Kamanala

Abstract Kamanala dalam bahasa Jawa Kuno berarti Api Cinta, orang mengatakannya perasaan yang paling tidak bisa dibohongi. Berbagai perasaan dialami dalam menjalani cinta seperti senang, sedih, gembira, terkadang juga orang rela mati demi cinta. Semua perasaan tersebut kemudian ditransformasikan kedalam sebuah komposisi tabuh kreasi pepanggulan yang menekankan pada jalinan melodi, harmoni, tempo, dinamika lagu yang dikemas menjadi sebuah komposisi tabuh kreasi pepanggulan dengan judul Kamanala

LOKALITAS DALAM SENI GLOBAL TAHUN 2013

Globalisasi yang sedang diwacanakan ternyata melampaui batas-batas kata world. Globalisasi mengisyaratkan mengenai poin-poin lokal seni budaya yang tersebar di manapun dapat disebut aktivitas global. Jim Supangkat memberikan pandangannya mengenai global art bahwa upaya mengidentifikasi global contemporary art yang justru mempertanyakan tanda-tanda keseragaman. Sejarawan terkemuka Hans Belting memulainya dengan melihat global contemporary art sebagai “global art” yang harus dibedakan dari world art. Bagi Hans Belting, pengertian world art mencerminkan pemahaman modernisme yang hegemonik(1). Jadi secara struktur world art masih sebatas klaim bahwa pandangan dunia Barat merupakan pandangan yang mampu diaplikasikan ditiap pelosok kebudayaan dunia, padahal jika dibaca secara teliti hal ini sebatas hegemoni dari moderisme dengan jargon world art. Global art menurut Hans Belting sama sekali bukan tanda-tanda munculnya kenyataan yang diprediksi universalisme. Global Art muncul karena sebab sebab ekonomi. Perkembangannya di art market tidak peduli pada keseragaman pada universalisme. Bisnis membuat global contemporary art memedulikan kekuatan lokal demi kepentingan bisnis(2). Global art mampu merangkul tiap-tiap aspek lokal yang walaupun ada sebuah kepentingan namun keberpihakannya mengankat nilai- nilai lokal didalam percaturan medan sosial seni sudah selayaknya diapresiasi. Tidak ada batas antara Timur dan Barat, semua kebudayaan itu bersifat global. perlu juga diuraian mengenai batas-batas istilah “lokal” serta “global art” dalam kesempatan ini karena sering terjadi pemaknaan yang bias. Istilah “lokal” didalam seminar yang bertajuk “Lokalitas dalam Global Art” berada pada wilayah artefak-artefak kebudayaan lokal yang terdapat di Bali khususnya, ikon-ikon lokal yang mencirikan lokal jeniusnya. Sedangkan Global art berkutat kepada wacana seni yang diangkat dengan kekuatan lokal serta mampu diwacanakan diseluruh penjuru atau pelosok dunia. Note: (1) Lihat “Contemporaneity”: Biennale Indonesia Awards 2010. Pewacanaan Contemporaneity oleh Jim Supangkat. ( 2) Ibid

LOKALITAS DALAM SENI GLOBAL

Globalisasi yang sedang diwacanakan ternyata melampaui batas-batas kata world. Globalisasi mengisyaratkan mengenai poin-poin lokal seni budaya yang tersebar dimanapun dapat disebut aktivitas global. Jim Supangkat memberikan pandangannya mengenai global art bahwa upaya mengidentifikasi global cobtemporary art yang justru mempertanyakan tanda-tanda keseragaman. Sejarawan terkemuka Hans Belting memulainya dengan melihat global contemporary art sebagai "global art" yang harus dibedakan dari word art. Di Dalam ranah seni pertunjukan, Etnomusikologi itu sebuah eklitisme, tidak sekedar ilmu mencari musik disana sini, menyelidiki, mengkaji, bermain musik, namun Etnomusikologi itu lahir dari perlawanan para lokalitas pencinta musik - musik tradisional terhadap superior komunitas musik barat yang selalu menganggap diri paling hebat dan paling bermutu. Di sini para Etnomusikologi berjuang mengangkat citra lokal. Dari ranah visual art atau seni rupa dan desain dewasa ini terhembus wacana seni rupa mengenai Global Art yang kembali melirik dan menghadirkan ikon atau unsur lokal kemudian divisualkan secara kreatif dengan ide-ide "gila", sehingga disetiap karya-karya akan hadir atmosfer lokal bernuansa baru yang mampu eksis di dalam ranah medan sosial seni rupa dunia

THE 6TH INTERNATIONAL SEMINAR ON NUSANTARA HERITAGE

WELLCOMING SPEECH BUILDING CULTURE CREATING NATION’S PERSONALITY Wellcoming Speech By I Gede Arya Sugiartha Rector of ISI Denpasar The socio-cultural problems that challenge our nationality have penetrated into public space. Ranging political, economic, educational, health, to humanity these problems have become an issue that can be clearly seen and freely witnessed through the mass media. The occurrence of tragedies such as the SARA conflict, armed conflict, the disintegration of our nation and the increasing presence of terrorism networks mark our nation as a “danger area” that can threaten everyone here at any time. In the past, our country was a highly developed and glorious geographical and political area often described as the “tata tentrem karta raharja” or “the kingdom of peace" The success stories of the Sriwijaya Kingdom, the Majapahit Kingdom uniting our nation, the birth of various works, such as Borobudur, Prambanan, and Angkor Wat showcase the world of wonder that is our nation. This is a proof that this nation is a safe place that gives artists an opportunity to thrive and produce new works. Today, we have to explore the true meaning of success and the birth of archaeological wonders that are inherited to us through this nation. KEYNOTE SPEAKER’S ABSTRACT FOOTPRINTS, TRAILS AND EXPLORE (EARTHLY) NUSANTARA FINE ARTS Setiawan Sabana Institut Teknologi Bandung [email protected] INTRODUCTION The echoes of the terminology, the concept and practice of Nusantara culture were heard and felt increasingly expressed relentlessly in various forums, whether of political dimension, historical, educational, science and technology, to arts and culture. This movement is emerging in various formats. In the academic realm, there is an ongoing effort to understand and deepen the Nusantara in researches in various universities. Great attention to the excavation of the values and meanings of Nusantara today becomes a colossal event. It can be seen and interpreted as a revitalization of consciousness to tread, trace and explore the civilization and culture that became the foundation and the significant life breath in the geographical region in the Southeast Asian populations which are administratively within ASEAN. The Nusantara echo is enlarged in the region in its form, discourse, expression and terminology. In essence, this monumental consciousness, in my opinion, is synonymous with a new awareness of the importance of awakening the facts and the reality of identity around ourselves. The range of a long and distinctive journey is unique in the context of the natural terrain, culture and civilization, and its products are different from other regions of the world. BRIDGING INFORMAL, NON-FORMAL AND FORMAL EDUCATIONAL APPROACHES TO SUPPORT THE ARTS, CULTURAL HERITAGE DIVERSITY, AND SOCIAL COHESION Diane Butler Assoc. Professor Kajian Budaya Doctoral Studies Program, Universitas Udayana (USA/Indonesia) Given that across the Nusantara region there are thousands of sacred natural and built heritage structures and sites and a multitude of forms of tangible and intangible cultural heritage – it is vitally important that young people can receive practical knowledge and tools so as to enable them to take part in “the identification, protection, presentation and interpretation of heritage structures, sites or areas in their setting” (see ICOMOS, 2005 Xi’an Declaration). The social reality of people from various ethno-cultural backgrounds with diverse languages and religious practices residing in, visiting or journeying through all regions of the world also requires strengthening skills for cooperation and the capacity for intercultural creative dialogue. Aware of the linkage between these two matters, the question that needs addressing is how can artists – both tradition-bearers and contemporary practitioners – and experiential learning through art praxis continue to have a prominent role in the field of heritage preservation and the shaping of cultural environments for the future. This paper thus takes up the topic of bridging informal, non-formal and formal educational approaches to support the arts, cultural heritage diversity, and social cohesion. Keywords: informal, non-formal and formal education; art praxis; tangible and intangible cultural heritage diversity; social cohesion [email protected] ABSTRACT GLOBAL SHOCK AND NUSANTARA HERITAGE Jean Couteau Assoc. Professor Indonesian Institute of The Arts of Denpasar France/Indonesia [email protected] INTRODUCTION There are several ways to interpret the theme of this conference: Nusantara Heritage. I choose to appoint, not the content of the inheritance itself, in all of its riches, but what sees as its problematic "survival" implicit in it: how to build and preserve a nation, and a country that is truly united and unified, although consist of components that are often very different from each other? At the level of its citizens, how to get Indonesians to construct their identity in a balanced way between several layers: the national, ethnic and religious layer, in order for their unity to remain firm. This problematic has actually been present in the dialectics of the symbolic-ideological system of Indonesia since the formulation of Indonesian concepts: politically in the Sumpah Pemuda of 1928 and in the speeches of Sukarno and the founders of other nations; culturally in the writings of Ki Ajar Dewantara; and normative ideologically within Bhinneka Tunggal Ika, Pancasila and related symbolic systems. This fact makes Ben Anderson formulate the concept of nationalism as an "imagined community". This problem also overshadows the writings of Radhar Panca Dahana and Azyumardi Azra (Islam Nusantara). BUILDING VIRTUAL FOUNDATION THROUGH UTILIZATION OF THE NOBLE VALUES OF NUSANTARA’S CULTURAL HERITAGE. I Wayan Rai S Indonesia Institute of Art and Culture (ISBI) Tanah Papua, Jayapura. [email protected] ABSTRACT In accordance with the theme of The International Seminar on Nusantara Heritage (ISoNH) 2017, which is “Nusantara’s Cultural Arts Diversity as Inheritance Source of Tolerant and Inclusive Society’s Development Values” I would like to deliver a paper entitled: “Building Virtual Foundation Through Utilization of the Noble Values of Nusantara’s Cultural Heritage”. Specifically I want to discuss about the noble values that are contained in Nusantara (Indonesia) cultural heritage which are relevant to be utilized universally as a source of inspiration and tolerance. In order for us to use them as a source of inspiration and tolerance, it is necessary to build a solid foundation, which I call the "Virtual Foundation". As an illustration, I use a new art creation entitled Kecak Rasa Papua Dance (Kecak with Papua Taste Dance), produced in 2015 at ISBI Tanah Papua, Jayapura. The purpose of this work is in line with the theme of our international seminar today, which is how to build a sense of togetherness ARTS APRECIATION BASED ON THE PRINCIPLE OF ETHNOMATHEMATICS Abdul Halim bin Husain, Rushana Bte Sulaiman @ Abd. Rahim Sultan Idris Education University [email protected] INTRODUCTION This paper is on arts via ethnomathematic approaches. The arts focused include, weaving, fine arts, textiles, carvings, and architecture. The study analyzes the mathematical principles found in each chosen work. The beauty of patterns and motifs can be seen through geometric designs. Visual observation is done to extract information on the relationship between arts and mathematics. The results of observation through the beauty of art work is expected to show its beauty from ethnomathematic aspects. This study is able to extend the boundaries of appreciation especially in the arts, based on ethnomathematic features in general. Early 1970s the national cultural congress in Malaysia has raised questions about national identity. The congress felt it is necessary to be aware of some elements to symbolically identify the national culture and the background of society. The background of the Malay community was influenced by the culture and the paradigm of thinking. A rich heritage of culture and customs enabled them to build their traditions from the foreskin of thought and inherited philosophy. THE PAST, PRESENT, AND FUTURE OF NUSANTARA HERITAGE: FOCUSING ON THE RELIGION AND CULTURE IN BALI Shinobu Yamaguchi Professor, Department of Eastern Philosophy and Culture, Toyo University, Tokyo, Japan [email protected] ABSTRACT Śiwa-Buddha is the basic concept in the present Balinese Hinduism originated in old Java. In India, the concept of Śiva-Buddha was not born. Thus, this concept is a characteristic of Balinese Hinduism. We can see the examples of this concept in some Javanese and Balinese temple-architectures and statues. And another feature of Balinese Hinduism, namely, ancestor worship is the result of absorption of indigenous element by Indian religions. Those two elements are the important characteristics of Balinese Hinduism as a Nusantara heritage. Now Indonesian people confront with the modernization or globalization. I don’t think the people should abandon their traditional society and culture due to globalization. However, I think that people should judge the order of priority in every social and cultural element, thinking their nation, Indonesia first. We should examine the meaning of ‘Nusantara’ again in modern context. Keywords: Siwa-Budha, Nusantara Heritage, Meaning of ‘Nusantara’, Religion and Culture PARTICIPANT’S ABSTRACT VISUAL ARTS OF PREHISTORIC SOCIETY BASED ON THE MOTIF AND SYMBOLISM ON CAVE PAINTING IN PENINSULAR MALAYSIA Adnan Jusoh, Yunus Sauman & Mohamad Kamal Kamarudin Universiti Pendidikan Sultan Idris (UPSI) [email protected] ABSTRACT This paper aims to explore the uniqueness of prehistoric society visual arts on motif sketches and cave paintings. A number of such paintings were found in Peninsular Malaysia, nevertheless they are less known by the public. The uniqueness of the arts that exhibit multiple shapes and motifs yet is very interesting to be displayed to the public knowledge. Therefore, using books and journals, this article attempts to analyse several aspects of the cave paintings. Cave painting should be viewed as part of visual art that needs to be analysed from the sociocultural activities of the prehistoric societies or the Orang Asli societies in several parts of Peninsular Malaysia. Human, animal and nature sketches are among the elements of motifs and ornamentation found on the cave paintings. They are not a product of individual creativity alone, but they capture the reality of the events, social activities, rituals and beliefs of the societies. In short, evidence suggests that cave art has contributed in giving up information of the sociocultural activities during that era. Keywords: Visual Arts, Prehistory, Motifs, Sociocultural Activities, Cave Paintings THE SERAT NITIK BAYUNAN: THE DISCOURSE OF ASCETICISM JAVANESE WOMEN IN THE PATRIARCHAL CULTURE HEGEMONY Afiliasi Ilafi, Adi Putra Surya Wardhana Universitas Sebelas Maret afiliasiilafi60@ student.uns.ac.id ABSTRACT Javanese society adheres to patriarchal culture. Social and cultural constructions place the power and status of Javanese women under men domination. However, there are ancient manuscripts that show that Javanese women have a great social role. One of them is the Serat Nitik Bayunan which tells the story of a princess’s decision to be celibate. It means that she obedient the asceticism principle which is known as Mesu Budi in Javanese term. Therefore, this paper has several goals. The first is to find out what is the content of the Serat Nitik Bayunan? The second is how the discourse of asceticism Javanese women constructed in the middle of the patriarchal culture hegemony. This paper used qualitative data analysis, by using the Michel Foucault’s discourse as main theory and feminism approach. The result shows that the Serat Nitik Bayunan is an ancient manuscript which was written in the circa 1911 AD to glorify G.K. Rt Pambayun as Princess of Keraton Surakarta, Paku Buwana VII. Her decision was not easy due to the purpose of the princess to be married as a political pawn. It shows that a princess and Javanese women have an immense social role in the patriarchal culture. However, this discourse actually was built to empower the standing of the Sultan of Surakarta. Keywords: Serat Nitik Bayunan, Discourse, Asceticism, Javanese Women THE POTENCY OF SANG HYANG PERAHU DANCE TO BE THE CULTURAL AND SPIRITUAL ATTRACTION IN LEMBONGAN VILLAGE, NUSA PENIDA, KLUNGKUNG REGENCY Agus Muriawan Putra, I Ketut Antara Universitas Udayana [email protected], ABSTRACT The purpose of this research is to know the potential of Sang Hyang Perahu Dance to be the cultural and spiritual attraction in Lembongan Village which is a sacred dance, so this dance remains a culture belonging to Lembongan community as part of religious ritual and keeps its sacredness as Wali Dance. Data were collected using Focus Group Discussion and Interview, Field Study, and Library Studies. The results of this research are: (1) To know the potential of tourism in Lembongan Village; (2) Sang Hyang Perahu Dance profile and its sacred song series; and (3) The effort to awaken Sang Hyang Perahu Dance as the cultural heritage of the Lembongan Ancestors. Keywords: Cultural Potential, Wali Dance, Ritual Process, Tri Hita Karana MYTHS IN SUNDANESE AND JAPANESE CULTURE: CONSERVATION VALUE OF HARMONIZATION IN MODERN LIFE Agus Suherman Suryadimulya, Asep Yusup Hudayat Universitas Padjadjaran [email protected] ABSTRACT The understanding of the traditional cross-cultural values (Sundanese and Japanese culture) embodied in myths is essential to achieving international harmony among modern-day nations. Language as a binder of ideas, attitudes, and cultural behavior to represent the power of the expression of the myths that survive in the Sundanese and Japanese culture. Kaplan and Manners (2002: 79- 81; 165-169) argue that in interpreting the belief system it is necessary to do complementary cognitive equations rather than displace other interpretations and keep in mind the meanings expressed by the citizens who own the belief system. Based on these interpretive mechanisms, Sundanese and Japanese cultures potentially still show some community attachment to myth for a number of activities that are bound by their natural and social environment. This study targets a mythical scheme in consciousness quadrant. The scheme model is designed systematically and functionally to be used as a reference in optimizing the understanding of the myth in the perspective of traditional beliefs that have value to modern life. Keywords: Myths, Sunda-Japan, Modernity, Conservation DISCOURSE OF THE HEALING DISEASE THROUGH LOCAL TREATMENT ‘MALUKAT’ IN BALI Anak Agung Kade Sri Yudari Universitas Hindu Indonesia [email protected] ABSTRACT Consecration sources of springs by the Hindu community in Bali since a long time has been done. As time passes and the progress of society's way of thinking, the source of water is used as a place of purification known as 'malukat'. The discourse about malukat rampant discussed by society ten years lately because functioned as a solution of healing all sorts of diseases. This phenomenon is followed by the number of malukat spots popping up even its existence almost every district in Bali. Usually in places like malukat; River, sea, lake, campuhan, pancuran, kelebutan, and others established a 'palinggih' and adjacent to the temple. The focus of analysis in this paper; Why malukat discourse as a solution to cure diseases and how the process of malukat that can cure disease. With the orientation of structural-functional theory which is elaborated through descriptive-qualitative method the results can be summarized as follows; That malukat is a local wisdom that has a very deep message of philosophy and meaning, as it appears in the Vedic texts. In its implementation in the society of malukat is seen as a solution because it’s meaning and its function has been proven to cure various kinds of illness of birth and soul. While the proce