Suchergebnisse

This study aims to explain the emergence of a beauty enterprise with the tagline "beautiful as a palace princess", particularly in Surakarta City, which is evidence of the commodification of the ngadi sarira putri Keraton Surakarta heritage. The study results indicate that the emergence of a beauty company labeled "beautiful in the style of a palace princess" amid modernization reveals that beauty in the style of a palace princess merely enhances the visualization of personal beauty without enhancing inner beauty. This does not adhere to the concept of the royal princess's beauty as described in the Surakarta Palace's ngadi sarira putri tradition. This study employs qualitative methods and interpretive data analysis approaches to define, comprehend, and determine the clarity of a beauty company with the tagline "beautiful as a palace princess" as evidence of the commercialization of the tradition of ngadi sarira putri Surakarta palace. Data were gathered through observation, interviews, and documentation studies.

The local agricultural spirit of Osing people of Banyuwangi district, East Java produced many of various rites. These function as mediation between human community and supranatural forces to influence the fertility of soils even to guarantee the welfare of the community. Seblang is the oldest among these traditions, still kept and implemented by the villagers of Bakungan as a part of yearly village purification ceremony. The entity of woman as spiritual being associated to fertility and to the food-giving Mother Earth (pertiwi)and rice field goddess (Mbok Srindani)is essential in the Seblang ritual. Woman is also the preserver of local wisdom about ecological equilibrium as the part of the traditional agricultural worldview. In the last two decades myths, beliefs and discourses of Seblang changed, in parallel with the social-, cultural- ecological changes of the regional development leaded by Banyuwangi`s post-reformation government. This changes modificate elements in the original implementation of this rite. One of these changes was the arbitrary exchange of the Seblang`s female gamelan's players by male ones five years ago. This paper analyzes how the changing power structures of center and periferic caused the marginalisation of female gamelan's players of Seblang, in a concrete way, howthe dominant patriarchal class ignored the importance of female entity in the Seblang rite through the act of banishing the female gamelan's players. After five years of their banishment, in 2018 Bakungan women got the opportunity to join again as gamelan's player in Seblang. Present paper examines how the awareness of community about cultural competency the female gamelan's players changed positively after Bakungan women were able to articulate their need to participate as musicians in the Seblang rite. This new awareness presents the emerging self-image of Osing woman and forming a change in the earlier male-dominant perspective.

This study aims to describe the ideology of resistance that grew and became the basis of the politics of cultural movement during the war to the establishment of Puro Mangkunagaran up to maintainaning the existence to the present. The study was descriptive analytic using 12 advanced-steps method of Spradley Ethnography, which was shortened into 4 research steps. Triangulation data research includes direct observation of Bedhaya Anglir Mendhung dance performance, dance manuscripts in Mangkunagaran, and interviews with two respondents. The findings of this study are: a) dance art in Puro Mangkunagaran are all themed with resistance except free-patterned dance like gambyong and golek; b) Bedhaya Anglirmendhung dance is the first Puro Mangkunegaran's Bedaya dance as well as an attribute of power in which ideologically articulates resistance;c) the ideology of resistance is also evident in the archetypal orstate logo artefacts, batik cloths, and the family of Mangkunagaran creeds.Keywords: ideology; representation; Mangkunagaran

Abstract: Solo Craft Gallery Expo is an effort to accommodate the presence of creative industries joined in the craft subsector SMEs, and facilitating MICE activities in the city of Solo. The space is in the form of art galleries as well as a market for good packaging and expo space with diverse capacities. Combining the two functions of this building is a strategy for mutually supporting each other's existences. Gallery space presented as cultural charms, while the expo space plays a role in bringing visitors. The government policies in synergy with the city's potential efforts to support and facilitate the development of the city for more advances physical quality and human resources. This system if it is associated with the city of Solo as location, intersects with the image which is the city of culture. This last issue is associated with contemporary architecture, which is an effort to locate and revive the values of cultural and society, as a reflection of the city's identity. In this case, the Javanese architecture which is the local architecture and result of the Javanese cultural community life, deserve to be appreciated to exist as a force of local architecture. The process of aligning the image of the building with the city image of the building of Solo Craft Gallery Expo, carried out through the application of contemporary Javanese Architecture. Keywords: MSME craft's sub-sector, craft galleries, MICE facilities, contemporary Javanese architecture.

This study aims at understanding and describing the discourse clarity, how the discourse is constructed and the implication of discursion of noble soul in sêrat kawruh mahnitismê manuscript in Javanese's people life. The Sêrat Kawruh Mahnitismê will be written as SKM in this essay. This manuscript is in manuscript song form which consists of 13 pupuh 'lyric', and written using Javanese alphabet and in Javanese language that have been both translated and transcribed into Latin language. The manuscript is stored in Kerataon Surakarta Hadiningrat library Sasanapustaka containing teachings about how a person gets a perfection and used it as a tool to fulfill his dreams. This research is done in the area of Cultural Studies with qualitative data analysis and descriptive and interpretative analysis techniques that use a hermeneutic approach. This research use content analysis and library studies as method of data collection. The theory use is Michael Foucault discourse theory. The results show that: (1) the cause of discourse of noble soul in SKM manuscript that resulted hegemony; (2) the construction process in discourse of noble soul in SKM manuscript happens from ideal becomes humanist and (3) the implication of the discourse of noble soul in SKM manuscript in the millennial era

Tulisan ini bertujuan untuk membedah relasi kuasa-pengetahuan di balik diskursus revivalisme kebudayaan Jawa Mangkunegara VIII. Mangkunegaran adalah sebuah istana yang pernah menjadi salah satu pusat pemerintahan Jawa pada masa kolonial. Mangkunegaran dipimpin oleh seorang Mangkunegara. Pasca kemerdekaan, Mangkunegaran tidak lebih dari sebuah bangunan yang menyimpan kisah-kisah kejayaan para leluhur. Mangkunegara VIII adalah pemimpin Mangkunegaraan pada saat itu. Ia harus menghadapi berbagai macam tekanan sosial, politik, dan ekonomi. Ia kehilangan kedudukan sebagai kepala pemerintahan Mangkunegaran. Oleh sebab itu, ia membutuhkan sesuatu untuk memulihkan kehormatannya, yaitu kebudayaan Jawa. Ada tiga pokok bahasan yang dikaji oleh tulisan ini. (1) Bagaimana bentuk wacana revivalisme kebudayaan Jawa Mangkunegara VIII pada era Republik? (2) Bagaimana fungsi wacana revivalisme kebudayaan Jawa Mangkunegara VIII? (3) Bagaimana makna wacana revivalisme kebudayaan Jawa Mangkunegara VIII? Wacana revivalisme kebudayaan Jawa Mangkunegara VIII berbentuk klaim bahwa ia adalah pengayom kebudayaan Jawa. Mangkunegaran merupakan pusat pelestarian kebudayaan Jawa. Mangkunegaran mempertunjukkan kesenian-kesenian khasnya kepada khalayak umum, para pejabat, dan tamu-tamu asing. Mangkunegaran menjadi pusat untuk menggali kesenian-kesenian khasnya yang pernah mati suri. Fungsi dari wacana ini adalah untuk memperoleh kehormatan dari abdi dalem, masyarakat, dan petinggi republik dalam bidang kebudayaan. Makna dari wacana ini bagi mereka yang terhegemoni adalah anggapan bahwa Mangkunegaran menyimpan harta dan warisan budaya yang adiluhung dari para leluhur.

This article aims at studying Javanese cultural revivalism of Mangkunegara VII, its function, and meaning, within the context of the rise of Islamism in the early 20th century. Mangkunegara VII was a Mangkunegaran ruler who actively participated in developing Javanese culture. When he was young, he was an essential figure in Budi Utomo, a movement organization that represented Javanese nationalism which was influenced by the complex relations between language awareness, colonialism, modernism, and Islamism. He was also involved in various Kejawen organizations. Using Michel Foucault's discourse theory, this paper argues that Javanese cultural revivalism is a Javanese nationalist success to overcome the excessive radicalism of Islamic discourse. When Islamism arose with their attacks against the abangan, he carried out counter-narratives through Javanese cultural organizations. As a ruler, he was successful in assuming legitimacy from the Mangkunegaran people as well as to influence the Dutch colonial government, and other Javanese nationalists as well.

City branding is an effort to build an identity about a city and providing opportunities for the realization of regional development both in terms of economy and tourism. Branding can be realized through all forms of parts of the city that have distinctive characteristics that are influenced by physical and non-physical characteristics. "Solo the Spirit of Java" means that "Solo is the soul of Java" which reflects the depth of meaning of the cultural, artistic and historical roots of Solo. Since branding was established and legalized, several things have been done by the city government, one of the efforts are regarding physical characteristics is clearly visible in several buildings including cultural heritage buildings. Javanese iconic elements are deliberately preserved as a form of preservation and branding. This research was conducted to identify the application of Javanese iconic elements in hotel buildings in Surakarta. The method used in this study is collecting secondary data and observing to identify the application of Javanese iconic elements in buildings. The results illustrate that the application of Javanese iconic elements in hotel buildings is not optimal. It is because the visual view of building has not been able to attract attention, so it does not have a strong character. This needs more attention to all relevant stakeholders to improve the image or character of the building so that it can become a city branding that can strengthen the identity of Surakarta City through physical characteristics.