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All Journal DIKSI Pustaka : Jurnal Ilmu-Ilmu Budaya Kawruh : Journal of Language Education, Literature and Local Culture Makara Human Behavior Studies in Asia Paradigma: Jurnal Kajian Budaya Wacana: Journal of the Humanities of Indonesia International Review of Humanities Studies Jurnal Dwija Kusuma Jurnal Ikadbudi : Jurnal Ilmiah Bahasa, Sastra, dan Budaya Daerah Multikultura
Darmoko .
Fakultas Ilmu Pengetahuan Budaya, Universitas Indonesia
Religion Arts Humanities Decision Sciences, Operations Research & Management Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Social Sciences Other

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Revitalisasi Teks-Teks Kearifan Lokal Kemaritiman untuk Membangun Kehidupan Bermasyarakat, Berbangsa, dan Bernegara Darmoko .
Journal Social and Humaniora Vol 19 No 1 (2019)
Publisher : Udayana University Press bekerjasama dengan Fakultas Ilmu Budaya Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (624.496 KB) | DOI: 10.24843/PJIIB.2019.v19.i01.p01

Abstract

Teks sebagai ungkapan bermakna suatu etnik dapat dieksplorasi sebagai kekayaan intelektual bagi siapa saja yang ingin meneliti dan menyajikannya dalam kerangka studi ilmiah akademik. Teks kearifan lokal di Indonsia terekspresikan, baik melalui tradisi tulis maupun lisan, dalam bentuk bahasa, sastra, adat istiadat, dan kesenian. Ekspresi teks-teks lisan dan tulis tersebut dapat menggambarkan tingkat pengetahuan suatu masyarakat, baik berkaitan dengan aspek pertanian maupun kemaritiman.Teks kemaritiman yang bersumber dari kearifan lokal memberikan andil yang cukup besar sebagai modal untuk membangun umat manusia dalam kehidupan bermasyarakat, berbangsa, dan bernegara. Keagungan suatu kerajaan (negara) yang berorientasi pada laut, keperwiraan dan kedigjayaan suatu tokoh penjelajah laut, peristiwa yang menggambarkan kecanggihan strategi dalam bertempur, dan ungkapan rasa bangga terhadap keberadaan laut sebagai sumber nafkah dan kehidupan merupakan nilai-nilai budaya yang dapat memberikan spirit dan motivasi bagi masyarakat untuk mempertebal rasa memiliki, membela, dan mempertahankan keutuhan masyarakat, bangsa, dan negara Indonesia. Kesadaran dan pemahaman tentang budaya lokal kemaritiman sebagai milik bangsa dapat memupuk sikap nasionalisme, patriotisme, dan cinta tanah air. Studi ilmiah akademik memberikan ruang kepada peneliti untuk mengeksplorasi korpus data teks-teks kearifan lokal kemaritiman dari berbagai konteks (perspektif), kerangka teori, dan metodologi. Perspektif sejarah, politik, ekonomi, sosiologi, sastra, linguistik, antropologi, filologi, studi kawasan, dan lain-lain memberikan konteks bagi sebuah penelitian untuk disuguhkan bagi masyarakat luas. Permasalahannya bagaimana implementasi dan produk penelitian yang bersumber dari teks-teks kearifan lokal kemaritiman dapat memberikan dampak konstruktif bagi kehidupan umat manusia dalam bermasyarakat, berbangsa, dan bernegara. Untuk menangani permasalahan ini diperlukan metodologi yang komprehensif di samping ketersediaan para pakar di bidang ilmu pengetahuan masing-masing, tata kelola (manajemen) birokrasi, serta kemauan politik pemerintah pusat dan daerah untuk menginternalisasi nilai-nilai kearifan lokal kemaritiman yang bersifat universal kepada masyarakat sebagai penjaga kesatuan dan persatuan bangsa.
Seni Gerak dalam Pertunjukan Wayang Tinjauan Estetika Darmoko, Darmoko
Makara Human Behavior Studies in Asia Vol. 8, No. 2
Publisher : UI Scholars Hub

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Abstract

Movement art in the puppet performances is often mentioned as sabetan. Puppet movement art, that contains rules, norms, guidance (orientation) is convention that is observed and referred to guidance the dalang artists when they move the puppets. One of the convention of movement in the puppet performance is udanagara. Udanegara, that contains ethics and aesthetic, is the rules of speaking, attitude, and action for actors in the puppet performance. Puppet movement include among others paying homage, walking, running, dancing, flying and fighting. That puppet movement is based on social class of puppet, age of puppet, class of puppet, and mood of expression of puppet. Therefore, the movement art of the puppet adopts basic wiraga (true or false action in the puppet movement), wirasa (true or false feeling of puppet movement), and wirama (true or false rhythm in the puppet movement). Method in this research will be conducted step by step: collection data (to watch of puppet performance on television, live performance, dialogue with dalang artist), analysis of data, literary research, conclusion and reporting of the research. This research concludes: puppet movement has of two meanings, large (totality of puppet movement) and narrow (fighting); puppet movement refers to the conventions (norms), oriented by dalang artists (udanegara); basic of puppet movement refers to social class of puppet, age of puppet, class of puppet, and mood of expression of puppet; now, puppet movement becomes more and more creative and dynamic. The development of puppet movement in line with the way of thinking of society that is more improved, critical, and dynamic.
Ruwatan: Upacara Pembebasan Malapetaka Tinjauan Sosiokultural Masyarakat Jawa Darmoko, Darmoko
Makara Human Behavior Studies in Asia Vol. 6, No. 1
Publisher : UI Scholars Hub

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Abstract

The religion of Javanese society views that the universe as the wholeness which is balanced and harmonious, inseparable one from another, and always interconnected. The universe consists the macrocosm and microcosm. The macrocosm and the microcosm, are not always stable, but instable. The instability in the macrocosm, is the result of incident made on the surface of microcosm, or on the contrary. The regularity in the microcosm and macrocosm is coordinated, and if each cosm tries to achive unity and harmony, therefore life will be quiet and harmonious. The Javanese society always makes effort to guard harmony in the universe, if it is in chaos, they usually conduct rituals. The ritual of ruwatan is an effort in Javanese society to make the universe balance. Because of the incident affected by sukerta, therefore man has to be rid of the accident (to be eaten by Batara Kala). In the ruwatan ritual is usually performed presenting Murwakala or Sudamala scemes.
Moralitas Jawa dalam Wayang Kulit Purwa: Tinjauan pada Lakon Laire Semar Darmoko, Darmoko
Paradigma: Jurnal Kajian Budaya Vol. 5, No. 2
Publisher : UI Scholars Hub

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Abstract

The Javanese leather puppet use myths about the gods, prophets, spirits, and people of the ancient time, besides the texts of Lokapala, Arjunasasrabahu, Ramayana, and Mahabarata to teach prudence and to enable men to respond to the happenings of their natural life, or “daya-daya kekuatan alam” (van Peursen, 1989: 37). These myths contain the moral philosophy about the relation of men with other men, with nature, and with God, determined by a pattern of thought which orients itself toward the principles of harmony and balance. The paper highlights the story of the birth of Semar, or Laire [in English: la-ee-ray} Semar, which shows how the Javanese morality was constructed and power in the Javanese conception implemented. Semar, god in human form, reveals the essence of power a king should have, and teaches that power is a godly characteristic used to enhance goodness. This concept is against the belief that power is ruthlessness and domineering that is hidden in good-look, princely manner and power. His ugly looking reflects the importance of inner strength which is generous and kind, over handsome outward look, but has a mean heart As an expression of arts, the puppeteers hold an important role to distribute the stories that have philosophical meaning to the audience when the leather puppet show was conducted. A puppeteer, after all, carries a holy role.
Perjalanan Hidup dan Kreativitas Seni Pengrawit Unggulan Darmoko, Darmoko
Wacana, Journal of the Humanities of Indonesia Vol. 8, No. 2
Publisher : UI Scholars Hub

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Abstract

THE ESSENTIAL OF SEMAR POWER IN THE PLAY OF BATHARA KALA TUNDHUNG-SURYA NDADARI BY KI MANTEB SUDARSONO Lestari, Dewi Dian; Darmoko, Darmoko
International Review of Humanities Studies Vol. 8, No. 1
Publisher : UI Scholars Hub

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Abstract

This paper discusses the essential of Semar Power in the puppet play entitled Bathara Kala Tundhung-Surya Ndadari. The play Bathara Kala Tundhung-Surya Ndadari was taken into consideration in conducting this research because it is a unique play, namely the Ruwat play and the Mahabharata story play which were united through the experience of the presence of Semar characters in a puppet play by Ki Manteb Sudarsono. The main problem in this research is how the essence of Semar Power is formulated in Batara Kala Tundhung-Surya Ndadari. This study aims to formalize Semar's power as the holder of the superiority of power in the play Bathara Kala Tundhung-Surya Ndadari. This research is a qualitative descriptive study with an objective approach that aims to explore and describe the essential of Semar power by the researcher as the main instrument in data collection. The conceptual framework used in this research is a conceptual framework according to Javanese Ethics. The results of this study indicate that the essence of Semar Power is power attached to the status and role above as a pamong of Pandawa, the status as danyang of the land of Java through assistance in carrying out ruwatan, and the role of a god who thwarts the Batara Guru test for Pandawa in Baratayuda. Based on this research, it can be stated that the power of Semar is related to the status and role to eliminate all threats over the power of rage, restore the evil power to its place and maintain the stability of the world and the universe, Memayu hayuning bawana.
NARRATIVE STRATEGY AND THEATRICAL CREATIVITY IN PAK NASIR'S SITA MARRIAGE CONTEST Widagdo, Bimo Sinung; Darmoko, Darmoko
International Review of Humanities Studies Vol. 8, No. 1
Publisher : UI Scholars Hub

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Abstract

Shadow puppets are very popular in Southeast Asia. The foreign culture that is present in this area has a strong enough influence on the growth and existence of local culture. Stories were brought and spread by the Indians at the beginning of the Christian era as material developed through their local intelligence. Two geographical areas that are unique in Malay culture are important and deserve attention, namely Malaysia and Thailand. Kelantan Malay shadow puppets cannot be separated from the influences inherent in them, namely Java and Thailand. The plays that are shown revolve around Rama's struggle to get Sita, who is assisted by his younger brother, Laksmana. Nasir's play Sita's Mariage Contest deserves to be appointed as an object of study on the grounds that the mythical and magical content is very strong and Malay local wisdom is in contact with Javanese and Pattani localities in Thailand. The data is downloaded from https://www.youtube.com/watch?v= DbA53E3M0Zw. To examine the data, a qualitative descriptive method is needed, as well as a theoretical framework of narrative strategies, namely sanggit play and work on pakliran. The results of the study show that sanggit play, which is the power of knowledge of the dalang, is packed with mythical and magical content and combines genealogy, tradition, and local conventions of Malay (Malaysia), Javanese (Indonesian), and Pattani (Thailand) armed with the power of imagination, intuition, sensitivity, intellectuality, and mastery of cultural codes. The work on pakliran combines ethics and aesthetics that describe local wisdom with the implementation of acculturation and adaptation as a Malay cultural identity.
THE POLITICAL PARTICIPATION OF CHINESE OVERSEAS IN INDONESIA AND MALAYSIA Shasha, Huang; Darmoko, Darmoko
International Review of Humanities Studies Vol. 7, No. 2
Publisher : UI Scholars Hub

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Abstract

Political participation plays an important role in protecting the interests of the Chinese overseas in Indonesia and Malaysia. This journal is qualitative research with a library approach method. This research aims to find 1) political participation patterns of Chinese Oversees in Indonesia and Malaysia; 2) factors that influence the political participation of Chinese Oversees in Indonesia and Malaysia. Chinese overseas in Indonesia and Malaysia do not actively participate in politics as the local ethnic majorities, however with the development of democracy, the Chinese overseas mainly take part in the political field by voting in national elections and regional elections, participating in political parties, joining various associations, and building close relationships with government officials. In political participation, Chinese overseas is mainly influenced by the level of democracy, political awareness, and relations with local ethics.
DINAMIKA KEHIDUPAN TAYUB ATAU TAYUBAN DALAM MASYARAKAT DAN KEBUDAYAAN INDONESIA - JAWA - Darmoko
JURNAL IKADBUDI Vol 2, No 12 (2013): Jurnal Ikadbudi
Publisher : Fakultas Bahasa Seni dan Budaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/ikadbudi.v2i12.12095

Abstract

Tayub or tayuban widespread until at least four provinces, namely Central Java, East Java, West Java, and Yogyakarta Special Region. Based on the type of rhythm, nuance, or character, consisting of  tayub grengseng (angkleng), tayub grengseng (arum manis), tayub grengseng (kijing miring), tayub grengseng (ketawang puspawarna),  tayub jepon (gunungsri),  tayub jepon (wolu-wolu), tayub jepon (cao glethak), tayub si Kucing, tayub Surobayan, tayub tawang mangu, and  tayub suwe ora jamu. This article trying outlines how the dynamics of life tayub or tayuban in Indonesia especially Java today.The art of dance in tayub regarding how a character speaks, being, and acting in conjunction with another character in a performance. Space dimensions concerning symmetry, asymmetry, balance, variety, contrast, and protrusion while the time dimension    associated with rhythm, aritme, tempo, and also balance, variety, contrast, and protrusion. As well as the dance performances, tayub or tayuban require reference aesthetic value: sem, nges, greget, and banyol. Arrangement of makeup and fashion shaped in such a way that the actor can portray a certain character in art tayub. Structuring the lights and the stage is a unity that creativity coordinated with other aspects of the firm, so that the stage had been set in accordance with the scene shown (right background).The results of the discussion of  "Dynamics of Life Tayub or Tayuban  in Society and Culture of Indonesia - Java" can be formulated as follows: ( 1 ) Art tayub or tayuban still has powerful functions, positive, constructive towards Indonesian society, especially in Java; (2 ) Art tayub up now has a function, either as a means of ritual ( ceremony ), vows or nadar, togetherness, education, communication, and entertainment; ( 3 ) Necessary raising funds good effort from central and local government as well as private sectors to support conservation efforts tayub or tayuban the art performed both at the sanggar and perwadahan; ( 4 ) the existence tayub or tayuban art scattered in various provinces, both in West Java, Central Java, East Java, and Yogyakarta Special Region is the wealth of local arts flourish in Indonesia. Keywords : dynamics, tayuban, Java
BUDAYA JAWA DALAM DIASPORA: TINJAUAN PADA MASYARAKAT JAWA DI SURINAME - Darmoko
JURNAL IKADBUDI Vol 5, No 12 (2016): Jurnal Ikadbudi
Publisher : Fakultas Bahasa Seni dan Budaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/ikadbudi.v5i12.12307

Abstract

Javanese society and culture has been forged by the situation and condition of the times centuries. Cultural influences from outside, such as the Hindu - Buddhist, Islamic, Chinese, and European, indigenous cultures should lead to "adapt", the acculturation strategy. Local genius to filter incoming external cultural influence of local culture. Javanese culture and society continues to change, whether caused by external and internal factors.Policy and socio-economic problems caused the population of a particular region should move. Dutch colonial period to independence there has been a migration of people from rural to urban areas of Java, from a rural island to another, and from a village in Indonesia to foreign countries. In new areas of the Javanese form a new community as the Javanese developed overseas and that's where Javanese culture that was once their preserve, coached, and developed, such as the Java community in Jakarta, Deli Serdang - North Sumatra, Sitiyung - west Sumatra, Lampung, and Suriname. Java community in this new place coexist and mingle with other tribes and not seldom of those who later married and have children and grandchildren .In the early days of the country Suriname frequent conflicts between tribes that are in there. Suriname Javanese people often act as peacemaker for the tribes opposing it. Javanese cultural values operate to defuse a tense situation and soften the situation and condition of the nuances of violence. The value of local knowledge of Java can be used as an "heirloom" wherever people are and in what circumstances they experience. The value of local knowledge of Java prioritize a sense of leadership and uphold the principles of equality and harmony and respect. This paper aims to explore the value of indigenous leadership that operates on Java Javanese in Suriname. Results will be achieved this paper determined the value of local knowledge is Java - oriented leadership as a solution for the value of a conflicts in society.Keywords : Java, culture, values, diaspora, Suriname
Co-Authors Amrizaard, Brillian Arauni Mayanfauli Asri Irawanti Christian Briliyandi Pramaditra, Raden Mas Fahmi Iqbal Ibrahim Fakih Tri Sera Fil Ardhi Ibrahim,, Fahmi Iqbal Kusumawardhini, Dwinda Ayu Latifah, Ayuk Lestari, Dewi Dian Lin, Tang Mayanfauli, Arauni Naufal, Muhammad Feraldy Oktaviani, Kinanti Pratama, Robbyanandri Pratiwi, Hestia Dwi Putra, Rizki Wahyu Rahmadhika, Shintania Shasha, Huang Siti As`ari, Afifudin Widagdo, Bimo Sinung