Javanese Song Research Articles

Javanese Language Skill Level of Early Childhood in Term of the Use of Javanese Song

This Study using experimental approach with Static Group Comparison. This study examined the difference of Javanese language skill for early childhood in Pekalongan city by singing method using Javanese songs. The sample of this study is 30 children of ABA Binagriya Kindergarten as experimental group and 30 children of ABA Bendan Kindergarten as control group. The Javanese songs was used with experimental group only. The result of the study were analized using t-test. Independent sample t test used to measure difference level of Javanese language skill. The result of Independent sample t test indicated that t count value is -6,350 and t table is 3,156. The value of –t count < -t table (-6,350 < -3,156. The study indicated that there are significant differences in mean scores of Javanese language skill. How to cite Maulida, F., & Eka, R. (2014). Javanese Language Skill Level of Early Childhood in Term of the Use of Javanese Song. Indonesian Journal Of Early Childhood Education Studies , 3(1), 42-46. doi:10.15294/ijeces.v3i1.9475

ESTETIKA DAKWAH DALAM LAGU JAWA

The study elaborates the arts of dakwah in the Javanese songs; Sluku-sluku Bathok and Turi-turi Putih. Both songs are one of the dakwah strategies conducted by the previous Ulemas in order that the society could accept the dakwah effectively. The use of the Javanese songs in the dakwah has become a particular characteristic of acculturation of Islam and Javanese culture. In fact, Javanese society has pleasantly accepted the Islamic dakwah.

BENTUK SAJIAN TARI SRIKANDHI CAKIL

Srikandhi Cakil dance has the theme of heroism using antawecana (dialogues) and tembang (Javanese songs). Javanese gamelan is used to accompany the dance and at the beginning the accompaniment is ada-ada, Srepeg, ketawang teplek, and then the second srepek, and ada-ada jugag is used before dialogues. In the dialogue, Cakil sits with the knees bent after knowing that he is facing Dewi Woro Srikandhi. To show that Cakil is surprised and gives a respect to Dewi Woro Srikandhi, this scene is accompanied by pathetan jugag. The dialogue is continued to the conversation on the king Jungkung Madiyo’s proposal which is rejected by Srikandhi. The accompaniment of ada-ada jugag is used to make the atmosphere that Cakil is angry. Key words : dance, Srikandi, Cakil

Tunes That Bind: Paul J. Seelig, Eva Gauthier, Charles T. Griffes, and the Javanese Other

AbstractThe powerful concept of orientalism has undergone considerable refinement since Edward Said popularized the term with his eponymous book in 1978. Orientalism typically is presented as a totalizing process that creates polar oppositions between a dominating West and a subordinate East. U.S. orientalisms, however, reflect uniquely North American approaches to identity formation that include assimilating characteristics usually associated with the Other. This article explores the complex relationship among three individuals—U.S. composer Charles T. Griffes, Canadian singer Eva Gauthier, and German-trained Dutch East Indies composer Paul J. Seelig—and how they exploited the same Javanese songs to lend legitimacy to their individual artistic projects. A comparison of Griffes's and Seelig's settings of a West Javanese tune (“Kinanti”) provides an especially clear example of how contrasting approaches manifest different orientalisms. Whereas Griffes accompanied the melody with stock orientalist gestures to express his own fascination with the exotic, Seelig used chromatic harmonies and a chorale-like texture to ground the melody in the familiar, translating rather than representing its Otherness. The tunes that bind Griffes, Gauthier, and Seelig are only the raw materials from which they created their own unique orientalisms, each with its own sense of self and its own Javanese others.