR=1.79 95%CI 1.57-2.04 p-value <0.001). Region is the most dominant variable related to NHI ownership (p-value <0.001; Exp B= 7.03; 95% CI: 5.06-9.77). Independent NHI membership has not been maximal, yet. To increase this participation, the Social Security Administrator should approach each region with low NHI membership through promotion, socialization, and education about registration and the benefits of independent NHI.
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Iskandar, Iskandar. "Tafsir Qur'an Karim Karya Mahmud Yunus Kajian atas Karya Tafsir Nusantara." SUHUF 3, no. 1 (November 21, 2015): 1–11. http://dx.doi.org/10.22548/shf.v3i1.76.
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The development of exegesis (tafsir) in our region began to develop since the 1960’s. It commenced with translations and commentaries that were limited to certain selected juz or surah, then continued to develop until reaching perfection and completeness. Although at the beginning he was opposed by other religious scholars, eventually the government agreed to permit his work. The work of Mahmud Yunus consequently became the first step for all Indonesian scriptual commentators to further develop the art of exegisis in the region. This paper briefly explains the Tafsir Qur'an Karim by Mahmud Yunus. Its language entails the theme of the authentification of the Qur’an verses and is an explanation and guide to its vision and orientation for all readers. As well as describing the characteristics of translation and exegesis, the paper examines the intellectual and social character of this work in the history of the development of religious commentaries in the archipelago.
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KITLV, Redactie. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 158, no. 1 (2002): 95–144. http://dx.doi.org/10.1163/22134379-90003788.
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-Stephen J. Appold, Heidi Dahles ,Tourism and small entrepreneurs; Development, national policy, and entrepreneurial culture: Indonesian cases. Elmsford, New York: Cognizant Communication Corporation, 1999, vi + 165 pp., Karin Bras (eds) -Jean-Pascal Bassino, Peter Boothroyd ,Socioeconomic renovation in Vietnam; The origin, evolution and impact of Doi Moi. Singapore: Institute of Southeast Asian Studies, 2001, xv + 175 pp., Pham Xuan Nam (eds) -Peter Boomgaard, Patrick Vinton Kirch, The wet and the dry; Irrigation and agricultural intensification in Polynesia. Chicago: The University of Chicago Press, 1994, xxii + 385 pp. -A.Th. Boone, Chr.G.F. de Jong, De Gereformeerde Zending in Midden-Java 1931-1975; Een bronnenpublicatie. Zoetermeer: Boekencentrum, 1997, xxiv + 890 pp. [Uitgaven van de Werkgroep voor de Geschiedenis van de Nederlandse Zending en Overzeese Kerken, Grote Reeks 6.] -Okke Braadbaart, Colin Barlow, Institutions and economic change in Southeast Asia; The context of development from the 1960s to the 1990s. Cheltenham: Edward Elgar, xi + 204 pp. -Freek Colombijn, Abidin Kusno, Behind the postcolonial; Architecture, urban space, and political cultures in Indonesia. London: Routledge, 2000, xiv + 250 pp. -Raymond Corbey, Michael O'Hanlon ,Hunting the gatherers; Ethnographic collectors, agents and agency in Melanesia, 1870s -1930s. Oxford: Bergahn Books, 2000, xviii + 286 pp. [Methodology and History in Anthropology 6.], Robert L. Welsch (eds) -Olga Deshpande, Hans Penth, A brief histroy of Lan Na; Civilizations of North Thailand. Chiang Mai: Silkworm Books, 2000, v + 74 pp. -Aone van Engelenhoven, I Ketut Artawa, Ergativity and Balinese syntax. Jakarta: Badan Penyelenggaran Seri NUSA, Universitas Katolik Indonesia Atma Jaya, 1998, v + 169 pp (in 3 volumes). [NUSA Linguistic Studies of Indonesian and Other Languages in Indonesia 42, 43, 44.] -Rens Heringa, Jill Forshee, Between the folds; Stories of cloth, lives, and travels from Sumba. Honolulu: University of Hawai'i Press, 2001, xiv + 266 pp. -Roy E. Jordaan, Marijke J. Klokke ,Fruits of inspiration; Studies in honour of Prof. J.G. de Casparis, retired Professor of the Early History and Archeology of South and Southeast Asia at the University of Leiden, the Netherlands on the occasion of his 85th birthday. Groningen: Egbert Forsten, 2001, xxiii + 566 pp. [Gonda Indological Studies 11.], Karel R. van Kooij (eds) -Gerrit Knaap, Germen Boelens ,Natuur en samenleving van de Molukken, (met medewerking van Nanneke Wigard). Utrecht: Landelijk Steunpunt Educatie Molukkers, 2001, 375 pp., Chris van Fraassen, Hans Straver (eds) -Henk Maier, Virginia Matheson Hooker, Writing a new society; Social change through the novel in Malay. Leiden: KITLV Press (in association with the Asian Studies Association of Australia), 2000, xix + 492 pp. -Niels Mulder, Penny van Esterik, Materializing Thailand. Oxford: Berg, 2000, xi + 274 pp. -Jean Robert Opgenort, Ger P. Reesink, Studies in Irian Languages; Part II. Jakarta: Badan Penyelenggara Seri NUSA, Universitas Katolik Indonesia Atma Jaya. [NUSA Linguistic Studies of Indonesian and Other Languages in Indonesia 47.] 2000, iv + 151 pp. -Gerard Termorshuizen, Kester Freriks, Geheim Indië; Het leven van Maria Dermoût, 1888-1962. Amsterdam: Querido, 2000 (herdurk 2001), 357 pp. -Donald Tuzin, Eric Kline Silverman, Masculinity, motherhood, and mockery; Psychoanalyzing culture and the naven rite in New Guinea. Ann Arbor: University of Michigan Press, 2001, vi + 243 pp. -Alexander Verpoorte, Jet Bakels, Het verbond met de tijger; Visies op mensenetende dieren in Kerinci, Sumatra. Leiden: Research School of Asian, African, and Amerindian Studies (CNWS), 2000, XV + 378 pp. [CNWS Publications 93.] -Sikko Visscher, Twang Peck Yang, The Chinese business elite in Indonesia and the transition to independence, 1940-1950. Kuala Lumpur: Oxford University Press, 1998, xix + 372 pp. -René Vos, Gerard Termorshuizen, Journalisten en heethoofden; Een geschiedenis van de Indisch-Nederlandse dagbladpers, 1744-1905. Amsterdam: Nijgh en Van Ditmar, Leiden: KITLV Uitgeverij, 2001, 862 pp. -Edwin Wieringa, Marijke J. Klokke, Narrative sculpture and literary traditions in South and Southeast Asia. Leiden: Brill, 2000, xiv + 127 pp. [Studies in Asian Art and Archaeology (continuation of: Studies in South Asian Culture) 23.] -Catharina Williams-van Klinken, Mark Donohue, A grammar of Tukang Besi. Berlin: Mouton de Gruyter, 1999, xxvi + 576 pp. [Mouton Grammar Library 20.] -Kees Zandvliet, Thomas Suárez, Early mapping of Southeast Asia. Singapore: Periplus Editions, 1999, 280 pp. -Claudia Zingerli, Bernhard Dahm ,Vietnamese villages in transition; Background and consequences of reform policies in rural Vietnam. Passau: Department of Southeast Asian Studies, University of Passau, 1999, xiv + 224 pp. [Passau Contributions to Southeast Asian Studies 7.], Vincent J.H. Houben (eds)
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Purwoko, Oki Edi. "RECLAIMING BANYUMAS IDENTITY AN INTERPRETIVE STUDYABOUT IDENTITY AND CHARACTER OF LOCAL SOCIETY BASED ON LITERARY STUDIES OF HISTORY, ATTITUDES, BEHAVIOR, ARTS AND CULTURE." KOMUNIKA: Jurnal Dakwah dan Komunikasi 10, no. 1 (February 1, 2017): 128–41. http://dx.doi.org/10.24090/komunika.v10i1.868.
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The objectives of these study is to explore more about Banyumas cultural identity through. Caused by politics and power in the past, some of writings indicated that there were alienation, seclusion towards Banyumas culture due to political objectives created by Keraton elite and Colonial ruler in the past. As many Javanese culture, This view exclude other forms of arts and culture which flourished besides the mainstream culture or in this case high culture as Keraton had. And then labeled those art as folk art, sometimes not representation of Javanese culture or even as included as non art at all. For instance, Prior to Indonesian Independence in 1945, art, culture and symbols represented by keraton in Yogyakarta and Surakarta considered appraised a higher status compared to Banyumas culture and identity. Contradicted with inferior behavior in general, Banyumas attitudes towards Keraton, are resistant, doubt, lowered, and even mocked them. It showed in daily life interactions especially when they dealt with Bandek language, the sublimity in Keraton rituals, art culture and philosophy and also nobility symbols. Banyumas people are commonly proud of their culture and identity but at the same time they feel inferior towards Keraton or Javanese mainstream culture. This study concentrated in inferiority complex phase based on Adler’s thesis. Response coming from Banyumas people is often paradoxical with the inferiority as a general. One of its implications was the emergence of new character as compensation. These compensation commonly reflected in two ways, first would be elevate own’s status and secondly lowering the others.The common attitudes shown on this compensations for example passionally willingness to be superior, insulting,hostile and indifference. Tujuan utama dari penelitian ini adalah untuk melakukan telaah lebih dalam mengenai kebudayaan Banyumas. Karena adanya politik dan kekuasaan yang bermain di masa lalu, beberapa tulisan mengindikasikan adanya alienasi, pengasingan terhadap kebudayaan Banyumas yang disebabkan karena tujuan politis yang diciptakan pihak – pihak keraton dan penguasa kolonial. Seperti kebudayaan Jawa yang lain, bentuk kesenian dan kebudayaan yang berkembang selain kebudayaan Keraton Jawa tidak dianggap sebagai perwakilan bentuk kebudayaan Jawa. Setelah itu, ada pemberian cap sebagai kebudayaan rakyat, kebudayaan yang rendah atau bahkan bukan kebudayaan sama sekali. Sebagai contoh, sebelum Kemerdekaan di tahun 1945, seni, budaya dan simbol - symbol yang dikeluarkan keraton Jogjakarta dan Surakarta dianggap memiliki status yang lebih tinggi dibanding identitas dan Kebudayaan yang ada di Banyumas. Berlawanan dengan sikap inferior secara umum, sikap orang Banyumas terhadap Keraton bersifat melawan atau menentang, ragu, merendahkan dan bahkan mengejek. Hal ini terlihat dalam interaksi setiap harinya terutama terkait dengan Bahasa Bandek yang khas digunakan pihak Keraton, Keagungan ritual di dalam keraton, seni budaya, filosofi serta simbol simbol keningratan. Orang Banyumas secara umum merasa bangga atas identitas kebudayaan yang dimilikinya namun di saat yang sama merasa inferior jika dibandingkan dengan kebudayaan Keraton yang dianggap sebagai kebudayaan Jawa yang dikenal secara umum. karena alienasi tersebut, kebudayaan Banyumas menurut Anderson Sutton, mengalami perendahan secara politis dan artistik terhadap Kebudayaan Keraton “”subordinate politically and inferior artistically to the greatcourts”(Sutton, 1986 : 116). Penelitian ini terfokus terhadap inferiority complex yang diambil dari pemikiran Alfred Adler. Karena respons dari masyarakat Banyumas yang seringkali berlawanan dengan sikap inferior secara umum. Salah satu implikasi dari sikap ini adalah compensation atau kemunculan sikap lain (Broh, 1979 : 178). Sikap ataun kompensasi ini umumnya muncul dalam dua sikap, yang pertama adalah dengan menaikkan status yang dimilikinya dan yang kedua merendahkan status yang dimiliki pihak lainnya. Sikap yang umum tercermin dari kompensasi tersebut adalah keinginan yang menggebu untuk unggul, memusuhi, merendahkan, melawan tidak peduli.
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KITLV, Redactie. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 163, no. 1 (2008): 134–220. http://dx.doi.org/10.1163/22134379-90003683.
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Michele Stephen; Desire, divine and demonic; Balinese mysticism in the paintings of I Ketut Budiana and I Gusti Nyoman Mirdiana (Andrea Acri) John Lynch (ed.); Issues in Austronesian historical phonology (Alexander Adelaar) Alfred W. McCoy; The politics of heroin; CIA complicity in the global drug trade (Greg Bankoff) Anthony Reid; An Indonesian frontier; Acehnese and other histories of Sumatra (Timothy P. Barnard) John G. Butcher; The closing of the frontier; A history of the maritime fisheries of Southeast Asia c. 1850-2000 (Peter Boomgaard) Francis Loh Kok Wah, Joakim Öjendal (eds); Southeast Asian responses to globalization; Restructuring governance and deepening democracy (Alexander Claver) I Wayan Arka; Balinese morpho-syntax: a lexical-functional approach (Adrian Clynes) Zaharani Ahmad; The phonology-morphology interface in Malay; An optimality theoretic account (Abigail C. Cohn) Michael C. Ewing; Grammar and inference in conversation; Identifying clause structure in spoken Javanese (Aone van Engelenhoven) Helen Creese; Women of the kakawin world; Marriage and sexuality in the Indic courts of Java and Bali (Amrit Gomperts) Ming Govaars; Dutch colonial education; The Chinese experience in Indonesia, 1900-1942 (Kees Groeneboer) Ernst van Veen, Leonard Blussé (eds); Rivalry and conflict; European traders and Asian trading networks in the 16th and 17th centuries (Hans Hägerdal) Holger Jebens; Pathways to heaven; Contesting mainline and fundamentalist Christianity in Papua New Guinea (Menno Hekker) Ota Atsushi; Changes of regime and social dynamics in West Java; Society, state and the outer world of Banten, 1750-1830 (Mason C. Hoadley) Richard McMillan; The British occupation of Indonesia 1945-1946; Britain, the Netherlands and the Indonesian Revolution (Russell Jones) H.Th. Bussemaker; Bersiap! Opstand in het paradijs; De Bersiapperiode op Java en Sumatra 1945-1946 (Russell Jones) Michael Heppell; Limbang anak Melaka and Enyan anak Usen, Iban art; Sexual selection and severed heads: weaving, sculpture, tattooing and other arts of the Iban of Borneo (Viktor T. King) John Roosa; Pretext for mass murder; The September 30th Movement and Suharto’s coup d’état in Indonesia (Gerry van Klinken) Vladimir Braginsky; The heritage of traditional Malay literature; A historical survey of genres, writings and literary views (Dick van der Meij) Joel Robbins, Holly Wardlow (eds); The making of global and local modernities in Melanesia; Humiliation, transformation and the nature of cultural change (Toon van Meijl) Kwee Hui Kian; The political economy of Java’s northeast coast c. 1740-1800; Elite synergy (Luc Nagtegaal) Charles A. Coppel (ed.); Violent conflicts in Indonesia; Analysis, representation, resolution (Gerben Nooteboom) Tom Therik; Wehali: the female land; Traditions of a Timorese ritual centre (Dianne van Oosterhout) Patricio N. Abinales, Donna J. Amoroso; State and society in the Philippines (Portia L. Reyes) Han ten Brummelhuis; King of the waters; Homan van der Heide and the origin of modern irrigation in Siam (Jeroen Rikkerink) Hotze Lont; Juggling money; Financial self-help organizations and social security in Yogyakarta (Dirk Steinwand) Henk Maier; We are playing relatives; A survey of Malay writing (Maya Sutedja-Liem) Hjorleifur Jonsson; Mien relations; Mountain people and state control in Thailand (Nicholas Tapp) Lee Hock Guan (ed.); Civil society in Southeast Asia (Bryan S. Turner) Jan Mrázek; Phenomenology of a puppet theatre; Contemplations on the art of Javanese wayang kulit (Sarah Weiss) Janet Steele; Wars within; The story of Tempo, an independent magazine in Soeharto’s Indonesia (Robert Wessing) REVIEW ESSAY Sean Turnell; Burma today Kyaw Yin Hlaing, Robert Taylor, Tin Maung Maung Than (eds); Myanmar; Beyond politics to societal imperatives Monique Skidmore (ed.); Burma at the turn of the 21st century Mya Than; Myanmar in ASEAN In: Bijdragen tot de Taal-, Land- en Volkenkunde no. 163 (2007) no: 1, Leiden