RAM�: ESTETIKA KOMPLEKSITAS DALAM UPACARA NGAROT DI LELEA INDRAMAYU, JAWA BARAT
This research paper entitled Ramé: Estetika Kompleksitas dalam Upacara Ngarot di Lelea Indramayu (Ramé: The Aesthetics of Complexity in the Ngarot Ceremony in Lelea Indramayu) is an attempt to rediscover the meaning of ramé as a cultural theme. Ramé displays its own particular aesthetical tenden...
| Main Authors: | , |
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| Format: | Thesis |
| Published: |
[Yogyakarta] : Universitas Gadjah Mada
2013
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| Subjects: |
| _version_ | 1797033409450606592 |
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| author | , Aton Rustandi Mulyana, S.Sn.,M.Sn. , Prof. Dr. Timbul Haryono M.Sc. |
| author_facet | , Aton Rustandi Mulyana, S.Sn.,M.Sn. , Prof. Dr. Timbul Haryono M.Sc. |
| author_sort | , Aton Rustandi Mulyana, S.Sn.,M.Sn. |
| collection | UGM |
| description | This research paper entitled Ramé: Estetika Kompleksitas
dalam Upacara Ngarot di Lelea Indramayu (Ramé: The Aesthetics of
Complexity in the Ngarot Ceremony in Lelea Indramayu) is an
attempt to rediscover the meaning of ramé as a cultural theme. Ramé
displays its own particular aesthetical tendencies. In ramé ngarot, this
aesthetical tendency is found in the relationship between its process, form,
and cultural principles. The particularity of its nature results in an
aesthetical approach in which the aesthetic that is referred to gives a
greater portion to the relationship between the aesthetical experience and
the construct of aesthetical values, and is supported by theories such as
musicking, complexity, play, and the paradox of aesthetics.
The theory of musicking provides a way to understand this
aesthetical tendency as a complex behavior rather than simply being
concerned with the playing of a musical instrument. Likewise, the theory
of complexity clarifies ramé ngarot as material with a complex structure.
Its process shows a tendency to development and may have a dual
nature: evolutive and revolutive. Its form is also complex, amplificative
(through duplication, variation, and assimilation), system-dynamic, and
enclosed. Its indications are determined through the relationship between
the four elements of space, content, force, and dynamics. Based on the
theory of play, ramé ngarot re-emphasizes the substance of ludic and
limen within a ritual. Ramé is laden with play which combines elements of
freedom, transience, reticence, orderliness, and tension, as well as
diagoge (mental recreation). Ramé forms a threshold between the
domination and domestication of day to day activities and routine farming
activities, which are able to break down the temporary rigidity of the
domination and domestication that are relatively well-established, cyclic,
and repetitive. The paradox-aesthetics theory clarifies that ngarot and
ramé themselves are paradoxical. In ngarot and ramé, the interwoven play
between cooperation and contestation, or between chaos and order, are
addressed with completio oppositorum.
From the results of the research, it can be concluded that ramé is
not a common circumstance but rather an atmosphere or the effect of an
event, and can be equated to a crowded situation, a commotion, uproar
(noise), disturbance, or even chaos. On the contrary, ramé contains a
complexity and also a paradoxical aspect. Its paradox is in causing order
to go wild while at the same time assuaging chaos, and this is done
intentionally as a religious expression in order to restructure the totality of
the harmonious relationship between man and nature. |
| first_indexed | 2024-03-13T22:53:29Z |
| format | Thesis |
| id | oai:generic.eprints.org:120649 |
| institution | Universiti Gadjah Mada |
| last_indexed | 2024-03-13T22:53:29Z |
| publishDate | 2013 |
| publisher | [Yogyakarta] : Universitas Gadjah Mada |
| record_format | dspace |
| spelling | oai:generic.eprints.org:1206492016-03-04T08:27:23Z https://repository.ugm.ac.id/120649/ RAM�: ESTETIKA KOMPLEKSITAS DALAM UPACARA NGAROT DI LELEA INDRAMAYU, JAWA BARAT , Aton Rustandi Mulyana, S.Sn.,M.Sn. , Prof. Dr. Timbul Haryono M.Sc. ETD This research paper entitled Ramé: Estetika Kompleksitas dalam Upacara Ngarot di Lelea Indramayu (Ramé: The Aesthetics of Complexity in the Ngarot Ceremony in Lelea Indramayu) is an attempt to rediscover the meaning of ramé as a cultural theme. Ramé displays its own particular aesthetical tendencies. In ramé ngarot, this aesthetical tendency is found in the relationship between its process, form, and cultural principles. The particularity of its nature results in an aesthetical approach in which the aesthetic that is referred to gives a greater portion to the relationship between the aesthetical experience and the construct of aesthetical values, and is supported by theories such as musicking, complexity, play, and the paradox of aesthetics. The theory of musicking provides a way to understand this aesthetical tendency as a complex behavior rather than simply being concerned with the playing of a musical instrument. Likewise, the theory of complexity clarifies ramé ngarot as material with a complex structure. Its process shows a tendency to development and may have a dual nature: evolutive and revolutive. Its form is also complex, amplificative (through duplication, variation, and assimilation), system-dynamic, and enclosed. Its indications are determined through the relationship between the four elements of space, content, force, and dynamics. Based on the theory of play, ramé ngarot re-emphasizes the substance of ludic and limen within a ritual. Ramé is laden with play which combines elements of freedom, transience, reticence, orderliness, and tension, as well as diagoge (mental recreation). Ramé forms a threshold between the domination and domestication of day to day activities and routine farming activities, which are able to break down the temporary rigidity of the domination and domestication that are relatively well-established, cyclic, and repetitive. The paradox-aesthetics theory clarifies that ngarot and ramé themselves are paradoxical. In ngarot and ramé, the interwoven play between cooperation and contestation, or between chaos and order, are addressed with completio oppositorum. From the results of the research, it can be concluded that ramé is not a common circumstance but rather an atmosphere or the effect of an event, and can be equated to a crowded situation, a commotion, uproar (noise), disturbance, or even chaos. On the contrary, ramé contains a complexity and also a paradoxical aspect. Its paradox is in causing order to go wild while at the same time assuaging chaos, and this is done intentionally as a religious expression in order to restructure the totality of the harmonious relationship between man and nature. [Yogyakarta] : Universitas Gadjah Mada 2013 Thesis NonPeerReviewed , Aton Rustandi Mulyana, S.Sn.,M.Sn. and , Prof. Dr. Timbul Haryono M.Sc. (2013) RAM�: ESTETIKA KOMPLEKSITAS DALAM UPACARA NGAROT DI LELEA INDRAMAYU, JAWA BARAT. UNSPECIFIED thesis, UNSPECIFIED. http://etd.ugm.ac.id/index.php?mod=penelitian_detail&sub=PenelitianDetail&act=view&typ=html&buku_id=60687 |
| spellingShingle | ETD , Aton Rustandi Mulyana, S.Sn.,M.Sn. , Prof. Dr. Timbul Haryono M.Sc. RAM�: ESTETIKA KOMPLEKSITAS DALAM UPACARA NGAROT DI LELEA INDRAMAYU, JAWA BARAT |
| title | RAM�: ESTETIKA KOMPLEKSITAS DALAM UPACARA NGAROT DI LELEA INDRAMAYU, JAWA BARAT |
| title_full | RAM�: ESTETIKA KOMPLEKSITAS DALAM UPACARA NGAROT DI LELEA INDRAMAYU, JAWA BARAT |
| title_fullStr | RAM�: ESTETIKA KOMPLEKSITAS DALAM UPACARA NGAROT DI LELEA INDRAMAYU, JAWA BARAT |
| title_full_unstemmed | RAM�: ESTETIKA KOMPLEKSITAS DALAM UPACARA NGAROT DI LELEA INDRAMAYU, JAWA BARAT |
| title_short | RAM�: ESTETIKA KOMPLEKSITAS DALAM UPACARA NGAROT DI LELEA INDRAMAYU, JAWA BARAT |
| title_sort | rama� estetika kompleksitas dalam upacara ngarot di lelea indramayu jawa barat |
| topic | ETD |
| work_keys_str_mv | AT atonrustandimulyanassnmsn ramaestetikakompleksitasdalamupacarangarotdileleaindramayujawabarat AT profdrtimbulharyonomsc ramaestetikakompleksitasdalamupacarangarotdileleaindramayujawabarat |