Pub Date : 2020-10-01DOI: 10.26887/MAPJ.V3I2.1333.G607
F. Sucipto, Muchammad Rizky Kadafi
Bena tribe which originally from Nusa Tenggara Timur is one of the tribe that survive with its own tradition until today. One of their belief is a symbol of their house as a human. Thus, their houses have given name. Every house represents female or male. Since they start to design the house up to finalize the building process, it has 17 steps. Every step has its particular ritual, if they do mistake on the development process, Bena Belief they will experience the disaster. Their custom is never well- documented, therefore Bena Na Na Pia Na Na Na’a as a documentary film is designed as a visual archive in the form of video. The artistic research methods using qualitative approach. The data collection used ethic and emic observation, semi structured interview, and visual recording data. The result was analyzed and interpreted as a script, then collaborated using visual data to be a documenter film which inform the ritual, belief and development process of Bena Traditional House
原来自努沙登加拉帖木儿的贝纳部落是保留自己传统的部落之一，直到今天。他们的信仰之一是他们的房子作为人类的象征。因此，他们的房子有了名字。每个房子代表女性或男性。从他们开始设计房子到最终完成建造过程，总共有17个步骤。每一步都有其特定的仪式，如果他们在发展过程中犯了错误，他们将经历灾难。他们的习俗从来没有被很好地记录下来，因此，《Bena Na Na Pia Na Na Na Na’a》作为一部纪录片被设计成以录像形式的视觉档案。艺术研究方法采用定性方法。数据收集采用伦理和主题观察、半结构化访谈和可视化记录数据。结果被分析和解释为一个剧本，然后使用视觉数据合作，成为一个纪录片，告知Bena传统房屋的仪式，信仰和发展过程
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Pub Date : 2020-04-04DOI: 10.26887/MAPJ.V3I1.1338.G728
Ifdal Irman
The motif of itiak returns to patang is a sublime cultural heritage of Minangkabau. In Minangkabau society, there are three kinds of carvings that are inspired by nature. seen in the life of the Minangkabau people which still exist and are maintained until now. This idea was then developed into a concept for designing a visual typeface based on the back-to-back carving that has anatomical characters and the construction process is based on the rules in the typeface, so that this adaptation appears in Italic font. From engraved form to phonetic (single letter) its application as a font on a computer. After research and design, these ready-to-use fonts are socialized in the local area, prioritized at the education and government levels, which are used for the benefit of regional heads. The purpose of this design is to discuss and interpret the philosophical meaning contained in the carving, which reflects the life patterns of the Minangkabau people. This phenomenon is poured into the basic idea in creating an invincible typeface with the basic principles of typeface. This research method uses descriptive qualitative to reveal facts and circumstances by presenting what actually happened in the Minangkabau community. The approach used is a semiotic approach. Keywords: font, itiak pulang patang, italics.
伊蒂亚克回归巴塘的主题是米南卡保的崇高文化遗产。在米南卡保社会中，有三种雕刻灵感来自大自然。在米南卡保人的生活中可以看到，直到现在仍然存在。这个想法后来发展成一个概念，设计一种基于具有解剖特征的背靠背雕刻的视觉字体，并根据字体中的规则进行施工过程，因此这种改编出现在Italic字体中。从刻字到音标(单个字母)，它在计算机上作为字体的应用。经过研究和设计，这些现成的字体在当地被社会化，在教育和政府层面被优先考虑，为地区领导人的利益而使用。这个设计的目的是讨论和解释雕刻中包含的哲学意义，它反映了米南卡堡人的生活方式。用字体的基本原理，将这种现象倾注到创建无敌字体的基本思想中。这种研究方法采用描述性定性方法，通过展示米南卡保社区实际发生的事情来揭示事实和情况。使用的方法是符号学方法。关键词:字体，iatiak pulang patang，斜体。
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FLS2N is one of the most prestigious competency events in the West Sumatra region. The event provided a platform to continue to hone creativity and develop West Sumatra typical dances. Traditional Minangkabau values are one of the creative sources in packaging the dances that are presented in the competition stems at FLS2N. This study aims to analyze the extent to which the development of dance offerings in dance competition participants in West Sumatra Province. The focus of this research is the winners of the junior high school dance branch in 2019 in West Sumatra Province. This research is a qualitative research with a case study approach, with data collected through direct observation and interview techniques. The results of the study show that seen from critical fist, the dance performances of the winners of the competition at the West Sumatra Province level in 2019 still use motion patterns that tend to repeat old styles and forms. That is, choreologically, it tends not to be well developed. Meanwhile, there is still a tendency for many dance numbers to give less space to female dancers. It is an unfortunate fact that considering history shows that in fact female choreographers were the developers of contemporary Minangkabau dance
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Susandro Susandro, H. Afrizal, Saaduddin Saaduddin, Edy Suisno
ABSTRACTSamuel Beckett's Waiting for Godot is one of the dramas that Martin Esslin calls the Absurd Theater. Furthermore, For Esslin, Theater of the Absurd is not only a term but a theater theory to know conventions and understand the meaning of a drama. In this way, Esslin puts the Absurd Theater into the trajectory of the development of the world's theater arts style, as well as leading the reader or audience to a perception that the life or routine that humans live in is meaningless, pointless and futile. However, the Theater of the Absurd, in the view of Michael Y. Bennett, a term that is supported by unstructured and abstract concepts. Therefore, it is necessary to develop an alternative, a term which he calls Parabolic Drama. A more structured term in understanding Waiting for Godot and other dramas that contain parallel philosophical values. This article tries to explain the dialectic of the two theater theories above, the extent to which they can bind one drama and encompass another drama. ABSTRAKWaiting for Godot karya Samuel Beckett merupakan salah satu drama yang disebut dengan istilah Teater Absurd oleh Martin Esslin. Lebih jauh, Bagi Esslin, Teater Absurd tidak hanya suatu istilah melainkan teori teater untuk mengetahui konvensi serta memahami makna suatu drama. Dengan begitu, Esslin menempatkan Teater Absurd ke dalam lintasan perkembangan gaya seni teater dunia, sekaligus menggiring pembaca atau penonton pada suatu persepsi bahwa kehidupan atau rutinitas yang dijalani manusia tidaklah bermakna, tidak ada tujuan dan sia-sia. Namun, Teater Absurd, menurut pandangan Michael Y. Bennett, istilah yang didukung oleh konsep-konsep yang tidak terstruktur serta abstrak. Oleh karena itu, perlu dibangun suatu alternatif,istilah yang disebutnya dengan Parabolic Drama.Istilah yang lebih terstruktur dalam memahami Waiting for Godotserta drama lain yang mengandung nilai filosofis yang sejajar.Artikel ini mencoba memaparkandialektika kedua teoriteater di atas,sejauh mana keduanya dapat mengikat suatu drama dan melingkupi drama lainnya.
【摘要】塞缪尔·贝克特的《等待戈多》是被马丁·埃斯林称为“荒诞剧场”的戏剧之一。此外，对于埃斯林来说，荒诞戏剧不仅仅是一个术语，而是一种认识惯例和理解戏剧意义的戏剧理论。这样一来，埃斯林就把荒诞戏剧放入了世界戏剧艺术风格发展的轨迹中，并引导读者或观众认识到人类所生活的生活或套路是没有意义的、毫无意义的和徒劳的。然而，在迈克尔·y·班尼特看来，荒诞派戏剧是一个由非结构化和抽象概念支撑的术语。因此，有必要发展一种替代方法，他称之为抛物线戏剧。这是理解《等待戈多》和其他包含平行哲学价值的戏剧的一个更有条理的术语。本文试图解释上述两种戏剧理论的辩证法，以及它们在多大程度上可以将一部戏剧与另一部戏剧结合起来。[摘要]《等待戈多》塞缪尔·贝克特《等待戈多》《等待戈多》《等待戈多》《等待戈多》《等待戈多》《等待戈多》Lebih jauh, Bagi Esslin，戏剧家，戏剧家，戏剧家，戏剧家，戏剧家，戏剧家。登高，登高，登高，登高，登高，登高，登高，登高，登高，登高，登高，登高，登高，登高，登高，登高，登高，登高，登高，登高，登高。Michael Y. Bennett, istilah yang didukung oleh konsep-konsep yang tidak terstructur serta abstrak。Oleh karena, perlu dibangunsuatu alternative,istilah yang disbutnya denan抛物线剧。Istilah yang lebih terstruktur dalam memahami Waiting for Godotserta drama lain yang mengandung nilai filosofis yang sejajar。Artikel ini mencoba memaparkandialektika kedua teteteter数据，sejauh mana keduanya dapat mengikat suatu戏剧dan melingkupi戏剧lainnya。
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