龚仁杰:从圣人到教授的转变

None Suhendi Afryanto, None Arthur Supardan Nalan, None Gustiyan Rachmadi
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引用次数: 0

摘要

在西爪哇正在发展的一种佳美兰艺术是贡兰,过去经常用于神圣的仪式活动。艺术所具有的神圣性与作为艺术支撑的社会所采用的信仰体系是分不开的。龚仁杰当时和现在的行踪都在经历着动态的变化,这是非常重要的研究,特别是他的旅行因为各种原因而停止。停滞不前的再生因素,由于信仰体系的变化而导致的人们视角的变化,以及不断涌入的外来艺术对传统艺术生活的侵扰,是这门艺术经历跌宕起伏的主要原因。所开展的研究具有文化研究的风格,以关键线人为触发器,探索材料的深度。研究人员采用的文化研究方法有三种模式,包括;生活故事模型,扎根理论和个人叙事。然而,研究方法仍然采用定性研究的方法,在两个不同的地区进行选址,即:(1)Sumedang县Cimalaka区Ciwaru村,以及(2)Cirebon县Plumbon区Kedungsana村。在Ciwaru村,研究的对象是Gong rsamentsaming Pusaka Langgeng的艺术,而在Kedungsana村,研究的对象是Gong rsamentsaming Ki Muntili的艺术。通过研究得到以下信息:(1)虽然下一代在不断减少,但Gong r 材料与材料之间的关系仍在以一种标准的方式保持着,(2)Gong r 材料与材料之间的关系有两种方式,即作为祖先传统的一部分进行仪式仪式,以及以新的诠释进行传承的过程。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Gong Rénténg Transformation From Sacral to Profan
One type of gamelan art that is developing in West Java is Gong Rénténg which used to be often used in sacred ceremonial activities. The sacredness built into the art is inseparable from the belief system adopted by the community as its supporting community. Gong Rénténg's whereabouts then and now are experiencing dynamics of change which are quite important to study, especially his journey which was stopped for various reasons. Stagnant regeneration factors, changes in people's perspectives due to changes in belief systems, as well as the influx of imported arts that continue to intrude on traditional art life, are some of the main reasons this art has experienced ups and downs in its life. The research carried out has the style of cultural research involving key informants as triggers to explore the depth of the material. There are three models of cultural research as approaches taken by researchers, including; Life Story models, Grounded Theory, and Personal Narrative. While the research method used still uses qualitative research by taking locations in two different areas, namely: (1) Ciwaru Village, Cimalaka District, Sumedang Regency, and (2) Kedungsana Village, Plumbon District, Cirebon Regency. In Ciwaru village, the object of research is the art of Gong Rénténg Pusaka Langgeng, while in the village of Kedungsana it is the art of Gong Rénténg Ki Muntili. The results of the research conducted obtained the following information: (1) The Gong Rénténg Pusaka Langgeng art still adheres to adat in a standard way even though the next generation continues to decrease, and (2) The Gong Rénténg Ki Muntili art does two ways to keep it alive, namely ritual ceremonies as part of ancestral traditions are carried out as well as the process of inheritance with new interpretations.
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