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Academic literature on the topic 'Indonesian Daggers'
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Journal articles on the topic "Indonesian Daggers"
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Rakhmawati, Yuliana, Netty Dyah Kurniasari, and Ridho Marrotin Subastian. "Keris as Branding Destination Tourism: Indonesian Heritage Daggers from Madura." Komunikator 14, no. 1 (May 30, 2022): 42–52. http://dx.doi.org/10.18196/jkm.12818.
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Sumenep keris is known for its various philosophies and styles. This traditional Indonesian dagger had the potential to be developed as Madura’s brand tourism. Therefore, strategy is needed to formulate a suitable development model of Sumenep keris potential. Hence, this research aims to describe Sumenep keris potential and contribution to Madura tourism development. A phenomenological approach is used to explore the local keris artisan perspective in interpreting keris philosophy and the accompanying meaning. Data were collected through in-depth interviews and observation and the triangulation method in this research. The analysis results found that the Sumenep keris can be part of the development of a tourist destination brand. The brand will be closer to sticking to the identity of the Sumenep area as a cultural heritage tourism destination. The concept of brand development can be done by optimizing the various perspectives of the Sumenep keris as an index of Madurese culture. Since brand building for tourism destinations is a continuous process, this research is expected to be preliminary. Hence, future research can examine other forms of Madura’s culture that contribute to heritage branding tourism.
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PETROVA, Olga L. "PENDHOK FEATURES OF SURAKARTA KERIS." Southeast Asia: Actual Problems of Development, no. 4(57) (2022): 241–52. http://dx.doi.org/10.31696/2072-8271-2022-4-4-57-241-252.
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There are many different traditional daggers in Indonesia, each with its own local characteristics. Javanese daggers are usually called kris (keris). Kris consists of a blade, hilt, scabbard and pendhok. Pendhok is a protective decorative covering on the scabbard, usually made of various metals and adorned with precious stones. The kris is commonly used in ceremonial and ritual activities, and a beautifully decorated pendhok can often cost more than the blade itself. This article is devoted to the features of pendhok kris of Surakarta.
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Zakharov, Anton. "Campaign Medals of Indonesia." ISTORIYA 12, no. 12-2 (110) (2021): 0. http://dx.doi.org/10.18254/s207987840009506-5.
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The orders, decorations and medals of Indonesia are bit a mystery for scholars and even collectors. Indonesia proclaimed its Independence on August 17, 1945. Since that date, the Indonesian government has elaborated a full-fledged awards system. The last important amendments took place in 2009 when the Law No. 20 “About the titles, medals and decorations” was signed by the then President Susilo Bambang Yudhoyono (Undang-Undang Republik Indonesia Nomor 20 Tahun 2009 tentang Gelar, Tanda Jasa, dan Tanda Kehormatan). Currently there are fourteen orders (bintang) and over thirty medals (satyalancana) in the Indonesian awards system. Several orders and medals became obsolete. In total, there are about fifty governmental medals in the history of Indonesia since Independence. But if one adds classes of several service medals, the count ever increases. My paper examines the campaign medals of the Republic of Indonesia. Those are The Seven Paths or Faithful Warrior Medal (Satyalancana Saptamarga), The First and Second Independence Wars Medals (Satyalancana-Satyalancana Peristiwa/ Satyalancana Perang Kemerdekaan kesatu dan kedua), The Campaign Medals I—VII (Satyalancana-Satyalancana Gerakan Operasi MiliterI—VII), The Pioneer of the Independence Movement Medal (Satyalancana Perintis Pergerakan Kemerdekaan), The Faithful Service or Satya Dharma Medal (Satyalancana Satya Dharma), The Courage or Wira Dharma Medal (Satyalancana Wira Dharma), The Defender Medal or Medal for Combatting Communism (Satyalancana Penegak), The Eighth Campaign Medal “The Defender of the Law” (Satyalancana Gerakan Operasi MiliterVIII “ Dharma Phala”), The Ninth Campaign Medal “The Giant of Duties” (Satyalancana Gerakan Operasi MiliterIX “Raksaka Dharma”), and The Lotus or Timor Military Campaign Medal (Satyalancana Seroja). There are two basic types of Indonesian campaign medals. The first type has the round form with a wavy edge. The second type is the pentagonal star with concave sides and with balls on the vertexes of all the angles. The latter type reflects the State ideology of the Five Principles (Pancasila) proclaimed by Sukarno in 1945. The first type of campaign medals seemingly reflects the connections between fire, virility, masculinity and military actions in the traditional Javanese culture; at least, the traditional Javanese dagger Kris often has a wavy blade.
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Sinaga, Lestari Victoria, Zico Junius Fernando, and Jupenris Sidauruk. "Kirpan Sikh in Indonesian Legal Context." Journal of Southeast Asian Human Rights 8, no. 1 (June 29, 2024): 57. http://dx.doi.org/10.19184/jseahr.v8i1.34051.
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This research delves into the nuanced interplay between religious freedom and legal norms in Indonesia, with a specific focus on the Sikh practice of carrying the kirpan. This ceremonial dagger, integral to Sikh faith and identity, presents a unique challenge within Indonesia's diverse legal and socio-cultural landscape, marked by the country's commitment to Pancasila, which emphasizes religious freedom, unity in diversity, and social justice. By employing a normative juridical approach, this study scrutinizes the tension between the kirpan as a manifestation of religious expression and public safety concerns, utilizing comparative analysis to explore international perspectives and solutions. The investigation reveals a critical need for Indonesia to refine its legal and policy frameworks to more effectively accommodate religious practices like the kirpan. Drawing lessons from countries such as India, the UK, Canada, the US, and Sweden, the research advocates for inclusive legal reforms, enhanced public education, and robust intercultural dialogue. These strategies aim to reconcile the practice of carrying the kirpan with public safety imperatives, reflecting a deeper understanding and respect for religious diversity. The findings underscore the significance of integrating Indonesia's foundational principles of Pancasila into the contemporary discourse on religious freedom and minority rights. The study posits that respecting the kirpan within this ideological framework not only aligns with Indonesia's commitment to diversity and tolerance but also strengthens national unity and social harmony. This research contributes to the broader discourse on balancing religious expression and public safety in pluralistic societies, offering a comprehensive blueprint for policy and legal reforms that honor both religious freedom and collective well-being. It emphasizes the importance of dialogue, education, and legal inclusivity in fostering a society that upholds the dignity and rights of all individuals, irrespective of their religious practices. Keywords: Kirpan, Sikh, Freedom of Religion and Human Rights (FoRB), Criminal Law, Indonesia
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Sidharta, Myra. "Asmaraman Sukowati Kho Ping Hoo (b. 1926): Writer of Cloak-and-dagger Stories in Indonesia." Archipel 48, no. 1 (1994): 157–76. http://dx.doi.org/10.3406/arch.1994.3007.
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Meranggi, Yogi. "Introduction of Keris; an ancient weapon from Asian peninsula." Bali Tourism Journal 3, no. 1 (June 30, 2019): 22. http://dx.doi.org/10.36675/btj.v3i1.31.
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Out of many weapons possessed by myriad inhabitant tribes of southeast Asia, Keris is probably the most unique and well known. The dagger is a common weapon along the Malayan Peninsula, Indonesia, and the Philippines. Keris can be classified into two types based on its shape, namely straight Keris and Luk (wavy) Keris, which always odd in number. Empu, the name given to the Keris maker, hardened iron as the core material in making the knife with particular techniques passed from their predecessor. An object can be classified as a Keris if it has fulfilled the strict prerequisite of Keris. Today’s society put Keris as heritage that should be preserved. Its function progressed from the weapon into antiques, part of the traditional ceremony or even considered as a sacred relic by in Balinese communities. In addition, Keris is also hunted by collectors who put interest on it. The weapon was made throughout a long and challenging process. To keep its durability from the natural oxidation process, therefore, the Keris owner is compulsory to do regular cleaning to preserve its shine and durability.
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Strobl, S., W. Scheiblechner, and R. Haubner. "Metallographic preparation of a composite of meteorite iron, steel, pure iron, and nickel manufactured by the Damascus technique." Practical Metallography 60, no. 9 (August 21, 2023): 556–68. http://dx.doi.org/10.1515/pm-2023-1052.
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Abstract A composite material was subjected to metallographic examination. It was manufactured by forging together different ferrous materials and nickel. This technique ranks among the Damascus techniques and is also used to manufacture so-called “krises”. A kris is a traditional dagger from Southeast Asia, particularly from Indonesia and Malaysia, manufactured by processing different iron and nickel alloys or meteorite iron containing nickel. As is typical for Damascus materials, widely varied patterns are obtained on the blades which may have different shapes. To manufacture a kris blade, sheets made of pure iron, C10 steel, meteorite iron, and nickel were forge-welded in preliminary tests. Samples were taken and subjected to metallographic examinations. Different layers can be recognized after polishing. Etchants typically used for steels (Nital, Klemm) cannot be used to reveal the nickel microstructure. The nickel grain boundaries can be revealed by ion etching. To improve the different ferrous material microstructures’ contrast, an additional heat tinting process was performed. The metallographic examination reveals that forge welding created a homogeneous joint between the individual layers.
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Hani’ah, Bahtiar Mohamad, and Wahid Khoirul Ikhwan. "An ethnolinguistic study of the historical-philosophical value of the cultural art of Madura Kris." Multidisciplinary Science Journal 6, no. 9 (March 22, 2024): 2024161. http://dx.doi.org/10.31893/multiscience.2024161.
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Kris is one of the potential forms of cultural wealth owned by Madura Island. Madura Kris has a distinctive shape and pamor pattern. This specialty is certainly because the krises, as a cultural heritage, illustrate local values and culture. Kris is not only a heirloom but also a cultural expression and value that is passed down from one generation to the next generation as a form of preservation. Inheritance and preservation are not just the inheritance of skills that bring economic value; moreover, inheritance is a cultural inheritance. In this cultural inheritance, philosophical values are implicitly conveyed through krises. The objective of a study linking krises and ethnolinguistics would be to examine the relationship between traditional Indonesian dagger and the cultural, linguistic, and ethnic identities of people in Southeast Asia. This study aims to understand how the Kris serves as a symbol of cultural identity and how it is used in various linguistic and ethnic contexts to convey meaning and reinforce cultural values. The research method used was descriptive qualitative with an ethnolinguistic approach. Ethnolinguistics historically reveals the cultural art of Kris to obtain a description of the value of divinity, society (togetherness), and personality (work ethic and love) contained in the cultural art of Madura Kris.
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Waryanti, Sri. "MAKNA RENCONG BAGI UREUENG ACEH." Patanjala : Jurnal Penelitian Sejarah dan Budaya 5, no. 3 (August 4, 2017): 403. http://dx.doi.org/10.30959/patanjala.v5i3.86.
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AbstrakSalah satu upaya manusia mempertahankan diri adalah dengan menggunakan senjata. Pada setiap suku bangsa di Indonesia memiliki senjata yang khas menurut budayanya masing-masing. Rencong adalah senjata khas milik suku bangsa Aceh di Provinsi Aceh. Karya tulis ini mengungkap dan membahas makna rencong bagi suku bangsa Aceh, yang menyebut dirinya sebagai ureueng Aceh. Untuk tujuan tersebut, rencong dipandang sebagai bukan budaya materiil, tetapi sebagai simbol dari kebudayaan sehingga pendekatan yang dipergunakan paradigma interpretivisme simbolik yang dibangun atas asumsi bahwa manusia adalah hewan pencari makna. Keabsahan data diperoleh dengan teknik triangulasi. Teknik analisis data yang digunakan dengan cara reduksi data, penyajian data, dan menarik kesimpulan atau verifikasi. Dari penelitian ini terungkap bahwa rencong tidak hanya digunakan sebagai senjata untuk membela diri, tetapi lebih dari itu rencong juga bermakna sebagai martabat, keagungan, dan manifestasi dari unsur Islam. Oleh karena itu, rencong harus dilestarikan sebagai bagian dari budaya milik bangsa Indonesia pada umumnya dan Aceh khususnya. AbstractHumans utilise weapons to defend themselves. In Indonesia each ethnic group has a unique weapon according to their culture. The Acehnese of the Province of Aceh has a typical dagger called rencong. This paper reveals and discusses the meaning of rencong for the Acehnese, who referred to themselves as ureueng Aceh. For this purpose, rencong is not seen as material culture, but as a symbol of a culture. The author approaches the issue by conducting symbolic interpretive paradigm which is built on the assumption that humans are meaning-seekers animals. Validity of the data was obtained through triangulation technique, while analysis of data was conducted by applying data reduction, as well as displaying and verifying them. The study reveals that rencong is more than just a weapon; it is also symbolising dignity, majesty and manifestation of the elements of Islam. Therefore, rencong must be preserved as part of the nation's culture of Indonesia in general and particularly in Aceh.
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Morawski, Krzysztof. "O roli krisów w kulturze Indonezji i teoriach dotyczących ich powstania." Art of the Orient 1, no. 1 (2012): 181–200. http://dx.doi.org/10.15804/aoto201211.
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As the dagger kris is bound with many beliefs, myths, rituals and customs that are typical of Nusantara (Indonesia, Malaysia and the Philippines), it belongs to the symbols of the region. The kris is present on the majority of bigger islands of the Malay Archipelago and has many regional versions. It has a double-edged blade, straight or wavy, and dissymmetrical in the upper part. On both flats of the blade there is a bright, decorative pattern called the pamor (it contains some nickel), which is produced in a process similar to damascening. The hilt is figural or geometrical or sometimes of plant form and is often decorated with a relief. The hilts and sheaths are made of lacquered wood, and now and then of other materials (e.g. ivory or bone). Additionally, there are covers and rings of precious metals or alloys that are often set with precious stones or glass. It was believed that magical forces (ascribed to the kris) are sealed within in it during the ceremony of consecration by the smith empu. Also, the process of making the kris is treated as a sacred act. Believing in the magical powers of the kris originates from animism, i.e. from the epoch former to the Indic influence (from about the 4th century AD), which brought Buddhism and Hinduism to Indonesia. Elements of the animistic belief has remained there despite the coming of Islam to Java by the 16th century. The kris used to be transferred from father to son and it has belonged to the pusaka (Javanese: “heritage”) along with other weaponry, instruments of the traditional orchestra gamelan (gongs included), jewelry, textiles, old sculptures and porcelain. Apart from its role as a weapon (this role disappeared first), the kris has been a symbol of social status, an element of a man’s ceremonial costume, a talisman, and a ritual subject. It has existed in its fully developed form at least since the 14th century, and in the 2nd half of that century it spread to nearly all the Malaya Archipelago. It was supposed that the kris came from Java, or - according to other versions - China, Southeast Asia or India. There were theories that it had developed from a ray’s sting or from a spearhead. Nowadays one accepts the G.C. Woolley theory from 1947 that the kris traces its origin back to the small kris-talisman called sajen or Majapahit kris. Next, according to the new theory by A. Maisey (from the 1990ies), it was a big war-kris called buda that gave rise to the contemporary kris. Nevertheless, there is an idea that the kris may have originated as a fusion of both types, because it unites their features within itself.
Books on the topic "Indonesian Daggers"
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Hidayat, M. M. Keris Indonesia: Estetika dan makna filosofi = Indonesian keris : aesthetic and philosophical meaning. Yogyakarta: Mertikarta, 2013.
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Zonneveld, Albert G. van. Traditional weapons of the Indonesian Archipelago. Leiden: C. Zwartenkot Art Books, 2001.
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Nasional, Sekretariat Nasional Keris Indonesia Kongres. Keris mahakarya Nusantara. Surakarta]: Sekretariat Nasional Keris Indonesia, 2011.
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Purmawati. Badik Sulawesi Selatan. Edited by Sangkala, Suriasni, Sitti Aminah P. H, and Proyek Pembinaan Permuseuman Sulawesi Selatan. [Ujung Pandang]: Bagian Proyek Pembinaan Permuseuman Sulawesi Selatan, 1994.
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Greve, Ruud. Keris: Beschouwingen en verhalen over de krissen van Indonesië. Rijsenburg, Netherlands: Zevenster, 1992.
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Ritual and world change in a Balinese princedom. Durham, N.C: Carolina Academic Press, 2005.
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Pedersen, Lene. Ritual and world change in a Balinese princedom. Durham, NC: Carolina Academic Press, 2006.
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Ensiklopedi budaya nasional: Keris dan senjata tradisional Indonesia lainnya. Jakarta: Cipta Adi Pustaka, 1988.
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Gardner, Gerald Brosseau. Keris and Other Malay Weapons (Bibliotheca Orientalis: Malaya-Indonesia). Orchid Press,Thailand, 2002.
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