Tall Tree, Nest of the Wind - The Javanese Shadow-play Dewa Ruci Performed by Ki Anom Soeroto

Arps, Bernard

doi:10.2307/j.ctv1xz088

Cited by 6 publications

(11 citation statements)

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“…In the traditional Javanese shadow puppetry or traditional dance, the story of Serat Bimasuci captures such a union well (Arps, 2016), the manunggaling kawula gusti (mystical union with the divine) . It is a story of the unification between Bima, a heroic Javanese mythological superhuman figure from the protagonist clan of Pandawa (in the Ancient Javanese version of the Hindu Mahabharata story) and Dewaruci, a white ape-like god representing the manifestation of the Mighty One, or the divine.…”

Section: Safetymentioning

confidence: 99%

Abangan Muslims, Javanese Worldview, and Muslim–Christian Relations in Indonesia

Mamahit

2020

Transformation: An International Journal of Holistic Mission St

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One of the many faces of Islam in Indonesia is the abangan Muslims or the abangans. As one of the most populous Muslim groups in the country, it is important to know them. To understand Indonesian Islam or Muslims, one cannot overlook them. The article argues that, amid recent escalating Muslim–Christian tension in the country, this majority Muslim group can play a significant role in enhancing Muslim–Christian relations in the future, on account of their worldview that emphasizes and maintains cosmic harmony and balance of all existence. Their open and syncretic attitudes toward other religions may foster religious tolerance and coexistence. These are attested in the author’s personal engagement with them. It is suggested that Christians be more inclusive toward them, but, at the same time, be critical in engaging their worldview. These attitudes are necessary for building a mutual and peaceful Muslim–Christian relationship in the region.

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Section: Safetymentioning

confidence: 99%

Abangan Muslims, Javanese Worldview, and Muslim–Christian Relations in Indonesia

Mamahit

2020

Transformation: An International Journal of Holistic Mission St

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“…Previous research also touched on the beauty of language in wayang kulit performances such as [3], [5], [2], [6]. The research explains the beauty of wayang languages including suluk, kandha, and antawacana.…”

Section: Introductionmentioning

confidence: 99%

Analysis Characteristics of Antawacana as Reflections on the Character of Werkudara in Wayang Purwa

Widagdo¹,

Djatmika²,

Yustanto³

2020

Proceedings of the Proceedings of the Third International Seminar on Recent Language, Literature, and Local Culture Studies, BA

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Wayang kulit purwa is a Javanese culture that is still maintained its existence until now. This existence is inseparable from the use of a variety of beautiful languages in each of its performances. One special form of language variation can be found in the antawacana section or characteristic of character dialogue. One figure who is unique in conducting antawacana is the Werkudara figure. Werkudara has a characteristic, namely the use of a variety of ngoko languages in each of its speeches. The uniqueness also reflects the original character of Werkudara. For this reason, this study uses a stylistic study to explore more deeply how the character of Werkudara by analyzing the language style used by Werkudara when conducting antawacana. The descriptive qualitative method was used in this study to provide a deep explanation of the linguistic phenomenon of Werkudara figures. The results of this study are, 1) utilization of purwakanthi swara or assonance /a/ and /Ɔ/ in each antawacana, 2) the use of purwakanthi sastra or alliteration /p/ plosive sound, 3) the use of purwakanthi lumaksita as an affirmation of meaning, and 4) the use a variety of ngoko languages to fellow humans, and 5) the use of a variety of krama languages to Dewa Ruci. These characteristics imply the character of Werkudara as a figure who is firm, courageous, straightforward, obedient, and respectful.

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“…These includeAcri ( , 2013Acri ( , 2017,Arps (2016), Becker (1989,Creese (1998Creese ( , 2001,Hinzler (1986),Robson (1972Robson ( , 1988,Rubinstein (2000), van derMeij (2017), van derMolen (1979;1983),Vickers (1984bVickers ( , 2005 andZurbuchen (1987) …”

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confidence: 99%

The Rhetoric of Paintings: Towards a History of Balinese Ideas, Imaginings and Emotions in the Late Nineteenth and Early Twentieth Centuries

Worsley¹

2019

JKB

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Western historical scholarship has taught us much about Southeast Asia in the period between 1800 and 1940. This was a time when the insistent, intensifying and transforming influence of Dutch colonial society and its culture became widespread in Bali and more broadly in the archipelago. Much too has been written about the analytical framework of European histories of these times. In this essay I discuss Balinese paintings from this same period which shed light on how painters and their works spoke to their viewers both about how the Balinese knew, imagined, thought and felt about the world in which they lived and about the visual representation and communication of these ideas, imaginings and feelings through the medium of narrative paintings. In this paper I hope to draw attention to a number of historiographical issues concerning the reception of the ideas, imaginings and feelings conveyed in paintings. In particular I shall have some remarks to make about the role of philology in this regard.

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Tall Tree, Nest of the Wind - The Javanese Shadow-play Dewa Ruci Performed by Ki Anom Soeroto

Cited by 6 publications

References 0 publications

Abangan Muslims, Javanese Worldview, and Muslim–Christian Relations in Indonesia

Abangan Muslims, Javanese Worldview, and Muslim–Christian Relations in Indonesia

Analysis Characteristics of Antawacana as Reflections on the Character of Werkudara in Wayang Purwa

The Rhetoric of Paintings: Towards a History of Balinese Ideas, Imaginings and Emotions in the Late Nineteenth and Early Twentieth Centuries

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