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Sang Kuriang as “Sundanese Oedipus” reviewed: the origin of the myth beside the psycho-analysis, 2017
The Ancient Greek myth as displayed in the tragedy by Sophocles “Oedipus Rex” tells about the dramatic figure of Oedipus, who unwittingly became the king of Thebes by killing his own father Laius, and married his mother, queen Jocasta. The similar plot can be seen in “Sang Kuriang”, though there are some differences to be noticed. The well-known Sundanese folk-tale about the strange “love triangle” between Sang Kuriang, Si Tumang and Dayang Sumbi is often explained with the “Oedipus complex” concept from the Sigmund Freud’s theories. Because of psycho-analysis, Oedipus is known as the synonym of perverse sexual behavior. Is it really so? The paper deals with the cultural anthropology and folklore studies, which deny the sinful “complex” and recall the sacred transfer of power due to the sacrifice of the old ruler by his successor, and marriage to the queen, the power holder. ___ Presented at ICOLLITE 2017_Bandung, Indonesia
LEKSIKA
This paper aims to study about the query of femaleness in Indonesian folktales from the feminism approach. It is taken into account due to women’s subordination that allegedly implies the negation of femaleness. In particular, the perpetual story of Malin Kundang represents that owing to her weakness, a woman is a subordinate creature. It happens when Malin Kundang denies the appearance of her mother after a series of successes he makes. Another popular story, Sangkuriang, even depicts that due to her beauty, a woman is an object of sex. It is seen when Sangkuriang proposes Dayang Sumbi to be his wife because of his inability of recognising her as his mother after some year banishment. The subordination eventually drives the two women to struggle against it in order to defend their dignity. The mother of Malin Kundang spells him to be a stone and Dayang Sumbi overtly refuses Sangkuriang’s proposal. Their struggles are of course valued of the morali...
Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies, 2018
Science that has developed to this day seems to shift the role of the logic of Theo-logos, namely science that is still supported by divine values or religion. Before humans recognize the logic of science as a tool to understand truth, humans initially seek truth by using mythical logic so that myth is called pre-logic. Between myth and science or logos has the same role, which is to be an answer to chaos in understanding a natural phenomenon. One of the pre-logical phenomena is found in literary works of various myths or legends. Some of them are the myth of Watugunung and the legend of Sangkuriang. Both works are urgently studied in the comparative literature study paradigm, because they contain the same substance, namely the incest and symbolism of the siwaistic understanding of the archipelago. The focus of the issue that will be discussed in this study is how is sexual relations in the Watugunung Myth and Sangkuriang Legend as theological symbolization? This problem was assessed using structural and semiotics theory while, the research method used a qualitative paradigm with the type of data in the form of narration or discourse in the medium of language. The primary data source is the text of the Medang Kemulan Manuscript and the printed text of the Sangkuriang Manuscript. The theological symbolization in the myths of Watugunung and the legend of Sangkuriang there are several symbols, namely: (a) Phaulus as a symbol and understanding of Shiva, (b) Symbol of fertility due to meeting lingga with yoni, (c) Symbol of Wealth, (d) Symbol of awareness of sexuality, (e) Symbol of awareness of time, (f) Symbol of awareness of the holy place. While symbolizing the theological meaning in Sangkuriang, namely: (a) Mountain as a symbol of Shiva, (b) Symbol of unification of mountains with lake water (lingga and yoni), (c) Symbols of sexual awareness, and (d) Symbol of awareness of time and place.
Mudra Jurnal Seni Budaya, 2020
Arts and Design Studies, 2021
At last, a book on dangdut, and an excellent one. It is hard to imagine that anyone with experience in Indonesia over the past thirty-five years could be unaware of dangdut and its pervasive presence in the Indonesian soundscape. The importance of this music was first recognized in the international scholarly world by William Frederick in his landmark article on Rhoma Irama in the pages of this journal almost thirty years ago. 1 Other scholars have devoted chapters to dangdut, 2 but it is only with this meticulously researched and engagingly written book-length study by Andrew Weintraub that we have the important combination of perspectives—historical, musicological, sociological, gender, and media/cultural studies—that this rich and multifaceted form of expression deserves. Weintraub offers this highly informative study under the rubric of " dangdut stories, " modestly pointing to the " incomplete and selective " nature of the stories he tells. But what he has accomplished is nothing short of a tour de force, giving us a very readable history of this genre, and untangling much about its diverse origins and the multiplicity of paths it has taken into the first decade of the twenty-first century. Near the outset, following three telling vignettes of dangdut events he observed, Weintraub explains that the book is a " musical and social history of dangdut within a range of broader narratives about class, gender, ethnicity, and nation in post-independence Indonesia " (p. 11)—an ambitious project that is borne out skillfully in the pages that follow. We do, indeed, learn much about these social formations in Indonesia: the notion of " the people " (rakyat) in the decades following Sukarno and the rakyat's association with the dangdut genre (class), the increasing role of women in dangdut and the highly politicized debates leading up to the recent " anti-porno " legislation (gender), the contested notion of " Melayu " as an ethnic and cultural category in relation to dangdut and its earliest roots, and the rise of regional dangdut (ethnicity), and the appropriation of dangdut by the elite as Indonesia's " national music " (nation). In each of these arenas, Weintraub follows through with his argument that dangdut not only reflects social conditions and attitudes, but that " dangdut as a political economy of contested symbols mediates meanings about social relations in modern Indonesian society " (p. 28). Like the best of his ethnomusicologist colleagues, Weintraub combines a range of research methodologies. He interviewed performers, composers, producers, and listeners (including nearly all of the most famous dangdut singers, from A. Rafiq and Rhoma Irama to Inul Daratista); culled through archival and recent print materials (including old radio playlists); listened to and transcribed old and new recordings 1 William Frederick, " Rhoma Irama and the Dangdut Style: Aspects of Contemporary Indonesian Popular
2018
On Manis Galungan, the day after Balinese commemorated the triumph of Dharma against Adharma, A group of festively gamelan chimes in accompanying Barong Bangkung, to perform a ritual to ward off negative energy and plague in the village through Ngelawang. Barong Bangkung is an art of dance staged in groups. It consists of approximately twelve people. The dancers are usually boys aged 12-17 years old. Balinese is a cosmocentric society, where they believe Bangkung or Sow, as a manifestation of Lord Shiva in protecting the earth. In its development, the art of Barong Bangkung, as well as Ngelawang, develop not only limited to the art of sacred dance, but also as the performing art. The society conducts Ngelawang by using Barong Bangkung or another holy figure as an expression to worship The God Almighty. As a performing art, the artist does not present a temple’s relic, but a custom-made Barong Bangkung. Usually, the apprentices of the Local school of art seize the opportunity to show...
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