Today's elementary school students assume that the Javanese language is a foreign language. Tis situation had been predicted by Ki Hadjar Dewantara, therefore in 1930 he created Sariswara method as a means of facilitating the learning of Javanese language and literature. Tis community service aims in sharing the concept of Ki Hadjar Dewantara’s Sariswara method in improving Javanese language profciency and enriching knowledges of Javanese literatures through songs and dances in the targeted community. Tis community services involved teacher representatives, students, and parents of students of 12 Elementary Schools in Mergangsan Sub-district. Te provision of the materials and training is expected to foster a sense of pride in their own culture, so that they will be motivated to preserve and develop it, afterward. Eventually, it is hoped that a community that preserves the Sariswara method will emerge. Strengthening the sense of love for Javanese language and literature through tembang dolanan (songs of singing games) and dance movements stimulates students’ intelligence.================================================================== Murid sekolah dasar masa kini menganggap bahasa Jawa sebagai bahasa asing. Keadaan seperti ini telah diprediksi oleh Ki Hadjar Dewantara sehingga pada 1930 diciptakan Metode Sariswara sebagai sarana mempermudah pembelajaran bahasa dan sastra Jawa. Tujuan pengabdian kepada masyarakat ini adalah menyebarkan konsep Ki Hadjar Dewantara tentang Metode Sariswara melalui pengayaan materi bahasa, sastra, tembang, dan gerak tari. Melalui pemberian materi dan pelatihan (praktik) kepada perwakilan guru, siswa, dan orang tua siswa di 12 sekolah dasar se-Kecamatan Mergangsan ini diharapkan dapat menumbuhkan rasa bangga terhadap budaya bangsa sendiri dan mengembangkannya, yang pada akhirnya akan terbentuk komunitas pecinta Metode Sariswara. Penguatan rasa cinta terhadap bahasa dan sastra Jawa dengan sarana tembang dolanan dan gerak tarinya menstimulasi kecerdasan siswa.
Travel is a momentum to look inside that influences the travelers' existence, along with meeting and interacting with others. The self as a traveler experiences internal dynamics reflected in the travel writings. This paper analyzes five French travel writings to reveal the self-construction of travelers who explored the East in the 19th century. The analysis results show that travelers’ self-construction is divided into Enlightenment or Romantic subjects and true travelers or travelers as tourists. The Enlightenment subject prioritizes facts and empirical knowledge outside of the self for the broader interest. In contrast, the Romantic subject puts forward subjective and emotional attitudes in dealing with and narrating others used for personal gain. True travelers look for difficulties in other places to prove themselves in conquering the challenges. Travelers as tourists try to avoid the obstacles by seeking safety and comfort during the trip. The East as a travel destination is a space that offers difficulties in constructing and legitimizing the traveler's self-image with the attributes that society expects, such as courage and persistence. The five French travelers, both Enlightenment or Romantic subjects and true travelers or tourists, had various knowledge of the others due to factors such as the purpose of the trip, profession, social status, and duration of the trip. Knowledge of the others and self-disclosure narrated in travel writings manifest the French travelers’ power to control and manage themselves and represent the Other.
The aim of the research to describe (1) Sembilan Pucuk laws in Tambo Minangkabau; (2) custom and syarak as the guidelines in Tambo Minangkabau; (3) the command to obey Penghulu based on the custom and syarak. This study concludes that the three theme motifs in Tambo Minangkabau strengthen the role of adat and religion. In Minangkabau, both are present in the history of creating the Minangkabau country, which began with the Nan Nine Pucuk Law as legitimacy. Further, Balai adat (customary hall) and mosques are symbols of harmony between customs and religion in determining the provisions. Indeed, the community leaders, in this case, Penghulu, need to be obeyed because the customs have appointed them based on Qur'an and Hadith (religion).Tujuan penelitian ini adalah untuk mendeskripsikan (1) Undang-Undang Nan sembilan pucuk dalam Tambo Minangkabau; (2) adat dan agama sebagai pedoman dalam Tambo Minangkabau;(3) perintah menaati penghulu berdasarkan adat dan agama. Penelitian ini menyimpulkan bahwa ketiga motif tema dalam Tambo Minangkabau memberikan penguatan peran adat dan agama. Di Minangkabau, keduanya hadir dalam sejarah penciptaan negeri Minangkabau yang diawali dengan adanya Undang-Undang Nan Sembilan Pucuk sebagai legitimasi. Selanjutnya, balai adat dan masjid adalah simbol keharmonisan adat dan agama yang saling berkaitan dalam menentukan keputusan dan ketentuan. Bahkan pemimpin kaum, dalam hal ini penghulu, perlu ditaati perintahnya karena penghulu merupakan pemimpin yang ditetapkan oleh adat dan ditentukan oleh al Quran dan hadis atau agama.
Le manuscrit du Langen Wibawa du palais du Pakualaman (Yogyakarta) Pendant la plus grande partie du XIXe siècle, les princes du palais Pakualaman (Yogyakarta) ont accordé un intérêt tout particulier aux arts en général (poésie, musique, danse), ce dont témoigne notamment une partie de la production des manuscrits de leur scriptorium. Le Langen Wibawa, rédigé à l’initiative du prince Paku Alam IV, entre 1866 et la fin des années 1870, est l’un de ces ouvrages. Il est illustré de 17 paires de frontispices et d’un frontispice simple, richement ornés et appelés wedana renggan, qui contribuent, avec le texte qu’ils introduisent, à décrire et expliquer le sens de différentes danses du Pakualaman. Cet article réunit et présente six paires de frontispices du Langen Wibawa.
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