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MIGRASI TRADISI PESANTREN JAWA KE MALAYSIA AWAL ABAD KE-20 Arridzo, Mohd Taufik; Sudardi, Bani
IBDA` : Jurnal Kajian Islam dan Budaya Vol 12 No 2 (2014): IBDA': Jurnal Kajian Islam dan Budaya
Publisher : Lembaga Penelitian dan Pengabdian kepada Masyarakat, Institut Agama Islam Negeri Purwokerto

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (122.86 KB) | DOI: 10.24090/ibda.v12i2.484

Abstract

This article reveals the Java pesantren tradition in Malaysia, especially ini the main areas where Javanese peole live, such as negeri Selangor, Perak and Johor. The discussion focuses on three kiai who come from Java and got education in Java pesantren and build pesantren in Semenanjung Tanah Melayu. They are a part of outstanding kiai who built pesantren in those three negeri. They represent the three negeri: Kyai Muhammad Ali Qaribun (from Bantul, Yogyakarta) in Selangor, Kyai Salleh(from Purworejo,Jawa Tengah) in Perak dan Dato‘ Kyai Shamsuddin Ridhwan (from Madiun Jawa Timur) in Johor. The result of the research shows that in the end of 19 century until the beginning of 20 there were many Javanese migrated to Semenanjung Melayu. They came from various places in Java and migrated there for some reasons; spreading religion, hate the colonialism, and the need of survive. The kiai continued the Java pesantren tradition in Semenanjung Melayu. They still have good relationship with their ancestral land in Java so they still send their santri to Java to continue the study.
KONSEP KETUHANAN ISLAM JAWA DIENG (Studi Terhadap Aliran Tunggul Sabda Amungraga) Sudardi, Bani
IBDA` : Jurnal Kajian Islam dan Budaya Vol 11 No 2 (2013): IBDA': Jurnal Kajian Islam dan Budaya
Publisher : Lembaga Penelitian dan Pengabdian kepada Masyarakat, Institut Agama Islam Negeri Purwokerto

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (94.514 KB) | DOI: 10.24090/ibda.v11i2.75

Abstract

This research reveals the teaching of a religious sect in Diengwhich focuses on theological concept. Clifford Geerts' concept is used todiscuss the social and art area. There are some results on this research; abelief to the invisible nature, the Islamic teaching from Sunan Kalijaga,Mataram teaching with some enculturation, and a statement that Allah isthe only one who is worth to be worshipped.
BEDHAYA BENGAWAN KARYA DJAROT BUDIDARSONO MENGANDUNG PENDIDIKAN KARAKTER BAGI MASYARAKAT JAWA Sawitri, Sawitri; Sudardi, Bani; Abdullah, Wakid; Chaya, Nyoman
Jurnal Pendidikan Ilmu Sosial Vol 27, No 2 (2017): JURNAL PENDIDIKAN ILMU SOSIAL
Publisher : Department of Accounting Education, Faculty of Teacher Training and Education Universitas

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.2317/jpis.v27i2.5722

Abstract

Bedhaya Bengawan is a dance work performed by nine dancers created by a choreographer named Djarot Budidarsono. Bedhaya Bengawan was created in 2010 performed in Wisma Seni Surakarta, Taman Budaya Surakarta Jawa Tengah (Surakarta Cultural Park of Central Java). The dance work was used as a means of delivering message to the spectators, art observers and community. The theme was adjusted with the artist/choreographer’s idea and creativity. Bedhaya Bengawan is a product inspired by the choreographer living around Bengawan Solo River. River water flows into the river for irrigation purpose; adequate water will yield abundant crops. The farmers express their gratitude to Dewi Sri for the abundant crop. In addition, in this nature, there should be integration between water, soil, wind and sun. The values delivered through Bedhaya Bengawan contain character education for the students including: gratitude to the Only One God, belief in the power of Dewi Sri with any rites as the reward to the abundant rice production, reminder that there should be balance between macrocosm and microcosm. Other character educations include: Manunggaling Kawula Gusti (uniting with God), Sangkan Paraning Dumadi (the origin of human beings and to which [Sang Yang Widi] they will return later). The character education above leads the students to have religious ritual awareness to appreciate nature, to believe in God and to be aware that there is a supreme power creating and nullifying human beings. The secular short life should be filled in with good things. Gratitude should always be expressed to God in order to be blessed. The students are expected to imitate what is included into bedhaya bengawan dance work and to apply it in their daily life.
Towards the Ideologies on the Developments of Bedhaya Dances in the Contemporary Age Sawitri, Sawitri; Sudardi, Bani; Abdullah, Wakit; Chaya, Nyoman
KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Vol 9, No 1 (2017): Komunitas, March 2017
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/komunitas.v9i1.7497

Abstract

This present paper provides a descriptive analysis toward a traditional court dance called Bedhaya, one of the cultural products of the Javanese community in Surakarta which evolved into its modern version Bedhayan due to the flow of global culture. By applying the theories of Hermeneutics, Ideology, Aesthetics and Semiotics, the data are inferred according to the purposed questions. The inquiry is directed to infer the factors encompassing Bedhaya dance such as its emergence and the development, relationship with the existence and its role in the society, the relationship with systems within the society or with various interests. The results showed that the Bedhayan dance as developed by the local artists or choreographers in Surakarta as a realization of the local community’s thought, norm and principle (ideology) which covers both the economic and freedom interests. The ideologies reflected from the attitudes of the supporting community (of dancers and choreographers) toward Bedhayan dance are identified to imply the self-existence, freedom, political, economic, and market interests. The emergence Bedhayan dance was motivated by thoughts of the artists in constructing the dance movements to fit the purpose and function of current art creation. All the changes are deemed to be able to increase the economic welfare of performers, choreographers and the government on the tourism potentiality of the nation. However, there is the dangerous aspects in the development of a cultural dance to view it as a mere commodity, which at the end would give impressions of profanity, commercialization, even the shifts on the traditional values of the dance.
Pragmatic Study of Discourse Hegemony on the Enactment of Dhalang Trah in Ruwatan Ceremony: A Critical Discourse Analysis Approach Efendi, Agus; Purwasito, Andrik; Sudardi, Bani; Abdullah, Wakit
KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Vol 8, No 2 (2016): Komunitas, September 2016
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/komunitas.v8i2.6754

Abstract

This study applies qualitative research with Critical Discourse Analysis (CDA) of Fairclough (1995) and the criticism on the ideological dissection of social opacities. The data collection encompasses the interactive and non-interactive techniques which involve the techniques of in-depth interviewing, observation and content analysis. Results of the analysis reveal that units of language use reflected from the texts and contexts of the ruwat puppeteer based genealogys enactment can be traced from the use of modalities, the phrase ‘mboten kalilan’ (impermissible, unable) in the decree of dhalang ruwat can be further extend to express the word ‘unable’ and ‘able to’, other aspects such as politeness, metaphors, ethos which is classified into the verbal and non-verbal discourse are the devices of discursive enactment of the elite power of dhalang trah. The findings conclude that there is arising symptoms of social inequality narrowing the role and significance of the non-ruwat puppeteers. The hegemonic practice such as the discursive enactment of dhalang trah (descendent of Ki Lebdajiwa) is determined by certain associations which try to normalize certain condition. The argument which refers to the enactment of Ki Lebdajiwa and his descendants as the holder of power is enacted through transactional form, where power is centered on one point.
Social Criticism in the Text of Dharmasonya Aryanto, Aris; Sudardi, Bani; Purwanto, Andrik; Wakit, Abdullah
KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Vol 9, No 1 (2017): Komunitas, March 2017
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/komunitas.v9i1.8340

Abstract

This study took a closer look at the socio-condition of the Javanese people in Surakarta at the time this text was written through a perspective of critical-sociological studies. The data collection method was literature studies which aimed at analyzing several sources of old Javanese scripts, Serat Dharmasonya Serat Wedhatama, text of KGPAA Mangkunegara IV, Serat Tjemporet written by R. Ng. Ranggawarsito and some other studies on the life world of the Javanese palace in Surakarta 1830-1939 , the work of Soeratman Darsiti. Thus, the present text of the Dharmasonya was read through seeing the historical life of the Islamic religion. The main objective of this study was to probe the social system in which the Dharmasonya text was initially produced. The assumption laid on a reason that the social systems implemented by the Javanese community at the time were relatively different in each place. This study concluded that the Javanese community in Surakarta was divided into four levels, namely: kinghood, nobles, courtiers, common society. As a result of the influence of the European or colonial invasion to peoples lifestyles have had led to moral decadence and spiritual shallow in the community. This was because the feudalism and colonialism system committed by the local indigenous towards the Javanese community.          
Hegemoni Budaya dalam Tradisi Manaqiban Sudardi, Bani; Ilafi, Afiliasi
Madaniyah Vol 7, No 1 (2017): Madaniyah (Edisi Januari 2017)
Publisher : STIT Pemalang

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Abstract

This research is to find out how cultural hegemony that occur in manaqiban tradition in Desa Sari Kecamatan Gajak Kabupaten Demak that can affect the outside community by exercising powers that happened. Manaqiban tradition is a ritual performed by the society in which the people of Java and Madura as a tribute to something about it. Manaqiban tradition also conducted in Desa Sari with a time of implementation is on the eve of the sacred. This tradition was carried out as a form in order to honor the founder of the Desa Sari. Manaqiban tradition in the Desa Sari implemented in a tomb of the gentry named Mbah Djomo. This study used a qualitative approach and data sources of gatekeeper Mbah Djomo. The technique used is by collecting data through observation, interviews, and documentation.
Nilai Pendidikan Karakter dalam Tradisi Lokal Sudardi, Bani
Madaniyah Vol 4, No 2 (2014): Madaniyah (Edisi Agustus 2014)
Publisher : STIT Pemalang

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Abstract

Local traditions contain character educations for their owner. Every people has specific in character education. Cheater education has to uncover from culture elements; language, literature works, customs, and so on. In this era we see our nation take away their character educations that they have get them for centuries to take care of their identities. The put foreign culture (pop, trend), but in the next time it show us many problems have to be solved.
Pragmatic Study of Discourse Hegemony on the Enactment of Dhalang Trah in Ruwatan Ceremony: A Critical Discourse Analysis Approach Efendi, Agus; Purwasito, Andrik; Sudardi, Bani; Abdullah, Wakit
KOMUNITAS: International Journal of Indonesian Society and Culture Vol 8, No 2 (2016): Komunitas, September 2016
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/komunitas.v8i2.6754

Abstract

This study applies qualitative research with Critical Discourse Analysis (CDA) of Fairclough (1995) and the criticism on the ideological dissection of social opacities. The data collection encompasses the interactive and non-interactive techniques which involve the techniques of in-depth interviewing, observation and content analysis. Results of the analysis reveal that units of language use reflected from the texts and contexts of the ruwat puppeteer based genealogy's enactment can be traced from the use of modalities, the phrase ‘mboten kalilan’ (impermissible, unable) in the decree of dhalang ruwat can be further extend to express the word ‘unable’ and ‘able to’, other aspects such as politeness, metaphors, ethos which is classified into the verbal and non-verbal discourse are the devices of discursive enactment of the elite power of dhalang trah. The findings conclude that there is arising symptoms of social inequality narrowing the role and significance of the non-ruwat puppeteers. The hegemonic practice such as the discursive enactment of dhalang trah (descendent of Ki Lebdajiwa) is determined by certain associations which try to normalize certain condition. The argument which refers to the enactment of Ki Lebdajiwa and his descendants as the holder of power is enacted through transactional form, where power is centered on one point.
Critiques on the Ideologies of Contemporary Bedhayan Dances Sawitri, Sawitri; Sudardi, Bani; Abdullah, Wakit; Chaya, Nyoman
KOMUNITAS: International Journal of Indonesian Society and Culture Vol 9, No 1 (2017): Komunitas, March 2017
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/komunitas.v9i1.7497

Abstract

This present paper provides a descriptive analysis toward a traditional court dance called Bedhaya, one of the cultural products of the Javanese community in Surakarta which evolved into its modern version Bedhayan due to the flow of global culture. By applying the theories of hermeneutics, ideology, aesthetics and Semiotics, the data are inferred according to the purposed questions. The inquiry is directed to infer the factors encompassing Bedhaya dance such as its emergence and the development, relationship with the existence and its role in the society, the relationship with systems within the society or with various interests. The results as inferred from the data obtained views in looking at the development on the classical dance of Bedhaya into Bedhayan left worthy of critical assessments. The reality of Bedhayan dance in the view of art as an ideology, from the outside, appears that the choreograhers/artists can freely express their creative ideas in the context of the fight agains the classical culture which is strongly enacted by the myths and power of the rulling king. However, it should be noted that Bedhayan dance artists which have managed to bring the classical bedhaya dance out of the walls of the Kraton also in essence always work in the confines of the iron curtain of a creativity called ‘ideology’. Whether consciously or not, being forced or sincere in living it, these choreographers actually fall into the life orientation which solely  concerns the fulfillment of material needs.