The Mystical Dimension Of Javanese Women


Tayub, The Mystical Dimension Of Javanese Women

Tayub or tayuban is a traditional art of Java, especially Central Java and East Java. Tayub is a term used by Javanese people in a dance. This art is very popular among the Javanese community because it looks attractive, dynamic, expressive and aesthetic. Tayub dance is a dance that made women as the dominant element. By using the typical Javanese clothes first, such as the use of tempo Jarit (long cloth for clothing subordinates) and scarves tied dileher, the female dancers dance with Tayub so weak supply to entertain and engage the audience dancing abilities. The crowd here is mostly males.

The days of the solicitation of the women dancers Tayub is symbolized by the placement of scarves at the neck of the male audience. The men who had been tied with seledang on his neck could not refuse the dancers. For his services, then the dancers will earn money Tayub/sawer. The more the sawer is given, then the dancer Tayub the longer berjogetnya. They continued to dance with the music accompaniment one unit of a Javanese gamelan percussion, kenong, gong suwukan, kempol, trumpets, percussion and the angklung. In addition, the dancers usually also Tayub poems and songs or rhymes, poems such as Java gurindam containing advice-advice, such advice was wise to build the household well.

History recorded, artistry Tayub first appeared among the public, Blora, Central Java. This art became the entertainment community Relief that in fact most are farmers. The farming community who are likely to have traditional patterns of life and thought, in this context is more fond of local art-modern art rather than the traditional urban. However, if Tayub is the result of art folk art? This question, at least we will deliver on the theory developed by Clifford Geertz.

If we follow the social category that was conceived by Clifford Geertz in his book “The Religion Of Java”, then this can be classified as art-the art of the priyayi. The priyayi here are those that have the lineage of the Royal family of the Royal Sultanate of Yogyakarta, Java and Surakarta. It is not a secret in the arts that are considered sufficiently representative to represent the overall Java community is the art that is produced by the Royal family. Meanwhile, the art that was born from the womb of the alit, small people are not representative enough so that they are more often dimarjinalkan art. That is, art that is produced by small people often don’t get recognition, particularly from the Royal family.

In line with the above in mind, the more we contemplate the Kuntowijoyo art that was born from the womb of the priyayi as a legitimacy of Royal power. In this context, according to the author’s interpretation, the arts can be classified into two forms. First, the artistry that has a pattern. In this category, art that was born from the womb of the priyayi terpola and structured more as compared to the artistry of the procession. Second, the arts are not patterned. In this context, folk art is deemed to have no clear pattern. This is reflected from language and symbols that are used the culture of some Royal family. Regardless of whether the art of Tayub is also a form of legitimacy from real nobility, Tayub remains the one a esthetically viable art claimed to be in the context of art. As such this art has indeed been a prima donna among the people of Java, especially suburban folk.

Although unfortunate, however, is the emergence of a negative stereotype of most of Indonesia’s people always attached padagenre this art, Tayub. The art of making the women as the dominant element is still considered to be a disability for the social structure of the community’s culture of Indonesia his Patriarch is very strong. In this context, women in society had always been placed on the Patriarch of the inferior, while the younger in a more superior.

This is the negative stereotype that renders artistry Tayub increasingly marginalized in the life of the community of Java today. If not, the essence of the art of Tayub, the other side has lost the current fade time. In other words, the art that was originally functioned as an entertainment that tastefully aesthetically with the values adiluhung culture has been turned into erotic arts function only serves as a mere lust pemuas. Featuring side-specific side, for example, sensitive side in women, such as “sorry” the chest in women somewhat open. Then, we were often see this dance is no longer showing its essence. Syair Syair-initially contains sage advice turned into songs that are now negative.

Whereas, in the study of etymology, Tayub means “styled ben also reflects”, is set to be created in harmony. This meaning is the essence of the art of Tayub should be shown. However, the image is bad or negative stereotype that has been attached on the Tayub seems ingrained in the community life of the joint Indonesia. Tayub for the public at large, only seen from the downside, into a bawdy art, low-quality and bertendensi that erotic. This is the reality that the more Tayub artistry, so that cornering cap archives in the form of the perpetrators, which is Tayub art Tayub dancer (ledhek) and gamelan musicians is not artful artistic activity.

The Mystical Dimension

In General, many Javanese mystical nuanced artistry, one of which is Tayub. Reportedly, the women dancers Tayub using medium or mystical ways, such as the use of pegs as a tool in attracting allure the audience or spectators. Moreover, the audience is the lak. Whether true or not, the fact is, anyway in the art Tayub it save the mystical dimension. The mystical dimension is located at Javanese gamelan unit used as a counterpoint to the dance music Tayub. In the Java community, the creation and care of the unit the gamelan has always been a ritual disakralkan. For example, the mystical dimension has been represented by the tradition of the Sekaten in the Palace. In, two sets of upara gamelan Sekaten (Kyai Kanjeng Nagawilaga and Kyai Guntur Madu Kanjeng) became a symbol of the sacred ceremony she did it.

The mystical dimension on the arts Tayub, ultimately delivering us on an understanding that art is more accurately described as folk art than the art Palace. Magical and mystical symbols that exist in this art is the characteristic of the culture of the community, fringe abangan are not strong religiusitasnya culture. Such a notion, implicitly means that art is indeed unacceptable and thrive in society at large. This means that this art can only grow in a limited locus. Nonetheless, this does not mean that the art is not worth mentioning as an artistic entity. Because, however, according to Kuntowijoyo, which is the work of art named or traditions born of a particular group.

In the meantime, Ignas Kleden defines art as a work of art containing elements of entertainment as well as loaded will value and norm in society. So, when referring to the thought, as long as this art Ignas retains its essence which is closely linked to the values and norms of the Javanese people, certainly very worthy Tayub been claimed as an art.

In addition, Tayub can also be described as the art form of Javanese women’s resistance. At least, through the art of Tayub, the dancers could Tayub for a moment apart from snare social culture Patriarch in Javanese. With the wages received, female dancer personifies the personal Tayub more independent compared to women in General that Java just asks for money from the man (her husband). Not only that, Tayub is in fact can also be a place to socialize in the midst of the community. The proximity of the dancers with the audiensnya has removed the gaps. They seemed to be bound in an artistic emotion. Thus, the question is, what is the range of values can still survive? Perhaps, the only way waktulah that can answer it. Nonetheless, we should still strive to maintain and preserve the art of dance Tayub as one of the nation’s cultural treasures.

Jogjakarta, feb 2th 2013

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And love is freeing …


This paper I make after enjoy Iftar, with some cigarettes and ofcourse a glass of black coffee, as usual. And as usual, there are also feelings back in the footsteps of earlier times. Time, when there are a lot of things pass and leaving such meanings as well as in the plenary. A time where, love it feels as well and truly alive, in fact it feels terrific momentum amongst the refugee barracks, a remote village, the area of disasters that are overflowing with overwhelming sea of tears and sadness, and … that’s why there’s always love and animate there.
Not mere poetic words, and words that always land prices from the mouth of the poets and poet. This is a time that is terrific, with whom love is really freeing and emancipation for every course to close to her, to always feel shady and peaceful, and isn’t love indeed created Lord in order to apply. Thus, there is hell what, so now with the pangs of love are often injured?, what’s wrong with him?

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Jogja, Twilight efflux, seventh full moon 2012

Share is light, lucky people who use conscience & his senses, so with that he could appreciate life and share it to any others. Have congratulations on breaking the fasting month Indonesia ….

Indonesia Our Beautiful Country


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Street Arts


Street Art

Street Arts ,  a beautifull reality capturinghehe

[Image: 550x-Cow-Street-arts.jpg]

Canon in D Major


I was so excited when listening to Canon D major work of a composer named Johann Pachelbel from Germany. As I want to explode myself with the dimensions and fly to the highest skies.

Opening bars of Toccata in C major. Two-voice ...

An excerpt from the ending of motet Gott ist u...

An excerpt from the ending of motet Gott ist unser Zuversicht (bars 92–95). These are the first choir's parts, the notes and lines for the second choir are the same. (Photo credit: Wikipedia)

An excerpt from Pachelbel's Canon in D

An excerpt from Pachelbel's Canon in D (Photo credit: Wikipedia)

Pachelbel Canon thème (a) et var

Pachelbel Canon thème (a) et var (Photo credit: Wikipedia)

Pachelbel Canon harmonie

Pachelbel Canon harmonie (Photo credit: Wikipedia)

Pachelbel Canon thème (b) et var

Pachelbel Canon thème (b) et var (Photo credit: Wikipedia)

Pachelbel Canon thème (b) et var

Pachelbel Canon thème (b) et var (Photo credit: Wikipedia)

Pachelbel Canon thème et couplet 1

Pachelbel Canon thème et couplet 1 (Photo credit: Wikipedia)

Pachelbel Canon thème et couplet 1

Pachelbel Canon thème et couplet 1 (Photo credit: Wikipedia)

Pachelbel Canon thème (a) et var

Pachelbel Canon thème (a) et var (Photo credit: Wikipedia)

Who is he? i copied from wikipedia for his biography;

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Performed and realized on synthesizers by Jeffrey Hall.

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Pachelbel’s Canon[1] is the most famous piece of music by German Baroque composer Johann Pachelbel. It was originally scored for three violins and basso continuo and paired with a gigue in the same key. Like most other works by Pachelbel and other pre-1700 composers, the Canon remained forgotten for centuries and was rediscovered only in the 20th century. Several decades after it was first published in 1919, the piece became extremely popular, and today it is frequently played at weddings and included on classical music compilations, along with other famous Baroque pieces such as Air on the G String by Johann Sebastian Bach.

[edit] History

Although Pachelbel was renowned in his lifetime for his chamber works (contemporary sources praise his serenades and sonatas), most of them were lost. Only Musikalische Ergötzung, a collection of partitas published during Pachelbel’s lifetime, is known, and a few isolated pieces in manuscripts. Canon and Gigue in D major is one of such pieces. A single manuscript copy of it survives, Mus.MS 16481 in the Berlin State Library, which contains two more chamber suites; another copy, previously kept in Hochschule der Künste in Berlin, is now lost.[2] The circumstances of the piece’s composition are wholly unknown. One writer hypothesized that the Canon may have been composed for Johann Christoph Bach‘s wedding, on 23 October 1694, which Pachelbel attended. The music for the occasion was provided by Johann Ambrosius Bach, Pachelbel, and other friends and family members.[3] Johann Christoph Bach, the oldest brother of Johann Sebastian Bach, was a former pupil of Pachelbel.

The Canon (without the accompanying gigue) was first published in 1919 by scholar Gustav Beckmann, who included the score in his article on Pachelbel’s chamber music.[4] His research was inspired and supported by renowned early music scholar and editor Max Seiffert, who in 1929 published his arrangement of Canon and Gigue in his Organum series.[5] However, that edition contained numerous articulation marks and dynamics not found in the original score; furthermore, Seiffert provided tempi which he considered right for the piece, but which were not supported by later research.[6] The Canon was first recorded in 1940 by Arthur Fiedler,[7] and a recording of the piece was made by the Jean-François Paillard chamber orchestra.[8]

[edit] Analysis

Pachelbel’s Canon combines the techniques of canon and ground bass. Canon is a polyphonic device in which several voices play the same music, entering in sequence. In Pachelbel’s piece, there are three voices engaged in canon (see Example 1), but there is also a fourth voice, the basso continuo, which plays an independent part.

Example 1. The first 9 measures of the Canon in D. The violins play a three-voice canon over the ground bass which provides the harmonic structure. Colors highlight the individual canonic entries.

The bass voice keeps repeating the same two-bar line throughout the piece. The common musical term for this is ostinato, or ground bass (see Example 2). The chords suggested by this bass are:

Example 2. Ground bass of Pachelbel’s Canon.

chord scale degree roman numeral
1 D major tonic I
2 A major dominant V
3 B minor submediant vi
4 F♯ minor mediant iii
5 G major subdominant IV
6 D major tonic I
7 G major subdominant IV
8 A major dominant V

Similar sequences appear elsewhere in classical music. Handel used it for the main theme and all variations thereof throughout the second movement of his Organ Concerto Op. 7 No. 5 in G minor, HWV 310.[9][not in citation given] Mozart employed it both for a passage in Die Zauberflöte (1791), at the moment where the three boys first appear and in the last movement of his Piano Concerto No. 23 in A major, K. 488 (1786).[citation needed] He may have learned the sequence from Haydn, who had used it in the minuet of his string quartet Opus 50 No. 2, composed in 1785.[citation needed] Neither Handel’s, nor Haydn’s, nor Mozart’s passage is an exact harmonic match to Pachelbel’s, the latter two both deviating in the last bar, and may in fact have arisen more prosaically from one of the more obvious harmonizations of a descending major scale. This sequence is known as a plagal sequence.[citation needed]

In Germany, Italy, and France of the 17th century, some pieces built on ground bass were called chaconnes or passacaglias; such ground-bass works sometimes incorporate some form of variation in the upper voices. While some writers consider each of the 28 statements of the ground bass a separate variation,[10] one scholar finds that Pachelbel’s canon is constructed of just 12 variations, each four bars long, and describes them as follows:[11]

  1. quarter notes
  2. eighth notes
  3. sixteenth notes
  4. leaping quarter notes, rest
  5. 32nd-note pattern on scalar melody
  6. staccato, eighth notes and rests
  7. sixteenth note extensions of melody with upper neighbor notes
  8. repetitive sixteenth note patterns
  9. dotted rhythms
  10. dotted rhythms and 16th-note patterns on upper neighbor notes
  11. syncopated quarter and eighth notes rhythm
  12. eighth-note octave leaps

Pachelbel’s Canon thus merges a strict polyphonic form (the canon) and a variation form (the chaconne, which itself is a mixture of ground bass composition and variations). Pachelbel skillfully constructs the variations to make them both pleasing and subtly undetectable.[11]

[edit] See also

[edit] References

  1. ^ Also known as Canon in D major or Canon and Gigue for 3 violins and basso continuo (German: Kanon und Gigue für 3 Violinen mit Generalbaß) (PWC 37, T. 337, PC 358).
  2. ^ Welter, Kathryn J. 1998. Johann Pachelbel: Organist, Teacher, Composer, A Critical Reexamination of His Life, Works, and Historical Significance, p. 363. Diss., Harvard University, Cambridge, Massachusetts.
  3. ^ Schulze, Hans-Joachim. Johann Christoph Bach (1671–1721) “Organist and Schul Collega in Ohrdruf”, Johann Sebastian Bachs erster Lehrer, in Bach Jahrbuch 71 (1985): 70 and footnote 79.
  4. ^ Gustav Beckmann, “Johann Pachelbel als Kammerkomponist”, Archiv für Musikwissenschaft 1 (1918–19): 267–74. The Canon is found on p. 271.
  5. ^ Perreault, Jean M. 2004. The Thematic Catalogue of the Musical Works of Johann Pachelbel, p. 32. Scarecrow Press, Lanham, Md. ISBN 0-8108-4970-4.
  6. ^ Dohr, Christoph (2006), “Preface” (in German), Canon und Gigue für drei Violinen und Basso continuo (Urtext). Partitur und Stimmen, Dohr Verlag, ISMN M-2020-1230-7.
  7. ^ Daniel Guss, CD booklet to Pachelbel’s Greatest Hit: The Ultimate Canon, BMG Classics (RCA Red Seal)
  8. ^ Paillard’s recording, Medieval Music & Arts Foundation.
  9. ^ Handel (PDF), Organ Concerto No. 11 in G minor, HWV 310, IMSLP, pp. 4–6.
  10. ^ Ewald V. Nolte and John Butt, “Pachelbel: (1) Johann Pachelbel”, The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001). ISBN 1561592390.
  11. ^ a b Welter, Kathryn J (1998), Johann Pachelbel: Organist, Teacher, Composer, A Critical Reexamination of His Life, Works, and Historical Significance, Diss., Cambridge, Massachusetts, USA: Harvard University, pp. 207–8.

[edit] External links

Wikimedia Commons has media related to: Pachelbel’s Canon

The most i admired is Canon in D Major that re-arrenged into rock form bt Jerry-C, wow…awesome 😀