Pekarangan ngajeng (Ngajeng yard) is an open area at the front of the residence. Ngajeng yards are formed based on the division of residential land. The formation of the Ngajeng yard is based on ...tradition. The Ngajeng yard's use is determined by social, religious, traditional, and agricultural factors. The ngajeng yard is still preserved by the Kalang village's Javanese sub-ethnic group, the Kalang. The advantage of the ngajeng yard space as a path for the sun's movement is provided by the Limasap house, where the Kalang people reside, being oriented towards the North and South. Specifically, the objective of the ngajeng yard following the direction of the sun's movement will be covered in this research. The methods used are 1) ethnography, describing traditions related to the Ngajeng yard as well as religious aspects and beliefs of the Kalang people; 2) Analysis of the sun's movement in the East to West trajectory. The orientation of the traditional Limasap omah (house) building influences the existence of the ngajeng yard; 3) The next stage is looking for a belief system through ontology, explanation, prediction, axiology, practice, and epistemology approaches. At this stage, a belief system about the Ngajeng yard is obtained. Thus, it can be concluded that the Ngajeng yard is an open space that has various functions for the Kalang people. These functions are 1) Social function, as a communication, mitigation, and security space; 2) The function of tradition, as a space for the obong tradition to lead ancestors to nirvana; 3) Agricultural function, related to tandur (planting) traditions and harvest traditions. The belief system that is formed is a legacy of tradition related to the implementation of the wong (people) Kalang tradition.
In pursuit of identity-oriented demands from society, the movement with roots in the contemporary West has been one of the primary stage directors imposing the official policy of art, especially in ...academic centers, since the Islamic Revolution. This movement, represented in Iran by Seyed Hossein Nasr, had taken steps to initiate artistic movements before the revolution under the management of Farah Pahlavi's office. After the victory of the revolution, the students and followers of this thought, using the religious and mystical language of the traditionalists, introduced themselves as representatives, claiming the society's demands. They introduced Iran's religion, and in the absence of careful assessment and undervaluation of art by the country's administration, they left a greater impact on the country's art policy compared to its scientific and population size. The determining presence of the adherents of this thought, who are often known as experts and not artists, in the country's political and educational institutions confirms this opinion.According to the traditionalists, the basis of their thought is a set of facts that have an all-encompassing historical and geographical scope. About a century ago, the French philosopher Renégnon created this sect, and then it became a school of theorizing and philosophy of art by Kumaraswamy, a Sri Lankan artist and sage, and Shawan, Lings, Nasr, Palis, etc. The school of traditionalism talks about sacred knowledge and authentic ancient traditions and points to a supernatural, common, and universal truth in the heart of religions and calls it "immortal wisdom or "eternal wisdom." The method adopted by the school of comparative theology is of the contemporary era, and in the Islamic world, it is connected with Sufism and local mysticism. It is also tied to the mysticism of the Far East, which is different from Abrahamic religions. Traditionalists in Iran have theoretical discussion under the title of Islamic art and architecture, and by inventing the terms Islamic art wisdom, religious art, sacred art, and holy art, they have created materials that are poetic, emotional, and far from logical and reasoning, and in certain religious and historical matters, interpretation. They have mixed Islamic art and architecture with self-founded, strange mysteries. Some of the traditionalists became familiar with the form of Islamic art and architecture while traveling to the Arab Maghreb, Egypt, China, and India, relying on the backgrounds they had from Christianity and Judaism, and accepted Islam through Sufi sects. Shawan joined the Shazliyya Tariqat in Algeria. Burckhardt believed in Islam in Morocco, followed the Shazliyyah Tariqah, and joined the traditionalists after meeting Schwan. After familiarizing himself with Eastern teachings and focusing on the East, Guenon deals with the tradition, generality, and general view of Hinduism, Christianity, Islam, and Buddhism. In fact, this range of scholars, relying on the philosophy and mysticism of the great religions of the world such as Christianity, Islam, Judaism, Buddhism, Jain, Taoism, and Shinto, consider them to have a common truth and believe in the inner matter shared by religions. It is obvious that the existing traditions in each of these religions and beliefs have undergone changes and developments, and despite the common points or the common essence, according to the traditionalists (al-hikma al-khalida ), they have gradually gone through tremendous differences. The Islamic Sunnah is different from other Sunnahs according to the text of the Holy Quran and authentic traditions. Looking positively at the activities of Western traditionalists, not much fault lies with them because they got acquainted with Sufi sects and different sects in other countries, and they also experienced the mysticism of the Far East and Hinduism. In a way, they reached the unity of religions, and from the angle of art, architecture, and sanctity, they have told stories based on the appearance of the arts. But how can it be accepted that Dr. Seyed Hossein Nasr, an Iranian Muslim, philosopher, and mystic, endorses these strange and incomprehensible claims and is a disciple of the sectarian and creator of the Marymiya Tariqat? The continuation of the trend of traditionalist thoughts and opinions affected the artistic circles and universities of art and architecture in Iran, and we are still dealing with this problem. Criticism of his opinions will open a window to knowing the truth of the art and architecture of the Islamic era of Iran and the world and highlight the superiority of logic and reasoning over emotions.
What can texts - both written and oral - tell us about the societies that produce them? How are texts constituted in different cultures, and how do they shape societies and individuals? How can we ...understand the people who compose them? Drawing on examples from Africa and other countries, this original study sets out to answer these questions, by exploring textuality from a variety of angles. Topics covered include the importance of genre, the ways in which oral genres transcend the here-and-now, and the complex relationship between texts and the material world. Barber considers the ways in which personhood is evoked, both in oral poetry and in written diaries and letters, discusses the audience's role in creating the meaning of texts, and shows textual creativity to be a universal human capacity expressed in myriad forms. Engaging and thought-provoking, this book will be welcomed by anyone interested in anthropology, literature and cultural studies.
The Bekayat tradition is one of traditions in the Sasak tribe. The Bekayat tradition is a tradition of reciting saga poem which is functioned by preachers as a medium of preaching. It was started ...with a negative response to the bekayat tradition conveyed by one of generations with the different understanding by saying that the bekayat tradition had existed since the arrival of the Islam propagators and they said that this tradition was a tradition belonged to the misguided heresy, so the researcher needs to examine this tradition and straightens the incorrect responses. The objectives of this research were to find out how the stages of the Bekayat tradition process in Kuripan District were, to find out the Islamic educational values contained in the Bekayat tradition and to find out how the young generation responds to the Bekayat tradition. The research method used was qualitative research method and the purpose was to obtain the data in the form of written or oral descriptions from the observation subject, while the data collection procedures used by researcher were interviews, observation, and documentation. The implementation procedures of the Bekayat tradition in Kuripan District, namely, started with preparation, the main activities or reciting the saga poem and closing are followed with the convivial event. Educational values in the bekayat tradition in Kuripan District consist of processional values, script values and traditional values. The researcher acquired responses from the young generation which were divided into two parts, there were positive and negative responses, while the positive response was because they obtained a lot of lessons, as the form of support for the Bekayat tradition, and the negative response was because they felt disturbed during the breaks with the sound of Bekayat reading, waste of time.
This research aims to reveal the tradition of “melengengan” in the context of Gayo ethnic weddings in Central Aceh. The method used in this research is qualitative with a descriptive approach. Data ...was collected through in-depth interviews, participant observation and literature study. The findings of this research describe the process of implementing the “melengengan” tradition in Gayo ethnic wedding ceremonies, as well as identifying the meaning and important role of this tradition in Gayo ethnic culture and society. The role of the “melengengan” tradition in Gayo tribal culture is very important because it is one of the main pillars in maintaining and preserving their culture. In the midst of globalization and modernization, preserving this tradition is crucial in maintaining the identity and values of the Gayo tribe. The tradition of bowing is not only a symbol of marriage, but also a symbol of togetherness, honor, and solidarity among the Gayo ethnic community.
Luis Gusmán is undoubtedly one of the most representative authors of his generation, his 1973 work “El frasquito” (translated in Italy as “Il gemello”) marked a watershed, comparable to “El fiord” by ...Osvaldo Lamborghini or “Nanina” by Germán García. Gusmán is still today, in Argentina, a key figure for understanding the potential of that elusive, ghostly and perhaps now anachronistic object, which is the avant-garde.In his essay “La literatura amotinada “(2018), he revisits a concept (or rather a critical intuition) by Libertella, that of a mutinous literature, rebellious against the directives, conventions, and complacencies of the literary market: a strange, indigestible writing that not only transgresses what is established but also denies the very legitimacy of the Law that sets the boundaries of that establishment. In this interview, we asked Luis Gusmán both about that primal force of revolt, of mutiny, and about the ways in which this attitude contributes to rewriting a literary tradition and guiding the author’s own literary project. The recurring names of Héctor Libertella, Leónidas Lamborghini, Ricardo Piglia, Alberto Laiseca, and Jorge Luis Borges lead the way in this conversation.
A brief text supporting the idea that Romania has always been part and parcel of Europe, by its culture, civilization level, history, economy and traditional religion, so that one cannot speak of ...country s integration within the old continent.
