bluuebunny/crossref_metadata_2025_split huggingface dataset:
MAKNA SIMBOLIS TARI RAWAYAN KARYA GUGUM GUMBIRA
Authors: Ayuningsih Dwi Risnawati 
Published: August 2021

Tari Rawayan merupakan tari Jaipongan karya Gugum Gumbira Tirasondjaja yang diciptakan tahun 1986 sebagai hadiah dalam acara memperingati hari ulang tahun Ibu Negara Republik Indonesia yaitu Raden Ayu Siti Hartinah atau yang akrab disapa ibu Tien Soeharto di gedung Sasono Langen Budoyo Taman Mini Indonesia Indah Jakarta. Tari Rawayan merupakan suatu tarian yang berisi wejangan kepada seluruh masyarakat khususnya pada masa pemerintahan bapak Soeharto dan ibu Tien bahwa dalam masa pembangunan yang sedang berlangsung ini, bapak Soeharto dan ibu Tien harus ingat dan hati-hati dalam mempertahankan nilai-nilai tradisi yang dimiliki bangsa Indonesia. Nilai-nilai tradisi tersebut adalah nilai-nilai kehati-hatian dalam bertindak akan segala sesuatu. Penelitian ini memfokuskan pada makna simbolis yang terkandung dalam tari Rawayan. Untuk menjawab permasalahan tersebut digunakan pendekatan hermeneutika dengan teori intensional Weber. Pendekatan hermeneutika membantu peneliti dalam memahami sisi historis dan humanistik dari latar belakang penciptaan tari Rawayan dan sosok Gugum Gumbira dalam menciptakan tari Rawayan. Teori intensional mengungkapkan bahwa makna hadir berdasarkan niat dan tujuan dari sang pencipta tari. Teori tersebut membantu memahami makna tersirat pada tari Rawayan yang terkandung dari berbagai aspek pendukung tari yaitu gerak tari, rias busana, serta iringan tari. Ketiga aspek pendukung tari tersebut menuju pada satu makna yang sama yaitu makna kehati-hatian dalam menjalani kehidupan. ABSTRACT Rawayan dance is a Jaipongan dance by Gugum Gumbira Tirasondjaja which was created in 1986 as a gift to commemorate the birthday of the First Lady of the Republic of Indonesia, Raden Ayu Siti Hartinah or familiarly known as Tien Soeharto's in Sasono Langen Budoyo building Beautiful Indonesia Miniature Park Jakarta. Rawayan dance is a dance that contains advice to the entire community, especially during the reign of Mr. Soeharto and Mrs. Tien that in this ongoing development period, Mr. Soeharto and Mrs. Tien must remember and be careful in maintaining the traditional values of the Indonesian people.These traditional values are the values of prudence in acting on everything. This study focuses on the symbolic meaning contained in Rawayan dance, to answer the problems of the research, a hermeneutic approach is used with the intentional theory put forward by Max Weber. The hermeneutic approach helps researchers to understand the historical and humanistic side of the background of the creation of Rawayan dance and Gugum Gumbira's own figure in creating Rawayan dance. Intentional theory reveals that meaning is present based on the intention and purpose of the creator of dance. The theory helps researchers to understand the implicit meal found in Rawayan dance. The symbolic meaning contained in Rawayan dance can be seen from many aspects of dance support namely dance moves, dressing, and dance accompaniment. Of the three aspects of supporting the dance, headed on one and the same meaning is the meaning of caution in living life.
ASUH ASAH BABAKEH: ARYA TARI SEBAGAI UNGKAPAN KERINDUAN CUCU KEPADA ATUK
Authors: Sophia Ayang 
Published: August 2021

Asuh Asah Babakeh merupakan karya yang terinspirasi dari pengalaman empiris tentang kasih sayang seorang Atuk terhadap cucu. Atuk (bahasa Minang: kakek) merupakan salah satu orang yang berperan penting dalam pendidikan awal mengenali kehidupan penata tari. Beliau yang mengajar ilmu pengetahuan, agama, beragam cara hidup di dunia melalui nyanyian, cerita dan contoh peristiwa. Atuk telah wafat meninggalkan kesan yang mendalam sampai saat ini. Karya tari ini merupakan persembahan ucapan terima kasih untuk Almarhum dari lubuk hati yang terdalam. Asuh Asah Babakeh merupakan koreografi kelompok dengan garap kontemporer yang berakar dari tradisi Minangkabau. Garap gerak berpijak pada tari Babuai yang bernafaskan budaya Minangkabau. Demikian juga musik tarinya yang dikomposisi khusus untuk koreografi ini diharapkan dapat membangun nuansa budaya Minangkabau serta imajinasi tema untuk menguatkan dramatisasi pada setiap bagian koreografinya. Tema pada karya ini adalah ungkapan rasa rindu pada kasih sayang antara cucu dengan Atuk. Menggunakan tipe tari dramatik serta cara ungkap simbolis. Struktur Koreografi dibagi menjadi empat adegan. Menggunakan properti tari lampu togok (lampu minyak yang sudah dimodifikasi), serta properti panggung untuk menambah estetika penampilan serta menguatkan ekpresi tarinya. Karya ini ditarikan oleh 9 orang penari dan dipentaskan di panggung proscenium stage. ABSTRACT Asuh Asah Babakeh is a creation inspired by the empirical experience of a choreographer about the closeness and affection of a Atuk for grandchildren. Atuk (Minang language: grandfather) is one that plays an important role in early education in recognizing the lives of dance stylists. He teaches science, religion, various ways of living in the world through songs, stories and examples of events. Atuk has died leaving a deep impression until this day. This dance an offering of thanks to the deceased from the bottom of my heart. Asuh Asah Babakeh is a group choreography with contemporary work rooted in the Minangkabau tradition. Work on movements resting on the Babuai dance that breathes Minangkabau culture. Likewise, the dance music composed specifically for this choreography is expected to build the nuances of Minangkabau culture as well as the theme's imagination and strengthen the dramatization of each part of the dance. The theme in this work is an expression of longing for affection between grandchildren and Atuk. Using the type of dramatic dance and symbolic expression. The structure of Choreography is divided into four scenes. Using the togok lamp dance property (modified oil lamp), as well as the stage property to add aesthetic appearance and strengthen the dance expression. This work was danced by nine dancers and performed on the proscenium stage
Berdisco Sebagai Bentuk Pengalaman Proses Penggarapan Karya Tari
Authors: Negara I Nyoman Galih Adi 
Published: August 2021

Berdisco merupakan judul dari karya tari ini. Disco berarti sebuah kegiatan berdansa di lantai dansa secara bersama-sama, berikan awalan ber- yang merujuk pada proses disco tersebut. Berdisco memiliki makna melakukan disco baik dalam tari, musik, dan busana, namun dalam karya ini merujuk pada proses bagaimna disco itu menjadi sebuah jati untuk berkarya. Karya ini menekankan pada proses pencarian dan menetapkan pilihan hingga berjuang untuk pilihan tersebut. Dahulu disco dianggap sangat tidak pantas untuk ditampilkan di publik karena dianggap merusak generasi. Bentuk tari, musik, dan busana yang digunakan oleh seniman disco dianggap tidak senonoh dan diluar dari aturan yang berlaku pada saat itu. Disco sangat kelam pada saat itu, apapun yang berbau disco dihancurkan hingga tidak tersisa. Disco dianggap membawa perubahan yang buruk bagi masyarakat pada saat itu.Karya ini memiliki alur dramatik yang hampir mirip dengan situasi disco pada saat itu. Situasi tersebut dikaitkan dengan apa yang terjadi pada proses penggarapan karya tari ini. Proses yang sangat tidak mudah, karena disco dianggap kurang “keren”. Padahal hingga saat ini disco masih setia diperdengarkan, ditayangkan, dan diaransemen ulang agar lebih menarik.Karya tari Berdisco disajikan dengan menampilkan dua belas orang penari putra dan putri. Musik iringan yang digunakan pada karya ini adalah rekaman bentuk WAV dari midi. Busana yang berkilau, menghadirkan disco ball, dan aksesoris yang dikenakan penari dimaksudkan dapat mewakili disco. Berdisco is the title of this masterpiece. Disco means a dance activities on the dance floor together each other, added “ber-“ refer to disco proses. Berdisco meaning do disco in dance, music, or fashion style, but in this work refers to the proses of how disco became a identity. This masterpiece emphasize on proses to find a choice and struggle for that choice. Before disco considered inappropriate to show on public because it can damaging generations. Dance form, music, and fashion style was used by disco artist are considered not profanity and out of applicable rule in that era. Disco has a dark time, they destroyed anything about disco until no remaining. Disco considered to bring a bad change for society at that time.This masterpiece has a dramatic flow is almost similar to situation at era. That situation related to what happens in the proses of this masterpiece. Perform productions proses is never easy, because disco concendered is not cool. Whereas until now they still played, dance, and listen disco. Berdisco displaying twelve male and female dancers. Musical accompaniment used are recording from midi. Blink costume design, displaying disco balls, and many disco setting, lighting they wearing.
Proses Ritual Sêblang Olehsari
Authors: Anny Ammy Aulia Renata 
Published: August 2021

Sêblang Olehsari adalah ritual adat yang ada di desa Olehsari, Banyuwangi Jawa Timur. Secara etimologi kata Sêblang berasal dari bahasa Osing yang merupakan akronim dari kata sêbêlé ilang yang artinya membuang sial. Ritual Sêblang Olehsari diselenggarakan setelah hari raya Idul Fitri dan dilaksanakan selama tujuh hari berturut-turut. Pada hari ketujuh dilakukan prosesi Idêr Bumi (berjalan mengelilingi desa Olehsari) dan keesokan harinya diadakan upacara Ngêlungsur atau siraman. Bagian terpenting dalam ritual ini adalah ketika penari yang terpilih berdasarkan garis keturunan, mampu menari selama tiga jam dalam kondisi kesurupan. Tertarik dengan melihat perubahan moral dan kognitif subjek, maka penelitian ini difokuskan untuk mengamati proses ritual yang dialami subjek ritual. Berdasarkan pada teori proses ritual Victor Turner yakni separasi, liminalitas, reagregasi, dan dalam ritual Sêblang Olehsari ini subjek juga mengalami tahap transformasi. Diharapkan hasil penelitian yang dikaji dengan perspektif Etnokoreologi ini, memberikan kontribusi pengetahuan yang lebih luas tentang ritual Sêblang Olehsari. Sêblang Olehsari was customary ritual that existed in Olehsari village, Banyuwangi East Java. Etimologycally, Sêblang derived from Osing languages, acronyim from ‘sêbêlé ilang’ which mean unfortunate throw way. Sêblang Olehsari ritual held after the day of Eid Fitri during seven consecutive days. On the seventh days be a procession Idêr Bumi (walk around in the Olehsari village) and the next day held Ngêlungsur or steady ceremonial. The most important part in this ritual was when the dancer who elected based on line descent, and able to dancing during three hours in trance condition. Interest with moral and cognitive changes from subject, so this research focused to observe ritual process that subjects experienced. Based on ritual process theories of Victor Turner even separation, liminality, reagregation, and in this Sêblang rituals subject also suffered transformation phases. Expected the results of research which is examined by ethnocoreological perspective, can contribute knowledge that was more widespread about Sêblang Olehsari ritual.
Sonyol Megal-Megol
Authors: Sari Sekar Ayu Oktaviana 
Published: August 2021

Tulang adalah penopang tubuh, tanpa tulang tubuh tidak akan bisa berdiri tegak. Salah satu tulang yang berfungsi sebagai tumpuan badan ketika duduk disebut dengan tulang panggul atau pangkal paha di sebelah belakang. Keunikan yang terjadi ketika tulang panggul digerakkan dengan cara memutar atau bergerak ke kanan dan ke kiri akan berakibat yang disebut dengan istilah Jawa yaitu megal-megol atau pantat yang bergerak ke kanan dan ke kiri. Melihat fenomena di atas muncul ide untuk menciptakan sebuah karya tari yang bersumber dari gerakan otot bagian panggul. Penata memiliki postur tubuh yang menonjol di bagian panggul, sehingga tampak kurang proposional, hal ini menjadi menarik sehingga terinspirasi untuk menciptakan sebuah koreografi kelompok. Karya tari ini akan fokus pada gerakkan seputaran panggul. Gerakan tersebut sangat menarik karena memiliki keunikan tersendiri. Permainan panggul yang digerakan secara vibrasi mengakibatkan pantat bergetar, sehingga gerakan tersebut menjadi salah satu gerak yang akan dikembangkan. Karya koreografi Sonyol Megal-Megol ini melibatkan dua puluh delapan orang penari perempuan, dengan delapan penari inti dan duapuluh penari pendukung. Adapun jumlah penari sebagai pertimbangan untuk komposisi koreografi, sedangkan untuk pemilihan jenis kelamin karena yang memiliki panggul atau pantat besar dominan perempuan. Karya koreografi mengangkat konsep tentang salah satu bagian tubuh yang berfungsi sebagai tumpuan badan ketika duduk yaitu panggul atau pantat. Musik yang akan digunakan adalah play recorder. Skull is the supporting of the body, and without it body will not be able to stand upright. Skull which has the function to support the body when in sit position is called hip. When hip is being moved to the right and left side or by the curning way, it will create a movement named megal-megol(the bottom move to the right and left side) in javanese analogy. Look at the phenomenon stated above, an idea to create a dance work based on the movement muscle in hip arises. Choreographer has a prominent hip therefore it looks less proportional. This interisting fact inspires choreographer to create a group dance. This dance focuses on hip movement which has uniqueness inside it. Hip which is being moved vibratory causes a movement on the bottom, therefore this a dance that will be developed. Sonyol Megal-Megol choreography involves twenty eight female dancers consist of eight main dancer and twenty supporter dancer. Choreography composition considers the number of dancers. The reason of choosing female as the dancer is because female more likely to have a big hip. The concept of the choreography come up from a part of the body which is used to be a body supporting when in a sit position called hip. The music is being played by recorder.
Isun Hang Gandrung
Authors: Dianto Elan Fitra 
Published: August 2021

Isun Hang Gandrung adalah judul karya tari yang diciptakan. Judul ini sekaligus menjadi konsep dasar yang diwujudkan dalam sebuah koreografi kelompok. Isun dalam bahasa Osing artinya Saya, kemudian Hang berarti yang, dan Gandrung berarti disanjung, dicintai, atau digandrungi. “Isun Hang Gandrung“ berarti saya yang digandrungi. Ide tersebut muncul dari ketertarikan terhadap kesenian Gandrung yang dulunya dilakukan oleh laki-laki sehingga disebut Gandrung Lanang. Gandrung merupakan sebuah kesenian yang berasal dari Banyuwangi, Jawa Timur. Dalam sejarahnya Gandrung dulunya dilakukan oleh seorang laki-laki, namun sekarang berganti menjadi perempuan. Segala bentuk sumber telah dicari melalui buku, wawancara, dan juga melalui video. Hal tersebut sangat membantu dalam proses penciptaan dan penjajakan gerak serta komposisinya. Karya tari Isun Hang Gandrung disajikan dalam sebuah koreografi kelompok dengan melibatkan delapan penari laki-laki dan satu penari perempuan, dengan menggunakan properti kipas dan dipentaskan di proscenium stage. Gerak yang digunakan bersumber dari gerak tari Gandrung Banyuwangi yang dikomposisikan dengan memperhatikan aspek ruang, waktu, dan tenaga. Isun Hang Gandrung is the title of a dance piece created. The title also became a basic concept that is embodied in a choreography group. Isun in Osing language means „I‟, Hang means „that‟, and Gandrung means praised or loved. “Isun Hang Gandrung“mean that I am loved. The idea came from the interest of the arts Gandrung that formerly done by men so-called Gandrung Lanang. Gandrung is an art from Banyuwangi, East Java. Historically, Gandrung formerly done by a man, but now turned into woman. All forms of resources have been sought through books, interviews, and also via video. It was very helpful in the process of creation and exploration of movement and composition. Isun Hang Gandrung dance piece presented in a choreography group involved eight male dancers and one female dancer, the property of the fan was used and staged in a proscenium stage. The motion was obtained from Gandrung Banyuwangi dance composed with attention to aspects of space, time, and energy.
Eksistensi Kesenian Masyarakat Transmigran Di Kabupaten Pringsewu Lampung Studi Kasus Kesenian Kuda Kepang Turonggo Mudo Putro Wijoyo
Authors: Primastri Mutiara Dini 
Published: August 2021

Penelitian ini merupakan sebuah analisis deskriptif yang menggunakan pendekatan sosiologi dan antropologi untuk membedah tentang eksistensi kesenian masyarakat transmigran berupa kesenian kuda kepang di Kabupaten Pringsewu Lampung. Kesenian kuda kepang yang eksis di Kabupaten Pringsewu yaitu komunitas seni Turonggo Mudo Putro Wijoyo (TMPW).Eksistensi adalah adanya sebuah keberadaan yang tidak hanya sebagai sesuatu yang “diam” akan tetapi menjadi sesuatu yang aktif dan memiliki peran di dalam lingkungannya. Melalui kajian sinkronik, kesenian kuda kepang TMPW tetap eksis saat ini karena memiliki fungsi sebagai seni pertunjukan yang menghibur (presentasi estetis), memuat nilai-nilai budaya, serta dapat menjadi identitas orang Jawa di Pringsewu. Kajian sinkronik didukung oleh kajian diakronik, yaitu kemunculan kesenian kuda kepang TMPW merupakan hasil dari rangkaian sejarah berupa eksistensi orang-orang yang bertransmigrasi di Pringsewu, melalui tahap eksistensi yaitu eksistensi estetis, etis dan religius.Eksistensi kesenian kuda kepang TMPW tidak lepas dari faktor-faktor pendukungnya. Komunitas TMPW terus menunjukkan eksistensinya dengan melakukan inovasi pada segala aspek-aspek penunjang koreografi dengan menjaga otentisitas agar tidak hilang dan menjadi ciri khas. Sebuah seni pertunjukan bersifat stimulus bagi masyarakat tentu mendapatkan respons, berupa respons positif dan respons negative. This research is a descriptive analysis using sociology approach to analysed about art existence of transmigrant society, that is kuda kepang in Pringsewu Regency of Lampung. Kuda kepang that exist in Pringsewu is Turonggo Mudo Putro Wijoyo (TMPW) community.Existence is the existence is not only as something "silent" but becomes something active and has a role in the environment. Synchronic studies, kuda kepang TMPW still exists because it has a function as an entertaining performing art (aesthetic presentation), contains cultural values, and can be a Javanese identity in Pringsewu. Synchronic studies are supported by diachronic studies, that is the emergence of kuda kepang TMPW is the result of a series of histories of the existence of people who transmigrated in Pringsewu, through the stage of existence of aesthetic, ethical and religious existence.The existence of kuda kepang TMPW is not separated from the supporting factors. The TMPW community continues to show its existence by innovating on all aspects of choreography support and to be kept authenticity not lost and become characteristic. The performing arts have the character of stimulus for the society of course get the response, that is positive response and negative response.
Immunohistochemical evaluation of calbindin expression in mouse brain at different times after rabies virus inoculation.
Authors: Lamprea Natalia , Torres Fernández Orlando 
Published: August 2021

Introduction: The calcium-binding protein calbindin (CB) plays a critical role in intracellular calcium metabolism. In a previous study we demonstrated that the infection with fixed rabies virus caused loss of CB expression in mouse brain during terminal state of the disease, 7-8 days after intramuscular inoculation. Objectives: To determine loss of CB expression also appears in early stages of the infection and if it is a consequence immediate to the appearance of viral antigens in the brain. Materials and methods: Mice were inoculated with fixed rabies virus, by intramuscular route, in the left hind limbs. Daily, to sixth day, 4-6 animals and their respective controls were killed and fixed by intracardiac perfusion with paraformaldehyde and their brains were extracted to obtain coronal sections using a vibratome. Free-floating sections were treated by immunohistochemical procedures to evaluate the presence of rabies viral antigens and the expression of CB. The last one was quantified by optical densitometry in a microscope with a system of image analysis. Results: Rabies immunoreactivity was observed in the brain three days after virus inoculation, beginning in pyramidal neurons of the frontal cortex whereas the immunostaining for CB did not undergo any qualitative nor quantitative changes neither in the cerebral cortex or striatum during the six days post-inoculation. Conclusions: These results agree with other studies in which it has been settled down that the rabies molecular or metabolic effects on the nervous system are well-known only in the final stage of the disease.
Vivax malaria in children: clinical features and response to chloroquine.
Authors: Carmona Fonseca Jaime , Uscátegui Rosa M. , Correa Adriana María 
Published: August 2021

Introduction: In Colombia is not very common to find updated information about vivax malaria in children. Aims: Describe the clinical and paraclinical disease picture and evaluate the standard dose of chloroquine effectiveness as a cure for the acute attack of vivax malaria in children between 4 and 10 years old. Methods: Experimental design, balanced, not blind, 82 patients and habitants in El Bagre and Turbo, Colombia. Follow-up: 30 days. Results: Symptoms-signs agreed with the known. There were found 62% long-term malnutrition, 53% anemia, low retinol (19 μg/dl), normal leukocyte count, normal liver tests and normal creatinine coefficient. After 25-28 day of treatment, all alterations had disappeared on children except malnutrition. According with the analysis techniques, the chloroquine late failure proportion was: by the intention to treat 2.4% (0 to 24%), by the protocol 2.6% (0 to 25%), and in the worst-case scenario 7.3% (0 to 29%). Conclusion: The clinical and paraclinical depict was similar than adults. Malaria, was the main responsible for clinics and paraclinical alterations. Chloroquine, without primaquine, proved highly effective for the acute attack of vivax malaria in children and should be retained as the first therapeutic option.
Technique of Rutkow and Robbins (plug and patch) to the reparation of inguinals hernias.
Authors: Luque Ángel S. , Urdaneta José Ramón 
Published: August 2021

Objective: To describe the repair process of inguinal hernias according to the Rutkow and Robbins technique (plug and patch) and polypropylene mesh. Methods: A descriptive study was performed on 102 patients attending to the Surgery Clinic at Hospital Dr. Manuel Noriega Trigo, San Francisco, Venezuela. Patients had a diagnosis of primary inguinal hernia during the period of January 2002 to September, 2005. 124 hernioplasties were practiced, 11 patients received surgery for bilateral hernias. Variables in this study included: sex, age, hernia type, surgical time, postoperation pain, period of hospital staying, time for returning to daily activities, and complications. Results: Ninety one males (89.2%) and eleven females (10.8%) were included in this study. Average age was of 42.7±18.29 years (Range, 12-82) and the more frequent age group lies between 21 to 30 years (23.5%). Inguinal indirect hernia was more common on males (n=47, 25.5% right side. 20.6% left side). The direct inguinal hernia was present on 4 females (3.9%). The duration of the surgical procedure was 32.18±6.42 minutes. Postoperative pain was reported as discomfort (33.3%), mild (39.2%), moderate (8.8%), and no patients reported severe pain. Duration of hospital stay was 23.41±3.8 hours (Range, 3 to 40 hours), time for returning to daily activities was 21.56±6.5 days (Range, 10 to 40). The postoperative complications presented on 6.9% of the patients: 1% wound infection, 1% hematoma, 2% seromas, 1% inguinal neuralgia and 2% urinary retention. Conclusion: This is a quick technique associated with little postoperative morbidity, short hospital stay, short time for returning to daily activities and rare complications. This technique proves to be safe for the repair of inguinal hernias.