Dancing Cross

Ni Made Diana Erfiani, Nyoman Tri Sukarsih, I. G. Jayantini
{"title":"Dancing Cross","authors":"Ni Made Diana Erfiani, Nyoman Tri Sukarsih, I. G. Jayantini","doi":"10.31091/mudra.v38i4.2439","DOIUrl":null,"url":null,"abstract":"Religious symbol is the generic word for all kinds of religious signs of the divine. It includes myths and religious narratives, theological ideas, particular notions such as karma or sin which are defined in one or more symbol systems, religious acts such as liturgies or private meditations that move through and overlay various symbol systems, as well as architectural and artistic symbols with religious content, books, songs, devotional objects, and the like. Generally, it can be referred to a religious object and can bear a religious meaning. This study aims to identify the meaning of a contextualized religious symbol in the Bali Church which is known as ‘the dancing cross’. The theory applied in this study is semiotic theory which in this case is structural semiotics. The source of the data are texts that discuss about the cross symbol as well as the results of interviews with the creator of the dancing cross symbol, Nyoman Darsane. This study confirms that the dancing cross, which is widely used by Christians who are members of the Protestant Christian Church in Bali is considered as the product of regionalization or contextualization of the cross which is the crux of Christian life and worship. The shape of the dancing cross is transformed from the universal shape of the cross which is consisted of two bars leading to a T-shaped cross which base stem is longer than the other three arms but crooked at the bottom like a dancer who is in left agem position. The results of the analysis through the utilization of structural semiotics in terms of syntagmatic and paradigmatic relations revealed some important points namely the contrastive meaning of the cross before and after the time of Jesus Christ as the sign of shame which covers a curse, a stumbling block and foolishness and the sign to be glorified which covers salvation victory and obedience. Other important points to be revealed are the contextual shape of the cross that can be aligned as a dancer who is in left agem position and the contextual meaning of the cross which leads to the sign of obedience of God’s people or the disciples to carry or dance the cross in accordance with the example given by Jesus Christ.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Mudra Jurnal Seni Budaya","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.31091/mudra.v38i4.2439","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0

Abstract

Religious symbol is the generic word for all kinds of religious signs of the divine. It includes myths and religious narratives, theological ideas, particular notions such as karma or sin which are defined in one or more symbol systems, religious acts such as liturgies or private meditations that move through and overlay various symbol systems, as well as architectural and artistic symbols with religious content, books, songs, devotional objects, and the like. Generally, it can be referred to a religious object and can bear a religious meaning. This study aims to identify the meaning of a contextualized religious symbol in the Bali Church which is known as ‘the dancing cross’. The theory applied in this study is semiotic theory which in this case is structural semiotics. The source of the data are texts that discuss about the cross symbol as well as the results of interviews with the creator of the dancing cross symbol, Nyoman Darsane. This study confirms that the dancing cross, which is widely used by Christians who are members of the Protestant Christian Church in Bali is considered as the product of regionalization or contextualization of the cross which is the crux of Christian life and worship. The shape of the dancing cross is transformed from the universal shape of the cross which is consisted of two bars leading to a T-shaped cross which base stem is longer than the other three arms but crooked at the bottom like a dancer who is in left agem position. The results of the analysis through the utilization of structural semiotics in terms of syntagmatic and paradigmatic relations revealed some important points namely the contrastive meaning of the cross before and after the time of Jesus Christ as the sign of shame which covers a curse, a stumbling block and foolishness and the sign to be glorified which covers salvation victory and obedience. Other important points to be revealed are the contextual shape of the cross that can be aligned as a dancer who is in left agem position and the contextual meaning of the cross which leads to the sign of obedience of God’s people or the disciples to carry or dance the cross in accordance with the example given by Jesus Christ.
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
跳舞的十字架
宗教符号是神的各种宗教符号的总称。它包括神话和宗教叙事,神学思想,在一个或多个符号系统中定义的因果报应或罪恶等特定概念,宗教行为,如礼拜仪式或私人冥想,通过并覆盖各种符号系统,以及带有宗教内容的建筑和艺术符号,书籍,歌曲,虔诚的物品等。一般来说,它可以指一件宗教物品,并具有宗教意义。本研究旨在确定巴厘岛教堂中被称为“跳舞的十字架”的情境化宗教符号的含义。本研究运用的理论是符号学理论,在本研究中是结构符号学。数据的来源是讨论十字符号的文本,以及对舞蹈十字符号的创造者Nyoman Darsane的采访结果。这项研究证实,在巴厘岛新教基督教会成员中广泛使用的舞蹈十字架被认为是十字架区域化或情境化的产物,而十字架是基督徒生活和崇拜的关键。舞蹈十字架的形状是从十字架的通用形状转变而来的,它由两根杠组成,通向一个t形十字架,它的底座比其他三个臂长,但底部弯曲,就像一个舞者处于左边的位置。运用结构符号学的分析结果,从句法关系和范式关系两个方面揭示了十字架在耶稣基督时代前后的对比意义,即十字架既是蒙羞的记号,象征着咒诅、绊脚石和愚拙,又是荣耀的记号,象征着救赎、胜利和顺服。其他要揭示的要点是十字架的上下文形状,可以像一个处于左agem位置的舞者一样对齐,以及十字架的上下文含义,它导致上帝的子民或门徒按照耶稣基督给出的例子携带或跳舞十字架的顺从标志。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 去求助
来源期刊
自引率
0.00%
发文量
52
审稿时长
4 weeks
期刊最新文献
Analysis of Promotional Content on Marketplace Tokopedia and Bukalapak to Improve the Culture of Online Shopping Actualization And Inheritance Of Pabitte Passapu Art In Tanah Towa Village, South Sulawesi Unraveling Aesthetics Tapestry: Mapping the Artistic Styles of Young Contemporary Artist in Bandung Enhancing Understanding and Application of Fundamental Visual Elements and Visual Principles Through Collaborative Learning: Insights from the Experiences of Design Students Creation of Learning Videos on Balinese Folk Song Arrangements for Junior High School Art and Culture Teachers in Buleleng Regency and Denpasar City
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1