Load Cell Test Pada Fondasi Jembatan Suramadu

At present, Suramadu Bridge is the longest bridge in Indonesia, having 5.438 m length. The uniqueness of this bridge is the three parts which divide the bridge, those are approaching bridge, main bridge, and causeway. This bridge also provides a special lane for motorists outside of the bridge. For the feasibility test of these bridges, it requires a test to the load to verify the real carrying capacity which is able to be borne by the bridge. Article present a case of foundation which has a large dimension and carrying capacity, by the testing method that is done very limitedly; such as Statnamic and Load Cell Test, or Osterberg Cell Test. Based on the result of the Load Cell test - first phase, a decision to implement Load Test second phase is made. Because it is proposed to use a grouting on the tip of foundation, Load Cell second phase is implemented before and after the grouting. From the results of Load Cell Test second phase, it seems that the implementation of Grouting does not significantly increase the carrying capacity, but give a large contribution on the carrying capacity of friction

BARONG BUNTUT: DAYA RAMBO, GAYA TESY, PENJUNGKIRBALIKAN NILAI, PENGERDILAN KEAGUNGAN, DAN PENISTAAN KEWIBAWAAN BARONG KET

Barong is one of the prestigious Balinese arts which is world widely recognized not only as the product of fine arts but also as performance arts. Barong is product of art is coutaining full of physical values such as glamours costum and perfect appearance; full of physical values where the Barong is prevified by using offering regularly, and even it is worshipped since it is believed that it is symbolized as God. In case of Barong Buntut, it is part of the Barong in which it is the appreciation and creation of the original Barong. In its development, this form of Barong leaved out form the root of the original culture consequently, this Barong has nothing related to its values. It can be included that Barong Buntut is considered as an unfairly form aof art because it downgrades the values of the original Baron

MULTICULTURALISM AND BALI’S TOURISM

It may be stated that multiculturalism refers to a view which glorifies or respects cultural diversity. This view has appeared as a response to the global pressure which has tended to unify the world (culture) under the ideology of capitalism or modernity. The tourism developed in bali, as a tourist destination, has positively and negatively affected the local community. The tourists who visit bali bring their own culture. This means that what they bring is not only economically dimensional but culturally dimensional as well. The development of tourism in bali has created a lot of job opportunities and as a consequence, many people from outside bali have migrated to bali to earn a living. These people also bring their own culture. This condition will lead to multiculturalism, which if not accurately dealt with, will lead to a social disintegration. Keywords : Multicultural, tourism and cultura

FILSAFAT DAN SIMBOLISME KETUPAT SEBUAH KAJIAN ESTETIK

Abstract To analyze “Philosophy and Symbolism of Ketupat” (Rice cake boiled in a rhombus-shaped packet of plaited young coconut leaves) a aesthetics study. The first explained the mean of philosophy as a love wisdom also at Hinduism called Tattwa is secret of divinity with Their Manifestation about secret of universe and life. Symbolism of Ketupat is extending conscience Hinduism to Ida Sang Hyang Widhi Wasa (Powerful of god) and Their Manifestation example Ketupat Linggih, made from leave of coarse grass, usage for “Banten Panca Lingga” carried out of “Nelinggihang Dewa Pitra” ceremony or honorable ancestors. While Philosophy and symbolism of Ketupat a aesthetics study as extending a love wisdom Hinduism based on art of “Ulat-ulatan” kind of Ketupat, but a aesthetics study as strike to feel of beauty in inspirins, understanding, and stable Hinduism always based on Weda

SVARGAROHANAPARVA JAWA KUNO KAJIAN INTERTEKSTUALITAS

Svargarohanaparva is the last book of eighteen Mahabharata Sanskrit compiled by great seer Vyasa. When arrived at heaven, King Yudhisthira sees Duryodhana blazing with effulgence and seated on excellent seat. Yudhisthira solicitude for his brother and kinsmen and the princess of Draupadi. The advent of the deities, and their adulation of the conduct of Yudhisthira. Yudhisthira plungs in the celestial Ganges river and assumed a celestial body. Yudhisthira proceeds in company with the deities, to share with his brothers and kinsmen the region which they have acquired for themselves. Yudhisthira sees Govinda (Sri Krishna) in his effulgent Brahma form as also all his brothers and relations, the princess Draupadi and his own father and mothers grandsire and preceptor, uncle and grandsons, the Vrishnis and Andhaka heroes. The description about heaven (svarga), hell (naraka), and emancipation (moksa) in Svargarohanaparva Jawa Kuno or Old Javanese (SpJK) are same with the description in Veda, Svargarohanaparva Sanskerta (SpS) and the books of Purana and also the perception of Hindu Balinese alik

THE RAMAYANA IN INDONESIA BY MALIN SARAN AND VINOD C. KHANNA (Book Review)

First, I congratulate the authours, Malini Saran and Vinod C.Khanna, on their meticulous effort and in depth account on the affable relationship between India and Indonesian culture through the eyes of Ramayana. I am very delighted for both of them and their book. To my knowledge, there are many foreign representatives who have published materials about our lovable country once completting their assignment in Indonesia. The different approaches and diverse perspectives of their publications are always worthy resources to ascertain our way of life. Subsequently, it is inspiring to have Mr.Khanna the former ambassador of india for Indonesia (1985-1988) in collaboration with Mrs.Saran to successfully publish a book concerning Indonesia from a cultural virewpoint, in this accasion, Ramayana as a crucial element in the foundation of the Indonesian culture

SENI PERTUNJUKAN PARIWISATA DALAM PERSPEKTIF EKONOMI PEMBANGUNAN

This small paper mainly discuss about the art performance that is packed for tourism purposes which is indirectly becoming the asset of the Balinese culture tourism. This study based on the cultural economic development approach. Bali, which potentially develops its sector in culture tourism, has an important role in increasing the income of the Balinese society to achieve the development that has been planned. Culture tourism is one kind of tourism, which relies on the functional relationship between art and culture. One of the cultural activities that are the most frequent related to tourism is art performance, which is classified as art co modification. This kind of performance is the imitation of the element of the traditional art, which mostly has religious atmosphere. This co modification is packed in such away to meet the market needs that has the following forms : imitation from the original (traditional), the form of the performance is without political needs, good arrangement in its choreographer, loose in its sacred value, varieties in its kinds and cheap. Most of Balinese people agree that the existence of the co modification art has a positive impact to the sustainability of Balinese culture. They predict that without the existence of this co modification art, ‘seka-seka’ as the traditional organization will never be able to run their organization very well because of lack of money. This will exactly threatened the previous art performance. For that reason then the art society, think that there is a mutual relationship between tourism and the existence of the art organization in Bal

“THERAPEUTIC CASTING” : MUNGKINKAH (?)

Abstract Therapeutic Casting is one of the processes of casting (i.e. the selection and determination of the actors/actresses for a theatrical performance, whose genuine characters are in contadiction with the characters to be assumed in the performance). The other types of casting include the casting by ability (i.e. one based on the skill and intellegence of the actors/actresses), the antitype/educational casting (i.e. one in contradiction with the generality of human characters), and the casting to emotional temperament (i.e. one based on similarity of emotion). Therapeutic Casting is very rarely applied by the nowadays directors because it is regarded an a losing project, let alone when it is connected to theatrical profesionalism, namely theatre as business. However, this model of casting of great significance from the humanity aspect because it serves as a media for healing the actor/actresses from their mental instability or mental shock due to cetaim causes

TARI MAKEPUNG: SEBUAH REFLEKSI TRADISI BUDAYA MASYARAKAT JEMBRANA

Abstract Makepung is a Balinese term for denoting a buffalo race traditional held by agreecultural community of Jembrana regency. This race has become the characteristics of this regency with the name “Bumi Makepung”. This Makepung tradition has also inspired the local artist to create some dance creations, one of which is the Makepung dance. This is a new creation that reflects the process of the buffalo race, from its preparation and race itself. Makepung dance gets the sympathy of the local people because of its theme that reflects the Makepung traditions that can be seen from; its theme on Makepung; its vocabulary of movement mostly of the symbolic movement of the racers and their buffaloes; the costume worn in the dance are mostly of the assesories used by the racers and their buffaloes during the race; and the accompanying music of Makepung dance is the Jegog music instruments which is always used during the race. Seeing the above factors, it is can say that Makepung dance is a reflection of the Makepung cultural traditions of the local people of Jembrana

TRI HITA KARANA A CONCEPTION IN CONDUCTING BALINESE ARTS

Abstract: Art is one from seven culture elements that show the identity of a nation because it has special characteristic which is bringing an unique experience that improve by its own and stay save inside the artist that create it. The prominent power in conducting art thing is beauty. Every creation of art is always base on ethics (act value), logic (truth value), and aesthetics (beauty value). Also in creating an art thing must fulfill three elements which are satwam (truth), siwam (greatness) and sundaram (beauty). Tri Hita Karana is three basic elements that can bring happiness (peace). Those three elements are parhyangan that contain meaning the relationship between human with the God (Ida Sang Hyang Widhi), pawongan which is the relationship between human with fellows, and the third is palemahan which has meaning the relationship between human with the surroundings. Those relationships must be equal integrally in Hindu cosmology. The world divided into three which are upper world called suarga as the place of Gods, middle world called bhuwah or bhuwah loka as the place for human, and under world called bhur loka as the place of evil spirits known as bhuta kala. The implementation of Tri Hita Karana concept in conducting Balinese arts can be seen from the variety of art elements which the object and the inspiration taken from the universe such as art of dancing, art of karawitan, art of puppetry and fine art. All the art things always performed in religious ceremony of offering (relationship between human and God), humanity activity (relationship between human with fellows) and preserving the universe (relationship between human and the surroundings