MUTLICULTURALISM IN DISCOURSES OF STRENGTHENING DIVERSITY AND PLURALISM IN INDONESIA

This short article tries to discuss multiculturalism which is aimed at utilizing it as identity or a culture characteristic and as a necessity to present social integration which will enable varieties of culture and etnicity to develop social existence more reasonable in a nation of Indonesia. Talking about nationalism many circles of societies hold the opinion that Indonesia nationalism as a worn out stand. Moreover, recently there have been conflicting stands among certain groups. The complexity of the culture which was developed in order to tie the groups together into a nation has begun to cruble. Interactions among different elements of the nation have been influenced by distrust within the groups. Trust among the groups is the prominent foundation in order to achieve a unified multicultural nation. Keywords : Multicuralism, identity, and social integrit

Tari Pamiket Tresna

Abstract Garapan ini menceritakan kisah percintaan remaja di Kabupaten Jembrana pada jaman dahulu, yaitu kisah para gadis desa yang masih ragu dengan cinta pria yang mencintainya. Untuk meyakinkan hati gadis yang dicintainya, maka pria tersebut akhirnya menggunakan tradisi lama untuk mengantarkan perasaan cinta mereka dengan cara memainkan alat musik peret berbentuk seruling Penata Iringan

UCAP-UCAP TATTWA CARITA: GAGELARAN SEORANG DALANG

This article is based on my interview with a dalang artist, I Nyoman Rajeg, years ago regarding the knowledge of our traditional theater, Pedalangan, which is likely also important to other artists, especially to dalang students. Knowledge, strategy and secret techniques that I accumulated from Rajeg are related to the capacity and ability, which must be mastered by a dalang. Rajeg called all of these capacity and ability as gagelaran dalang. In addition, I elaborate it with my own interpretation based on books and manuscripts, in the hope to clarify what perhaps meant by Rajeg

REALITAS MAGIK DALAM MUSIK TRADISIONAL MINANGKABAU SEBUAH PERSPEKTIF KAJIAN BUDAYA

Magic, is culture elements which has been depeloped since the primitive era. The development of civilization and culture does not disappear the belief of the attitude which are related with magic. The fact show, that until now (modern era and some even called if a postmodern), magic still plays important function and role in society, eventhough substantially the purposes that wants to be achieved are different. This brief writing tries to discuss in such analytic descriptive way about magic realization within traditional music of Minangkabau. This phenomenon is interesting to be discuss specially with if connects to Moslem as the majority belief in Minangkabau society. In Moslems there are not allowed comparing the belief and attitudes which are related with magic especially black magic, since those beliefs and attitudes consider as comparing two Gods. But on the other hand, the beliefs and attitudes that are related with magic are some how a fact and reality that cannot be argued in the Minangkabau society which one of them is implemented by the people through traditional music

WAYANG KULIT BALI BERTAHAN DALAM TRADISI, BERGERAK MENGHADAPI GLOBALISASI

The bigger interest to create new idea in puppet performance, so more bigger also the puppet artist to take offence at many kind of aspect to considerred the beauty and logic. The idea which direct to all kind of beauty aspect, mean while has been restructure in the performance, while from the logic aspect willpersonalize through the preferenceinclude every social aspect to perform on the screen. The Founding puppet tale with the proletariatness themes give a big challenges to open actual fact which is happening right now and will happens in the socienty as the globalitation consequences. The power on the puppet art, has given historical value and as the source in art creation to increase as culture wealh to manners the society life. The development of the puppet’s art wishes to give direction because it has orientation direction because it has orientation in culture which is alive and could be a new souce in art work enrichment

TINJAUAN HISTORIS TERHADAP GENRE PUJI – PUJIAN SEBAGAI SALAH SATU SENI PERTUNJUKAN RITUAL DI PULAU MADURA DAN PANTAI UTARA JAWA BAGIAN TIMUR

Doing Traditional praice to ancestors can be found in very part of the world, especially along the Indonesia area in Madura. One of the apprearancy in Art performance is a ritual in praising. The place separate by a very thin strait and to show the genre in phrasing has a strong relation ship on a similar historical background. Thought the Madura society with all the culture which is been the confessor, indicate that the Art Performance born and based from Madura Area. The appearance which is exhibited telling us a formulation on characteristic for the Art performance been thought along transformati

KEBHINEKAAN DAN KOMPLEKSITAS GAMELAN BALI

Abstract: this article discusses the diversity of Balinese gamelan as cultural arts, which raise many worthy issues. Perspective on the ‘unity in diversity’ of gamelan obviously concedes to an agreement that gamelan is a tangible wholistically organized art, integrating several elements, presenting expresive clues, and features functional relation to each other. This indication may be verified through understanding the ide, form, and presentation, either its physical aesthetic or internal aesthetic, complemented by expressive clues derived from spiritual values of Hindu religion or Balinese cultural context. The musical product is durable, flexible, supple, and consistent of fluctuating time, space and circumstances

The Symbolic Narrative of the Body in Murniasih’s Paintings : an Hermeneutical Study

This article is a study on I.G.K Murniasih’s paintings on the perspective of hermeneutics. It focuses on the aspects of symbolic-narrative, i.e. the narrative elements which optimized the potentials of symbols. The study has successfully defined the symbolic narrative in visual works, specifically in Murniasih’s tings. Symbolic narrative in visual works is in line with suggestive narrative in literary works. The symbolic narrative is formed by symbolic elements that are related each other to build a structure and a narrative pattern. In Murniasih’s works the narrative elements are supported by and originated from Murni’s biographical body; the experiencing body. In other words, Murniasih’s paintings are those which tell about the body related to he bio graphical experience. In addition, it is thematically found that the symbolic narrative is around the relationship between men and women in various episodes; the relationship of harmony, domination, ideology, power, and rebellion

Tari Telek Anak-Anak Di Desa Jumpai Kabupaten Klungkung

Abstract Penelitian ini adalah sebuah pengkajian seni tari, yang menyangkut Tari Telek Anak-Anak di Desa Jumpai Kabupaten Klungkung sebagai salah satu tarian sakral yang masih berlangsung sampai saat ini. Fokus dari penelitian ini adalah analisis tentang Bentuk dan Fungsi pertunjukan Tari Telek Anak-Anak di Desa Jumpai Kabupaten Klungkung. Penelitian ini termasuk penelitian kualitatif yang menganalisa permasalahan yang diajukan menggunakan tiga teori, yaitu teori estetika, teori struktural, teori fungsional. Semua data yang disajikan dalam peneitian ini diperoleh melalui observasi, wawancara, membaca buku-buku yang terkait dengan penelitian tersebut, dan melalui dokumentasi. Hasil analisis data menunjukan, bahwa Tari Telek di Desa Jumpai Kabupaten Klungkung ini asal usulnya tidak diketahui secara pasti, hal ini disebabkan oleh kurangnya data yang mengungkapkan asal mula tarian ini. Namun, menurut Bendesa Adat Jumpai menngatakan bahwa Tari Telek di Desa Jumpai diperkirakan mulai berkembang sekitar tahun 1935 sampai sekarang. Tarian ini dijadikan pelengkap upacara keagamaan di pura-pura di lingkungan masyarakat Jumpai, dan juga Tari Telek ini mempunyai hubungan erat dengan Barong Ket dalam pementasannya yang juga merupakan sesuhunan Desa Jumpai tersebut. Adapun perkembangan tersebut adalah mulai tahun 1935 tarian ini dipentaskan 15 hari sekali, yaitu setiap rainan Kajeng Kliwon, dan setiap ada upacara piodalan di pura yang ada di lingkungan Desa Jumpai. Tari Telek ini dibawakan oleh empat penari pria yang masih berusia anak-anak sampai memasuki masa truna bunga (akil balik). Keempat penari itu memakai topeng berwarna putih dengan karakter wajah yang lembut dan tampan serta diiringi Tabuh Bebarongan. Tarian ini tidak berdiri sendiri, tetapi senantiasa dirangkaikan dengan tari Jauk, Topeng Penamprat, Bhatara Gede (Barong), Rarung dan Bhatara Lingsir (Rangda). Seluruh unsur tarian itu berpadu membangun satu-kesatuan cerita yang utuh dengan durasi sekitar dua jam. Akhir pertunjukan diwarnai dengan atraksi narat/ngunying yaitu menusukkan keris ke dada yang bersangkutan maupun ke dada Bhatara Lingsir. Fungsi Tari Telek Anak-Anak Di Desa Jumpai Kabupaten Klungkung adalah sebagai Tari Bebali, yaitu tari pelengkap upacara keagamaan di wilayah Desa Jumpai Kabupaten Klungkung. Kata Kunci: Tari Telek Anak-Anak, Bentuk Pertunjukan, Fungsi Pertunjukan

Wedhus Gembel Halahala Mandaragiri

A side from Mount Merapi, Mount Bromo and Anak krakatau erupted just the latter. Last Saturday (27/11), the Mandara Mountain also erupted tremendous. Horribly, spit out “wedhus gembel” contain with halahala which is a deadly poison. The toxins that spewed from the top of the mountain threaten all living things. But the people of Central Java, who witnessed the eruption of Mount Mandara seemed calm and even enjoy it. Mandaragiri eruption was a ballet performance that was held in Pendhapa Institut Seni Indonesia (ISI) Surakarta, Central Java. Ballet entitled “Siwa Wisaya“performed by the students of ISI Denpasar, which served as the ultimate performance on Gong Kebyar Mebarung in Java and Bali area, held by ISI Surakarta. Gong Kebyar duel that lasted two nights, on the 26th -27th last November, presents four different groups namely: Gong Kebyar ISI Surakarta, ISI Yogyakarta, Puspa Giri Semarang, and ISI Denpasar. The story of Mandara Mountains are served by 60 students of ISI Denpasar, it was contextual with the eruption of natural disasters that are now happening in Indonesia. Mandaragiri is very familiar in Java community whose leather puppet lovers. Therefore, the turn of Mandaragiri in the early part of the Mahabharata epic was applied to be communicative in a ballet performance which lasts for 25 minutes. The audiences who attend the Pendhapa listened with enthusiasm and keen of the artistic display with a message which is underlined verbally by the mastermind or narrator in Old Javanese and Indonesian. Once in Satyayuga age, the gods and giants are agree to work together to find Tirta Amrita or the water of eternal life. To get the holy water they should stirring the sea of ​​milk “Ksiarnawa”, with a mountain. On the appointed day, the Mandara mountain at the Island of Sangka which carried by Hyang Antaboga is thrown into the middle of the ocean. To keep the mountain floating, Kurma the tortoise rested on the seabed and occupied on the top of the mountain is God Indra. Naga Basuki is twisted on the mountain, his head held by the giants and his tail pulled by the gods. Mandaragiri is turned on. The Ocean was boiling and typhoons blustering. The habitats of the mountain are bounced out and the ocean habitats are scattered. Suddenly from the top of the Mandara mountain sprit a solid black blob. The gods and the giants cheered excitedly, scrambling and about to drink the melting lump. Lord Shiva is watching carefully of gods and giants action he was swiftly captured and immediately drank it. Lord Shiva's neck turned into dark blue because the one it was drunk by Lord Shiva is the killer toxin halahala. The gods and the giants get more curios and re-play the turn of Mandara Mountains which then disburse a clear liquid fragrance, Tirta Amrita. The giants fiercely controlled and run. Luckily, God Vishnu wins while pretended to be an angel and seduce them. Tirta Amrita was then spread by God Vishnu to all the human being in the earth and also to bring happiness and world peace. The cultivation of "Shiva Wizard” ISI Denpasar ballet was pretty neat. I Wayan Sutirtha, S. Sn, M. Sn, one of the choreographers say that he quite satisfied with the artwork of the performance and the dancer’s magnificence accordance with the concept of artistic and aesthetic which had planned. The same opinion is also conveyed by a composer Ida Bagus Nyoman Mas, SSKar he impressed and salutes with the drummer’s team confidence and concentration that appear so neat. The coach at puppetry, I Ketut Kodi, SSP, M. Si and I Nyoman Sukerta, S. Sn, M. Si, also revealed his goal against the appearance of liking the narrator and puppeteer by one of the students at puppetry department ISI Denpasar, Bagus Bharatanatya. Apart to aesthetic visual communication through dance and gamelan musical audio system, Balinese dance-dramas that are performed in front of the community of Central Java interweave a verbal communication within the Indonesian National language. Narration in the Indonesian language was deeply touched when thrown the moral expressions. The scene of Lord Shiva drank the poison of Mandara Mountains which caused his neck on fire, given the word of Lord Shiva narrative: “Hai para dewa dan para asura, cairan yang kalian perebutkan itu adalah halahala, racun. Aku tak ingin kalian mati binasa karena minum racun gunung itu. Sebagai penguasa semesta, aku rela mengorbankan diriku. Sebagai pemimpin, aku rela jadi tumbal kehidupan demi keselamatan hidup dan keberlangsungan kehidupan“ means : Dear gods and the giants, the liquid that you guys fighting for is halahala poison. Lord Shiva does not want them to drink poison and perish because of the mountains poison. As the possessors of the universe, I'm willing to sacrifice myself. As a leader, I'm willing to be a sacrificial life for the sake of safety of life and sustainability of life. The audiences were satisfied with it. Art is the vehicle for a flexible and powerful communication. When natural disasters came in a row and whack this nation, then the art breakthrough to give an amusement, reflection, and a vessel for introspection. Just try to be reviewed on the last part of the "Shiva Wizard" ballet of ISI Denpasar. As he splashed Tirta Amrita, God Vishnu said: "O gods, giants, and all mankind. Birth, life, and death are the destiny. Sangkan paraning dumadi is the power of Hyang Widhi. Pray for the Lord. Maintain harmony together and ......, save the earth with loving & harmony