Relevant bibliographies by topics / Wayaku

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Academic literature on the topic 'Wayaku'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Wayaku"

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Astawa, Gede Wira, I. Gusti Lanang Agung Raditya Putra, and I. Gede Putu Krisna Juliharta. "APLIKASI ANDROID LUKISAN WAYANG KAMASAN MENGGUNAKAN QR CODE SEBAGAI MEDIA PROMOSI INTERAKTIF ( STUDI KASUS: STARTUP WAY’K)." Jurnal Sistem Komputer Musirawas (JUSIKOM) 3, no. 2 (December 5, 2018): 103. http://dx.doi.org/10.32767/jusikom.v3i2.376.

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AbstrakLukisan Wayang Kamasan merupakan salah satu kerajinan yang merupakan warisan budaya Bali. Salah satu startup yaitu Way’K menginovasikan Lukisan Wayang Kamasan menjadi produk modern seperti lukisan jam dinding, lukisan lampu LED, dan souvenir berupa plakat. Namun hal tersebut belum cukup untuk meningkatkan daya jual dari seni lukis wayang kamasan karena berdasarkan hasil wawancara terhadap owner startup Way’K wisatawan kurang tertarik membeli karena wisatawan tidak mengetahui dari makna dan cerita yang terdapat dalam lukisan tersebut, selain itu promosi dan penjualan masih dilakukan secara konvensional mengingat perkembangan zaman memasuki era digital. Maka dari itu penulis membuat suatu aplikasi seni lukis Wayang Kamasan berbasis Android yang dapat menampilkan cerita lukisan melalui kode QR yang dipindai pada lukisan serta terdapat fitur informasi dan pembelian produk secara online melalui aplikasi. Pada pembuatan aplikasi menggunakan metode pendekatan software waterfall dan menggunakan pemodelan Use Case serta Class Diagram dalam perancangan aplikasi. Aplikasi dibangun menggunakan framework React Native dan framework Laravel dan diuji menggunakan metode blackbox testing dan aplikasi telah berhasil dirancang bangun dan berhasil di uji coba dengan hasil sesuai dengan yang diharapkan. Untuk mengetahui tingkat kemudahan penggunaan sistem dilakukan dengan metode Usability testing dan didapatkan hasil sangat baik. Kata Kunci : Lukisan Wayang Kamasan, Aplikasi Android, Kode QR AbstractKamasan puppet painting is one of the handicrafts that is a Balinese cultural heritage. One of the startups, Way'K, innovates the Kamasan puppet painting into modern products such as wall clock paintings, LED light paintings, and souvenirs in the form of placards. However, this is not enough to increase the selling power of Kamasan puppet painting because based on the results of interviews with startup owners of Way'K tourists are less interested in buying because tourists do not know the meaning and stories contained in the painting, besides promotion and sales are still done conventional considering the development of the era entering the digital era. Therefore, the author makes an Android-based Kamasan puppet painting application that can display painting stories through scanned QR codes on paintings and there are information features and product purchases online through the application. In making the application using the waterfall software approach method and using Use Case modeling and Class Diagram in application design. The application was built using the React Native framework and Laravel framework and tested using the blackbox testing method and the application was successfully designed to wake up and successfully tested with the results as expected. To determine the level of ease of use of the system carried out by the Usability testing method and obtained very good results. Keywords : Kamasan Puppet Painting, Android Application, QR Code
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Marajaya, Made, and Dru Hendro. "Makna Ruwatan Wayang Cupak Dalang I Wayan Suaji." Mudra Jurnal Seni Budaya 36, no. 1 (February 17, 2021): 63–74. http://dx.doi.org/10.31091/mudra.v36i1.1329.

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Wayang Cupak termasuk pertunjukan langka di Bali, keberadaannya menambah genre pertunjukan Wayang Kulit Bali yang terus berkembang. Pertunjukan wayang kulit berfungsi sebagai wali, bebali, dan balih-balihan. Sebagai seni wali, pertunjukan wayang kulit hadir dalam berbagai jenis upacara termasuk upacara ruwatan. Upacara ruwatan yang paling populer di Bali disebut dengan Sapuh Leger. Selain Wayang Sapuh Leger, Wayang Cupak pun juga difungsikan untuk ruwatan seperti di Kabupaten Badung. Banyak ditemukan dalang wayang kulit di Kabupaten Badung, namun tidak banyak yang khusus mementaskan Wayang Cupak, hanya Dalang I Wayan Suaji yang merupakan keturunan dalang Wayang Cupak mampu meneruskan budaya ruwatan melalui pertunjukan Wayang Cupak. Orang-orang yang diruwat umunnya telah menginjak dewasa yang memiliki sifat loba, rakus, pemalas, dan tidak mengenal etika. Fenomena ruwatan (fenomena budaya) dikaji melalui pendekatan ilmu kajian budaya dengan metode kualitatif yang hasilnya merupakan deskripsi pencatatan hasil pengumpulan data, pengolahan data hingga analisis data tentang gejala atau fenomena yang terjadi dalam kehidupan masyarakat. Ruwatan Wayang Cupak yang terpelihara masyarakat hanya di wilayah Desa Adat Kerobokan dan sekitarnya dan sudah menjadi sebuah tradisi. Bentuk ruwatan Wayang Cupak dapat dilihat sarana dan prasarananya, seperti: canang uleman, banten ruwatan, pementasan wayang, proses ruwatan, mantra ruwatan, dan tirta ruwatan. Setelah dikaji bentuk ruwatannya, kemudian maknanya bagi masyarakat Hindu Bali. Beberapa makna ditemukan berupa: makna filosofis, makna religius, makna simbolik, makna pembersihan diri, dan makna budaya. Dapat dikatakan bahwa pertunjukan Wayang Cupak pada umumnya hanya dipentaskan untuk ruwatan dan belum disentuh oleh teknologi canggih, pertunjukannya masih sangat tradisi, dan hanya diganti gamelannya saja sebagai media untuk menciptakan iringan sesuai dengan adegan dalam lakon. Lakonnya bersumber dari cerita panji/malat atau folklore, sehingga secara filosofis wacana dikaitkan dengan konsep rwa belum ditemukan bhineda yang harus dilalui dalam kehidupan untuk menuju moksartam.
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Goodlander, Jennifer. "Negotiating Gender and Tradition: A Woman Dalang Performs Wayang Lemah in Bali." TDR/The Drama Review 60, no. 1 (March 2016): 50–66. http://dx.doi.org/10.1162/dram_a_00523.

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The dalang, the central figure of wayang kulit performances, is revered in Balinese society both as a teacher and spiritual leader. Until recently, the dalang was always male, but now women in Bali are able to train as dalang. A performance of wayang lemah given by woman dalang Ni Wayan Suratni provides insight into the complex relationships between gender and tradition in Bali.
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Wira Astawa, Gede, I. Gusti Lanang Agung Raditya Putra, and I. Gede Putu Krisna Juliharta. "Aplikasi Android Lukisan Wayang Kamasan Menggunakan Qr Code Sebagai Media Promosi Interaktif ( Studi Kasus: Startup Way’K)." Infotronik : Jurnal Teknologi Informasi dan Elektronika 4, no. 1 (June 10, 2019): 1. http://dx.doi.org/10.32897/infotronik.2019.4.1.169.

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Lukisan Wayang Kamasan merupakan salah satu kerajinan yang merupakan warisan budaya Bali. Salah satu startup yaitu Way’K menginovasikan Lukisan Wayang Kamasan menjadi produk modern seperti lukisan jam dinding, lukisan lampu LED, dan souvenir berupa plakat. Namun hal tersebut belum cukup untuk meningkatkan daya jual dari seni lukis wayang kamasan karena berdasarkan hasil wawancara terhadap owner startup Way’K wisatawan kurang tertarik membeli karena wisatawan tidak mengetahui dari makna dan cerita yang terdapat dalam lukisan tersebut, selain itu promosi dan penjualan masih dilakukan secara konvensional mengingat perkembangan zaman memasuki era digital. Maka dari itu penulis membuat suatu aplikasi seni lukis Wayang Kamasan berbasis Android yang dapat menampilkan cerita lukisan melalui kode QR yang dipindai pada lukisan serta terdapat fitur informasi dan pembelian produk secara online melalui aplikasi. Pada pembuatan aplikasi menggunakan metode pendekatan software waterfall dan menggunakan pemodelan Use Case serta Class Diagram dalam perancangan aplikasi. Aplikasi dibangun menggunakan framework React Native dan framework Laravel dan diuji menggunakan metode blackbox testing dan aplikasi telah berhasil dirancang bangun dan berhasil di uji coba dengan hasil sesuai dengan yang diharapkan. Untuk mengetahui tingkat kemudahan penggunaan sistem dilakukan dengan metode Usability testing dan didapatkan hasil sangat baik.
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Gardner, Rhys. "The plants of Waya Island, Fiji." Records of the Auckland Museum 53 (December 20, 2018): 43–76. http://dx.doi.org/10.32912/ram.2018.53.4.

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"An annotated species-list is given for Waya Island (Yasawa Is. Group, Fiji). It contains 38 ferns and lycophytes, 1 cycad, 55 monocotyledons, and 224 dicotyledons. Nearly all these 318 species are indigenous to Fiji or are likely to be ancient (pre-European) introductions. Except for six species, post-European introductions (weeds and cultivated species) have not been included. Two species are endemic to Waya: Embelia deivanuae (Myrsinaceae) and Psychotria volii (Rubiaceae). Five are rare in Fiji: Guettarda wayaensis (Rubiaceae), Mollugo pentaphylla (Molluginaceae), Ormocarpum orientale (Leguminosae), Polystichum pilosum (Dryopteridaceae), and Prosaptia vomaensis (Polypodiaceae). Another two Fijian rarities, Euphorbia plumerioides (Euphorbiaceae) and Sarcolobus stenophyllus (Asclepiadaceae), were found on Waya in 1937 but have not been seen since. Waya’s taller native vegetation is situated mostly on rugged rocky topography and is dominated by members of Leguminosae (Cynometra, Kingiodendron, Maniltoa), Sapindaceae and Sapotaceae. In Fiji at large such “dry zone” cover has been greatly reduced by continual fires, so Waya’s remnants, though small and discontinous, have substantial biodiversity value. "
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Montaño Salas, Leonardo Alberto. "Las ceremonias ancestrales y tradicionales de la etnia Wayúu, un estudio a través de su ceremonial y protocolo / The ancestral and traditional ceremonies of the Wayúu ethnic group, a study through hits ceremonial and protocol." REVISTA ESTUDIOS INSTITUCIONALES 4, no. 6 (June 28, 2017): 165. http://dx.doi.org/10.5944/eeii.vol.4.n.6.2017.18995.

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“Wachuküa müsüka sain wanée a’laülaa joyotüsü spünalu’u ka’i katspüla skujainjatüin sukuwa ipa sumüin wachonyuu ée antüin skal’uu ka’kat”(Texto en “wayuunaiki”…idioma Wayúu)[La tradición es como una anciana que sentada en el camino de los días cuenta a las jóvenes generaciones las experiencias que ella ha vivido.]“Los Wayúu son gente de arena, sol y viento, llevan adentro la moral del desierto, han resistido durante siglos en la península de la Guajira, son grandes artesanos, y comerciantes, luchadores incansables por sus derechos históricos, que han sido muy violentados por la discriminación y el racismo”.Investigar en el mundo mágico y cosmogónico de una etnia ancestral es adentrarse en un espacio lleno de sabiduría e importantes conocimientos, lo cual no permite que el estudio del ceremonial y el protocolo escape a ello. La etnia indígena WAYÙU, ubicada en el espacio geográfico de territorio de 15.300 km2 dentro del departamento de la Guajira, Colombia, y 12.000 km2 dentro del estado Zulia, Venezuela, es un ejemplo importante de la necesidad de buscar en nuestras raíces interrogantes que a simple vista no pareciera tener respuesta. Porque hablamos de ceremonial y protocolo en las Ceremonias ancestrales y tradicionales de la etnia Wayúu? porque todo grupo humano antropológicamente ha demostrado que sus raíces provienen de MITOS, los cuales se transformaron y escenificaron en RITOS, estos evolucionaron a RITUALES que se convirtieron en CEREMONIAS, que con el paso del tiempo se estructuraron en CEREMONIALES y que fueron estructurados y normados como base de lo que hoy denominamos PROTOCOLO. De esta forma logramos llegar a la raíz primigenia del entendimiento antropológico y científico de nuestro conocimiento protocolar.La etnia Wayuu descendiente de los Arawak, presenta casi inalterablemente una serie de ceremonias ancestrales que basados en su estructura social matrilineal (podemos definir el matrilinaje Wayúu como un grupo de descendencia unilineal genealógicamente definido. Estos linajes tienen como elemento común los nexos de consanguinidad, ya que todos los individuos de cada grupo se identifican como descendientes de los mismos antepasados por línea femenina) y sin haber sufrido modificaciones estructurales importantes a través de los años, nos da una visión muy acertada de cómo podemos tras polar sus ceremonias a nuestro saber académico del protocolo actual. La estructura ceremonial de esta etnia se centra en tres hechos sociales específicos, la pubertad, la unión de pareja y en la muerte. Conoceremos como hay un eje central y conductor de estas ceremonias y cuáles son las figuras más relevantes en ella. Descubrir que, aunque no existe de manera formal el uso de términos “protocolares” la acción protocolar en si misma se realiza, como el uso de la precedencia, la etiqueta, el ente organizador, etc.___________________“Wachuküa müsüka sain wanée a’laülaa joyotüsü spünalu’u ka’i katspüla skujainjatüin sukuwa ipa sumüin wachonyuu ée antüin skal’uu ka’kat”(Text in "wayuunaiki”... language Wayúu)[The tradition is like an old woman sitting in the road that has to the younger generations the experiences that she has lived].Them Wayuu are people of sand, Sun and wind, carry in the moral of the desert, have resisted during centuries in the peninsula of the Guajira, are large craftsmen, and merchants, fighters tireless by their rights historical, that have been very violated by the discrimination and the racism.Investigate in the World Magic and cosmogonic of an ethnic ancestral is enter is in a space full of wisdom and important knowledge, which not allows that the study of the ceremonial and the Protocol escape to this. The ethnic indigenous WAYUU, located in the space geographical of territory of 15,300 km2 within the Department of the Guajira, Colombia, and 12,000 km2 within the State Zulia, Venezuela, is an example important of the need of search in our estate questions that to simple view not seems have response. Because talk of ceremonial and Protocol in the ceremonies ancestral and traditional of the ethnic Wayuu? because all group human anthropologically has shown that their estate come of myths, which are transformed and staged in rites, these evolved to RITUAL that is developed in ceremonies, that with the step of the time is structured in CEREMONIAL and that were structured and regulated as base of what today call Protocol. In this way we were able to reach the primordial root of anthropological and scientific understanding of our knowledge Protocol. The Wayuu descendant of the Arawak ethnicity, almost relentlessly presents a series of ancient ceremonies based on matrilineal social structure (we can define the genealogically defined matrilineality Wayuu as a group of unilineal descent. These lineages have common element the ties of consanguinity, since all individuals in each group identify themselves as descendants of the same ancestors by female line) and without having undergone significant structural changes over the years, gives us a very successful vision of how we can after polar ceremonies to our academic knowledge of the current Protocol. The ceremonial structure of this ethnic group focuses on three specific social facts, puberty, the union of couple and in death. We know as a conductor and central axis of these ceremonies and what are the most important figures in it. Discover that, even if it does not exist in a formal way the use of terms "Protocol" action Protocol if same occurs, as the use of precedence, label, the organizing entity, etc.KEYWORDS: Protocol, Ceremonial, Ethnicity, Cosmogony, Rites
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Wicaksandita, I. Dewa Ketut, Hendra Santosa, and I. Ketut Sariada. "Konsep Dasa Paramartha pada Karakterisasi Tokoh Aji Dharma dalam Pertunjukan Wayang Tantri oleh I Wayan Wija." Dance and Theatre Review 3, no. 1 (October 19, 2020): 1. http://dx.doi.org/10.24821/dtr.v3i1.4415.

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The Concept of Dasa Paramartha on the Characterization of Aji Dharma in a Wayang Tantri Performance by I Wayan Wija. Dasa Paramartha, as the teachings of dharma (goodness) in Hinduism, then becomes a material that is flexible enough to be displayed in broadcasting the meaning and value of ethical, moral, and social behavior education. Wayang Tantri, in the play of Sang Aji Dharma Kepastu presents the character of Prabu Aji Dharma with the characteristics trait displayed as a figure of dharma who later becomes a role model for Wayang Tantri audiences. This study aims to reveal the values of Dasa Parartha’s teachings in the characterization of Aji Dharma figures. The qualitative descriptive method with data collection in the form of observation, interviews, and study documentation of the Wayang Tantri video of Sang Aji Dharma Kepastu with a duration of approximately 2 hours, then analyzed by, The Aesthetic Pedalangan Theory supported by Semiotic Theory. The results of the research are the representation of the teachings of Dasa Parmartha, which is in the form of Tapa: physical and mental self-control; Bharata: curb lust; Samadhi: mental concentration on God; Santa: being calm and honest; Sanmata: aspiring and aiming towards goodness; Karuna: affection between living beings; Karuni: compassion for plants, goods and so on; Upeksa: being able to distinguish right from wrong, good and bad; Mudhita: trying to please others; and Maitri: eager to seek friendship based on mutual respect.Keywords: representation; Dasa Paramartha; Aji Dharma; Wayang Tantri
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Castillo Rodas, Andrea, and Andrés Arturo Venegas Segura. "CATEGORÍA NATURALISTA EN EL RECONOCIMIENTO DE HUELLAS REALIZADO POR NIÑOS Y NIÑAS WAYUU, EN EL CONTEXTO ESCOLAR." Revista Bio-grafía Escritos sobre la biología y su enseñanza 10, no. 19 (December 12, 2017): 230. http://dx.doi.org/10.17227/bio-grafia.extra2017-7110.

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El presente artículo presenta las ideas y saberes de los niños y niñas de grado quintode la Comunidad Indígena Wayúu (Loma Fresca y Tocoromana) del resguardoPerrapu en el Municipio de Riohacha, Guajira, con respecto al reconocimiento de losanimales a través de los rastros y huellas. Los Conglomerados de Relevanciasaportaron la metodología de análisis del discurso de los estudiantes. La presentecomunicación se enmarca en la categoría Naturalista que surgió de la investigación“Historias Detrás de una Huella, Reconocimiento de los Saberes Wayúu Relacionadosa la Fauna a Partir de Rastros y Huellas”.En la recuperación de la experiencia de los infantes se presentaron juicios de valor,aspectos físicos, mentales, espirituales, emocionales, éticos, estéticos, y elementos dela naturaleza, los cuales ponen de manifiesto su voz. Donde sus conocimientos son lacristalización de procesos históricos y sociales que han constituido formas particularesde comprender los mundos de la comunidad Wayuu, que configuran dinámicas yrealidades propias. De esta manera, es posible argumentar que los saberestradicionales y ancestrales, deben ser incluidos en la clase de ciencias
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Bolz, Jody. "Wayang." Women's Review of Books 17, no. 12 (September 2000): 21. http://dx.doi.org/10.2307/4023556.

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Riviere, Peter, and Francoise Grenand. "Dictionnaire wayapi-francais: Lexique francais-wayapi." Man 25, no. 2 (June 1990): 362. http://dx.doi.org/10.2307/2804600.

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Dissertations / Theses on the topic "Wayaku"

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RESSIER, BERNARD. "Reflexion sur la tuberculose et contribution a l'etude d'un programme de lutte antituberculeuse chez les wayana et wayapi (ameridiens de haute guyane francaise)." Lyon 1, 1989. http://www.theses.fr/1989LYO1M167.

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Nagy, Thomas Charles. "INDONESIAN WAYANG DURING THE “GUIDED DEMOCRACY,” “NEW ORDER,” AND “REFORMASI” ERAS: NEGOTIATING POLITICS, RELIGION, AND ENTERTAINMENT." Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1157485253.

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Byard-Jones, Timothy. "Improvised song accompaniment in Yogyakarta Wayang Kulit." Thesis, SOAS, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267830.

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Chapuis, Jean. "La personne Wayana entre sang et ciel." Aix-Marseille 3, 1998. http://www.theses.fr/1998AIX32019.

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L'auteur se propose d'analyser la personne comme systeme chez les wayana du litany en guyane francaise. Apres une presentation de l'ethnie et un historique des conceptions relatives a la personne en anthropologie, il se livre a une anthropologie detaillee du corps, corps pense, corps represente et pratique; la mort n'est pas oubliee. Ensuite, l'auteur etudie les composantes non corporelles de la personne et le statut de cette derniere par rapport aux entites surnaturelles. Dans la derniere partie, les rapports que la personne entretient avec les differents niveaux de la realite (monde social, nature, monde du reve), rapports qui contribuent a la definir, sont abordes a travers une serie de themes. Finalement, l'auteur montre, par le truchement d'une breve analyse du probleme de l'efficacite des medecines, comment le systeme de la personne fonctionne comme systeme general des attentes d'un groupe : il permet de repondre a l'ensemble des questions qui peuvent se poser a ce dernier; ainsi par exemple le systeme de la maladie est enchasse dans celui de la personne. L'analyse lexicale est tres utilisee dans ce travail construit en "maillage", chaque sujet renvoyant a de nombreux autres
In this work, the author intends to analyse the person as a system among the wayana of the litany river, french guiana. After a presentation of this ethnic group and an history of anthropological conceptions of person, the author provides a very detailed anthropology of the body as it can be conceived, represented and practiced. The problem of death is also examined. Then, the author studies the non bodily components and the status of person in relation with surnatural entities. In the last part, the relations of the person with the various levels of reality (social world, nature, world of the dream) - relations wich all contribute to its definition - are considered through different themes. Finally, the author shows, through the problem of the efficacy of the medical uses, how the system of person functions as a general system taking into account the expectations of a determinated group : in fact this system of person is an answer to the whole questioning of the group. So we can understand for example how the system of illness is integrated in the system of person. This work is often based on a lexical analysis and is conceived like a network in which each subject refers to many others
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Kartawan, I. Made. "Tuning in Gender Wayang : voices, concepts, and analysis." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/45768.

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This thesis brings light to gender wayang’s (metallophone ensemble) unique and complex tuning system, which has yet to be explored thoroughly in academic circles. In the thesis I examine the tuning of gender wayang instruments through cultural and scientific analysis of the four Balinese tuning concepts ulu suara (pitch), sruti (interval), angkep- angkepan (octave), and ombak (waves). The cultural analysis focuses on the ways that pande gong (metalsmiths), tukang laras (gamelan tuners), juru gender (gender wayang musicians), and dalang (puppeteers) conceptualize the tuning of gender wayang instruments. I juxtapose their perspectives against measurements of nine sets of gender wayang instruments that are spread throughout four of Bali’s nine regencies—Gianyar (Central Bali), Tabanan (West Bali), Badung (South Bali), and Buleleng (North Bali)—and then analyze the measurements with particular attention focused on the four concepts. Following the discussion of these concepts, and informed by them, I investigate tuning levels and their connection to dalang. The thesis also describes gender wayang instrument construction in detail. This provides the reader with suitable background information about the relationship between tukang laras and pande gong.
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Tello, Jiménez Elizabeth Mercedes, Calle Ana Yuridiath Jaramillo, Cortez Anthony Junior Gonzalo Palomino, and Yichun Chang. "Wayka crema de ají con castaña." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/626712.

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En el presente trabajo de investigación se evalúa la viabilidad para la implementación de una empresa productora y comercializadora de crema de ají elaborada a base de insumos como el ají pipi de mono y la castaña. En la etapa de análisis externo se reveló que el 89% de peruanos acompañan sus comidas con alguna crema picante y que el consumo per cápita del país es solo del 4.75 kg lo cual demuestra nuevas oportunidades de crecimiento. En la etapa de investigación y validación se determinó la falta de variedades de cremas de ají y la aceptación del producto, esto como resultado al estudio de mercado realizado a las amas de casa entre las edades de 18 a 55 años de los NSE A y B dentro de Lima metropolitana. En la etapa del plan de marketing se determina el cálculo del target, para luego definir el market share, asimismo, se determinó el crecimiento de la demanda del 10% del market share para el primer año el cual contará con un crecimiento del 7% anual de acuerdo al crecimiento de mercado por los próximos años. Finalmente se desarrolló el plan financiero para los próximos 5 años, en el cual se determinó la inversión y financiamiento requerido. Igualmente se determinó los ingresos y egresos, lo que permitió la elaboración de los estados financieros y el análisis de sensibilidad, así mismo mediante los indicadores de rentabilidad se obtuvo un VPN de S/ 38,049, y una TIR de 29%.
In the present research work the viability is evaluated for the implementation of a company that produces and sells chilli cream made from raw materials such as “pipi de mono” chili peppers and chestnuts. In the external analysis stage, it was revealed that 89% of Peruvians accompany their meals with some spicy cream and that the per capita consumption of the country is only 4.75 kg, which demonstrates new opportunities for growth. In the research and validation stage, the lack of varieties of chili creams and the acceptance of the product was determined, as a result of the market study carried out on housewives between the ages of 18 and 55 years of socioeconomic level A and B within metropolitan Lima. In the stage of the marketing plan the target calculation is determined, to then define the market share, in the same way, the growth of demand of 10% of the market share for the first year was determined, which will have an annual growth of 7% according to the market growth for the coming years. Finally, the financial plan for the next 5 years was developed, in which the required investment and financing was determined. Likewise, income and expenses were determined, which allowed for the preparation of the financial statements and the sensitivity analysis. As well, through the profitability indicators, a NPV (Net Present Value) of S/ 38,049 was obtained and an IRR (Internal Rate of Return) of 29%.
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Barbosa, Gabriel Coutinho. "Os Aparai e Wayana e suas redes de intercâmbio." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-27112009-104126/.

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Este trabalho consiste no estudo de diferentes formas de intercâmbio relacionadas à circulção de bens ao longo das redes de relação de que participam os Aparai e Wayana (grupos caribe, que vivem no norte do Pará), na região oriental das Guianas. Com o intuito de identificar os princípios e valores que orientam tais práticas, são examinados os modos como os próprios Aparai e Wayana concebem, relacionam e comparam essas modalidades de transação. Basicamente, são analisadas a parcerias interpessoais de troca, as obrigações do genro para com o sogro, as relações entre chefes-donos de aldeias e seus co-residentes, as transações com balateiros e garimpeiros na região (aviamento).
The present work is a study of various forms of exchange related to the circulation of goods along a network of relations of which participate the Aparai and Wayana (carib people, who live in the North of Pará), in the Western Region of the Guianas. In order to identify the principles and values which guide these practices, it examines how the Aparai and Wayana themselves conceive, relate and compare these styles of transaction. The interpersonal exc hange partnerships, the obligations of each son-in-law to his father-in-law, the relationship between the settlement leaders and local residents, the trading with rubber gatherers and miners in the region (debt peonage system) are mainly analyzed.
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Filho, Heleno Guedes Montenegro. "Waynau Iribennau! Brasil e Guiana na construção da alteridade wapichana." Universidade Federal de Roraima, 2016. http://www.bdtd.ufrr.br/tde_busca/arquivo.php?codArquivo=382.

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Esta dissertação pretende compreender como se dá a construção e manifestação da alteridade entre os Wapichana brasileiros e guianenses na Comunidade Indígena de Tabalascada, levando em consideração 1. Os processos de colonização e de políticas identitárias promovidos pelo Brasil e pela Guiana que influenciaram e ainda influenciam a afirmação da identidade Wapichana. 2. Pesquisar acerca dos traços culturais tradicionais e a história do encontro dos Wapichana com a cultura ocidental. 3. Analisar comparativamente os elementos simbólicos, diacríticos e de organização social cultivados entre os Wapichana brasileiros e guianenses.
This dissertation aims to understand how it is built and manifested the alterity between Brazilian and Guyanese Wapichana in the indigenous community of Tabalascada, taking into account: 1. The processes of colonization and identity politics promoted by Brazil and Guyana which have influenced and still influence the affirmation of Wapichana identity. 2. To research about the traditional cultural features and history of the encounter of Wapichana with western culture. 3. To comparatively analyze the symbolic, diacritical and social organization elements cultivated between Brazilian and Guyanese Wapichana.
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Andrieu, Sarah Anaïs. "Performances et patrimonialisations du Wayang Golek sundanais (Java Ouest, Indonésie)." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0416.

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La thèse étudie les contextes contemporains de performances du wayang golek purwa sundanais, ainsi que les processus de patrimonialisations dans lesquels il s'inscrit. Le travail, basé sur trois ans de recherche sur le terrain, montre que la pratique du wayang golek, éminemment populaire à Java Ouest aujourd'hui, est corrélative à une affirmation identitaire sundanaise. Le wayang golek est d'abord présenté comme une performance, envisagée tant dans son indivisibilité intrinsèque que dans toute sa diversité et sa complexité sociale et artistique, ainsi que dans son interaction avec les autres media et pratiques qui l'entourent et la nourrissent. De plus, cette pratique est au centre de politiques locales, nationales et internationales, notamment depuis que l'Unesco a proclamé le "wayang Indonésien" "chef-d’œuvre du patrimoine culturel oral et immatériel de l'humanité" en 2003. Ces politiques culturelles s'appuient fortement sur un paradigme de la crise et du risque. Enfin, la patrimonialisation officielle du wayang golek semble viser à sa spectacularisation et sa folklorisation, et en fait un produit à exporter, une ressource à mobiliser et à exploiter, un capital à faire fructifier dans l'intérêt notamment économique d'une région touchée de plein fouet par les crises économiques de 1997 et fin 2008, au sein d'un Etat engagé dans un processus politique complexe de démocratisation au sortir des trente ans du régime autoritaire de l'Ordre nouveau (1967-1998). Finalement, la réappropriation du wayang golek en tant que patrimoine tend à faire oublier que le wayang golek lui-même fonctionne déjà comme un métadiscours du patrimoine au sein de la société sundanaise
The dissertation is about contemporary contexts of performance of Sundanese wayang golek purwa, as wellas about heritagisation (patrimonialisation) processes that concern it. This research, based on a three years-fieldwork, shows that wayang golek practice, highly popular in West Java nowadays, is correlated to a Sundanese identity affirmation. Wayang golek is first introduced as a performance, considered as much in its intrinsic indivisibility as in its social and artistic diversity and complexity, as well as in its interaction with other media and practices which surround and nourish it. Moreover, this practice is central to local, national and international cultural policies, particularly since the Unesco proclaimed "Indonesian Wayang" as "Masterpiece of the oral and intangible heritage of humanity" in 2003. These cultural policies are mainly based on the rhetoric of crisis and risk. On the end, official heritagisation (patrimonialisation) of wayang golek seems to tend to its "spectacularisation" and "folklorisation, and makes of it a product to export, a resource to exploit, a capital which benefits are understood to be at the advantage of a region which suffered from the 1997 and 2008 economical crises, while the Indonesian State is engaged in a complex political democratisation process after the thirty years of the authoritarian government of the New Order (1967-1998). Finally, the re-appropriation of wayang golek as heritage tends to hide that wayang golek in itself is already a meta-discourse on heritage inside the Sundanese society
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Duin, Renzo Sebastiaan. "Wayana socio-political landscapes multi-scalar regionality and temporality in Guiana /." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0041100.

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Books on the topic "Wayaku"

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Wayaku Rishukyō. Tōkyō: Tōkyō Bijutsu, 1991.

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Wayaku Hokekyō. Tōkyō: Tōkyō Bijutsu, 1991.

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Kongōchōgyō: Wayaku. Tōkyō: Tōkyō Bijutsu, 1995.

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Zonkaku. Kyōgyō shinshō rokuyōshō: Wayaku. Tōkyo: Kokusho Kankōkai, 1988.

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Akashi, Etatsu. Nijū yuishikiron kaisetsu: Zō-Kan-Wayaku taikō. Tōkyō: Daiichi Shobō, 1985.

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Yugaron Shōmonji: Daiichi yugasho, Sansukurittogo tekisuto to Wayaku. Tōkyō: Sankibō Busshorin, 1998.

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Dar-ma-rin-chen, Rgyal-tshab. Tarumarinchen cho "Nyū Bosatsu gyōron no kaishaku, Busshi togan" daihachishō, daikyūshō no wayaku kenkyū. Kyōto-shi: Ningen Bunka Kenkyū Kikō Sōgō Chikyū Kankyōgaku Kenkyūjo, 2009.

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Hakubutsukan, Tōkyō Kokuritsu. Wayan: Indoneshia no ningyō shibai = Wayang : traditional Indonesian puppet theater. [Tokyo]: Tōkyō Kokuritsu Hakubutsukan, 2010.

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Widjanarko, Bambang S. Mendalami seni wayang purwa: Wayang srambahan. Solo: Amigo, 1990.

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Ratumakin, Antonius. Orang Flores menanggap wayang: Wayang Nusantara, nasionalisasi wayang untuk karakter bangsa. Jakarta: Pustaka Sinar Harapan, 2011.

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Book chapters on the topic "Wayaku"

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Rae, Paul. "Wayang Studies?" In The Rise of Performance Studies, 67–84. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230306059_5.

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Cohen, Matthew Isaac. "Wayang as Technology." In Performing Otherness, 36–47. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230309005_3.

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Nyoman Sedana, I. "Innovation of Wayang Puppet Theatre in Bali." In Indigenous Culture, Education and Globalization, 67–80. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-48159-2_4.

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Escobar Varela, Miguel. "Wayang kontemporer: The Politics of Sponsorship and Innovation." In Performing Southeast Asia, 195–220. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-34686-7_8.

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Cwik, Christian. "Displaced Minorities: The Wayuu and Miskito People." In The Palgrave Handbook of Ethnicity, 1593–609. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-2898-5_117.

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Duchesne Winter, Juan Ramón. "Inland Caribbean: A Glance into Wayuu Space." In New Perspectives on Hispanic Caribbean Studies, 35–46. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51498-3_3.

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Cwik, Christian. "Displaced Minorities: The Wayuu and Miskito People." In The Palgrave Handbook of Ethnicity, 1–17. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-0242-8_117-1.

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Carlin, Eithne B. "Language contact in Southern Suriname: The case of Trio and Wayana." In Boundaries and Bridges, edited by Kofi Yakpo and Pieter C. Muysken, 229–56. Berlin, Boston: De Gruyter, 2017. http://dx.doi.org/10.1515/9781614514886-009.

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d’Aquin, Mathieu, Fouad Zablith, and Enrico Motta. "wayOU – Linked Data-Based Social Location Tracking in a Large, Distributed Organisation." In The Semanic Web: Research and Applications, 461–65. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21064-8_35.

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Koesoemadinata, M. I. P., and A. Z. Mansoor. "Visualization of princess characters in the Wayang comics of Teguh Santosa for digital graphics development." In Dynamics of Industrial Revolution 4.0: Digital Technology Transformation and Cultural Evolution, 293–98. London: Routledge, 2021. http://dx.doi.org/10.1201/9781003193241-55.

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Conference papers on the topic "Wayaku"

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Wijana, I. Dewa Putu. "Wayang Properties in The Use of Indonesian and Javanese." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.3-9.

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“Wayang” (puppet) is one of the most popular traditional performances in Indonesia. The story, originally from India, has undergone transformations, and the Indonesian people have regarded it as their own, instead of foreign to the community. More over, for many Indonesian people, wayang stories differ to other stories in that they present ethics and moral teachings as an important provisions for way of life. The central role played by wayang renders wayang properties easily accessible in many aspects of social life, and the use of language is no exception. This paper will accordingly discuss the properties of wayang reflected in the use of Indonesian and Javanese. The data are collected through observing the use of Indonesian and Javanese for talking and discussing wayang matters and referring, naming, or comparing everything surrounding their lives. The data are further classified on the basis of their speech type modalities. As far as the wayang properties are concerned, there are at least three types of language use, i.e. literal, metaphorical, and symbolic. These types of languages are used by society for referring, symbolizing, and comparing various social aspects, states, and activities of a community’s daily life. All of these matters have not so far been revealed by scholars who use wayang as the object of their study (Nurhayati, 2005 and Hazim, 1991). More specifically, the use of wayang properties as the source domains of metaphorical expressions has not been discussed by linguists who have conducted significant studies on metaphors (Wahab (1990, 5) and Wijana (2016, 56-67)
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Hadzantonis, Michael. "The Malaysian Wayang Kulit, the Malay Language, and their Anthropological shifts." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.4-3.

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This paper seeks to discuss and expose the correlations between a shifting Wayang Kulit puppet performance in Malaysia and the shifting Malay language over the past half century, that is, from the late 1960s until the present time. The Wayang exhibited a patent shift in its poetics, in its use and type of symbolisms, in its social, cultural and spiritual purpose, and in its representation of community. The paper determines ways in which the Malay language experienced change by observing government mandate to 'rehabilitate' the Malay people, and to employ discourses of rehabilitation so to alter the cultural industry in Malaysia, yet to the detriment of language, social cohesion, and cultural performance in Malaysia. For this the data consists of a multi year ethnography of the Wayang both inside and outside of Kuala Lumpur, cases studies of Wayang Kulit dalangs (puppeteers), observing and conducting Wayang Kulit performances, and documenting language diachronic change. Ultimately, the paper finds that owing to language planning and policy in Malaysia, both cultural performance and language, that is, the written, the standardized, and vernacular have seen significant shift over the past half century, and that these shifts have correlated with altered ideologies in Malaysia that align with intentions to commercialize the country and to increase the mercantile efficiency of the Malay and the Malaysian people.
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Widjajanto, Wahju Agung, Michael Lund, and Heidi Schelhowe. ""Wayang Authoring"." In the 6th International Conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1497185.1497284.

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Ghani, Dahlan Bin Abdul. "Wayang fighters." In IMCOM '15: The 9th International Conference on Ubiquitous Information Management and Communication. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2701126.2701128.

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Mendoza, Luis Teylor Valbuena, and Sebastián De La Rosa Carriazo. "Sukuaipa Wayuu." In the 4th International Conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1930321.1930406.

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Santoso, Trisno, and Bagus Setyawan. "Wayang Golek Menak: Wayang Puppet Show as Visualization Media of Javanese Literature." In Proceedings of the 1st Seminar and Workshop on Research Design, for Education, Social Science, Arts, and Humanities, SEWORD FRESSH 2019, April 27 2019, Surakarta, Central Java, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.27-4-2019.2286930.

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Sulaksono, Djoko, Kenfitria Wijayanti, and Bagus Setyawan. "Wayang Multimedia: Wayang Contemporary Art as a Creative Art-Industrial in Modern Era." In Proceedings of the 1st Seminar and Workshop on Research Design, for Education, Social Science, Arts, and Humanities, SEWORD FRESSH 2019, April 27 2019, Surakarta, Central Java, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.27-4-2019.2286835.

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Permata Raharjo, Resdianto, Setya Yuwana Sudikan, and Budi Nuryanta. "Semiotics in Wayang Topeng Tengger Show." In 2nd Social Sciences, Humanities and Education Conference: Establishing Identities through Language, Culture, and Education (SOSHEC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/soshec-18.2018.18.

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Mahardhika, Cholis, Bambang Prihadi, and Muhammad Widya Ari Wibowo. "Wayang Beber in the Postmodern Era." In 3rd International Conference on Arts and Arts Education (ICAAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200703.036.

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Nalan, Arthur Supardan. "Wayang Ajen: Cultural Media Diplomated Culture." In 2nd International Conference on Arts and Design Education (ICADE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.044.

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Reports on the topic "Wayaku"

1

d�Hiriart, Sof�a, and Pablo E. Ortiz. Oxymycterus wayku. En: SAyDS�SAREM (eds.) Categorizaci�n 2019 de los mam�feros de Argentina seg�n su riesgo de extinci�n. Ciudad Aut�noma de Buenos aires: Lista Roja de los mam�feros de Argentina, November 2019. http://dx.doi.org/10.31687/saremlr.19.268.

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Perwak, Lindsay. Gritos en el Desierto: Denuncia y Resistencia en las Obras de las Escritoras Wayuu Estercilia Simanca Pushaina y Vicenta Marí­a Siosi Pino. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.3002.

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