Javanese dance

Gendhing Panembrama was a creative and innovative product when Paku Buwana X reigned in the Negari Surakarta. Gendhing Panembrama emerged when the Dutch East Indies government imposed restrictions on political and economic activities in Karaton Surakarta. The restriction aimed to remove Paku Buwana X’s legitimacy from the political and economic side. Gendhing Panembrama became one of the symbols of Paku Buwana X’s resistance to the Dutch East Indies government policy. Resistance through the creation of Gendhing Panembrama resulted in the enforcement of the king of Surakarta’s sovereignty and legitimacy. This study aims to reveal the background of the Gendhing Panembrama creation and the events surrounding the Gendhing Panembrama creation. This study employed a historical approach and symbolic interpretation. From the study conducted, it was concluded that the creation of Gendhing Panembrama was a means for Paku Buwana X in maintaining his sovereignty and legitimacy. The intelligence...

This research studies the philosophical message and values in the dance "Klana Raja" of Yogyakarta style. The philosophical message here is the one in Mataram dance philosophy as well as the depth of philosophy in every movement style and its educational values. Classical dance which is full of values has not been known by society. This dance has rigid rules. In its realization, classical dance conveys philosophical values with the deep philosophical background. There are two important things which need to be understood in order to be able to do classical dance perfectly, involving understanding philosophical base and its character and then perfect its skill of dance techniques. Yogyakarta classical dances are familiar with basic norms or rules in performing dance or character. The basic norms are pasemon (face expression) and pandengan (eye gaze), pacak gulu (neck movement), deg (body movement), cethik (thigh), mlumahing pupu (breaking of thigh position), nyelekenthing (toe upright) and mendak.. Yogyakarta classical dances are also known for their rhythm sensitivity such as gendhing (javanese musical instruments) rhythm sensitivity, movement rhythm sensitivity, and space rhythm sensitivity. The dance 'Klana Raja' tells about the king who wanders to reach his desire. The dance created by KRT. Condroradono in 1962 is a learning material of dance department students, of KONRI (Indonesian dance conservatory) which is now known as SMK N I Kasihan, Bantul, DIY.

This research studies the philosophical message and values in the dance “KlanaRaja” of Yogyakarta style. The philosophical message here is the one in Mataram dancephilosophy as well as the depth of philosophy in every movement style and its educationalvalues.Classical dance which is full of values has not been known by society. This dancehas rigid rules. In its realization, classical dance conveys philosophical values with thedeep philosophical background . There are two important things which need to beunderstood in order to be able to do classical dance perfectly, involving understandingphilosophical base and its character and then perfect its skill of dance techniques.Yogyakarta classical dances are familiar with basic norms or rules in performingdance or character. The basic norms are pasemon (face expression) and pandengan(eye gaze), pacak gulu (neck movement), deg (body movement), cethik (thigh), mlumahingpupu (breaking of thigh position), nyelekenthing (toe upright) and menda...

Srimpi Sangupati merupakan salah satu tarian yang berasal dari Keraton Kasunanan Surakarta. Srimpi Sangupati Keraton Kasunanan Surakarta disebut juga dengan Srimpi Sangupati "utuh" karena pada tari Srimpi ini berdurasikan ±1 jam dan menggunakan properti lengkap yaitu meja kecil, kenthi, sloki, dan juga pistol. Srimpi Sangupati dipadatkan oleh Agus Tasman menjadi ±16 menit dan juga tidak menggunakan properti seperti yang ada di Srimpi Sangupati Keraton Kasunanan Surakarta. Pemadatan yang dilakukan oleh Agus Tasman bertujuan untuk menjaga agar kelestarian, eksistensi, dan kontinuitas seni pertunjukan tradisi keraton terjaga. Penelitian pemadatan Srimpi Sangupati Keraton Kasunanan Surakarta oleh Agus Tasman merupakan penelitan kualitatif dengan menggunakan pendekatan deskriptif analisis. Penelitian ini menggunakan teori perubahan menurut Giddens yang diperkuat oleh Douglas dan Goodmans mengenai faktor yang mempengaruhi perubahan yaitu agen dan struktur. Untuk membahas bentuk pertunjukan menggunakan teori Soedarsono, yang menyatakan bahwa elemen-elemen pendukung pertunjukan tari antara lain gerak, musik tari, rias busana, desain lantai, dan pendukung tari lainnya (properti dan lighting). Hasil penelitian menunjukan bahwa Pemadatan Srimpi Sangupati Keraton Kasunanan Surakarta oleh Agus Tasman dilakukan dengan menggarap dan menyusun kembali materi yang telah ada meliputi pemadatan waktu, mengurangi pengulangan gerak, menggarap gendhing, variasi pola lantai, menghilangkan properti dan juga mengubah rasa yang ditimbulkan pada Tari Srimpi Sangupati. Dampak dari perubahan itu menjadikan Srimpi Sangupati menjadi lebih akrab dengan masyarakat luas baik dari dalam keraton maupun luar keraton. Tari Srimpi Sangupati menjadi lebih menarik, tidak monoton, dan laris.

Culture is born from an artist/a choreographer's idea and thought. Bedhayan is a dance performed in group by minimally five dancers and maximally unlimited number of dancers corresponding to the theme and message to be delivered by artist/choreographer, while its makeup and fashion are varying corresponding to the character performed. Data was collected using descriptive qualitative method with interview, book, journal, document, photograph, video, magazine, and etc. Choreographers have ideology in creating their work as the artists' self actualization, existence, economic welfare, innovation and art creativity. Ideology contained in bedhayan is also an answer to art and work that will keep evolving along with the time development. Globalization affects human's mindset. Globalization current cannot be warded off as the development is a flowing process. The change of mindset affects human's work.

This paper is a brief overview of the use of the gamelan together with the polyphonic choir in the Roman rite of Holy Mass. Through the examination of repertoires, interviews and active participation in rehearsals and Masses, this work illustrates the types of compositions of liturgical music for gamelan as well as the way these compositions are used. Particular attention is addressed to some key-concepts of traditional gamelan music, such as gending, benthuk, laras, pathet, garap. It will be apparent that these concepts are adapted, firstly to integrate the gamelan with a vocal element, the choir (which is based on a western tradition) and secondly, to meet the needs of the rite of Holy Mass. Although indirectly, this paper also represents a paradigm of "Inculturation", which describes a process distinct from "Enculturation". The term "Inculturation" must be intended as "the incarnation of the Gospel in native cultures and also the introduction of these cultures into the life of the Church", so defined by the Pope John Paul II in the encyclical Slavorum Apostoli, 2nd June 1985, VI-21. Instead, with the term "Enculturation" we intend the process by which an individual learns the traditional content of a culture and assimilates its practices and values. Thus, the two words represent two different processes of assimilation of culture.

my thesis mentor, who has provided not only essential feedback about my writing, but also abundant moral support; My parents, siblings, housemates at the German Haus, and my wonderful friends at Wesleyan, for all their love and encouragement; and to everyone who supported me in any way during the completion of this thesis, I am truly grateful to all of you.

Abstrak Loddrok merupakan salah satu pertunjukan tradisional yang ada di Madura, dalam Loddrok terdapat sebuah tari Srimpi yang ditarikan oleh enam orang laki-laki menggunakan busana perempuan. Saat ini tari Srimpi telah mengalami transformasi kedalam bentuk baru. Pada penelitian ini peneliti merumuskan tiga rumusan masalah yaitu bagaimana struktur bentuk tari Srimpi?, bagaimana bentuk transformasi tari Srimpi?, dan apa faktor penyebab terjadinya transformasi pada tari Srimpi?.penelitian ini bertujuan untuk menjawab tiga permasalah yang terjadi pada transformasi tari Srimpi. Metode pengumpulan data yang digunakan adalah data penelitian seperti observasi, wawancara, dokumentasi, dan validitas data. Berdasarkan hasil penelitian dan pembahasan menunjukkan bahwa struktur tarian Srimpi adalah serangkaian hubungan antar elemen-elemen yang terdiri atas 2 gugus, 6 kalimat, 8 frase, dan 26 motif yang terhubung dalam satu kesatuan yang utuh, ditunjang oleh rias dan busan, gending "Terak ...

The string solo is very frequently found in ballet music created in France and Russia in the 19th century. Normally, this solo is enriched the climax of the work, like the Pas de Deux, and is spread by virtuosos like Leopord Auer (1845 - 1930) or Henryk Wieniawski (1835 - 1880) in Russia in the second half of the 19th century. Beside this Russian history, almost nothing is known about the solos in French ballet music.
Losing their jobs in France, many dancers went to Russia in the 1860s-70s. They performed pieces already danced or choreographed when they were back home. Some brought back the golden age of Russian ballet as choreographers. The musical style of the Russian ballets of this period was therefore greatly influenced by French choreographic works in the middle and second half of the 19th century.
Thus, this article highlights the solo in Act 2 of "Giselle", the emblematic work of the Romantic ballet period, as well as the player who performed this solo in the world premiere of the work in 1841 at the Paris Opera. Our aim is therefore to shed light on the role of the solo and the soloist in ballet music.
This article first presents the characteristics of the solo in ballet music composed in the 19th century which forms the important repertoire of today. In general, it includes one or more violin solos, whereas "Giselle" exceptionally features a viola solo. Then, we observe the professional career of Urhan and the advent of the soloist in the Paris Opera Orchestra, as well as the musical peculiarities of the solo in "Giselle" with the research of the documents kept in the Library-Museum of the Opera. As a result, we can point out that the existence of Urhan allowed to introduce the viola solo in "Giselle" with the tradition of the solo in the orchestra.

Gendhing Panembrama was a creative and innovative product when Paku Buwana X reigned in the Negari Surakarta. Gendhing Panembrama emerged when the Dutch East Indies government imposed restrictions on political and economic activities in Karaton Surakarta. The restriction aimed to remove Paku Buwana X’s legitimacy from the political and economic side. Gendhing Panembrama became one of the symbols of Paku Buwana X’s resistance to the Dutch East Indies government policy. Resistance through the creation of Gendhing Panembrama resulted in the enforcement of the king of Surakarta’s sovereignty and legitimacy. This study aims to reveal the background of the Gendhing Panembrama creation and the events surrounding the Gendhing Panembrama creation. This study employed a historical approach and symbolic interpretation. From the study conducted, it was concluded that the creation of Gendhing Panembrama was a means for Paku Buwana X in maintaining his sovereignty and legitimacy. The intelligence...

A certain glow that tends to overtake musicians' and dancers' faces in the east Javanese regency of Malang, where I conducted fi eldwork from 2005 to 2007, has taken over me (see Figure 1). 2 Th is certain glow frequently appears when performers identify aspects of gamelan music and dance that they associate with Malang and east Java. Th is certain glow, this pride, has inspired me to think more deeply about how and why performers make sense and senses of place through their perceptions of music and dance. Th e 60 or so musicians and dancers with whom I worked-the "performers" of this essay-consistently situate the performing arts in terms of locale on several levels. 3 Regionally, performers identify characteristics of music and dance as east Javanese by distinguishing them from those of central Java. Although a variety of styles exist in central Java and most performers in Malang recognize this, they oft en talk about central Javanese performing arts generically, usually implying the arts associated with and/or derived from the courts of Surakarta. Th ey refer to the arts associated with the cities of Surabaya, Mojokerto, Jombang, Malang, and their surrounding areas categorically as east Javanese. Making distinctions intra-regionally, they compare styles associated with Malang (malangan) to styles associated with Surabaya (surabayan). More specifi c still are diff erences that performers recognize between eastern and southern areas within the regency of Malang. I learned eastern malangan styles because I resided in the village of Tulus Besar and studied primarily in the subdistricts of Tumpang and Poncokusuma with musicians and dancers who upheld local ways of performing (see Figure 2). To gain perspectives from performers in other parts of Malang, I also consulted individuals in the city, some of whom were associated with southern styles. Two similar dances, Beskalan Putri and Ngremo Putri, captivated my attention. Both are female style presentational dances (putri means female). Both are animated by a gamelan and danced by men or women. One or more dancers may perform, but unless they are children, generally the dancers are either all women or all men. A similar or identical costume may be used for both dances (Figure 3). Beskalan Putri and Ngremo Putri oft en have the same function-an

Beksan Srimpi Mandrarini merupakan salah satu beksan klasik yang berkembang di Pura Mangkunegaran tercipta pada masa Mangkunegaran V. Beksan Srimpi Mandrarini berasal dari kata “Mandra” yang artinya kelebihan dan “Rini” artinya perempuan jika digabungkan mengandung arti perempuan yang mempunyai kelebihan. Kelebihan yang dimaksud digambarkan dengan prajurit wanita yang sedang berlatih perang tanpa berganti pasangan. Penelitian ini bertujuan untuk mendeksripsikan dan menginterpretasi Estetika Beksan Srimpi Mandrarini yang meliputi wujud/bentuk, bobot/isi dan penampilan. Metode yang digunakan metode deskriptif kualitatif dengan pendekatan estetika serta menggunakan pendekatan etik dan emik. Pengumpulan data melalui observasi, wawancara dan dokumentasi. Analisis data dilakukan dengan reduksi data, penyajian data dan penarikan kesimpulan. Teknik keabsahan data menggunakan teknik triangulasi. Hasil penelitian menunjukan bahwa Estetika Beksan Srimpi Mandrarini dapat dilihat dari bentuk yan...

Gendhing Panembrama was a creative and innovative product when Paku Buwana X reigned in the Negari Surakarta. Gendhing Panembrama emerged when the Dutch East Indies government imposed restrictions on political and economic activities in Karaton Surakarta. The restriction aimed to remove Paku Buwana X’s legitimacy from the political and economic side. Gendhing Panembrama became one of the symbols of Paku Buwana X’s resistance to the Dutch East Indies government policy. Resistance through the creation of Gendhing Panembrama resulted in the enforcement of the king of Surakarta’s sovereignty and legitimacy. This study aims to reveal the background of the Gendhing Panembrama creation and the events surrounding the Gendhing Panembrama creation. This study employed a historical approach and symbolic interpretation. From the study conducted, it was concluded that the creation of Gendhing Panembrama was a means for Paku Buwana X in maintaining his sovereignty and legitimacy. The intelligence...

Javanese instrument names 'demung' and 'siter') and their retroflex counterparts 'dh' and 'th' (earlier systems use 'd' and 't'). The latter have no equivalent sounds in English; examples among Javanese instrument names include `kendhang and ' kett uk'. Concerning vowels, Javanese has three distinct sounds which are encompassed by the single letter 'e' in the conventional Roman orthography.

In this thesis I would like to present information gathered over the past two decades concerning the repertoires of court Javanese gamelan in the Paku Alaman Palace. My main interest is the time period of the early 20th century to the present; however, some relevant historical background from earlier times is included. The gamelan at the Paku Alaman performs for a variety of palace events, accompanying dance or puppet shows and sometimes playing compositions from ancient times, all of which are outside the scope of this thesis. This thesis will limit discussion to the gamelan performance called uyon-uyon muryararas (UUMR), which refers to a certain gamelan performance held every 35 days in Pura Paku Alaman Palace. This cyclic performance is the only occasion when only the gamelan orchestra, including singers, is featured without theatre, dance, puppetry, or any other art form. Originally, the idea of uyon-uyon muyararas was a ceremonial gamelan performance held by the royal family o...

This study aims to describe the content of aesthetic values of Ketoprak in Javanese philosophy. The material object is the Ketoprak Senapati Pinilih by Bondan Nusantara and its formal object is a philosophy of beauty or aesthetics. This study uses a qualitative method. Ketoprak act is an integral part of the art of Ketoprak. The aesthetics of the Ketoprak Senapati Pinilih approached by Javanese philosophy called Kawruh Joged Mataram, Joged Mataram, or Joged Philosophy in Mataram. Data were analyzed qualitatively descriptive, and then analyze with Verstehen method, interpretation, language analysis, and hermeneutics. In the Ketoprak Senapati Pinilih contained aesthetic values of Javanese philosophy i.e. sawiji or nyawiji which meaning full concentration, greget which meaning spirit, leisure which meaning self-confidence, and ora mingkuh which meaning discipline.

Sindhenan Banyumasan, meaning the female traditional Javanese singing in the style of Banyumas, represents an interesting “regional variant” of sindhen vocal tradition. Flourished in the court of Surakarta in the 19th century, the sindhen practice has spread rapidly across the centuries, reaching many territories outside the court centers. Deeply connected with the ancient practices of the singer dancers, sindhen styles are still indicative of the local traditions and a testimony of differences and continuity with the formal teaching of central Javanese institutions. Despite the importance of the local variants, existing international studies on sindhenan have mainly focused on the styles of Yogyakarta and Surakarta, often neglecting rural areas, like Banyumas. The aim of this paper is to shed some light on sindhen practice in Banyumas territory, investigating its history, performance practice, repertoires and vocal style. Research outcomes reveal how Banyumas singing tradition has ...

This paper is a brief overview of the use of the gamelan together with the polyphonic choir in the Roman rite of Holy Mass. Through the examination of repertoires, interviews and active participation in rehearsals and Masses, this work illustrates the types of compositions of liturgical music for gamelan as well as the way these compositions are used. Particular attention is addressed to some key-concepts of traditional gamelan music, such as gending, benthuk, laras, pathet, garap. It will be apparent that these concepts are adapted, firstly to integrate the gamelan with a vocal element, the choir (which is based on a western tradition) and secondly, to meet the needs of the rite of Holy Mass. Although indirectly, this paper also represents a paradigm of "Inculturation", which describes a process distinct from "Enculturation". The term "Inculturation" must be intended as "the incarnation of the Gospel in native cultures and also the introduction of these cultures into the life of the Church", so defined by the Pope John Paul II in the encyclical Slavorum Apostoli, 2nd June 1985, VI-21. Instead, with the term "Enculturation" we intend the process by which an individual learns the traditional content of a culture and assimilates its practices and values. Thus, the two words represent two different processes of assimilation of culture.

目 的 本研究ではラップ曲の歌詞の有無によるリラクセーション 効果について検討した.これまで,音楽がヒトにどのような 影響を与えるのか,という研究は音楽全体の効果測定やリズ ムや音程,テンポなどに注目した感情判定は行われている. 歌詞の研究に焦点を当てると,Stratton & Zalanowski(1994) や Sousou(1997)など歌詞の気分に与える影響を検討してい るが,“楽しい”“悲しい”という気分の評定を行なっている が,一貫した結果が得られていない.リラクセーション効果 に焦点を当てると, 我が国では,渡邉・高上 (2009),海外 では Davis et.al (2008) など音楽のリラックス効果につい て検討している.しかし,音楽の有無での検討や,自己選択 曲での検討しか行われていない.とりわけ, 同じ楽曲の歌詞 の有無での検討は少なく,ラップ音楽を用いた検討は皆無で ある.そこで本研究では,歌詞が含まれるラップ曲を用いて, 歌詞あり試聴群と,同楽曲のインストゥルメンタル試聴群, 歌詞を読む群の3群の比較を行いリラクセーション効果につ いて複数曲を用いて検証する.

Gendhing Panembrama was a creative and innovative product when Paku Buwana X reigned in the Negari Surakarta. Gendhing Panembrama emerged when the Dutch East Indies government imposed restrictions on political and economic activities in Karaton Surakarta. The restriction aimed to remove Paku Buwana X’s legitimacy from the political and economic side. Gendhing Panembrama became one of the symbols of Paku Buwana X’s resistance to the Dutch East Indies government policy. Resistance through the creation of Gendhing Panembrama resulted in the enforcement of the king of Surakarta’s sovereignty and legitimacy. This study aims to reveal the background of the Gendhing Panembrama creation and the events surrounding the Gendhing Panembrama creation. This study employed a historical approach and symbolic interpretation. From the study conducted, it was concluded that the creation of Gendhing Panembrama was a means for Paku Buwana X in maintaining his sovereignty and legitimacy. The intelligence...

AbstrakSrimpi Sangupati merupakan salah satu tarian yang berasal dari Keraton Kasunanan Surakarta. Srimpi Sangupati Keraton Kasunanan Surakarta disebut juga dengan Srimpi Sangupati “utuh” karena pada tari Srimpi ini berdurasikan ±1 jam dan menggunakan properti lengkap yaitu meja kecil, kenthi, sloki, dan juga pistol. Srimpi Sangupati dipadatkan oleh Agus Tasman menjadi ±16 menit dan juga tidak menggunakan properti seperti yang ada di Srimpi Sangupati Keraton Kasunanan Surakarta. Pemadatan yang dilakukan oleh Agus Tasman bertujuan untuk menjaga agar kelestarian, eksistensi, dan kontinuitas seni pertunjukan tradisi keraton terjaga. Penelitian pemadatan Srimpi Sangupati Keraton Kasunanan Surakarta oleh Agus Tasman merupakan penelitan kualitatif dengan menggunakan pendekatan deskriptif analisis. Penelitian ini menggunakan teori perubahan menurut Giddens yang diperkuat oleh Douglas dan Goodmans mengenai faktor yang mempengaruhi perubahan yaitu agen dan struktur. Untuk membahas bent...

We propose a new method to realize a media conversion between music and color combination based on impression. In this research, we focus on time-series changing of musical impression. In order to determine time-series changing of musical impressions, an inputted music is divided into some sub-sequences according to change positions of impression. In the subjective assessment, the impression for each sub-sequence is evaluated, and we define an algorithm to derive the most appropriate color combination to the impression of sub-sequence based on "Affective mapping table between Music and Color Combination" which has been obtained from our previous research. From the experimental results using five musical sources, the average of concordance rate between music and the obtained color combinations using our algorithm is about 82%. In this research, it is clarified that the accuracy of media conversion between music and color combination is improved by our algorithm which consider the time-series changing of musical impression.

The Surakarta Karaton Karawitan which has lived and developed for centuries in the Javanese culture and its distribution leaves many questions, especially those related to the aesthetic concept of the Surakarta Karaton karawitan. The description of the Surakarta Karaton Karawitan musical concept as a reference for the Surakarta community has not been widely revealed. This article aims to reveal and describe one of the aesthetic concepts of the Surakarta Karaton Karawitan, namely the concept of nengsemaken. The paradigm of text and context is used to see the Surakarta Karaton Karawitan events as readable sentences or texts. Texts or sentences have tendency with certain meanings that show certain thoughts that ultimately produce meaning. The concept of interpretation of Clifford Geertz was used to read and interpret musical events in the Surakarta Karaton. From the study conducted, nengsemaken was interpreted as tan sora swarané, rempek rampak kabèh mung jinawil, and sajanturing ringgit.

Emilio de Cavalieri ca.-is known as the composer of Rappresentatione di anima, et di corpo that was presented in Rome in. This work is important for the history of opera because it is the first work to be published with a thoroughbass, and moreover, the foreword A lettori described the universal advices about presentation musical theatres and the mode of presentation of this opera. In this paper, I view the mention of Cavalieri in the foreword of Rappresentatione di anima, et di corpo, and I understand that it is surpassed matters of composers. Before this opera his most important work is the intermedi of La Pellegrina performed in May for the festivities for the marriage of the Grand Duke Ferdinando de Medici and Christine de Lorraine. Ferdinando evaluated Cavalieri and nominated him as a superintendent for the all artists. Cavalieri was responsible for realizing the stages like a composer as well as a

How was tango’s authenticity created in Japan? Through the lens of what the author calls the Internalized Modernity, this essay examines the historical construction of tango’s authenticity in twentieth century Japan. Tango, as a dance-music genre, was fabricated at the intersecting point of
“primitivism”and internationality̶both concepts of which the products of Western modernity̶and as the key part of Argentina’s“modernization”. Since its arrival in Japan in the 1910s and through to the postwar years, tango was internalized in the distant land together with the genre’s associated class and racial politics, and as modernity. In this process, the idea of prioritization of authenticity surrounding tango was cultivated, wherein Japanese performers and aficionados looked to Argentina in search for their artistic and academic pursuits. The creation of tango’s authenticity in twentieth century Japan complicates any simplistic understandings of the“West-East”or“Argentina-Japan”frames of cultural transmission, and in turn illuminates a unique mode of modernity construction in Japan. 
20世紀の日本において、アルゼンチンをタンゴの「本場」とする認識はどのように創られた のか。本論文ではこの認識の形成過程を、筆者が提示する「内面化されたモダニティ」という 概念を通して考察する。タンゴは、西洋的モダニティが生んだ「未開」と国際性の概念の間で、 アルゼンチンにおける「近代化」の過程でジャンル形成された。日本においては、その導入期 である1910年代から、こうしたジャンルとしてのタンゴが含んでいた階級・人種意識とともに モダニティとして受容され、戦後にかけて、非欧米であるアルゼンチンが「本場」として定め られていった。このようなタンゴの内面化の過程は、日本特有のモダニティ構築のあり方を示 している。

"Catur Sagotro" is a Javanese dance work in srimpi style created by Sulistyo Tirtokusumo in 1973. Sulistyo was born in Surakarta in 1953 but moved to Jakarta in 1971. This essay (written in bahasa Indonesia) reveals information  about 1. the choreographer, 2. the concept, 3. the background, 4 . the choreography, 5.  the property and costume, and 6. the development of the work.

The purpose of this thesis is to discuss the characteristics of Indonesian translations of Japanese literary works which were published in the magazines Pandji Poestaka and Djawa Baroe during the Japanese occupation of Indonesia (1942-1945). Moreover, it also examines Indonesians' perceptions of these literary translations at that time. The study shows that attention to detail was lacking in the translation process because of the restrictions in place during the period of emergency of the military administration and the limited space available in these magazines. However, none of this diminishes the essence of the stories that were translated. Although they contained a lot of propagandistic elements that were insisted upon by the Japanese military government, the most important factor in determining the final form in which they were published was the role of their translators and editors. Since the magazine was published in two languages, readers from both Japan and Indonesia each gained new knowledge about and experiences of the culture and thinking of the other through the literary works that were translated. Ultimately these works were a medium of cultural exchange between the two nations during the war.

Wiyossipun~ serat punika kanamakaken Pakem Kacurigan, tegessipun: paugerr~nn1ng kawruh bab kahananning dhuwung, impunnan saking kawruhh1pun para Ahli Dhuwung sawatawis, ingkang sampun pinengettan wonten ing serat-serat. Ananging, sarehning ingkang ngimpun dede t~yan~ ahli dhuwung, tur kajubellan 1) ing paniti priksa, dados 1ngg1h ngrumaossi yen impunnannipun wonten ingkang malesed saking kayekten. Suprandenne meksa kalajengngaken dados buku, jejerring sedya namung sumedya tumut anglulurri 2) kagunan 3) Jawi sawatawis. Sokur kenging kangge anycer-anycerring pangudi dhateng Kawruh Kacurigan tumrap ingkang sedya nglajengngaken amarsudi kanthi gemetting 4) paniti-pariksa ngantos salesih 5). Babarripun Pakem Kacurigan, kaperang dados kawan bah, kados ing ngandhap punika pratelannipun. Bab I : Anerangngaken riricikkanning dhuwung. sapanunggillannipun. Bab II : Anerangngaken dhapurring dhuwung. Kadosta dhuwung ingkang medal leres warni-warni, tuwin dhuwung ingkang medal eluk inggih warni-warni, wiwi t ingkang lukkipun 1 nagntos dumugi ingkang luk salikur. Bab III : Anerangngaken kahananning pamor ingkang sampun tumrap wonten ing dhuwung. Kadosta ingkang winastan: pamor bogis, pamor mrambut, pamor anggajih, pamor sannak, tuwin sapanunggillannipun. Punapa malih pepethanning pamor ingkang winastan: wengkon, adeg, rambut paradhah, simbar pucang, balarak mirid, ron dhuru, walang sinundukkan, kembang lampes, kembang pal a, gedhogan, tambal, benang satukel, tiga warna, tuwin sapanungggillannipun. Bab IV : Anerangngaken kawruh wawatonipun panangguhing dhuwung. Wusana, punika. Kadosta: tegessipun tangguh, terangngipun ingkang winas tan sikuttan, beda-bedannipun semunning sisikuttan, perang-perangngannipun semuning sikuttan ingkang dumunung wonten semunipun wangun utawi semunning gonyja, sirah cecak, gandhik, pawakkan, dedeg, sogokkan, luklukkan dhasarring tosan, grayangnganning tossan, waja, wedallfng pamor, tuwin beda-bedannipun tanycebb~ng pamor. Saha mawi amratelak_aken susul_uh bab kahanann1n? kawujuddannipun dhuwung 1ng~a~g t1nang~uh,. kadosta. dhuwung ingkang tinangguh Pa]a]aran, Mad]apa1t, B~lam bangan, Sedayu, Tuban, Madura, Sendhang, Demak, Pa]ang, Korippan, Mataram, tuwin liya-liy~nipun. . saweg dumugi samanten badhe teban1pun Pakem Kacur1gan Surakarta, Agustus 1938. 1) jubel = cupet, kurang dawa, bujel.

As Steve Reich (1936– ) admits, his essay “Music as a Gradual Process” (1968), in which he describes the basic idea of minimal music, has some analogies with the claims of sculptor/painter Sol LeWitt (1928–2007) in “Paragraphs on Conceptual Art” (1967) and “Sentences on Conceptual Art” (1969). Associating these connections with early 1960s’ pre-minimalist works by La Monte Young (1935– ) which became the model of “concept art” coined by Henry Flynt (1940– ), musical minimalism and conceptualism developed alongside one another in the 1960s. This paper aims to delineate the development of minimal music (from Young to Reich) in connection with the transfiguration of concept [/ual] art (from Flynt to LeWitt).
Young, Reich, and LeWitt shared an aesthetic of concentration on the singular activity of generating work. Attracted to the basis in Young’s works consisting of word instructions, Flynt regarded the instruction as a “concept”; Young, however, focused on the results of the activities following the instructions. As a reaction to Flynt, LeWitt emphasized physical form derived from concepts, making the work-generating process more rigorous; at the same time, Reich established his idea of “musical process” by interpreting Young’s results of activities as results of processes.

This essay surveys the Indonesian performing arts ‘scene’ created by Indonesians and Eurasians living in the Netherlands during the late colonial period through the end of World War Two, looking particularly at Javanese dance and music associations, Indische toneel (Indies drama), kroncong clubs, touring professional artists and pan-Indonesian student groups. The performing arts from Indonesia were initially inward looking. The first gamelan concert by Javanese students was organised to illustrate a lecture on music. Indies dramas fastidiously avoided issues of Otherness in order to affirm the Dutchness of the Dutch Indies. However, with the first Indische Kunstavond (Indies Art Evening) in 1916, the performing arts were used by Indonesian students studying in Holland to make a political point to the Dutch general public. Refined arts were a justification for a model of colonial relations in which indigenous and Dutch cultures were associated, rather than unified or assimilated. The integrity of Javanese culture was to be esteemed for the sake of inter-racial tolerance and respect. Political advancement was conditioned upon cultural exchange on even terms.
With the exceptions perhaps of composer FH Belloni and playwright Jan Fabricius, artists did not come from colonial Indonesia to the Netherlands anticipating making a living from art. Yet Europe allowed new possibilities for some Indonesian dancers and other artists, starting with business-student-turned-professional-performer Raden Mas Jodjana. Jodjana identified himself as a modern Javanese artist, resulting in a polemic with conservative Dutch gatekeepers on hybridity, and whether it was possible to be both ‘Javanese’ and ‘modern.’
Increasingly, cultural organisations were interested in demonstrating pan-Indonesian unity through performance. One can see them as workshops for the formulation of Indonesian national culture, enshrined in the constitutional mandate (attributed to Hajar Dewantara) for the government to promote ‘the peaks of culture’ of the nation’s constitutive ethnic groups. These Indonesian associations were not exclusive, however; they incorporated Dutch as well as Eurasian members.
Indonesian performance activity continued in the Netherlands under Nazi occupation. The Colonial Institute was a hive of activity, with an adult gamelan group made up mostly of sailors from east Java and a youth gamelan group. There were dramatic productions as well, including a spectacular production in August 1943 under the direction of ethnomusicologist Jaap Kunst and his associates at the Colonial Institute. New performers came into prominence during the occupation, including the Banyumas-born dancer, actor and storyteller Indra Kamadjojo, the stage name for Jan Leonard Broekveldt. Nostalgic performances concerning ‘our Indies’ displayed few signs of recognition that Indonesia was under Japanese occupation, and would not return willingly to Holland’s colonial embrace after Japan’s defeat.

Sinopsis Semarang merupakan salah satu kota di Jawa Tengah yang memiliki banyak budaya dan tradisi, salah satu contohnya adalah wayang kulit. Budaya tersebut sudah di kenalkannsecara turun temurun dan di lestarikan sampai sekarang. Seiring dengan perkembangan zaman, wayang kulit sudah tidak populer lagi di kalangan anak muda karena sudah tergantikan dengan teknologi seperti, hp, leptop, dll. Apalagi bahasa yang digunakan pada wayang kulit bahasa jawa yang terkesan kuno di kalangan anak muda. Mereka memilih berkutat dengan gadget untuk menonton Youtube di bandingkan duduk untuk menonton pertunjukan wayang berjam-jam. Berdasarkan masalah di tersebut muncul ide untuk mendirikan sebuah LSM sobokartti memperkenalkan budaya wayang kulit kaum muda khususnya anak-anak agar budaya wayang kulit tersebut dapat bangkit kembali.

Although some were kept as collections of the sacred court heritage, most of the gamelan instruments preserved by the Yogyakarta Palace are still used in performance in various court ceremonies and rituals. The Javanese can enjoy the palace gamelan at occasions such as court ceremonies, scheduled concerts and performances, or when it is played as an accompaniment to court performing arts. In the 270 years since the Yogyakarta Palace was built, the gamelan has been an inseparable element of Javanese life and is respected by both the royal family and civilians. Thus, the gamelan instruments of the Yogyakarta Palace have a wide range of uses and serve a specific function at each occasion.

　1961年に始まったプランバナン寺院での観光舞踊劇「ラーマーヤナ・バレエ」は，宮廷舞踊家クスモケソウォが総合振付家を務め，インドネシアを代表する演目となった。1970年「全国ラーマーヤナ・フェスティバル」のセミナーの席上で，フマルダニがクスモケソウォの「ラーマーヤナ・バレエ」振付を批判した。これはインドネシアにおける舞踊批評の嚆矢であり，フマルダニはその後のジャワ舞踊の発展を牽引することになる。
　フマルダニのクスモケソウォ批判のポイントは，1. 舞踊の型が外面的であること，2. プンドポ（ジャワの伝統空間）の舞台空間の感覚のままであること，3. 演出が物語に依存している，の3点であり，西洋近代的な純粋舞台芸術を志向していることが分かる。「ラーマーヤナ・バレエ」は，スンドラタリという新しい舞踊劇の形式や舞踊の型を生み出したが，クスモケソウォの振付にはジャワ宮廷舞踊の保守的な感覚も残っており，フマルダニの批判によって「西洋近代」芸術に遅れたものとしての「ジャワ伝統」芸術の性質があぶり出された。
　このようなフマルダニの見方は1959年から1961年にかけてイギリスとアメリカへの留学で得たものである。1961年にフマルダニがロンドンで見たバレエ公演の評には，後の「ラーマーヤナ・バレエ」批判の視点がすでに見られる。
　フマルダニは自ら率いるPKJT（中部ジャワ芸術センター）プロジェクトやアカデミー（芸術大学）で舞踊改革に取り組み，持論を具体化した。フマルダニは近代的な視点をジャワ舞踊に導入したが，すでに近代的な視点が自明となった現在，フマルダニの役目は終わったと言える。