| Item type |
紀要論文 / Departmental Bulletin Paper(1) |
| 公開日 |
2015-03-23 |
| タイトル |
|
|
タイトル |
ヨグヤカルタの舞踊ブドヨのモラルと倫理観 |
| その他のタイトル |
|
|
その他のタイトル |
MORAL ETHICS OF YOGYAKARTA 'BEDHAYA' DANCE |
| 言語 |
|
|
言語 |
eng |
| 資源タイプ |
|
|
資源タイプ識別子 |
http://purl.org/coar/resource_type/c_6501 |
|
資源タイプ |
departmental bulletin paper |
| 作成者 |
スナルディ
三宅, 良美
Sunaryadi
MIYAKE, Yoshimi
|
| 内容記述 |
|
|
内容記述タイプ |
Other |
|
内容記述 |
Bedhaya Dance at Yogyakarta Palace was originally a sacred work of art which could only be performed with the permission of the king in certain occasions and in certain places. Prince Suryobrongto (a dance master of Yogyakarta Palace) said that the Bedhaya dance is a sacred dance which has symbols of life because it’s not only a dance movement, but it is an action that is performed and becomes the life reference. Bedhaya dance philosophy is summed up in the doctrine of ngelmu sangkan paran which covers three things. Those are, first, it is related to the human consciousness that comes from God (urip iki saka sapa); second, it is related to the duties and obligations of human beings in the world (urip iki arep apa); and third, it is related to the return of man to his God (urip iki pungkasane piye). Therefore, in the context of moral ethics, Javanese life purpose is to reach manunggaling kawula (human unity) with Gusti (God), as it is believed that goodness and beauty is a manifestation of the Essence of the Most Holy. Lampah bedhaya,, starting from majeng beksa until mundur beksa,, the end of dancing, is a role model to determine the choice between the goodness and badness. |
| 出版タイプ |
|
|
出版タイプ |
VoR |
|
出版タイプResource |
http://purl.org/coar/version/c_970fb48d4fbd8a85 |
| 書誌情報 |
秋田大学教養基礎教育研究年報
号 16,
p. 75-85,
発行日 2014-03-28
|
| ISSN |
|
|
収録物識別子タイプ |
ISSN |
|
収録物識別子 |
13449311 |
| NCID |
|
|
収録物識別子タイプ |
NCID |
|
収録物識別子 |
AA11343081 |
| 出版者 |
|
|
出版者 |
秋田大学教育推進総合センター |
kkiso16(75).pdf (2.0 MB)
