Musik Iringan Hudoq Kita’ sebagai Seni Pertunjukan Wisata di Desa Pampang Kota Samarinda

Hudoq Kita' can be presented in two different forms of presentation. In addition to ritual music, the art form is also presented in the form of musical entertainment art of tourism. Hudoq Kita’ entertainment music is generally displayed on every Sunday in Lamin Pemung Tawai Pampang village. This research uses qualitative methods, including observation, data collection, and data analysis. The technique in question is the observation of the research objects and the determination of informants. The data collection techniques include literature studies, interviews, and documentation. The last is the technique of data analysis by utilizing data that has been found in the field. The research results will explain with the facts of the finding in the field by the author. By the thesis title above, this research will describe the traditional Pelas Tahun, Hudoq Kita' and its accompaniment music with ritual context. The author will explain how Hudoq Kita' accompaniment music is turning into the entertainment of tourist art contextually and textually. Abstrak: Hudoq Kita’ dapat disajikan dalam dua bentuk penyajian yang berbeda. Adapun bentuk kesenian tersebut selain sebagai musik ritual juga disajikan dalam bentuk musik hiburan seni wisata. Musik hiburan Hudoq Kita’ umumnya ditampilkan pada setiap hari minggu di lamin Pemung Tawai Desa Pampang. Penelitian ini menggunakan metode kualitatif meliputi observasi, pengumpulan data dan analisis data. Adapun Teknik yang dimaksud adalah observasi meliputi objek penelitian dan penentuan informan. Teknik pengumpulan data meliputi studi pustaka, wawancara, dan dokumentasi. Terakhir yakni teknik analisis data dengan memanfaatkan data-data yang telah ditemukan lapangan. Hasil penelitian akan menjelaskan dengan fakta temuan di lapangan oleh penulis. Sesuai dengan judul skripsi yang diatas, pada tulisan ini akan memaparkan tentang upacara adat Pelas tahun, Hudoq Kita’ dan musik iringan Hudoq Kita’ dengan konteks ritual. Adapun penulis akan menjelaskan bagaimana musik iringan Hudoq Kita’ yang beralih ke sajian hiburan seni wisata secara kontekstual dan tekstual.

Siyosapa: At the Edge of Art

The art history of Native North America built its corpus through considerations of “art-by-appropriation,” referring to selections of historically produced objects reconsidered as art, due to their artful properties, in addition to “art-by-intention,” referring to the work by known artists intended for the art market. The work of Siyosapa, a Hunkpapa/Yanktonai holy man active at Fort Peck, Montana during the 1880s and 1890s, troubles these distinctions with his painted drums and muslin paintings featuring the Sun Dance sold to figures of colonial authority: Military officers, agency officials, and others. This essay reassembles the corpus of his work through the analysis of documentary and collections records. In their unattributed state, some of his creations proved very influential during early attempts by art museums to define American Indian art within a modernist, twentieth century sense of world art history. However, after reestablishing Siyosapa’s agency in the creation and deployment of his drums and paintings, a far more complicated story emerges. While seemly offering “tourist art” or “market art,” his works also resemble diplomatic presentations, and represent material representations of his spiritual powers.

Tourist Art Packaging Randai Performance in Seribu Rumah Gadang Area Jorong Lubuk Jaya Nagari Koto Baru, Solok Selatan Regency, West Sumatra

Randai is a traditional Minangkabau art that presents a combination of literary, dance and music. The essence of randai presentation is as a medium to convey kaba (folklore) through gurindam or poems sung, and galombang (dance) originating from Minangkabau martial arts movements. Randai performance is good for 2 to 3 hours, depending on the kaba or folklore delivered. This article is prepared based on the research of randai performances in the context of tourism in Kawasan Seribu Rumah Gadang Jorong Lubuk, Jaya Solok Selatan District, West Sumatra. Research on this was carried out using qualitative methods. The data was collected through literature study, observation, interviews, and recording. As a tourist attraction, the randai shown is randai which presents compaction of Bujang Selamat folklore, which begins with talempong music as an introduction to anak randai to the performance arena, followed by sambah, plate dance, galombang, compaction of bujang salamat folklore, then ends with sambah. All randai offerings as tourist attractions last for 20 to 25 minutes

Sendratari Rara Jonggrang Dalam Perspektif Koreografis dan Pariwisata

ABSTRACT "The Rara Jonggrang Ballet" was a dance drama without dialogue that took the story of the legend of Prambanan temple. This choreography tourist art was created as an alternative travel destination renewable tourist performing arts in Yogyakarta. The logic of economic law of supply and demand of the total number of tourists visiting Prambanan temple for 2.992 person/day was a business opportunity creatively to improve the economic viability and competitiveness forces of the nation's comparative advantage and competitive choreography art of travel was believed to be the new icon of the tourist attraction in attractions Prambanan temple. The creative process of creation ballet Rara Jonggrang (cultural creativity) and the creative process in the economy (economic creativity) was a strategic part in building a creative economy based on the values of local wisdom, thus contributing to the strengthening of the economy of traditional arts and community supporters.Keywords: ballet, choreography, art, travel, management, creative economyABSTRAK“Sendratari Rara Jonggrang” adalah drama tari tanpa dialog yang mengambil cerita dari legenda candi Prambanan. Koreografi seni wisata ini dicipta sebagai alternatif destinasi seni pertunjukan wisata terbarukan di Yogyakarta. Logika hukum ekonomi antara permintaan dan penawaran dari jumlah angka kunjungan wisatawan ke candi Prambanan sebesar 2.992 orang/hari merupakan peluang bisnis kreatif untuk meningkatkan kemampuan ekonomi dan kekuatan daya saing bangsa. Keunggulan komparatif dan kompetitif koreografi seni wisata ini diyakini dapat menjadi ikon baru daya tarik wisatawan di objek wisata candi Prambanan. Proses kreatif penciptaan sendratari Rara Jonggrang (kreativitas budaya) dan proses kreatif dalam perekonomian (kreativitas ekonomi) merupakan bagian strategis dalam membangun ekonomi kreatif yang berbasis pada nilai-nilai kearifan lokal, sehingga memberi kontribusi bagi penguatan seni tradisi dan ekonomi masyarakat pendukungnya.Kata kunci: sendratari, koreografi, seni wisata, manajemen, ekonomi kreatif

From Ethnic Brands to Fair Trade Labels

This chapter discusses how the strategies and aspirations of Kenyan traders and the realities of connecting to the global economy have shaped the aesthetics and meanings of Kenyan arts and crafts. These changes demonstrate the ability of connected and savvy Kenyan traders to adapt to an ever-changing and diverse tourist demographic, including Afropolitans. This chapter explores how Kenyan tourist art and handicrafts have been marketed in new and creative ways—as Fair Trade, of a particular tree species, or as representing modern global interconnectedness. Facing ethnic tensions and insecurities that bring instability to their lives and businesses, traders regularly downplay ethnicity in their branding and often de-ethnicize their products. The art of connection motif and its artistic representation are successful on the market because they portray an ideal of egalitarian, transparent, and even Afropolitan-style of human interconnection acceptable to both tourists and Kenyan artisans and traders.

NILAI-NILAI TRADISI SEBAGAI INSPIRASI PENGEMBANGAN DESAIN KRIYA KONTEMPORER

The development of modern skill design is continuously higher alongside with the development of science, technology, and human need. Long time ago, empu or male salesclerks made skill products which contained sacred values and other values. Now, they make skill products by considering more on their aspects of function, economic, and estetics. The shift of those values are caused by the development of science, the transition of human need, and the change of era demand. Global issue has created tension between tradition and modernity, global versus local, universal and individual, and preservation versus renewal. The condition of culture, which comes from the meet of two values of every single aspect, finally creates some tension between things which are considered spiritual and material by nature. Globalization has influenced the shift of art that is spiritual and symbolic by nature into art which is simply material by nature. The work of art is more oriented on the fulfillment of practical demand which is based on economical demand. The fast development of globalization process becomes a big problem for many skill designers, who are in one side have no willingness to relief beautiful and philosophical traditional art. Meanwhile, in another side, they realize that they can do nothing if they do not follow the global current in which the impact cannot be avoided. The development of tourism directly claims the skill designers to make some modern skill designs which have special context regarding the places where the designs are created and stereotype according to local culture of the places. Related to the development of tourism, there is a skill design that is especially dedicated to society; this skill design is known as art by destination. Additionally, a skill design for tourism society demand is called art of acculturation. Art which is created for the sake of tourism art demand is known as tourist art. The development of tourism has given a big chance toward the development of skill in Indonesia. It can be proven by a large number of skill design products which have spread locally and globally. Most of those skill products of various material and designs have come into export markets. It proves that skill and creativity of skill designers have been highly reliable and acceptable.