5 research outputs found
La psicología y perfilación criminal: la radiografía del sujeto criminal
No full textCriminology is the science that studies the offense, the victim and the offender; for this purpose it uses other sciences such as criminal psychology which helps to explain, analyze and predict the characteristics of the criminal subject and criminal method to implement alternatives about how to take advantage of the research itself based on and the characteristics of the crime scene.
The technique of judicial investigation of offender profiling inferred psychosocial aspects of personality, behavior and motivation of Criminal Subject based on the psychological and criminological analysis of its conduct at the scene of the crime, because that is where most information is obtained for good research result. From the above knowledge is to extract, analyze and find scientific technical way the commission of the offense, the identification of the author and prevent it, integrating the different areas of criminology in order to obtain effectiveness and truth in research punishable behavior.La criminología es la ciencia que estudia el delito, la víctima y el delincuente; para lograr este propósito se vale de otras ciencias como la Psicología Criminal la cual permite explicar, analizar y predecir las características del sujeto criminal y su método delictivo con el fin de implementar alternativas acerca de cómo tomar ventaja sobre la investigación del mismo con base en las características del delito y del lugar de los hechos. La técnica de investigación judicial de la Perfilación Criminal infiere aspectos psicosociales de personalidad, comportamiento y motivación del Sujeto Criminal con base en el análisis psicológico y criminológico de su conducta en la escena del crimen, pues es allí donde se obtiene la mayor información para un buen resultado en la investigación. De los anteriores conocimientos se pretende extraer, analizar y descubrir de forma técnico científica la realización del delito, la individualización de su autor y prevenir el mismo, integrando las diferentes áreas de la criminología con el fin de obtener eficacia y verdad en la investigación de la Conducta Punible
REPRESENTASI GURINDAM DUA BELAS PASAL KEEMPAT KARYA TARI “TEBIAT” DENGAN MENGGUNAKAN METODE PENCIPTAAN TARI MOVING FROM WITHIN ALMA M HAWKINS
No full textABSTRAK
Penciptaan karya tari “Tebiat” berpedoman pada syair
Gurindam dua belas pasal keempat, merupakan bentuk syair atau syair lama yang
pengarangnya adalah Raja Ali Haji dari Pulau Penyengat, Kepulauan Riau. Gurindam
merupakan pedoman bagi masyarakat melayu dalam menjalani kehidupan memuat
nasehat yang sangat bermanfaat dan memiliki makna mendalam bagi manusia.
Penciptaan karya tari “Tebiat” bertujuan untuk menyampaikan tentang tingkah
laku yang ada pada manusia, sebagaimana diketahui bahwa tingkah laku atau watak
adalah perangai, tabiat, tingkah laku, yang terkadang muncul dan dilakukan oleh
manusia sesuai dengan yang tertuang pada bab keempat puisi Gurindam, yang berkaitan
dengan nilai perilaku manusia sehingga tercipta karya tari tentang perilaku manusia.
Karya tari Tebiat mengacu pada metode penciptaan oleh Alma M. Hawkins
dalam bukunya Moving from Wihtin yang diterjemahkan oleh I Wayan Dibia, Bergerak
Menurut Hati melalui beberapa tahapan yaitu mengalami/mengungkapkan, melihat,
merasakan, membayangkan, mewujudkan dan membentuk. Proses penciptaan karya tari
ini meliputi Mencari Ide, Menentukan Tema, Menentukan Judul Membedah Puisi
Gurindam Keempat, Mencari Referensi Literatur, Wawancara, Eksplorasi, Improvisasi,
Formasi, Transfer Gerakan, Penyesuaian Gerak, Penyesuaian Musik, Pola Lantai, Rasa
Latihan, Teknik Gerakan, dan Komposisi. Desain Dramatik dan Mode Penyajian
Representasi Simbolik dipilih sebagai desain dan mode penyajian karya tari Tebiat.
Penciptaan karya tari Tebiat melibatkan dua orang penari sebagai gambaran sifat
manusia yang berpedoman pada bagian keempat dari puisi Gurindam Dua Belas. Sang
koreografer menggunakan gerak tradisional Melayu sebagai pijakan dengan
mengembangkan beberapa motif gerak seperti gerak lenggang, gerak memetik bunga
dan melompat, dikembangkan dengan gerak sehari-hari serta menggunakan teknik tari
kontemporer yang tentunya melibatkan proses eksplorasi, improvisasi dan
pembentukannya, untuk menciptakan suatu karya tari yang baru berangkat dari puisi
Dua Belas Gurindam bab keempat.
Kata kunci: Karya Tari, Gurindam, Karakter
************
ABSTRACT
The creation of the dance work "Tebiat" based on the
fourteenth chapter of the Gurindam poem, is an old verse or verse whose author is Raja
Ali Haji from Penyengat Island, Riau Archipelago. Gurindam is a guide for the Malay
community in living life containing advice that is very useful and has deep meaning for
humans.
The creation of the dance work "Tebiat" aims to convey about the behavior that
exists in humans, as it is known that behavior or character is temperament, character,
behavior, which sometimes appears and is carried out by humans by accordance with
what is stated in the fourth chapter of the Gurindam poem, which related to the value of
human behavior to create dance works about human behavior.
Tebiat's dance work refers to the method of creation by Alma M. Hawkins in his
book Bergerak Dari Dalam which is translated by I Wayan Dibia, Moving According to
the Heart through several stages, namely experiencing/expressing, seeing, feeling,
imagining, realizing and forming. The process of creating this dance work includes
Finding Ideas, Determining Themes, Determining Titles, Dissecting the Fourth
Gurindam Poetry, Finding Literature References, Interviews, Exploration,
Improvisation, Formation, Movement Transfer, Movement Adjustments, Music
Adjustments, Floor Patterns, Exercise Sense, Movement Techniques, and Composition.
Dramatic Design and Mode of Presentation of Symbolic Representation were chosen as
the design and mode of presentation of Tebiat dance works.
The creation of the Tebiat dance work involves two dancers as an illustration of
human nature based on the fourth part of the poem Gurindam Dua Belas. The
choreographer uses traditional Malay movements as a foothold by developing several
movement motifs such as the lenggang motion, the motion of picking flowers and
jumping, developed with daily movements and using contemporary dance techniques
which of course involve a process of exploration, improvisation and formation, to create
a dance work that is just departed from the fourth chapter of the poem Twelve
Gurindam.
Keywords: Dance Work, Gurindam, Characte
Fungsi Sosial Seni Pertunjukan Reog Ponorogo Di Kelurahan Mentangor Kecamatan Tenayan Raya Kota Pekanbaru Provinsi Riau
No full textThe purpose of this research is to find out how the Social Function of Art Reog Ponorogo Performance in Mentangor District, District Tenayan Raya Kota Pekanbaru. The research method that the author uses in this study is the method descriptive analysis using qualitative data. In the descriptive method of analysis by using qualitative data the data collection technique is y who will be a writer use are observation, interview and documentation techniques. The author's theory use as a foundation in this research is a theory from I Wayan Dibia states that, living in a society can be sure that happy ian it has a function for the community. In general, the function of art in society these are a) communication, b) entertainment, c) media education and social criticism, d) artistic. Reog Ponorogo performing arts are usually held at events - particular event it's like an event 1 muharam (1 suro night), weddings, guest reception and other folk parties. Reog Ponorogo performing arts have several social functions in the community, among others is the first as a means of communication at the show reog the players occasionally conduct interactions such as communicating with opponents or interrupted spectators - interrupt break time, the second as entertainment at this reog performance certainly has an element entertaining that we can see from the beginning of the show until the end like a dance presented by jathil dancers and attractions - attractions of bachelor ganong and barongan, third as a medium of education and social criticism on reog performances used by the players as a means of expressing some a criticism for government performance and some values - moral values for young people as well as society, and finally the artistic ones reog show can be seen from all the instruments contained in the show it is like from a dance, mus ik, costumes, stage settings and masks - mask that has its own characteristics used by the reog players. The problem of this research is suitability of functions in society with existing theories, the achievement of functions socially to the maximum. The conclusion of this study is the suitability of social functions developing in society with existing theories and the achievement of social goals or functions in the community
FOLDING WATERS
No full textMy name is Kasimma. I am from Igboland. I’m an MFA candidate in fiction writing at the University of Kentucky. My writing seeks to employ divinity as a tool for decolonization. My stories are rooted in occultism and feminism. I hesitate to define my writing in the speculative genre. What westerners might see as voodoo and juju is spirituality and worship in Igboland, and for us, it is not speculative; it is reality. Therefore, the best word to describe my writing is ọfọ.
Igbo folktales are embedded with cultural values such as ọfọ. These folktales unlocked the door of my heart to storytelling. My siblings and I usually gathered on the cemented ground of Grandma’s mud house kitchen; beside the cooking pot of ọha soup; chewing—if Grandma was so kind that night—pieces of dry fish from the ngiga hanging above the fireplace and enamored by Grandma’s folktales. In the sparkles of orange fire surrounded by three black stones was big me: big me, the storyteller. Now, I am a storyteller whose works extend from a sound literary legacy of Nigerian writers.
I deeply admire Chinua Achebe. Achebe extolls Igbo culture in Things Fall Apart and Arrow of God, especially at a time when African books and stories were almost nonexistent. Western readers have told me that the Igbo words (names, characters, unitalicized Igbo dialogues) in my stories make it hard for the story to flow. English texts are forced on us in Nigerian schools. If we can survive that, westerners can also survive the sprinkles of Igbo in a story written in English.
Another author I deeply admire is Chimamanda Ngozi Adichie. I attended Ms. Adichie’s Purple Hibiscus Creative Writing Workshop in 2019. Ms. Adichie taught me the importance of writing a human story. “Focus on the humans, on the feelings of the humans, on the complexities of being human, and the message will follow naturally.” I have abided by that rule.
Lola Shonenyin is another writer who has shaped my craft. She was one of the instructors in Ms. Adichie’s Purple Hibiscus Creative Writing Workshop. She taught me to “Write in your talking voice.” Readers have told me how humorous my stories are. I do not aim for humor when I write. I just write in my talking voice.
What I aim for, in writing, is to side with the oppressed. That is what Wole Soyinka taught me: writing is the tool with which I can fight oppression. His only caveat is that I do so in impeccable English (the only language I can read and write in). I was fortunate enough to be a resident at the Wole Soyinka Foundation residency, where the Nobel Laureate, who is also my mentor, taught me fiction writing. In addition, by reading his books, so many to name, I learned that humor is okay in writing too. Prof. Soyinka would probably cringe at my use of okay in the preceding sentence.
Igbo spirituality upholds the tenement of ọfọ. Ọfọ symbolizes that all life, animate and inanimate, are sacred and respected as God’s creation. An Igbo person cannot cut down a tree just because. If that tree must go down, it must serve a greater good else left alone. Even if it’s a leaf, one must ask permission from it before nipping it from its bud. Ọfọ says one cannot just pee in the river, because that river is God’s creation just as the urinator. All life is sacred in Igboland. If you take a life, you pay with a life. There was equality and respect for everyone regardless of social status or gender. Before British colonization, Igbos respected women as the givers of life. In Igbo culture, women and men are equal as enshrined by ọfọ values.
But with colonization, everything changed. The British colonizers used religion and storytelling to malign Igbos. In the colonizer’s religion, the punishment for offing a human life is simply repentance. In their religion, a tree is just that, a tree. They erased Igbo religion and replaced it with their Christianity in which the devil is black, evil is black, hell is black, deity worship is black, and even stubbornness is a black sheep! The colonizers’ folktales cast women as villains e.g., Hansel and Gretel, Cinderella, Snow White, etc. We grow up telling them, imbibing their “morals”, and believing that humans should look to man (not just any man, the colonizing man) to learn how to be humane. The colonizers insistently told us that we are inferior until we believed it and then became it. This, in occult philosophy, is called Suggestion by Repetition.
My writings suggest to Igbos, repeatedly, that we are not inferior. I write about Igbo rituals and the prowess of our dibia (priests). I write about how scared and mentally caged ideas like misogyny are. Misogynists are weak in the mind and spirit. They mask this weakness in violence. No one who is mentally free would want another person to submit to them; submission will be beneath them. That is what my writing is out to delete: mental slavery of all kinds.
I use the colonizer’s tools, religion and storytelling, to align Igbos. My stories strive to turn attention onto the pride of my ancestors, our spirituality, culture, language, dances, masquerades, food, on Igbo kingdom. I write stories about humans, facing the complexities of being human. I write stories themed on the dangers of misogyny from the point of view of both the victim and the victimizer. Nobody is a single thing: a homophobic parent can also be a loving parent. The oppressor and the oppressed are all children of God. The only superior being is God. (Divinity pervades all nature.). The rest of us are equals. Regardless of our religious inclination, gender, race, we are all equal children of God. (Feminism.). That is what ọfọ entails.
My art is the outward appearance of my inward creed, to remake the world while I am here, when I leave here, when I come back here
Effect of early tranexamic acid administration on mortality, hysterectomy, and other morbidities in women with post-partum haemorrhage (WOMAN): an international, randomised, double-blind, placebo-controlled trial.
No full textBACKGROUND: Post-partum haemorrhage is the leading cause of maternal death worldwide. Early administration of tranexamic acid reduces deaths due to bleeding in trauma patients. We aimed to assess the effects of early administration of tranexamic acid on death, hysterectomy, and other relevant outcomes in women with post-partum haemorrhage. METHODS: In this randomised, double-blind, placebo-controlled trial, we recruited women aged 16 years and older with a clinical diagnosis of post-partum haemorrhage after a vaginal birth or caesarean section from 193 hospitals in 21 countries. We randomly assigned women to receive either 1 g intravenous tranexamic acid or matching placebo in addition to usual care. If bleeding continued after 30 min, or stopped and restarted within 24 h of the first dose, a second dose of 1 g of tranexamic acid or placebo could be given. Patients were assigned by selection of a numbered treatment pack from a box containing eight numbered packs that were identical apart from the pack number. Participants, care givers, and those assessing outcomes were masked to allocation. We originally planned to enrol 15 000 women with a composite primary endpoint of death from all-causes or hysterectomy within 42 days of giving birth. However, during the trial it became apparent that the decision to conduct a hysterectomy was often made at the same time as randomisation. Although tranexamic acid could influence the risk of death in these cases, it could not affect the risk of hysterectomy. We therefore increased the sample size from 15 000 to 20 000 women in order to estimate the effect of tranexamic acid on the risk of death from post-partum haemorrhage. All analyses were done on an intention-to-treat basis. This trial is registered with ISRCTN76912190 (Dec 8, 2008); ClinicalTrials.gov, number NCT00872469; and PACTR201007000192283. FINDINGS: Between March, 2010, and April, 2016, 20 060 women were enrolled and randomly assigned to receive tranexamic acid (n=10 051) or placebo (n=10 009), of whom 10 036 and 9985, respectively, were included in the analysis. Death due to bleeding was significantly reduced in women given tranexamic acid (155 [1·5%] of 10 036 patients vs 191 [1·9%] of 9985 in the placebo group, risk ratio [RR] 0·81, 95% CI 0·65-1·00; p=0·045), especially in women given treatment within 3 h of giving birth (89 [1·2%] in the tranexamic acid group vs 127 [1·7%] in the placebo group, RR 0·69, 95% CI 0·52-0·91; p=0·008). All other causes of death did not differ significantly by group. Hysterectomy was not reduced with tranexamic acid (358 [3·6%] patients in the tranexamic acid group vs 351 [3·5%] in the placebo group, RR 1·02, 95% CI 0·88-1·07; p=0·84). The composite primary endpoint of death from all causes or hysterectomy was not reduced with tranexamic acid (534 [5·3%] deaths or hysterectomies in the tranexamic acid group vs 546 [5·5%] in the placebo group, RR 0·97, 95% CI 0·87-1·09; p=0·65). Adverse events (including thromboembolic events) did not differ significantly in the tranexamic acid versus placebo group. INTERPRETATION: Tranexamic acid reduces death due to bleeding in women with post-partum haemorrhage with no adverse effects. When used as a treatment for postpartum haemorrhage, tranexamic acid should be given as soon as possible after bleeding onset. FUNDING: London School of Hygiene & Tropical Medicine, Pfizer, UK Department of Health, Wellcome Trust, and Bill & Melinda Gates Foundation
