Arabic Language Curriculum Development in Ma’had Umar Bin Al-Khattab Surabaya in Maintaining Middle Eastern Culture-based Educational Institutions.

Ma’had Umar Bin Al-Khattab Surabaya is an educational institution that concentrates on providing Arabic language education and islamic studies with an institutional style based on Middle Eastern Culture. This study aims to describe and analyze the development of the Arabic language curriculum and the achievement of Arabic curriculum development at MUBK Surabaya in maintaining Middle Eastern culture based educational institutions.This research uses a naturalistic qualitative approach with the type of field research and case study research design. The subjects in this study were Mudir, Deputy Mudir, Lecturers of Ma’had, alumni and students of MUBK Surabaya. data was collected by observation, interview, and documentation. Data analiysis techniques using data analysis techniques of Miles and Huberman, namely data reduction, data presentation, and drawing conclusions.The results of this research showed that the development of the Arabic language curriculum at MUBK Surabaya was carried out because of many background aspect including: stakeholder demands and students need. The principles of curriculum development are relevance, flexibility, continuity, as well as effectiveness and efficiency. The foundation of curriculum development used is religious, capability, psychological, and sosio-cultural. Middle Eastern culture at MUBK Surabaya includes 3 aspects, namely: first, the value system and nature of Middle Eastern people thought. Second, the pattern of life, attitudes, and Islamic habits of the Middle East. Third: patterns of student-teacher relationships in Middle Eastern cultures. The acvievement of curricilum development at MUBK Surabaya is by designing several courses to support the implementation of the 3 aspects of Middle Eastern culture. Keywords : Arabic Language Curriculum Development; Educational Institutions; Middle East Culture.

Kismet: Hollywood, Orientalism and the Design Language of Padraic Colum’s Mogu of the Desert

The lure of the exotic ‘other’ was implicit from the early years of the Gate’s repertoire. In 1931 the Gate produced Padraic Colum’s Mogu of the Desert, designed by Micheál mac Liammóir and featuring a young Orson Welles. Exploring Mogu uncovers a broader engagement with ‘exotic’ or oriental narratives at the Gate generally. The history and subject matter of Mogu contextualizes mac Liammóir’s fascination with oriental and Middle-Eastern culture within contemporary film. Archival photos illustrate how production stills copied the iconographic styling of film publicity using ‘film-star’ portraiture to promote the Gate. Orientalist narratives require the display of the body through the eroticization of costume – legitimizing the costumed body as a to-be-looked-at space. The Gate’s fascination with oriental settings enables the visibility of ‘transgressive’ sexualities as well as understanding the tastes and appeal of popular culture.

Meddah – turecki teatr jednego aktora. Spotkanie tradycji kultury ustnej z kulturą widowiskową

The monograph explores performative potential of narrative art in oral traditions of Altai and Middle Eastern culture. Turkish meddah inspires contemporary artists, offering an active model, equal for both the artist and the audience. As an artistic form it developed between the 11th and 19th century. It unites epic theatre of one actor with the elements of tradition of a nomadic narrator, Central Asian shaman, epic singer ozan, Arabic maddah and the Persian tradition of the narrator of The Shahnameh.

IDENTITAS BUDAYA MUSIK GAMBUS DI PALEMBANG

AbstrakMusik gambus Melayu merupakan salah satu genre seni musik yang lahir dari perpaduan budaya Timur Tengah dan Melayu. Di Kota Palembang, aliran musik ini bukan genre baru, tetapi telah hadir sejak ratusan tahun lalu seiring bertumbuh kembangnya etnis Arab di bumi Sriwijaya. Masyarakat etnis Arab juga memiliki perilaku, kebiasaan, maupun keakraban terhadap masyarakat Kota Palembang. Beberapa etnis Arab yang ada di Kota Palembang dapat dikatakan sebagai minoritas. Akan tetapi, ada beberapa etnis (suku) Arab yang memunculkan identitas estetik masyarakat di Kota Palembang dengan mempertunjukan kesenian-kesenian mereka, salah satunya etnis Arab yang mempertahankan kebudayaan mereka melalui kesenian musik gambus. Musik gambus di Kota Palembang juga merupakan salah satu genre musik yang khas dan unik. Genre musik di Kota Palembang adalah perpaduan musik gambus klasik, musik gambus Melayu, dan musik gambus modern. Aliran seni musik ini kerap dilantunkan dalam berbagai hajatan warga Kota Palembang, mulai dari kelahiran, khitanan, hingga pernikahan.Kata kunci: musik gambus, identitas budayaGAMBUS MUSIC IN PALEMBANG CITY: AN ANALYSIS OF CULTURAL IDENTITYAbstractThe music of Gambus Melayu was One genre of musical arts which is born from a blend of Middle Eastern culture and Melayu. In Palembang city, The music of Gambus Melayu is not a new genre. It has been there since hundreds of years ago, together with the development of Arab ethnicity on earth of Sriwijaya. Some Arab minor tribe gives esthetic value in arts performance in Palembang. They maintain it through Gambus Melayu music. Gambus music in Palembang is the combination between classic gambus, Melayu gambus, and modern gambus. It plays in traditional ceremonies and celebration such as the birth celebration, circumcision, and wedding parties.Keywords: the music of gambus, cultural identity

Pemikiran Abdurrahman Wahid tentang Pribumisasi Islam

<p>This article explores the thought of “indigenization of Islam” of Abdurrahman Wahid’s. Indigenization of Islam is how the normative teachings of Islam as derived from God and it can be accommodated into the culture derived from human without losing its identity, respectively. As to Abdurrahmad Wahid or Gus Dur, Arabism (or process identifies with the Middle Eastern culture) would deprive us of his own cultural roots. More than that, Arabism is not suitable. Indigenization is not an effort to avoid the emergence of resistance of the power of local cultures, but instead that culture is not lost. The core of indigenization of Islam (Islamic natives) is not a necessity to avoid pillarization between religion and culture, because such polarization is not inevitable.</p>