Pub Date : 2023-05-13DOI: 10.59997/jacam.v2i1.2353
Agus Made Wira Hadi Kusuma, Gusti Ayu Marcela Dewi, Gusti Ayu Ratih Candra Giri, Ni Putu Putri Ditha Sumaridewi Oka, Ni Putu Candra Dewi Cahyanti, Ni Luh Putu Winda Sari Maharani K. A., Ni Wayan Somawati
This study discusses the existence of Joged Pingitan dance in Banjar Pengosekan, Mas Village, Ubud, Bali. Joged Pingitan dance is included in the sacred dance which is believed to have strong religious and magical values by the people of Pengosekan Costumary Village. The religious value possessed by Joged Pingitan dance can be seen from its function as a wali/sacred dance to accompany the ceremony. This study raises three main issues, namely the history of Joged Pingitan dance, the functions of Joged Pingitan dance, and the values contained therein and the inheritance of Joged Pingitan dance in the globalization era. The purpose of this research is to answer all the problem formulations and dig deeper about Joged Pingitan dance. The method used is descriptive qualitative method with data collection techniques using observation and interview techniques. The results of this study explained that Joged Pingitan dance in Banjar Pengosekan is still preserved today, has the main function of being an accompaniment and complement during religious ceremonies and contains many values such as aesthetic values which are is the value of beauty, religious value, educational value, and social value.
{"title":"Cultural Inheritance of Joged Pingitan Dance in Pengosekan, Ubud","authors":"Agus Made Wira Hadi Kusuma, Gusti Ayu Marcela Dewi, Gusti Ayu Ratih Candra Giri, Ni Putu Putri Ditha Sumaridewi Oka, Ni Putu Candra Dewi Cahyanti, Ni Luh Putu Winda Sari Maharani K. A., Ni Wayan Somawati","doi":"10.59997/jacam.v2i1.2353","DOIUrl":"https://doi.org/10.59997/jacam.v2i1.2353","url":null,"abstract":"This study discusses the existence of Joged Pingitan dance in Banjar Pengosekan, Mas Village, Ubud, Bali. Joged Pingitan dance is included in the sacred dance which is believed to have strong religious and magical values by the people of Pengosekan Costumary Village. The religious value possessed by Joged Pingitan dance can be seen from its function as a wali/sacred dance to accompany the ceremony. This study raises three main issues, namely the history of Joged Pingitan dance, the functions of Joged Pingitan dance, and the values contained therein and the inheritance of Joged Pingitan dance in the globalization era. The purpose of this research is to answer all the problem formulations and dig deeper about Joged Pingitan dance. The method used is descriptive qualitative method with data collection techniques using observation and interview techniques. The results of this study explained that Joged Pingitan dance in Banjar Pengosekan is still preserved today, has the main function of being an accompaniment and complement during religious ceremonies and contains many values such as aesthetic values which are is the value of beauty, religious value, educational value, and social value.","PeriodicalId":342735,"journal":{"name":"Journal of Aesthetics, Creativity and Art Management","volume":"22 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130675427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-11DOI: 10.59997/jacam.v2i1.2322
Ketut Tara Listiawan, Ni Luh Sustiawati, I. K. Sariada
Janger dance is a variety of Balinese art which is classified as a type of social dance for young people in the form of groups (between 16-20 people), very popular among Balinese people. During the dance, groups of female dancers (janger) and groups of male dancers (kecak) dance and sing in unison (mutual sinawurin) with humorous and sometimes romantic songs. The gamelan that is usually used to accompany the Janger dance is called Batel (Tetamburan) which is equipped with a pair of gender puppets. The dance moves are still based on the aesthetic principles of Balinese dance, and the clothing uses the typical janger. Janger dance can adapt to contemporary developments, so janger activists have the freedom to interpret its form, melodies with song lyrics, musical accompaniment, and choreography. In the Janger Menyali dance, the uniqueness of this dance is in terms of the clothes that look quirky, resembling the clothes of the Dutch soldiers when they docked at the Buleleng customs, and the name for the dancers, namely for male dancers it is called jipak, while for female dancers it is called parik. In this study, it is more specific to the aesthetics of gending in the Janger Menyali dance regarding the two pieces that must be performed, namely Dewa Ayu Janger and Mepamit Ring Ratu Gusti Ayu which have the meaning of inviting Dewa Ayu Janger to attend the performance and returning Dewa Ayu Janger to return to his stana with the use of sekar alit banten properties and also kuwud mepayas.
Janger dance是巴厘的一种艺术形式，被归类为年轻人的一种社交舞蹈，以团体形式(16-20人之间)，在巴厘人中很受欢迎。在舞蹈中，成群的女舞者(janger)和成群的男舞者(kecak)一起跳舞和唱歌(相互的sinawurin)，伴随着幽默的，有时是浪漫的歌曲。通常用来为Janger舞蹈伴奏的佳美兰被称为Batel (Tetamburan)，它配备了一对性别木偶。舞蹈动作仍以巴厘舞蹈的美学原则为基础，服装使用典型的janger。跳响当当舞可以适应当代的发展，所以响当当舞的积极分子可以自由地诠释它的形式、旋律、歌词、音乐伴奏和编舞。在Janger Menyali舞蹈中，这种舞蹈的独特之处在于服装看起来很奇怪，类似于荷兰士兵在布列伦海关停靠时的衣服，舞者的名字，即男性舞者被称为jipak，而女性舞者被称为parik。在本研究中，更具体的是关于Janger Menyali舞蹈中必须表演的两首作品，即Dewa Ayu Janger和Mepamit Ring Ratu Gusti Ayu，这两首作品具有邀请Dewa Ayu Janger参加表演并使用sekar alit banten属性和kuwud mepayas将Dewa Ayu Janger送回他的stana的含义。
{"title":"Gending Aesthetics in Janger Menyali Dance in Sawan District, Buleleng Regency","authors":"Ketut Tara Listiawan, Ni Luh Sustiawati, I. K. Sariada","doi":"10.59997/jacam.v2i1.2322","DOIUrl":"https://doi.org/10.59997/jacam.v2i1.2322","url":null,"abstract":"Janger dance is a variety of Balinese art which is classified as a type of social dance for young people in the form of groups (between 16-20 people), very popular among Balinese people. During the dance, groups of female dancers (janger) and groups of male dancers (kecak) dance and sing in unison (mutual sinawurin) with humorous and sometimes romantic songs. The gamelan that is usually used to accompany the Janger dance is called Batel (Tetamburan) which is equipped with a pair of gender puppets. The dance moves are still based on the aesthetic principles of Balinese dance, and the clothing uses the typical janger. Janger dance can adapt to contemporary developments, so janger activists have the freedom to interpret its form, melodies with song lyrics, musical accompaniment, and choreography. In the Janger Menyali dance, the uniqueness of this dance is in terms of the clothes that look quirky, resembling the clothes of the Dutch soldiers when they docked at the Buleleng customs, and the name for the dancers, namely for male dancers it is called jipak, while for female dancers it is called parik. In this study, it is more specific to the aesthetics of gending in the Janger Menyali dance regarding the two pieces that must be performed, namely Dewa Ayu Janger and Mepamit Ring Ratu Gusti Ayu which have the meaning of inviting Dewa Ayu Janger to attend the performance and returning Dewa Ayu Janger to return to his stana with the use of sekar alit banten properties and also kuwud mepayas.","PeriodicalId":342735,"journal":{"name":"Journal of Aesthetics, Creativity and Art Management","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130179143","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-11DOI: 10.59997/jacam.v2i1.2320
Dennis Penn Yohan Kayansa, I. N. Wirakesuma
In Indonesia, the development of bicycles was heavily influenced by the colonialists, especially the Dutch. They brought bicycles produced in their country to use around to enjoy the fresh nature of Indonesia. This habit was transmitted to the aborigines with blue blood. Finally, the bicycle became a prestigious means of transportation. Onthel bicycles were a means of transportation that were relatively expensive before the independence period. Onthel bicycles, also known as camel bicycles, kebo bicycles, or pit pancal, are standard bicycles with 28-inch tires that were commonly used by urban communities until the 1970s. The heritage factor and the classic shape of the bicycle are interesting to be used as an experimental bicycle photography work. Starting from this phenomenon, the authors argue that research related to bicycles is necessary and interesting to do because in the globalization or modern era which is full of modern lifestyle offers, bicycles actually choose a classic lifestyle.
{"title":"Onthel Bicycle: Creation Model of Experimental Photography using Iwan Zahar Method","authors":"Dennis Penn Yohan Kayansa, I. N. Wirakesuma","doi":"10.59997/jacam.v2i1.2320","DOIUrl":"https://doi.org/10.59997/jacam.v2i1.2320","url":null,"abstract":"In Indonesia, the development of bicycles was heavily influenced by the colonialists, especially the Dutch. They brought bicycles produced in their country to use around to enjoy the fresh nature of Indonesia. This habit was transmitted to the aborigines with blue blood. Finally, the bicycle became a prestigious means of transportation. Onthel bicycles were a means of transportation that were relatively expensive before the independence period. Onthel bicycles, also known as camel bicycles, kebo bicycles, or pit pancal, are standard bicycles with 28-inch tires that were commonly used by urban communities until the 1970s. The heritage factor and the classic shape of the bicycle are interesting to be used as an experimental bicycle photography work. Starting from this phenomenon, the authors argue that research related to bicycles is necessary and interesting to do because in the globalization or modern era which is full of modern lifestyle offers, bicycles actually choose a classic lifestyle.","PeriodicalId":342735,"journal":{"name":"Journal of Aesthetics, Creativity and Art Management","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114070212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-11DOI: 10.59997/jacam.v2i1.2346
Putu Putra Suryadana, I. Mudra
Pemedal Agung is one of the historic buildings located on the Kertha Gosa site, founded by the founder of power and the first throne holder of the Klungkung kingdom in Semarapura, namely Ida I Dewa Agung Jambe. The identity of Pemedal Agung has very unique forms of statues and ornaments. The uniqueness of the statues in Pemedal Agung can be seen from the use of ideas which certainly have their own uniqueness from the use of the idea of placing statues as ornaments or decorative elements in traditional architecture in Bali in general. The existence of the statues at the Kertha Gosa site, especially at the foot of Pemedal Agung, is not known specifically regarding the form of its embodiment, so this study is considered important to answer the proposed phenomenon. The purpose of this study was to find out the shape of the statues on the foot of Pemedal Agung at the Kertha Gosa Klungkung site. This study uses a qualitative descriptive approach, with data collection methods, namely observation and documentation. Data collection will be carried out in 2023 at the Kertha Gosa Klungkung Bali site, as the whereabouts of the research subject. The results of the study show that the shape of the statues found at the foot of Pemedal Agung at the Kertha Gosa site is one of the decorative elements of architectural heritage from the royal era in Bali. Researchers hope that this study can provide an overview in the form of science related to the existence of statues at the foot of Pemedal Agung at the Kertha Gosa site which is a decorative element of architectural heritage from the royal era in Klungkung.
{"title":"Pemedal Agung at the Kertha Gosa Site, Klungkung, Bali (A Study of the Shape of the Statue)","authors":"Putu Putra Suryadana, I. Mudra","doi":"10.59997/jacam.v2i1.2346","DOIUrl":"https://doi.org/10.59997/jacam.v2i1.2346","url":null,"abstract":"Pemedal Agung is one of the historic buildings located on the Kertha Gosa site, founded by the founder of power and the first throne holder of the Klungkung kingdom in Semarapura, namely Ida I Dewa Agung Jambe. The identity of Pemedal Agung has very unique forms of statues and ornaments. The uniqueness of the statues in Pemedal Agung can be seen from the use of ideas which certainly have their own uniqueness from the use of the idea of placing statues as ornaments or decorative elements in traditional architecture in Bali in general. The existence of the statues at the Kertha Gosa site, especially at the foot of Pemedal Agung, is not known specifically regarding the form of its embodiment, so this study is considered important to answer the proposed phenomenon. The purpose of this study was to find out the shape of the statues on the foot of Pemedal Agung at the Kertha Gosa Klungkung site. This study uses a qualitative descriptive approach, with data collection methods, namely observation and documentation. Data collection will be carried out in 2023 at the Kertha Gosa Klungkung Bali site, as the whereabouts of the research subject. The results of the study show that the shape of the statues found at the foot of Pemedal Agung at the Kertha Gosa site is one of the decorative elements of architectural heritage from the royal era in Bali. Researchers hope that this study can provide an overview in the form of science related to the existence of statues at the foot of Pemedal Agung at the Kertha Gosa site which is a decorative element of architectural heritage from the royal era in Klungkung.","PeriodicalId":342735,"journal":{"name":"Journal of Aesthetics, Creativity and Art Management","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124487811","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-11DOI: 10.59997/jacam.v2i1.2345
Febrian Putra, I. G. Yudarta, I. Mudra
Capturing the everyday life of women workers in the badung market through documentary photography is a work that reveals the lives of women workers in the Badung Market in a powerful and effective way by using visual storytelling techniques. This technique involves using images and narration that complement each other to bring the audience into the story presented in images that can be used to present the lives of women workers in the Badung Market, while narration can be used to provide background on the lives of these women workers, as well as describe conflicts. they face in carrying out their work. The purpose of creating this work is to provide a visual depiction of the daily life of female workers, to use documentary photography as a medium to reveal the beauty and dignity of the work of female laborers as porters at Badung Market, Bali. The research method used in this study is a qualitative method with a case study approach. Data analysis techniques used include descriptive analysis, qualitative analysis, and thematic analysis. The result of creating this work focuses on the lives of female laborers transporting goods at the Badung Market in raising awareness about social issues, able to describe the activities carried out by women workers in the Badung Market in each photo so that they can provide in-depth information.
{"title":"Everyday Life of Women Workers in Badung Market (A Documentary Photography Study)","authors":"Febrian Putra, I. G. Yudarta, I. Mudra","doi":"10.59997/jacam.v2i1.2345","DOIUrl":"https://doi.org/10.59997/jacam.v2i1.2345","url":null,"abstract":"Capturing the everyday life of women workers in the badung market through documentary photography is a work that reveals the lives of women workers in the Badung Market in a powerful and effective way by using visual storytelling techniques. This technique involves using images and narration that complement each other to bring the audience into the story presented in images that can be used to present the lives of women workers in the Badung Market, while narration can be used to provide background on the lives of these women workers, as well as describe conflicts. they face in carrying out their work. The purpose of creating this work is to provide a visual depiction of the daily life of female workers, to use documentary photography as a medium to reveal the beauty and dignity of the work of female laborers as porters at Badung Market, Bali. The research method used in this study is a qualitative method with a case study approach. Data analysis techniques used include descriptive analysis, qualitative analysis, and thematic analysis. The result of creating this work focuses on the lives of female laborers transporting goods at the Badung Market in raising awareness about social issues, able to describe the activities carried out by women workers in the Badung Market in each photo so that they can provide in-depth information.","PeriodicalId":342735,"journal":{"name":"Journal of Aesthetics, Creativity and Art Management","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134374774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-11DOI: 10.59997/jacam.v2i1.2350
Ni Made Ayu Diana Putri, N. Ardini, I. W. Rai S
Tri Sandya Puja is a mantra (prayer) that is routinely performed three times a day by Hindus in Bali. Derived from two words, namely Tri which means "three" and Sandya which means "relationship". Tri Sandya is three times to connect with God (Ida Sang Hyang Widhi Wasa). It is a chant of a mantra and is categorized as an oral literature in the form of magical poetry. The Tri Sandya Mantra has been passed down orally in Bali and consists of six stanzas. In this article the authors will discuss the Tri Sandya Puja in more detail in terms of the meaning of the mantra, transcription of the melody of the mantra as well as cultural inheritance and its existence to date.
Tri Sandya Puja是巴厘岛印度教徒每天例行进行三次的咒语(祈祷)。来源于两个词，即Tri，意思是“三”，Sandya，意思是“关系”。Tri Sandya是三次与上帝(Ida Sang Hyang Widhi Wasa)联系。它是一种咒语的吟唱，被归类为神奇诗歌形式的口头文学。三禅咒在巴厘岛口头流传，由六节组成。在这篇文章中，作者将从咒语的意义、咒语旋律的转录以及文化传承和它的存在等方面更详细地讨论三山亚法会。
{"title":"Transcription, Inheritance, and Meaning of Tri Sandya Puja Mantra","authors":"Ni Made Ayu Diana Putri, N. Ardini, I. W. Rai S","doi":"10.59997/jacam.v2i1.2350","DOIUrl":"https://doi.org/10.59997/jacam.v2i1.2350","url":null,"abstract":"Tri Sandya Puja is a mantra (prayer) that is routinely performed three times a day by Hindus in Bali. Derived from two words, namely Tri which means \"three\" and Sandya which means \"relationship\". Tri Sandya is three times to connect with God (Ida Sang Hyang Widhi Wasa). It is a chant of a mantra and is categorized as an oral literature in the form of magical poetry. The Tri Sandya Mantra has been passed down orally in Bali and consists of six stanzas. In this article the authors will discuss the Tri Sandya Puja in more detail in terms of the meaning of the mantra, transcription of the melody of the mantra as well as cultural inheritance and its existence to date.","PeriodicalId":342735,"journal":{"name":"Journal of Aesthetics, Creativity and Art Management","volume":"134 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116351828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-11DOI: 10.59997/jacam.v2i1.2347
Yessica Yosia Virginia Simanjuntak, I. G. Yudarta
Gondang Sabangunan is one of a musical ensemble type that functions as an accompaniment to traditional ceremonies of the Toba Batak people. The Gondang Sabangunan performance by Gondang Sianjur Mula-Mula community has different form characteristics compared to other forms of Gondang. The performance of Gondang Sabangunan by Gondang Sianjur Mula-Mula community still maintains the use of original musical instruments amidst the rampant changes in the form of Gondang Sabangunan performances that use a mixture of modern musical instruments such as electric keyboard. The Gondang Sabangunan performance of the Gondang Sianjur Mula-Mula community is interesting to be studied more deeply to see the form and the aesthetic values of Gondang Sabangunan. This paper aims to find out the form and aesthetic value of Gondang Sabangunan. This article uses qualitative methods with an aesthetic approach The results of the discussion found that the form of three parts in the Gondang Sadinding performance related to traditional rituals, traditional ceremonies and social systems of the Batak people, while the aesthetic values found were pure values and extra aesthetic values based on Dalihan Na Tolu as the philosophy of kinship of the Batak community.
{"title":"Aesthetic Values of Batak Toba Gondang Sadinding Music Performances at Gondang Sianjur Mula-mula Community","authors":"Yessica Yosia Virginia Simanjuntak, I. G. Yudarta","doi":"10.59997/jacam.v2i1.2347","DOIUrl":"https://doi.org/10.59997/jacam.v2i1.2347","url":null,"abstract":"Gondang Sabangunan is one of a musical ensemble type that functions as an accompaniment to traditional ceremonies of the Toba Batak people. The Gondang Sabangunan performance by Gondang Sianjur Mula-Mula community has different form characteristics compared to other forms of Gondang. The performance of Gondang Sabangunan by Gondang Sianjur Mula-Mula community still maintains the use of original musical instruments amidst the rampant changes in the form of Gondang Sabangunan performances that use a mixture of modern musical instruments such as electric keyboard. The Gondang Sabangunan performance of the Gondang Sianjur Mula-Mula community is interesting to be studied more deeply to see the form and the aesthetic values of Gondang Sabangunan. This paper aims to find out the form and aesthetic value of Gondang Sabangunan. This article uses qualitative methods with an aesthetic approach The results of the discussion found that the form of three parts in the Gondang Sadinding performance related to traditional rituals, traditional ceremonies and social systems of the Batak people, while the aesthetic values found were pure values and extra aesthetic values based on Dalihan Na Tolu as the philosophy of kinship of the Batak community.","PeriodicalId":342735,"journal":{"name":"Journal of Aesthetics, Creativity and Art Management","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133524893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-24DOI: 10.59997/jacam.v1i2.1828
Yusuf Arrahman, N. Ardini, I. K. Sudirga
"Jali-jali" in Gambang Kromong (Kromong Xylophone) music is a very popular Betawi song. This song is the result of acculturation of Betawi and Chinese culture. The popularity of “Jali-jali” is inversely proportional to the existing literature about this song. This study aimed to understand its specificity thoroughly. It is a type of field research by describing the data qualitatively and the selection of theory is based on data in the field. The type of data in this study is qualitative data. Research data sources consist of primary and secondary data sources. Data were collected through interview, observation, documentation and literature studies. Data analysis was carried out by data reduction, data presentation, and data verification. The results show that in "Jali-jali" the hybridity of Chinese and Betawi culture can be seen from the cultural aspects, namely ideas, activities, and artifacts. There is also a musical aspect in the playing of Tehyan which has a diatonic scale and Gambang Kromong which has a pentatonic scale. The form of "Jali-jali" in Gambang Kromong music is A-B-A-B-C, has 10 sentences and 5 periods. The aesthetics of "Jali-jali" is found in the melodic tone that sounds distinctive because the differences in the hybridity of Betawi music and Chinese music produce a contrasting melody, from which there is a very distinctive harmonization so that "Jali-jali" in Gambang Kromong music is closely related to Betawi cultural identity.
{"title":"Aesthetic hybridity of the song “Jali-jali” in Gambang Kromong music","authors":"Yusuf Arrahman, N. Ardini, I. K. Sudirga","doi":"10.59997/jacam.v1i2.1828","DOIUrl":"https://doi.org/10.59997/jacam.v1i2.1828","url":null,"abstract":"\"Jali-jali\" in Gambang Kromong (Kromong Xylophone) music is a very popular Betawi song. This song is the result of acculturation of Betawi and Chinese culture. The popularity of “Jali-jali” is inversely proportional to the existing literature about this song. This study aimed to understand its specificity thoroughly. It is a type of field research by describing the data qualitatively and the selection of theory is based on data in the field. The type of data in this study is qualitative data. Research data sources consist of primary and secondary data sources. Data were collected through interview, observation, documentation and literature studies. Data analysis was carried out by data reduction, data presentation, and data verification. The results show that in \"Jali-jali\" the hybridity of Chinese and Betawi culture can be seen from the cultural aspects, namely ideas, activities, and artifacts. There is also a musical aspect in the playing of Tehyan which has a diatonic scale and Gambang Kromong which has a pentatonic scale. The form of \"Jali-jali\" in Gambang Kromong music is A-B-A-B-C, has 10 sentences and 5 periods. The aesthetics of \"Jali-jali\" is found in the melodic tone that sounds distinctive because the differences in the hybridity of Betawi music and Chinese music produce a contrasting melody, from which there is a very distinctive harmonization so that \"Jali-jali\" in Gambang Kromong music is closely related to Betawi cultural identity.","PeriodicalId":342735,"journal":{"name":"Journal of Aesthetics, Creativity and Art Management","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132891159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-24DOI: 10.59997/jacam.v1i2.1833
Anak Agung Sagung Istri Trisnadewi, Tjok Istri Ratna, C.S., A. A. G. R. Remawa
The creation of this naturalist-based street chic ready-to-wear fashion was made with the aim of minimizing liquid waste from chemicals and displaying environmentally friendly clothing. The method used is an experimental method with natural dye techniques, namely dyeing or coloring derived from plants and eco print techniques, which are unique in the form of leaf traces with contemporary art. The creative process used is the ten steps of creating a frangipani fashion design, including idea exploration, research, aesthetic element analysis, design development, sample making, promotion, branding affirmations, to the fashion business. The final collection is entitled Swakaryaloka which is a creative work of art in visualizing clothing using natural dyes that utilize the surrounding nature as an object to produce an environmentally friendly fashion product. The creation of this street chic fashion design is adapted to the trend of spirituality, a change in mindset that is more grounded in preserving nature and respect for the work process. There is a total of 9 looks which are divided into three groups, namely memorable, contemporary, and hopeful. The groups displayed environmentally friendly clothing that had a storyline from the condition of the color of the polluted water to the color of the water being clean or normal. Each look is analyzed using design elements and principles using aesthetic theory. Keywords: natural dye, eco print, spirituality, street chic.
{"title":"Swakaryaloka: Naturalist based street chic creation","authors":"Anak Agung Sagung Istri Trisnadewi, Tjok Istri Ratna, C.S., A. A. G. R. Remawa","doi":"10.59997/jacam.v1i2.1833","DOIUrl":"https://doi.org/10.59997/jacam.v1i2.1833","url":null,"abstract":"The creation of this naturalist-based street chic ready-to-wear fashion was made with the aim of minimizing liquid waste from chemicals and displaying environmentally friendly clothing. The method used is an experimental method with natural dye techniques, namely dyeing or coloring derived from plants and eco print techniques, which are unique in the form of leaf traces with contemporary art. The creative process used is the ten steps of creating a frangipani fashion design, including idea exploration, research, aesthetic element analysis, design development, sample making, promotion, branding affirmations, to the fashion business. The final collection is entitled Swakaryaloka which is a creative work of art in visualizing clothing using natural dyes that utilize the surrounding nature as an object to produce an environmentally friendly fashion product. The creation of this street chic fashion design is adapted to the trend of spirituality, a change in mindset that is more grounded in preserving nature and respect for the work process. There is a total of 9 looks which are divided into three groups, namely memorable, contemporary, and hopeful. The groups displayed environmentally friendly clothing that had a storyline from the condition of the color of the polluted water to the color of the water being clean or normal. Each look is analyzed using design elements and principles using aesthetic theory. \u0000Keywords: natural dye, eco print, spirituality, street chic.","PeriodicalId":342735,"journal":{"name":"Journal of Aesthetics, Creativity and Art Management","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125778968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-24DOI: 10.59997/jacam.v1i2.1826
K. S. Marhaeni, N. Yulianti, I. K. Garwa
The purpose of this paper is to analyze the values of character education in the traditional art of “Lord Shiva Saves the Universe” and the moral messages contained in it, which are beneficial not only for humanists and artists, but also for activists in the field of character education. The method used is a qualitative by analyzing the performance of "Lord Shiva Saves the Universe" which is an English language performance art whose play is adapted from the Srimad Bhagavatam skanda 8 in chapter 7 with the title Lord Shiva Saves the Universe by Drinking Poison. The character values contained in the traditional art of "Lord Shiva Saves the Universe" are: 1) religious, 2) tolerance, 3) discipline, 4) hard work, 5) creative, and 6) responsibility. The moral message contained in it reminds everyone to be careful in believing someone's appearance because a charming appearance can be a trap to deceive someone. This is very important to study, considering that there are currently many declines in the character of the nation's children and also national problems, such as reduced ethical values in the life of the nation and state.
{"title":"The values of character education in the pakeliran art “Lord Shiva Saves the Universe”","authors":"K. S. Marhaeni, N. Yulianti, I. K. Garwa","doi":"10.59997/jacam.v1i2.1826","DOIUrl":"https://doi.org/10.59997/jacam.v1i2.1826","url":null,"abstract":"The purpose of this paper is to analyze the values of character education in the traditional art of “Lord Shiva Saves the Universe” and the moral messages contained in it, which are beneficial not only for humanists and artists, but also for activists in the field of character education. The method used is a qualitative by analyzing the performance of \"Lord Shiva Saves the Universe\" which is an English language performance art whose play is adapted from the Srimad Bhagavatam skanda 8 in chapter 7 with the title Lord Shiva Saves the Universe by Drinking Poison. The character values contained in the traditional art of \"Lord Shiva Saves the Universe\" are: 1) religious, 2) tolerance, 3) discipline, 4) hard work, 5) creative, and 6) responsibility. The moral message contained in it reminds everyone to be careful in believing someone's appearance because a charming appearance can be a trap to deceive someone. This is very important to study, considering that there are currently many declines in the character of the nation's children and also national problems, such as reduced ethical values in the life of the nation and state.","PeriodicalId":342735,"journal":{"name":"Journal of Aesthetics, Creativity and Art Management","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126019186","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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