Academic literature on the topic 'Keroncong Indonesia Java History and criticism'

This article discusses the history of the disaster that struck the Bulak Village in the area of Jepara, Central Java, Indonesia in the 1971-2000s period. Disasters that continue to occur in the village of Bulak force villagers to move to the new village location. The new village was named after Desa Bulak Baru as a sign that the name of Desa Bulak Baru was not part of the expansion of the old village, but as a collective memory of the name of their previous village. To see that change, the writer sees it in the lens of migration in the local definition, namely village bedol. Bedol Desa is a term for the people of the villages in Java who migrate. The study of village bedol events in the perspective of social history studies. In 1981 a village bedol event occurred in Bulak Village, Jepara Regency. The destination of the bedol desa is the location Desa Bulak Baru. Naming that includes a change of identity, but does not eliminate the old name as the historical basis of a Bulak Village. The method used in this study is the historical method, which includes: (1) heuristics or source tracking, (2) source criticism to verify the information obtained, (3) analysis, and (4) historiography or historical writing.

Penyebaran Kristen di Jawa Barat menurut para tokoh penyebarnya pada masa Hindia Belanda dapat dikatakan terlambat apabila dibandingkan penyebarannya di wilayah lain di Indonesia. Tulisan ini menjelaskan sinkretisme dalam sejarah penyebaran agama Kristen di Jawa Barat. Metode penelitian yang digunakan dalam tulisan ini adalah metode sejarah yang terdiri dari heuristik, kritik, interpretasi dan historiografi. Hasil penelitian memperlihatkan bahwa masyarakat Sunda menjadi tujuan penyebaran agama Kristen sejak pertengahan abad ke-19. Penyebaran agama Kristen tersebut dilakukan ke wilayah-wilayah yang letaknya terpencil dengan membentuk komunitas-komunitas Kristen. Penyebaran agama tersebut salah satunya dilakukan dengan memperkenalkannya sebagai “elmu anyar” (ilmu baru). Penyebaran agama Kristen dilakukan secara perlahan, salah satunya adalah dengan melakukan penyebaran secara tersembunyi. Pada awalnya penyebaran Kristen dilakukan dengan cara melakukan dialog-dialog dalam upaya mencari “elmu” kehidupan yang diwarnai dengan ajaran-ajaran Kristen tanpa menyebutkan bahwa elmu tersebut merupakan ajaran agama Kristen. The spread of Christianity in West Java during the Dutch East Indies period according to its missionaries can be considered quite late when compared to other regions in Indonesia. This paper examines syncretism in the history of the spread of Christianity in West Java. The research method used in this paper is a historical method consisting of heuristics, criticism, interpretation and historiography. The results of the study show that the Sundanese people became the target of Christian missionaries since the mid-nineteenth century. Missionaries’ activities were sent out to regions that were located in remote areas by forming many Christian communities. One of the methods used for evangelizing was by introducing it as "elmu anyar" (new knowledge). It was carried out slowly and secretly by conducting dialogues as an effort to search secret knowledge of life colored by Christian teachings without mentioning its origin.

AbstrakKegiatan penelitian dan penulisan sejarah sosial baru dilakukan sekitar tahun 1950-an, baik di negara-negara maju maupun di negara-negara yang sedang berkembang. Di negara-negara yang sedang berkembang seperti Indonesia, kegiatan penelitian dan penulisan Sejarah Sosial masih sedikit dilakukan terutama yang bercorak sejarah sosial daerah. Penelitian dan penulisan sejarah yang sering dilakukan bercorak Sejarah Politik dan Sejarah Militer. Sejarah politik isinya menguraikan tentang pemerintahan kerajaan-kerajaan di Indonesia, pada masa pemerintahan Belanda, dan pendudukan Jepang. Sejarah Militer isinya tentang pertempuran-pertempuran baik melawan agresi Belanda maupun facisme Jepang. Dengan tersusunnya Sejarah Sosial Kota Bekasi diharapkan dapat diperoleh gambaran atau potret seluruh aspek kehidupan sosial daerah Kota Bekasi pada masa kini, dengan latar belakang masa lampau untuk memberikan proyeksi pada masa yang akan datang. Untuk merekontruksi digunakan metode sejarah yang meliputi empat tahap, yaitu: heuristik, kritik, interpretasi, dan historiografi. Kota Bekasi sebelumnya sebuah kecamatan dari Kabupaten Bekasi. Pada tahun 1982 Kecamatan Bekasi ditingkatkan statusnya menjadi kota administrasi. Pada tahun 1996 kembali ditingkatkan statusnya menjadi kotamadya. Dalam perkembangannya Kota Bekasi menjadi kawasan industri dan kawasan tempat tinggal kaum urban. Kota yang berada dalam lingkungan megapolitan ini merupakan salah satu kota besar urutan keempat di Indonesia yang terdapat di Provinsi Jawa Barat. AbstractThe Research and writing of the new social history made around the 1950s, both in developed countries and in emerging countries. In countries like Indonesia as one of the emerging countries, research and writing of Social History is few, especially about the history of social region. Research and writing of history is often done patterned with Political History or Military History. The contents of Political history usually outlining with the era of kingdoms, and the governments in Indonesia at the time of Dutch and Japanese occupation. The contents of Military History usually discussed the battles either against the aggression of the Dutch and Japanese fascism. With the completion of the Social History of Bekasi City, hopefully it can get a photograph all aspects of the social life of the city of at present, with a background in the past to provide projections of future. This research used historical method which includes four phases: heuristic, criticism, interpretation, and historiography. In the past Bekasi well known as sub-district of Bekasi District. In 1982 the sub-district of Bekasi upgraded to municipality or administration city. Bekasi become a city in 1996. In their development, Bekasi become a central of industrial area and as residence of urban society. The town is located in a megapolitan city of Jakarta, and one of the biggest cities in in the province of West Java.

The popular historical narrative of the batik Sidoarjo needs to be reexamined based on historical methodology so that there is no historical bias based only on oral stories of the general public. Many studies are trapped in an inaccurate understanding of local historicity. As a result, these various studies have failed to fit batik Sidoarjo into its full context, instead it has become a kind of narrative standardization on its characteristics and history. This study aims to criticize the historical construction that has been popular in relation to the basic understanding of batik Sidoarjo and to explain the position of batik Sidoarjo in the cultural framework of its people. This article is the author's attempt to provide an analysis or explanation that is different from the historical narrative of batik Sidoarjo which is commonly used in various discussions. This research is classified as a qualitative research, using the historical method which consists of four stages, namely heuristics, source criticism, interpretation, and historiography. This research uses historical and sociological approaches to collect, select, and critically examine historical sources of Sidoarjo batik, resulting in historical facts. The results showed that the historicity of batik Sidoarjo refers to the batik activities in the areas of Kedungcangkring, Jetis, Sekardangan, Gajah Mada St. (Peranakans), and Tulangan, all of which have a direct relationship with both Peranakans nor indigenous. Batik Sidoarjo is not framed by traditional rituals, nor is it under the control and domination of the royal aristocracy. Its growth is based on the factor of the economic needs of the supporting community, which tends to be a trading commodity. The presence of other groups of people or nations such as Peranakan Chinese, Indo-European, Dutch, Arabic contributed to the birth of Sidoarjo batik. Keywords: batik, Sidoarjo, historical criticism.AbstrakNarasi sejarah batik Sidoarjo yang populer perlu dikaji ulang dengan didasari metodologi sejarah sehingga tidak terjadi bias sejarah yang hanya berdasar pada cerita lisan masyarakat umum. Banyak penelitian yang terjebak dalam pemahaman historisitas setempat yang kurang tepat. Akibatnya, berbagai kajian tersebut tidak berhasil mendudukkan batik Sidoarjo sesuai dengan konteksnya secara utuh, malah menjadi semacam standardisasi narasi pada karakteristik maupun sejarahnya. Penelitian ini bertujuan untuk mengkritisi konstruksi sejarah yang telah populer terkait pemahaman dasar tentang batik Sidoarjo serta menjelaskan kedudukan batik Sidoarjo dalam kerangka budaya masyarakatnya. Artikel ini merupakan upaya penulis untuk memberikan analisis atau paparan yang berbeda dari narasi sejarah batik Sidoarjo yang umum dilakukan pada berbagai pembahasan. Penelitian ini tergolong dalam penelitian kualitatif, dengan menggunakan metode sejarah yang terdiri atas empat tahap, yaitu heuristik, kritik sumber, interpretasi, dan historiografi. Penelitian ini menggunakan pendekatan historis dan sosiologis untuk mengumpulkan, menyeleksi, dan menguji secara kritis sumber-sumber sejarah batik Sidoarjo, sehingga menghasilkan fakta sejarah. Hasil penelitian memperlihatkan bahwa historisitas batik Sidoarjo merujuk pada aktivitas pembatikan yang ada di wilayah Kedungcangkring, Jetis, Sekardangan, Jl. Gajah Mada (China Peranakan), dan Tulangan yang kesemuanya saling terkait memiliki hubungan langsung baik itu pembatikan China peranakan maupun pribumi. Batik Sidoarjo tidak dikerangkai oleh ritual adat, juga tidak di bawah kendali dan dominasi aristokrasi kraton. Pertumbuhannya didasari faktor kebutuhan ekonomi masyarakat pendukungnya, sifatnya cenderung merupakan komoditas dagang. Hadirnya golongan masyarakat atau bangsa lain seperti China Peranakan, Indo-Eropa, Belanda, Arab turut berpengaruh melahirkan batik Sidoarjo.Kata Kunci: batik, Sidoarjo, kritik sejarah. Author:Asy Syams Elya Ahmad : Universitas Negeri Surabaya References:Abbas, Irwan. (2014). Memahami Metodologi Sejarah antara Teori dan Praktek. ETNOHISTORI: Jurnal Ilmiah Kebudayaan dan Kesejerahan, 1(1), 33–41.Abdurrahman, Dudung. (1999). Metode Penelitian Sejarah. Yogyakarta: Logos.Ahmad, Asy Syams Elya. (2013). Kajian Estetik Batik Sidoarjo. Tesis. Tidak Diterbitkan. Bandung: Program Studi Magister Desain, Institut Teknologi Bandung.Anas, Biranul, Hasanuddin, Ratna Panggabean, Yanyan Sunarya. (1997). Indonesia Indah-Buku ke 8; “Batik”. Jakarta: Yayasan Harapan Kita/BP 3 TMII.Anshori, Yusak & Kusrianto, Adi. (2011). Keeksotisan Batik Jawa Timur. 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Theatre contributed actively to the Reformasi movement of 1998 in Indonesia, as shows were staged that united students, NGO workers, artists and others in shared criticism of the Suharto regime and aspirations for change. Modern Indonesianlanguage theatre has a long history of political involvement. Developed among students in the Dutch colonial school system, its aim was helping create the Indonesian nation. This led to friction with other political groups and with state authorities. During the New Order regime, performances conveyed criticism that could not be expressed through other channels. In the post-Suharto era, however, when political criticism can be freely expressed and there is no united opposition movement to work with, theatre necessarily connects in a different way to its social context. In Central Java, where the writers research has been based, contemporary theatrical performances are characterised by a shared focus on local identity and community. Local culture is sometimes interpreted as the indigenous cultural forms of an area, but more often as the mixed local-global culture that residents practise today. The term community is used to refer to immediate neighbours and to people with shared interests and experiences, who both watch and actively perform in plays. Such developments in theatre are clearly shaped by the heightened awareness of local identity fostered by regional autonomy and by the ideology of participatory democracy. But how do theatrical activities connect to other social forces and with the structures of the regional autonomy system? Is there any sense of future direction in the current vibrant celebration of local identity? In what ways does theatre in other regions reflect local social conditions? These important questions remain to be explored.

The world of Visual Arts developed basically from the practice of art creation. From the practice of art creation, the method is increasingly advanced, revealed new concepts and approaches in art creation that are unique. Certainly from the work of the artists and designers, will later arise theories that support the process of new art creations. The studies of Arts appeared after the Art itself created. After there are works, a study of the works or the process of artwork is carried out. There is a need to introduce the arts to the wider community, bridging the gap between the expressions complexities of the artists and people's appreciation. There are also interests of the education field to pass on the knowledge to students or develop new approaches in art education. This understanding of the visual perspectives will also support other sociocultural research. Earlier studies on Visual Arts are generally carried out in the framework of History, and Art Criticism. As the sciences of humanities increasingly developed, the nature and form of art studies became more varied, becoming more interdisciplinary. The study of Visual Arts and Design may involve an analysis of contemporary culture, the media, and society. The cultural activities produce images that are important in understanding the dynamics of society. This special issue, "The Arts and Humanities" covering research topics in the field of Visual Arts and Design, encompasses a diverse range in Visual Art and Design study areas as well as different objectives of the writings. Written by scholars that also practitioners in the field of Visual Arts and Design from a variety of disciplines, the creative and critical research findings problematize critical issues based on art practices, policies, productions, and the aesthetic aspect of the art itself.Most of the topics discussed the fields of "science" which had formally been part of the discourse disciplines in Visual arts schools: Fine Arts, Design, and Crafts, while two of them explored issues in visual culture context that were part of the performing arts and culinary arts. These varied research topics and approaches show the many interests in Visual arts studies, especially in Indonesia.Madia Patra Ismar (2020) with Rayahu Pertiwi (2020) discussed the artistic gaze of two Papuan choreographers; Visual Perspectives Rooted in the Oral Traditions of the Kamoro and Asmat Tribe. Those choreographers based their work on their traditional roots and the choice of visuals and dramatic bodily expressions created by them was based on their deeply ingrained roots as indigenous Papuans. Sonya Indriati Sondakh (2020), realized that when food is served in high-end premises or special places for tourism purpose, the visual aspects become an interesting marker to read. She explores the visual perception in Indonesian food, discusses the negotiation of the visual and gustatory perception.The following three articles select topics around textiles and fashion works, with a gender perspective on the discussion. Lucky Wijayanti (2020) has done research on the resilience of Sasak women. This research concludes that art activities functioned as a 'liberation room' for Sasak women to express themselves. Adlien Fadlia (2020) researched the tradition of making batik in the Rifa’iyah community in the village of Kalipucang Wetan, Batang, Central Java. Batik with a characteristic motif of the Rifa’iyah can be sustainable until now because of the role of women in regenerating batik skills. Mangesti Rahayu (2020) also explored the clothing custom in Indonesia. She found that hijab is also part of the Muslim warriors identites in the era of Indonesia independence struggle. Hijab also had its role in fighting for the dignity of women at that time.