Academic literature on the topic 'Popular music Social aspects Indonesia Java'

This article aims at analyzing a vocal contest of a traditional musical art genre namely Tembang Sunda Cianjuran (Cianjur Sundanese Traditional Song) in West Java, Indonesia. The contest, also known by the term PTSC DAMAS, had been held continuously since 1962 by youth social organization called DAMAS (Daya Mahasiswa Sunda). The study was conducted using qualitative approach. Data was collected through observation, interviews, and documentation. Data analysis was conducted by using an interactive model. The results show that PTSC DAMAS has greatly affected the preservation and development of the Tembang Sunda Cianjuran, not only in the music accompaniment but also vocal aspects. Various parties has been very supportive of PTSC DAMAS, thus the contest can be carried out consistently.

This study is aimed at investigating the trend of folk song arrangement in six Choir Competitions Folklore Category, 2019. It is specifically focused on investigating three things: the trend of arrangers’ names, title of, origin of folk songs performed in the competitions, the characteristic of the arrangement and relationship between the arrangers and the national choir competitions committee. The reason of choosing the topic is because such a folk song arrangement is seen to be one of the key factors in conducting a choir competition, folklore category. As for the research method, it is more on music behaviour in a relational teritory. Therefore, it used a document study and qualitative research design. In this case, the researcher observed in six choir competitions and interviewed the arrangers, choir leaders, and musicians taking apart in the competitions. The findings revealed that the most frequently used arrangement was Ken Steven’s “Cikala Le Pong Pong”, the most popular arranger was Budi Susanto Yohanes, and Java and Madura were the two origins from which most of the folk songs were performed in choir competitions. The characteristic of the most popular one due to its unique arrangement in the form of vibrant music rhythm and body percussion. It revealed that an arranger is the first key agent in a systemic social-organization mechanism like in a choir competition.

Agrarian conflicts are one of agrarian facts and also become the popular ‘main theme’ in many discussions and studies in Indonesia. Cases and studies of land and sea agrarian source are the two important agrarian objects, for their connection to dominant source for many sides involved. The reality that happened on the natural/agrarian source management is one of the aspects that can make village society more dynamics, both in Java and outside Java. This writing tries to assess how conflicts among sides and the impacts on social life, especially in society development dynamic review. Some basic root of agrarian conflicts are society access level to land, regulations and outsider programmes, the fading of local institutions, threat to society existence, and other things that connecting to local institutions.Key word: basic root of conflicts, agrarian source, and village society dynamic.

Abstraksi:Now, we find so many challenge for charity, one of them and popular is Ice Bucket Challenge. The goal of challenge to helps research ALS disease, and this challenge success to help them. One of program television in Indonesia, Indosiar make a same challenge. This challenge not for help ALS patient but for help many children to get educate more better, and this program name is “I Like Dangdut Challenge”. I Like Dangdut Challenge is one of program in “D’Terong Show”one of popular dangdut program in Indosiar. This is form of epigonism, ALS get good response from people and Indosiar create same challenge to get good response too. Why Dangdut,not another genre music? Because Dangdut is music from Indonesia and many people young or old can enjoy it. This challenge invite artist, actor, public officials, minister, district head and society to show and dancing with dangdut music, and upload they video in Indosiar. Some public figure was following “I Like Dangdut Chellenge” is Aliando and Prily Ratuconsina, Ganjar Pranowo Governoor of Central Java, Ridwan Kamil Distric Head of Bandung, CEO of Semen Indonesia Dwi Soetjipto, Ignasius Jonan, Emirsyah Satar and Dahlan Iskan. Andrew N. Weintraub describtion Dangdut as repertoire (of song, text, and spin off stylke), a community(singer, arranger, mucisians, produser, and fans) a performance style (spectacular, excessive, and over the top) and a discource abaout social relations of power. (Andrew, 2010:15). And now Dangdut is different, not only for underclass but highclass too. Media make dangdut as a spectacle for society, from reality and make it to be a spectacle. Dangdut is a commodity for owner media, to get money, and the ways to society approve it is make it a spectacle to society. Keywords: Spectacle, Epigonism, Economy Political Media.

Rebo Wekasan is a popular practice among Indonesian Muslims, including those who live in Kudus, Central Java. This article discusses the practice of Rebo Wekasan in Indonesia generally, Kudus in specific, and the rite of drinking water salamun, as well as the practice of Rebo Wekasan from the perspective of 'urf. The anthropological approach is used to understand the tradition of Rebo Wekasan while the observation took place in 2021. Additionally, we also collected relevant documents including pictures and newspaper articles of Rebo Wekasan from 2018 to 2019, and interviews with 8 resource persons ranging from takmir (caretaker of the mosque), ceremonial committee, village officials, and visitors. Rebo Wekasan rite in Kudus is done by performing sholat tolak bala (prayer for anticipating any calamities) and drinking salamun (blessing-infused) water. People who attend the ceremony believe it based on religious belief and classic text showing that the last Wednesday in Safar month is the day of disaster advent. They also believe in the Javanese value that water is a medium of spiritual cleansing. In the perspective of 'urf (custom), Rebo Wekasan is deemed to fulfill aspects of ‘urf belonging to the category of 'urf shahih (good custom) because it contains noble values and is sourced from religious teaching.

Interior design as a scientific discipline related to problem solving is in harmony with the quality of human life, living creatures, to the micro-organisms contained therein. The scope of study of Interior Design, of course, covers various aspects which are interrelated and complementary.The interrelated fields include the conditions of natural environment, social, political, cultural, traditional, and local genius of the community, which also have an influence in interior design. The combination between/of these interrelated aspects can produce unique and distinctive interior design works.Being consistent with the previous editions, volume XI, number 1, Pendhapa: Journal of Interior Design, Art and Culture this edition presents nature-social environment as an idea in the interior design of a music school, written by W Ranta Cosynala and Ahmad Fajar Ariyanto, entitled “The Interior Design of a Music School for Persons with Vision Impairment With the Concept of Landmark Perception in Surakarta, Indonesia”.Two articles in this edition highlight interior design with the integration between natural environments and culture. The natural wealth and biological features of plants that inspire the designers for the making of batik motifs become the themes that, then, are actualized in the design. Anam Nur Cahyono and Indarto captured the potential of the surrounding nature with its natural beauty and cool weather in the design of Candi Loka Restaurant Ngawi, East Java, Indonesia. The unification of interior design with its natural and cultural atmosphere is reflected on the highlighted theme that is batik with tea leaves motif. The shape, color, and character of the tea leaves are explored as elements of unifying designs. The article entitled Interior Designing of Semarang Convention Center under the Theme of Asem Arang-Arang, by Devi Wijiyanto and Sumarno also highlighted thewealth and the uniqueness of local culture associated with natural wealth as its identity. Asem as an icon of the city of Semarang, Central Java, Indonesia is then used as a design idea and design theme.The design based on the natural wealth of culture is unavoidable because it concerns the universality of human-beings in which they grow and develop. Identity is a gift that exists in every human being, as a universal thing. The relationship between culture and universal human nature is very close that the design should also consider its universality aspect.Rangga Firmansyah and his friends researched the importance of a system for interior design to help people with special needs. Interior designs should accommodate the universal characteristics of people with disabilities or special needs to have the same opportunity to access user-friendly and barrier-free facilities. Some limitations are also felt by nursing mothers in breastfeeding their children, especially when they are in public spaces. Siti Badriyah and I Nyoman Suyasa write a research article on the convenience and ergonomics aspects of lactation rooms in public spaces, especially in the several public general hospitals in Surakarta, Central Java, Indonesia. Chief EditorSumarno.

- Timothy P. Barnard, Raja Ali Haji, Di dalam berkekalan persahabatan: ‘In everlasting friendship’; Letters from Raja Ali Haji, edited by Jan van der Putten and Al Azhar. Semaian 13. Leiden: Department of Languages and Cultures of Southeast Asia and Oceania, 1995, 292 + x pp., maps. - Robert Blust, L. Smits, Irian Jaya source materials, no. 5, series B-no. 2. The J.C. Anceaux collection of wordlists of Irian Jaya Languages. A: Austronesian languages (part II). Leiden/Jakarta, 1992, 288 pp., C.L. Voorhoeve (eds.) - Peter Boomgaard, Mason C. Hoadley, Towards a feudal mode of production; West Java, 1680-1800. Singapore: Institute of Southeast Asian Studies [ in cooperation with the Nordic Institute of Asian Studies, Copenhagen], 1994, x + 241 pp. - Freek Colombijn, Muriel Charras, Spontaneous settlements in Indonesia; Agricultural pioneers in southern Sumatra. Migrations spontanées en Indonésie; La colonisation agricole de sud de Sumatra. Jakarta: Departemen Transmigrasi; Paris: ORSTOM-CNRS, 1993, 405 pp., Marc Pain (eds.) - Dick Douwes, Hussin Mutalib, Islam, Muslims and the modern state; Case-studies of Muslims in thirteen countries. London: MacMillan; New York: St. Martin Press, 1994, 374 pp., Taj ul-Islam Hashimi (eds.) - J. van Goor, H.W. van den Doel, De stille macht; Het Europse binnenlands bestuur op Java en Madoera, 1808-1942. Amsterdam: Bert Bakker, 1994, 578 pp. - Stuart Kirsch, J.W. Schoorl, Culture and change among the Muyu. Translated by G.J. van Exel. Translation Series 23. Leiden: KITLV Press, 1993, xiv + 322 pp. - Bernd Nothofer, Ger P. Resink, Topics in descriptive Papuan linguistics. Leiden: Vakgroep Talen en Culturen van Zuidoost-Azië en Oceanië, Rijksuniversiteit te Leiden, 1994, viii + 154 pp. - Gerard Persoon, Robin Broad, Plundering paradise; The struggle for the environment in the Philippines. Berkeley: University of California Press, 1993, xvi + 197 pp., John Cavanagh (eds.) - Gerard Persoon, Thomas N. Headland, The Tasaday controversy; Assessing the evidence. AAA 28 Special Publication. Washington: American Anthropological Association, 1992, xi + 255 pp. - Remco Raben, Peter Harmen van der Brug, Malaria en malaise; De VOC in Batavia in de achttiende eeuw. Amsterdam: De Bataafsche Leeuw, 1994, 256 pp. - Nico G. Schulte Nordholt, Marcel Bonneff, ‘L’Indonésie contemporaine; vue par ses intellectuels’. Un choix d’articles de la revue PRISMA (1971-1991). Cahier d’Archipel 21. L’Harmattan, 1994, 287 pp. - A. Teeuw, Henri Chambert-Loir, Littérature indonésienne, une introduction. Éditeur Henri Chambert-Loir. Cahier d’Archipel 22. Paris: Association Archipel, 1994, 237 pp. - A. Teeuw, Martina Heinschke, Angkatan 45. Literaturkonzeptionen im gesellschaftspolitischen Kontext; Zur Funktionsbestimmung von Literatur im postkolonialen Indonesien. Veröffentlichungen des Seminars für Indonesische und Südseesprachen der Universität Hamburg, Band 18. Berlin/Hamburg: Dietrich Reimer Verlag, 1993, viii + 365 pp., - Wim van Zanten, Philip Yampolsky, Music of Indonesia, Volumes 1-6. Series of CDs/cassette tapes with documentation. Washington: Smithsonian/Folkways Recordings. Vol. 1: ‘Songs before dawn: Gandrung Banyuwangi’ (1991; SF40055); Vol. 2: ‘Indonesian popular music: Kroncong, Dangdut, and Langgam Jawa’ (1991; SF40056); Vol. 3: ‘Music from the outskirts of Jakarta: Gambang Kromong’ (1991; SF40057); Vol. 4: ‘Music of Nias and North Sumatra: Hoho, Gendang Karo, Gondang Toba’ (1992; SF40420); Vol. 5: ‘Betawi and Sundanese music of the north coast of Java: Topeng Betawi, Tanjidor, Ajeng’ (1994; SF40421); Vol. 6: ‘Night music of West Sumatra: Saluang, Rabab Pariaman, Dendang Pauah’(1994; SF 40422).

- K. Alexander Adelaar, James T. Collins, Bibliografi dialek Melayu di pulau Sumatera. Kuala Lumpur: Dewan Bahasa dan Pustaka (Kementerian Pendidikan Malaysia), 1995, xliii + 201 pp. [Siri Monograf Bibliografi Sejarah Bahasa Melayu.] - K. Alexander Adelaar, James T. Collins, Bibliografi dialek Melayu di pulau Jawa, Bali dan Sri Lanka. Kuala Lumpur: Dewan Bahasa dan Pustaka (Kementerian Pendidikan Malaysia), 1995, xxxvii + 213 pp. [Siri Monograf Bibliografi Sejarah Bahasa Melayu.] - K. Alexander Adelaar, James T. Collins, Bibliografi dialek Melayu di Indonesia Timur. Kuala Lumpur: Dewan Bahasa dan Pustaka (Kementerian Pendidikan Malaysia), 1996, xxx + 103 pp. [Siri Monograf Bibliografi Sejarah Bahasa Melayu.] - K. Alexander Adelaar, James T. Collins, Bibliografi dialek Melayu di pulau Borneo. Kuala Lumpur: Dewan Bahasa dan Pustaka (Kementerian Pendidikan Malaysia), 1990, xxviii + 100 pp. [Siri Monograf Bibliografi Sejarah Bahasa Melayu.] - Freek L. 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AbstractWayang art performance that develops in Java is a traditional performing art that is able to survive and adapt to all aspects of its changes. The issue of this research is to know, how does the history of development and change of wayang function in society? The development of wayang art performance is influenced by social conditions, which affect the change of function of wayang art performance. The objective of the research is to explain the history of development and change of wayang function in society.This study uses descriptive method, with the support of literature review and observation on wayang performance. The results show that the history of wayang development is conceptually a combination of several cultural elements that enter in Indonesia (Java), namely Indian culture with Hindu-Buddhism and Islam with sufism. Indicator of changes in wayang function in the community is the change of pakeliran wayang as an industry tomeet the entertainment market. Changes in ritual function can be seen from the waning of guidance or moral values in wayang, so its has only entertainment or spectacle functions and as a popular performances.AbstrakSeni pertunjukan wayang yang tumbuh dan berkembang di Jawa merupakan kesenian tradisonal yang mampu bertahan dan menyesuaikan dengan perkembangan zaman dengan segala aspek perubahan-perubahannya. Masalah dalam penelitian ini adalah mengkaji mengenai bagaimana sejarah perkembangan dan perubahan fungsi wayang dalam masyarakat? Perkembangan seni pertunjukan wayang dipengaruhi oleh kondisi sosial, yang berpengaruh terhadap perubahan fungsi seni pertunjukan wayang.Tujuannya adalah menjelaskan sejarah perkembangan dan perubahan fungsi wayang dalam masyarakat. Penelitian ini menggunakan metode deskriptif, dengan dukungan kajian pustaka dan pengamatan (observasi) terhadap pergelaran wayang. Hasil penelitian menunjukkan bahwa sejarah perkembangan wayang secara konseptual merupakan perpaduan dari beberapa unsur kebudayaan yang masuk di Indonesia (Jawa), yakni kebudayaan India dengan Agama Hindu-Buddha dan Islam dengan tasawufnya. Indikator perubahan fungsi wayang dalam masyarakat adalah perubahan pakeliran dalam wayang sebagai industri untuk memenuhi pasar hiburan. Perubahan fungsi ritual dapat dilihat dari memudarnya nilai-nilai tuntunan atau moral dalam wayang, sehingga wayang hanya mempunyai fungsi hiburan atau tontonan dan sebagai pertunjukan populer.

Abstract: Korean Wave (K-pop) is a popular culture that is so favored by teenagers, it has made local culture shift. The transfer of Korean Pop Culture spreads widely through social networks as if it could not be prevented. The entertainment industry, music, films, magazines and other aspects always present everything that is synonymous with Korean culture. Opium from Korean Pop Culture has a devastating impact on adolescents as a result (1) fanaticism of Indonesian teenagers makes it more interested in exploring Korean culture, (2) Not passionate about learning, (3) wasteful lifestyle, (4) The emergence of fanfic no child which leads to pornography and porno-action. This research method uses a qualitative description by describing the K-pop phenomenon that occurs in adolescents and how to deal with the impacts experienced by adolescents, especially Christian teenagers in Indonesia. The results of this study indicate that the handling of Christian adolescents who experience K-pop addiction can be started from the environment where they grew up, among others, the family environment, educational environment, church environment. Both families, schools, churches as well as other youth formation groups have a role to play in instilling Christian values ​​that lead them to experience spiritual growth. When the youth environment continues to introduce who Christ is for their lives, the example needed by youth has been answered through the example in Jesus Christ.

Professional Javanese gamelan musicians and the way they think about and make music have been extensively studied by ethnomusicologists. This thesis shifts the analytical focus to the experience and practice of players in 'gamelan associations' for whom music is neither their primary occupation nor main source of income. It addresses two issues: firstly, who are these musicians and what does their way of playing and conceiving of music tell us about gamelan, and secondly, what opportunities and benefits does participation in these groups afford them. The first section sets out the details and context of fourteen gamelan associations in Surakarta. It examines local terminology for different forms of musicianship, their practice in relation to factors such as recompense for playing, ability, repertoire, and training, and discusses the combination of rehearsal and social gathering which I claim is fundamental to these groups. I argue that, whilst there is significant diversity among gamelan associations and their members, they represent a unified category of musicians distinct from those who are officially employed to play and that the specific benefits they obtain from playing derive from this non-professional status. The second section sets out these benefits in five chapters, relating respectively to gamelan's implication in discourses of community at local and state level, expressions of cultural ownership, the display and negotiation of personal authority, access to power, and the production of public sound. I argue that these connections mean that participation in gamelan associations is not simply recreational but a potentially powerful way for Solonese people to create meaning and influence for themselves amidst the competing models of modernity and rapid political change of contemporary Indonesia.

Abstract The 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage does not include a list of definitions of major concepts. In this chapter, the author argues that in 2021, the Operational Directives and the different documents of the meetings concerning the Convention supply a wealth of information about the different aspects of these major concepts. The terminology of the 2003 Convention is more “anthropological” and less “legal” than earlier safeguarding instruments, and this sometimes causes misunderstanding. Moreover, having a good glossary is no guarantee that in practice the safeguarding of living culture will lead to the results wanted. A concept like “sustainability” has several dimensions (social, economic, environmental), and in safeguarding processes each dimension should be given its proper weight. In the examples given, the first one concerns the concept of community in relation to the discussion about the Sinterklaas festivities in the multicultural state of the Netherlands. The second example is about the concept of sustainability, and more particularly about cultural tourism in relation to the small indigenous community of the Baduy in western Java, Indonesia.

Puppet theater on the island of Java is an ancient art which has maintained some of its characteristics considered traditional, but has also been transforming innovations such as the wayang with hip-hop music among other popular expressions. The art of puppetry has also been institutionalized and is itself a degree program at the National Institute of Arts of Indonesia. In this paper, I show the outcomes of my research among students and shadow puppet art teachers in Java, Indonesia. There are two special characteristics in training puppeteers: The main use of Jawanese language and the development of communities of practice as ways of working in the teaching and learning process. As such, these contexts motivate students to be constantly reflecting on the Javanese language and culture. I note the process and the reflections of the participants on the Javanese language shift, and the uses of language in puppet performances which consider the reception of young Javanese. To analyze the data, I draw from fieldwork and interviews, I use the theoretical concepts of discursive genres and dialogism proposed by Bakhtin and I propose that the art of puppetry is a social field that encourages vitality and linguistic diversity on the island of Java.