Natural-Historical Diagrams: The ‘New Global' Movement and the Biological Invariant

This article puts forward the thesis that the contemporary global movement against capitalism, and the post-Fordist regime it is responding to, is best understood in terms of the emergence of ‘human nature' as the crux of political struggle. According to Virno, the biological invariant has become the raw material of social praxis because the capitalist relation of production mobilizes to its advantage, in a historically unprecedented way, the species-specific prerogatives of Homo sapiens. Through the concept of ‘natural-historical diagrams', the article explores the significance of socio-political states of affairs which directly display key aspects of anthropogenesis, and, making use of Ernesto De Martino's concept of ‘cultural apocalypses', considers the different relations that a biological ‘background' and a socio-political ‘foreground' entertain in traditional and contemporary societies. The attempt to develop a ‘natural history' of such diagrams leads Virno to reflecting on the importance of the language faculty, neoteny, non-specialization and the absence of a predetermined natural environment for political action. This reflection on the contemporary importance of political anthropology leads Virno to a set of concluding remarks on the role of ethics and the idea of the ‘good life' in the practice of the ‘new global' movement

The Soviets of the multitude : On collectivity and collective work: An interview with Paolo Virno

Paolo Virno is one of the most radical and lucid thinkers of the postoperaist political and intellectual tradition. Of all the heterodox Marxist currents, postoperaismo has found itself at the very center of debates in contemporary philosophy. Its analytics of post-Fordist capitalism refer to Wittgenstein’s philosophy of language, to Heidegger and his Daseinsanalysis, to German “philosophical anthropology,” and to Foucault and Deleuze with their problematization of power, desire, and control apparatuses. Subjectivity, language, body, affects or, in other words, life itself, are captured by this regime of post-Fordist production. These “abstract” concepts and discourses have entered the reality of contemporary capitalism and become fundamental to it, as real, functioning abstractions. Such theoretical suggestions have launched enormous polemics over the last two decades

Penciptaan Tari Rambasaka Kabokemu Ikatan Perempuan yang Ingin Lepas dari Tindakan KDRT

In Butonese, untying is rambasaka kabokemu. The dance work's choreography is inspired by criticism of the phenomenon of violence against women. The rise of the issue of violence against women makes dancers reveal the other side of women who are trying to break free from shackles. Rambasaka Kabokemu is danced by male and female dancers who depict an abusive relationship with visual media forms. The creation method used in this work is "Creating Thourgh Dance" by Alma M. Hawkins, explained that there are three stages: the exploration stage, the improvisation stage and the formation stage. These three stages are closely related to one another with their implementation. Rambasaka Kabokemu is the third work done with a dramatic concept. This dance work can provide benefits for stylists and other people. For dancers, it is useful to raise new awareness about the fate and condition of women who have experienced acts of violence and want to voice their opinions

WA ODE MENERJANG BADAI: KARYA TARI YANG MEREFLEKSIKAN PERJUANGAN PEREMPUAN BUTON DALAM MENGGAPAI KEMERDEKAAN

RINGKASANWa Ode Menerjang Badai adalah perjuangan wanita Buton dalam melawan kebebasannya. Koreografinya terinspirasi oleh pribadi penulis/koreografer sebagai wanita yang menyandang gelar bangsawan Ode. Hari ini, banyak perempuan Buton Ode yang benar-benar ingin mencapai tujuannya dengan membuat pilihan sendiri. Dalam lagu Khabanti tradisional dan novel modern Di bawah bayang-bayang, Ode digambarkan sebagai perempuan yang hampir tidak memiliki kebebasan karena dibatasi secara ketat oleh aturan tradisional di mana pernikahan yang diatur adalah kebiasaan di antara keluarga kerajaan. "Wa Ode Menerjang Badai ” ditarikan oleh lima orang penari perempuan, salah satunya bertindak sebagai Wa Ode — karakter utama — yang berjuang untuk kebebasan dan status yang setara. Sepanjang koreografi Wa Ode mengungkapkan rasa frustrasi, kebingungan, dan kecemasannya berbagai cara untuk mewujudkan mimpinya menjadi kenyataan, yaitu membebaskan wanita Buton dari dunia maya yang belenggu aturan tradisional untuk mencapai kebebasan dan kesetaraanABSTRACTWaode Crossing the Storm is the struggle og Buton women in fighting their freedom. The choreography is inspired by the author-choreographer’s personal experience as a woman who bears the noble title of Ode. Today, many Buton Ode women really want to achieve her goals by making her own choices. In the traditional khabanti songs and modern novel Under Shadow of Ode, the Ode women are depicted as almost having no freedom bounded strictly by traditional rules in which arranged marriage is customary among royal families. “Waode Crossing the Storm” is performed by five female dancers one of them acts as Waode—the main character—who is fighting for freedom and equal status. Along the choreography Waode expresses he frustration, confusion, and anxiety indifferent ways to make her dream a reality, i.e, freeing Buton women from the shackles of traditional rules to achieve freedom and equality

Penciptaan Tari Rambasaka Kabokemu Ikatan Perempuan yang Ingin Lepas dari Tindakan KDRT

In Butonese, untying is rambasaka kabokemu. The dance work's choreography is inspired by criticism of the phenomenon of violence against women. The rise of the issue of violence against women makes dancers reveal the other side of women who are trying to break free from shackles. Rambasaka Kabokemu is danced by male and female dancers who depict an abusive relationship with visual media forms. The creation method used in this work is "Creating Thourgh Dance" by Alma M. Hawkins, explained that there are three stages: the exploration stage, the improvisation stage and the formation stage. These three stages are closely related to one another with their implementation. Rambasaka Kabokemu is the third work done with a dramatic concept. This dance work can provide benefits for stylists and other people. For dancers, it is useful to raise new awareness about the fate and condition of women who have experienced acts of violence and want to voice their opinions

PEMBELAJARAN SENI TARI UNTUK UNTUK GURU SEKOLAH DASAR DI SD NEGERI 2 BAUBAU

Pelaksanaan kegiatan pengabdian kepada masyarakat bertujuan meningkatkan kualitas Pendidikan di Indonesia pada pembelajaran seni tari. Seni tari sebagai bagian dari seni budaya Indonesia yang memiliki peran penting dalam melestrarikan dan memperkenalkan kekayaan budaya kepada generasi muda. Metode pelaksanaan dilakukan dengan menyasar guru kelas di SD Negeri 2 Baubau. Kegiatan ini dilaksanakan selama 1 hari pada hari minggu tanggal 23 Juli 2023. Kegiatan diawali dengan observasi, penentuan rencana, kordinasi dengan pihak sekolah dan pentapan target sasaran dan pelaksaaan program

TRADISI KENDURI ARWAH DITINJAU DARI AQIDAH ISLAM

Dalam masyarakat Dusun Tanjung Kepri, Tradisi Kenduri Arwah berkaitan erat dengan kehidupan sosial masyarakat, karena tradisi ini merupakan warisan leluhur atau nenek moyang mereka. Tradisi kenduri arwah ini bertujuan mendoakan arwah orang yang meninggal dunia dengan ritual tertentu. Acara kenduri arwah ini dilakukan pada hari pertama, ke dua, ke tiga, ke tujuh, ke dua puluh, ke empat puluh, ke enam puluh, dan ke seratus setelah meninggalnya seseorang. Sebelum acara dimulai, keluarga/ahlul bait menyiapkan kemenyan, setanggi dan roti canai untuk digunakan dalam pelaksanaan kenduri arwah. Setelah semua dipersiapkan, acara kenduri arwah dimulai dan dipimpin oleh orang yang di tuakan atau imam di Dusun Tanjung . Imam duduk bersila menghadap tempat bara-bara Dari keterangan di atas, timbullah pertanyaan bagaimana latar belakang kemunculan tradisi kenduri arwah ini terjadi dan bagaimana pelaksanaannya jika ditinjau dari perspektif Akidah Islam yang menjadi inti permasalahan skripsi ini. Untuk menjawab permasalahan tersebut, digunakan metode penelitian kualitatif dengan menggunakan alat pengumpul data seperti kuisioner, wawancara, dan observasi langsung. Kesimpulan yang berhasil disusun adalah bahwa tradisi kenduri arwah yang dilaksanakan di Dusun Tanjung tersebut bertentangan dengan akidah Islam dalam pelaksanaannya. Saran penulis ditujukan terutama kepada ulama dan tokoh masyarakat agar dapat mengarahkan tradisi tersebut sesuai dengan tuntutan syari’at dan akidah Islam

BAWINE: KARYA TARI YANG TERINSPIRASI PADA CITRA PEREMPUAN BUTON

Bawine dalam bahasa Buton berarti perempuan. Karya tari ini terinspirasi dari sosok perempuan Buton yang ditulis dalam buku Perempuan dalam Khabanti yang sangat ingin melakukan segala sesuatu sesuai dengan keinginannya tetapi dibatasi oleh aturan tradisi yang tidak membolehkan wanita bekerja, bersekolah, dan menentukan jodohnya sendiri. Karya ini juga dikaitkan dengan keadaan perempuan Buton saat ini yang bebas menentukan jalan hidup dan memilih hak untuk melanjutkan pendidikan ke jenjang yang lebih tinggi. Tari Bawine ditarikan oleh tiga penari wanita yang masing-masing memiliki peran masing-masing. Penari pertama menggambarkan perempuan yang masih terkungkung, penari kedua menggambarkan wanita tradisi yang menjadi pisau bedah untuk ke luar dari aturannya, dan penari ketiga menggambarkan perempuan dari generasi sekarang yang bebas menentukan pilihannya. Bawine is a Buton language which means female. This dance work is inspired by the female figure of Buton written in the book Perempuan in Khabanti, who is keen to do everything with his desire but is limited by traditional rules that do not allow women to work, go to school, and determine their own soul mates. This work is also associated with today's women who are free to determine the way of life and choose the right to continue their education at a higherlevel. Bawine dance is danced by three female dancers who each have their roles / characters. 1) dancers who describe their constraints, 2) dancers who describe traditional women who become scalpels to get out of their rules, and 3) dancers who describe women who have been associated with the present who are free to make their choices

Crisis and the emotional body : Towards (another) freedom

In his analysis of the recent European crisis, Franco 'Bifo' Berardi (2012) looks beyond its economic causes and implications and theorises the role played by poetry and the emotional body in rediscovering the relationship between language and desire and reopening the possibility of social solidarity. Drawing on Félix Guattari’s (1995) reflections on the correlation between singular refrain and universal chaos in the reinvention of subjectivity, Berardi conceptualises rhythm as a poetic feature which can contribute to restoring our ability to conjoin with other singularities and with our social and cosmic environment. This article considers how a close engagement with rhythmical, repetitive and cyclical performative practices in examples of recent European choreography may offer ways of responding to today’s crisis of social cohesion, reimagining channels of intensive communication. In particular, the article looks at works by the Italian artist Alessandro Sciarroni (Folk-s, will you still love me tomorrow?, 2012 and Chroma_don’t be frightened of turning the page, 2017) and by the London-based duo Igor and Moreno (Idiot-Syncrasy, 2013) and discusses how, in revisiting elements of folk traditions, they mobilise their potential as formal, semantic and affective modalities that can sustain a reconfiguration of social freedom