35 research outputs found
Mamanda theatre, the play of Banjar culture
No full textThis article reveals the dialectic relationship between Teater Mamanda and the living conditions of Banjarese community. When we watch Mamanda, we watch the life and culture of the Banjarese. Without any knowledge of Banjarese society and culture we cannot possibly understand the content of a Mamanda performance as a miniature version of Banjarese society and culture. Three areas where Mamanda is performed have been studied using Paul Ricoeur’s textual theory. There are two kinds of texts, the Mamanda performance (considered as text, that is, social events fixated in the form of a performance), and the narration of the performance itself which is considered a text as well
Regional Shift to Bahasa Indonesia: ‘Old Vernacular’ In A New Identity
No full textThe Gamkonora people are an ethnic group in Indonesia whose members have an outstanding linguistic ability: they are able to speak more than two languages, that is, two or more of Gamkonora, Ternatan-Malay, Ternate, and Bahasa Indonesia. The use of these languages is related to the residual traces of the powers that have ruled the area in the history of North Maluku: the Ternate sultanate, European colonialists and Indo nesian central government since independence. Reflecting on the current language behaviour of the Gamko noran younger generation, which tends to be the Indonesian language (read Malay); the authors question how far the Gamkonoran’s Indonesian language ability has influenced their Gamkonoran language and culture. Through ethnographic studies, the authors found that two languages—Indonesian and Gamkonoran—have different roles in their culture. Therefore, the language shift to Bahasa Indonesia by Gamkonoran youth will not replace the Gamkonoran language because the use of their tribal language is supported by their traditional institutions
Teater Mamanda dan Pendefinisian Kembali Identitas Banjar
No full textThis article examines notions of identity in the context of Mamanda, a traditional theatre in Banjar, South Kalimantan. The author Mamanda as a cultural symbol and describes the formulation of its identity using a semiotic approach whereby identity is conceived as a part of a binary composition fluctuating between the opposing notions of 'us' and 'other'. This is illustrated in the oppositions between the theatre's community and the state, individuals and the state, and the contradictory oppositions between the community members within Mamanda itself. This article demonstrates that identity is continually reformulated and is linked to political interests such as regional autonomy
