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Jurnal Musik Promusika: Jurnal Pemikiran, Pengkajian, Penyajian dan Penciptaan Seni Musik, Oct 5, 2023
Journal of Humanities and Social Studies, 2021
In the Heart of Colonialism: Is Conrad's Heart of Darkness a Friend or Foe of Africa? 1. ... more In the Heart of Colonialism: Is Conrad's Heart of Darkness a Friend or Foe of Africa? 1. Introduction Sometime ago, the literary image of Africans was created almost entirely by non-Africans. With their superiority complex, the West had a lopsided view of African literature. They considered it primitive largelybecause they had been using western standards to evaluate it. This attitude from the West created a situation of what I call'double colonization': the one suffered by Africans with all its consequences of humiliating slavery, and that which was trying to impose Western norms and standards on African literature. The result is that few Africans would see any relevance in their own cultural system which is frequently said to be backward, or at best folkloric with a poor quality. But centuries later, Africans themselves begun, not only to write, but to write back at the West and to say to them; what you said about us, is not it, this is it.Chinua Achebe, who is regarded by many scholars as the father of African literature in English, declared that "the African writer has a responsibility different from that of his western counterpart'' (cited in Amouzuo:330).This responsibility was not only to refute the Western propaganda, but also to present African literature as an alternative.The Euro-centric writers claim that the only legitimate model to African literature is and ought to be Europe, "but African societies include the world of spirits, the dead, the living, and even the unborn" (Amouzuo: 331). No wonder Achebe, in his AnImage of Africa(1977:1), recounts his interaction with a white guy who never thought something like African literature existed. He tells us about the guy, "It always surprised him.. . because he never had thought of Africa as having that kind of stuff''. Because of this mentality, it would be rather surprising if there should be no divergences between African and European literatures. This is exactly what Christopher Heywood(1968:7) means when he writes that "the African writer must give back to the African character the will to act and change the scheme of things''. This 'will to change the scheme of things' is very apparent in the writings of Chenua Achebe. In Achebe's fiction, for example, the characters have a vital relationship with their social and economic landscape. Their whole views, their aspirations, have been shaped by a particular environment-the African environment. Thus, Achebe has paved the way in showing what should constitute an African Literature. He has succeeded in giving human dignity to his African characters. In defense of African philosophy and identity he(Achebe) has this to say: If I were God, 1would regard as the very worst our acceptance, for whatever reason, of racial inferiority. It is too late in the day to get worked up about it or to blame others, much as they deserve such blame and condemnation. What we need to do is to look and find out where we went wrong, where the rain began to beat us 1 To me, Achebe has not only defended Africa in this 'racial inferiority'outburst, but has also given back in equal measure against the ''Western psychology to set Africa up as a foil to Europe, as a place of negations at once remote and vaguely familiar, in comparison with which Europe's own state of spiritual grace''(An Image of Africa,1977, p 1).By propagating in their writings what Achebe calls 'the Western psychology', they(the West) have succeeded in colonizing the minds of the African-the second and the most dangerous level of colonization. By colonization of the minds, I mean, quoting
Cowong art is a traditional ritual ceremony originating from the agrarian community of Pagakwungu... more Cowong art is a traditional ritual ceremony originating from the agrarian community of Pagakwungu Hamlet, Buayan, Kebumen Regency. Cowong art is a manifestation of the collective activities of the Pagakwungu community which are based on belief in nature and ancestral spirits who are believed to have magical powers. The author's purpose in carrying out this study is because considering the existence of Cowong art, its existence has begun to be rare, so the author wants to analyze Cowong art in order to maintain and preserve the ritual art. Data collection techniques in this study were carried out by observation, interviews, and documentation. The results of this study were found to be: The form of presentation of the Cowong ritual procession is divided into three stages, namely preparation, implementation, and closing. The functions of the Cowong art ritual: (1) The function of the Cowong art ritual as a ritual to ask for rain during the long dry season, (2) The function of the Cowong art ritual as a treatment for community members who ask for help for healing from their illness, (3) The function of the Cowong art ritual as a slamatan suro month which is carried out once a year. The meaning contained in the art of Cowong is found in the offerings. The moral values of Cowong's art are the relationship between living things, the relationship between living things and nature, the relationship between living things and the environment.
International Journal of Multicultural and Multireligious Understanding
Strategy of Drumband Bahana Gita Menderang Tanjab Timur in Participating in the Competition. Drum... more Strategy of Drumband Bahana Gita Menderang Tanjab Timur in Participating in the Competition. Drumband Bahana Gita Menderang comes from East Tanjung Jabung Regency, Jambi Province. This drumband initially carried out training to take part in the championship at the Regency / City level, continued to take part in the competition at the National level because it won the competition by bringing the good name of Jambi Province. The purpose of this study was to determine the Strategy of the Model and Method used and its application and to find out the material used to participate in the competition. The research method used is a qualitative research method, which is descriptive in nature. The results showed that the model used in the Bahana Gita Menderangdrumband was the Direct Learning Model. The methods used are lecture method, demonstration method, and drill method. The teaching material used in this drumband is song-shaped material. The song used is in accordance with the competition ...
International Journal of Multicultural and Multireligious Understanding
The aesthetic value of Padduppa Bugis-Makassar Dance as a guest welcoming dance in South Sulawesi... more The aesthetic value of Padduppa Bugis-Makassar Dance as a guest welcoming dance in South Sulawesi. Padduppa dance is a traditional dance originating from the Bugis-Makassar tribe. Padduppa Bugis-Makassar dance as a welcoming dance in South Sulawesi. Padduppa dance is a dance that illustrates that the Bugis people have guests or can be said to be a welcome dance from the Bugis tribe as a sign of gratitude and honor. Padduppa dance comes from the Bugis language, duppa, which means meeting, picking up or meeting. The purpose of this study is to analyze the aesthetics contained in Padduppa Dance as a guest welcoming dance. Studied from the form of dance presentation, dance supporting elements and messages conveyed and the aesthetic value of Bugis-Makassar society contained in the dance. The research method used is a qualitative research method with an aesthetic approach and a choreographic approach. The results showed that initially Padduppa dance was only danced specifically to enterta...
International Journal of Multicultural and Multireligious Understanding
Rejang Dewa dance is a sacred or sacred dance that is performed during Hindu religious ceremonies... more Rejang Dewa dance is a sacred or sacred dance that is performed during Hindu religious ceremonies as a medium to appreciate religious and cultural expressions, especially for children. The Rejang Dewa dance at the Padma Bhuana Saraswati Pasraman is part of teaching children the values of ethics and Bhakti which is the foundation in carrying out the social and religious life of the Hindu community, especially in the Yogyakarta area. This research is descriptive qualitative research using ethnographic methods. Through this research can be found the values of Character Education and Bhakti which is embodied in the movements of the Rejang Dewa Dance which consists of six series of dance structure patterns. The values of Virtue and Devotion in the Rejang Dewa Dance include Gotong-royong, Harmony, Balance in spiritual and physical life, being ready and alert in all gifts received, being sincere and havingBhakti and sharing, conviction on life that will surely end, and firmness in faith an...
International Journal of Multicultural and Multireligious Understanding
This study aims to describe the Creative Process of Creation of Muli Butapis Dance by Maria Reni ... more This study aims to describe the Creative Process of Creation of Muli Butapis Dance by Maria Reni Wulandari through the stages of exploration, improvisation, evaluation, and composition. The research approach used is a qualitative approach that is descriptive. The object of this study is Muli Butapis dance which is studied from the creative process which includes elements of dance composition such as theme, movement, makeup, fashion, accompaniment, floor pattern, stage layout. While the subjects in this study were choreographers and dancers. The source of this research data was obtained by observation, interview, and documentation techniques through Maria Reni Wulandari as the choreographer or creator of Muli Butapis dance. The data obtained are analyzed using data reduction analysis techniques, data presentation, and conclusions. Data validity tests are carried out by triangulation techniques. The results of this study can be concluded as follows. 1) Muli Butapis Dance was created b...
International Journal of Multicultural and Multireligious Understanding
Form of Performance Gantar dance is a typical dance of the Dayak Tunjung and Benuaq originating f... more Form of Performance Gantar dance is a typical dance of the Dayak Tunjung and Benuaq originating from the West Kutai area, East Kalimantan. The word 'gantar' itself is a stick, this dance describes the joy, hospitality of the Dayak tribe in welcoming government guests and visiting tourists. In ancient times this dance was only performed or danced for traditional ceremonies, namely during the rice planting party ceremony, and welcoming the men when the war was over. This dance is usually danced by 5-8 teenagers. The properties used in this dance are the function of the stick to make holes in the ground and the bamboo sticks filled with seeds symbolizing the rice seeds. Therefore, through appreciation and participation in the art of dance, young people can begin to appreciate and uphold the arts they have and can find out what potential they have. It is important to preserve the gantar dance so that it does not get eroded by the times. It is very necessary for teenagers to know...
Jurnal Musik Promusika: Jurnal Pemikiran, Pengkajian, Penyajian dan Penciptaan Seni Musik, Oct 5, 2023
Journal of Humanities and Social Studies, 2021
In the Heart of Colonialism: Is Conrad's Heart of Darkness a Friend or Foe of Africa? 1. ... more In the Heart of Colonialism: Is Conrad's Heart of Darkness a Friend or Foe of Africa? 1. Introduction Sometime ago, the literary image of Africans was created almost entirely by non-Africans. With their superiority complex, the West had a lopsided view of African literature. They considered it primitive largelybecause they had been using western standards to evaluate it. This attitude from the West created a situation of what I call'double colonization': the one suffered by Africans with all its consequences of humiliating slavery, and that which was trying to impose Western norms and standards on African literature. The result is that few Africans would see any relevance in their own cultural system which is frequently said to be backward, or at best folkloric with a poor quality. But centuries later, Africans themselves begun, not only to write, but to write back at the West and to say to them; what you said about us, is not it, this is it.Chinua Achebe, who is regarded by many scholars as the father of African literature in English, declared that "the African writer has a responsibility different from that of his western counterpart'' (cited in Amouzuo:330).This responsibility was not only to refute the Western propaganda, but also to present African literature as an alternative.The Euro-centric writers claim that the only legitimate model to African literature is and ought to be Europe, "but African societies include the world of spirits, the dead, the living, and even the unborn" (Amouzuo: 331). No wonder Achebe, in his AnImage of Africa(1977:1), recounts his interaction with a white guy who never thought something like African literature existed. He tells us about the guy, "It always surprised him.. . because he never had thought of Africa as having that kind of stuff''. Because of this mentality, it would be rather surprising if there should be no divergences between African and European literatures. This is exactly what Christopher Heywood(1968:7) means when he writes that "the African writer must give back to the African character the will to act and change the scheme of things''. This 'will to change the scheme of things' is very apparent in the writings of Chenua Achebe. In Achebe's fiction, for example, the characters have a vital relationship with their social and economic landscape. Their whole views, their aspirations, have been shaped by a particular environment-the African environment. Thus, Achebe has paved the way in showing what should constitute an African Literature. He has succeeded in giving human dignity to his African characters. In defense of African philosophy and identity he(Achebe) has this to say: If I were God, 1would regard as the very worst our acceptance, for whatever reason, of racial inferiority. It is too late in the day to get worked up about it or to blame others, much as they deserve such blame and condemnation. What we need to do is to look and find out where we went wrong, where the rain began to beat us 1 To me, Achebe has not only defended Africa in this 'racial inferiority'outburst, but has also given back in equal measure against the ''Western psychology to set Africa up as a foil to Europe, as a place of negations at once remote and vaguely familiar, in comparison with which Europe's own state of spiritual grace''(An Image of Africa,1977, p 1).By propagating in their writings what Achebe calls 'the Western psychology', they(the West) have succeeded in colonizing the minds of the African-the second and the most dangerous level of colonization. By colonization of the minds, I mean, quoting
Cowong art is a traditional ritual ceremony originating from the agrarian community of Pagakwungu... more Cowong art is a traditional ritual ceremony originating from the agrarian community of Pagakwungu Hamlet, Buayan, Kebumen Regency. Cowong art is a manifestation of the collective activities of the Pagakwungu community which are based on belief in nature and ancestral spirits who are believed to have magical powers. The author's purpose in carrying out this study is because considering the existence of Cowong art, its existence has begun to be rare, so the author wants to analyze Cowong art in order to maintain and preserve the ritual art. Data collection techniques in this study were carried out by observation, interviews, and documentation. The results of this study were found to be: The form of presentation of the Cowong ritual procession is divided into three stages, namely preparation, implementation, and closing. The functions of the Cowong art ritual: (1) The function of the Cowong art ritual as a ritual to ask for rain during the long dry season, (2) The function of the Cowong art ritual as a treatment for community members who ask for help for healing from their illness, (3) The function of the Cowong art ritual as a slamatan suro month which is carried out once a year. The meaning contained in the art of Cowong is found in the offerings. The moral values of Cowong's art are the relationship between living things, the relationship between living things and nature, the relationship between living things and the environment.
International Journal of Multicultural and Multireligious Understanding
Strategy of Drumband Bahana Gita Menderang Tanjab Timur in Participating in the Competition. Drum... more Strategy of Drumband Bahana Gita Menderang Tanjab Timur in Participating in the Competition. Drumband Bahana Gita Menderang comes from East Tanjung Jabung Regency, Jambi Province. This drumband initially carried out training to take part in the championship at the Regency / City level, continued to take part in the competition at the National level because it won the competition by bringing the good name of Jambi Province. The purpose of this study was to determine the Strategy of the Model and Method used and its application and to find out the material used to participate in the competition. The research method used is a qualitative research method, which is descriptive in nature. The results showed that the model used in the Bahana Gita Menderangdrumband was the Direct Learning Model. The methods used are lecture method, demonstration method, and drill method. The teaching material used in this drumband is song-shaped material. The song used is in accordance with the competition ...
International Journal of Multicultural and Multireligious Understanding
The aesthetic value of Padduppa Bugis-Makassar Dance as a guest welcoming dance in South Sulawesi... more The aesthetic value of Padduppa Bugis-Makassar Dance as a guest welcoming dance in South Sulawesi. Padduppa dance is a traditional dance originating from the Bugis-Makassar tribe. Padduppa Bugis-Makassar dance as a welcoming dance in South Sulawesi. Padduppa dance is a dance that illustrates that the Bugis people have guests or can be said to be a welcome dance from the Bugis tribe as a sign of gratitude and honor. Padduppa dance comes from the Bugis language, duppa, which means meeting, picking up or meeting. The purpose of this study is to analyze the aesthetics contained in Padduppa Dance as a guest welcoming dance. Studied from the form of dance presentation, dance supporting elements and messages conveyed and the aesthetic value of Bugis-Makassar society contained in the dance. The research method used is a qualitative research method with an aesthetic approach and a choreographic approach. The results showed that initially Padduppa dance was only danced specifically to enterta...
International Journal of Multicultural and Multireligious Understanding
Rejang Dewa dance is a sacred or sacred dance that is performed during Hindu religious ceremonies... more Rejang Dewa dance is a sacred or sacred dance that is performed during Hindu religious ceremonies as a medium to appreciate religious and cultural expressions, especially for children. The Rejang Dewa dance at the Padma Bhuana Saraswati Pasraman is part of teaching children the values of ethics and Bhakti which is the foundation in carrying out the social and religious life of the Hindu community, especially in the Yogyakarta area. This research is descriptive qualitative research using ethnographic methods. Through this research can be found the values of Character Education and Bhakti which is embodied in the movements of the Rejang Dewa Dance which consists of six series of dance structure patterns. The values of Virtue and Devotion in the Rejang Dewa Dance include Gotong-royong, Harmony, Balance in spiritual and physical life, being ready and alert in all gifts received, being sincere and havingBhakti and sharing, conviction on life that will surely end, and firmness in faith an...
International Journal of Multicultural and Multireligious Understanding
This study aims to describe the Creative Process of Creation of Muli Butapis Dance by Maria Reni ... more This study aims to describe the Creative Process of Creation of Muli Butapis Dance by Maria Reni Wulandari through the stages of exploration, improvisation, evaluation, and composition. The research approach used is a qualitative approach that is descriptive. The object of this study is Muli Butapis dance which is studied from the creative process which includes elements of dance composition such as theme, movement, makeup, fashion, accompaniment, floor pattern, stage layout. While the subjects in this study were choreographers and dancers. The source of this research data was obtained by observation, interview, and documentation techniques through Maria Reni Wulandari as the choreographer or creator of Muli Butapis dance. The data obtained are analyzed using data reduction analysis techniques, data presentation, and conclusions. Data validity tests are carried out by triangulation techniques. The results of this study can be concluded as follows. 1) Muli Butapis Dance was created b...
International Journal of Multicultural and Multireligious Understanding
Form of Performance Gantar dance is a typical dance of the Dayak Tunjung and Benuaq originating f... more Form of Performance Gantar dance is a typical dance of the Dayak Tunjung and Benuaq originating from the West Kutai area, East Kalimantan. The word 'gantar' itself is a stick, this dance describes the joy, hospitality of the Dayak tribe in welcoming government guests and visiting tourists. In ancient times this dance was only performed or danced for traditional ceremonies, namely during the rice planting party ceremony, and welcoming the men when the war was over. This dance is usually danced by 5-8 teenagers. The properties used in this dance are the function of the stick to make holes in the ground and the bamboo sticks filled with seeds symbolizing the rice seeds. Therefore, through appreciation and participation in the art of dance, young people can begin to appreciate and uphold the arts they have and can find out what potential they have. It is important to preserve the gantar dance so that it does not get eroded by the times. It is very necessary for teenagers to know...