Evaluation of three phase motors: categorisation of local magnetic polarity combinations

The project attempts to create a system that is able to evaluate the windings of a 3 phase motor with 12 stator windings by measuing the polarity of each of them when a DC current is passed through. It works by comparing with the expected result and by finding which are wrong, deducing the incorrectly wound windings.Incomin

Seudati Inong The Female Form of t h e Martial Art Genre in Meulaboh, West Aceh, Indonesia

Aceh, the northernmost province of Sumatra (known as Serambi Mekah ‘The Verandah of Mecca’) has a wealth of Muslim musical genres and body movement or dance forms. It was one of the first provinces of the Malayo-Indonesian archipelago to develop musical art forms associated with Islam. Unlike in many other Muslim societies, the Acehnese have a martial art tradition which is integrated into performances and includes female as well as male heroism

Ethnomusiological education for a humane society: ethical issues in the post-colonial, post-apartheid era

In this paper I want initially to discuss some ethical problems which we educators have on the whole somewhat neglected: firstly, ethical issues that need to be incorporated into the education of students of the traditional and popular musics of the world at the secondary and tertiary level in this post-colonial and post-apartheid era, and secondly, the related ethical issues affecting the work of ethnomusicologists as they study and record the musics of traditional communities throughout the world, and especially the recent transformation of field recordings made by ethnomusicologists and others into the commercial product which we know as 'world music', or music that is, or is claimed to be, based on traditional music but has been adapted to a popular musical idiom and has thereby been made 'palatable' for commercial exploitation

BUNDENGAN: SOCIAL MEDIA AS A SPACE FOR COLLABORATION IN THE CONSERVATION AND REVIVAL OF AN ENDANGERED MUSICAL INSTRUMENT

The widespread use of social media in cultural heritage and conservation projects principally makes use of its capacity for public-facing engagement and the promotion of cultural institutions and events. Its potential as an inclusive, accessible and dynamic research output is less well-established. This paper focuses upon the potential of social media as a complementary form of conservation documentation, in response to the use of interdisciplinary and cross-cultural collaboration between source communities and collecting institutions as a means to preserve both material and intangible cultural heritage. Using the conservation of a rare and endangered musical instrument called bundengan as a case study, this paper will assess the uses of social media platforms in both documenting and enabling collaboration between the source community in Wonosobo, Java, Indonesia, and academic researchers based in Indonesia and Australia

Performance, Music and Meaning of Réyog Ponorogo

Page range: 85-13

Cultural Survival, Continuance and the Oral Tradition: Mendu Theatre of the Riau Islands Province, Indonesia

This article seeks to describe Mendu theatre that is performed in Sedanau, Natuna regency (kabupaten) of one of Indonesia’s newest provinces, the Riau Island. 1 Once popular at the turn of the 20 th century and in the 1970s and 1980s, there were local Mendu groups in every village of Natuna in parts of northern and eastern Bunguran island, and other smaller islands such as Sedanau, Pulau Tiga, Karempak, Midai, Siantan, and Anambas (K.S. Kartomi 1986; Illyassabli, 2013; Akib 2014). The oral tradition keeps a people’s culture alive across generations by performing episodes from memory. Mendu theatre episodes express and reinstate the cultural values of the Natuna people. Language, culture, customary laws and how the people think are transmitted orally through the arts and through the embodied knowledge of theatre performance practices

Gamelan Digul di Balik Sosok Seorang Pejuang : Hubungan Antara Australia dengan Revolusi Indonesia

Buku Kartomi tentang gamelan buatan di kamp tawanan dan pembuatnya ini berbicara tentang masalah-maslah yang tidak hanya sekedar gamelan berkotak kayu kasar, yang dibuat di kamp tawanan para tapol di Indonesia di Papua tahun 1930-an. Gamelan digul telah menjadi metonim untuk perlawanan indonesia terhadap kekuasaan kolonial Belanda, dan akhirnya juga dukungan australia para kemerdekaan Indonesia. Pontjopangrawit, pembuat gamelan ini, tidak hanya mewakili barisan kaum nasionalis antikolonial yang nama-namanya hilang dari sejarah, tetapi juga seorang ahli musik kraton jawa yang besar dari masa lalu, yang riwayatnya tidak tercatat karena kehidupannya sebagai hamba kraton tidak pernah memerlukan inskripsi