TRADISI BARONGSAI DI MATA MUSLIM TIONGHOA
MENYANDINGKAN KEBERISLAMAN DAN KETIONGHOAAN
Post-published Decree No. 6 of 2000 by President KH. Abdurrahman Wahid suspend the number 14 of 1967 on religion, beliefs and customs of the Chinese, is an important moment for Indonesian ethnic Chinese community represents their cultural identity. Emergence Lion Dance tradition in the public sphere becomes a marker of cultural freedom that has long shackled due to political discrimination of the New Order. As an icon of cultural freedom, the Lion Dance in glasses Confucianism is perceived as a symbol of bravery and unyielding and human compulsion to clean ourselves from all forms of malicious behavior. and considered able to reconcile between the profane with the sacred, so is able to connect people with the unseen. Although the substance is good, but leaves a theological problem for the Chinese Muslim community.Through two-way translation strategy played PITI organization, the Chinese Muslim community is able to reconcile Islam with Chineseness. Islam yes, the Chinese also yes.
Downloads
References
Ascroft, Bill, Grifiths, Garets and Helen, Tiffin. Post Colonial Studies: The Key Concept, Second edition (London and New York: Routledge Publisher, 2007).
____________. The Empire Writes Back: Theory and practice in post-colonial literatures, 2 edition (London and New York: Routledge Publisher, 2004).
Angkapranoto, Richard. “Perancangan Buku Esai Fotografi tentang Kesenian Barongsai di Surabaya”, Tugas Akhir pada Fakultas Seni dan Desain Universitas Kristen Petra Surabaya, 2010
Darmawan, Darwin. Identitas Hibrid Orang Cina (Yogyakarta: Gading Publishing, 2014).
Junaedi, Wawan. ”Barongsai Muslim: Keterlibatan Orang Islam dalam Ritus Agama Konghucu di Surabaya” dalam Irwan Abdullah, Agama dan Kearifan Lokal dalam Tantangan Global (Yogyakarta: Pustaka Pelajar, 2008).
Kvaerne. Per. “Dualism in Tibetan Cosmogonic Myth and The Question of Iranian Influence” Contained in: C. Beckwith, ed., Silver on Lapis: Tibetan Literary Culture and History (The Tibet Society: Bloomington, Indiana, 1987).
Low. Christopher. “The Lion Dance: Myth and Meaning”. San Diego State University: Asian Studies, 23 November 1994. http://www.asminor.info/lionscave1/Articles/ Myth.html (online) di akses pada tanggal 12 Oktober 2010.
Malagina, Agni. “Tarian Barongsai Nan Eksotis:Dari Global ke Lokal, Kembali ke Global” dalam I. Wibowo dan Thung Ju Lan, Setelah Air Mata Kering: Masyarakat Tionghoa Pasca Peristiwa Mei 1998 (Jakarta: Kompas, 2010).
Ningsih Imelda. “Barongsai dan Masyarakat Cina Medan”, Skripsi pada Fakultas Ilmu Sosial dan Politik, Universitas Sumatera Utara, 2008.
Sari .Vivy Kumala. “Memahami Barongsai Tiongkok”, dalam Panggung Jurnal Seni No. XXVII 2003, STSI Bandung, 2003.
Siahaan. Yudistira. “Kajian Musikal dan Fungsi Pertunjukan Barongsai pada Perayaan Cap Go Meh Masyarakat Tionghoa di Maha Vihara Maitreya, Komplek Perumahan Cemara Asri Medan” Skripsi pada Fakultas Ilmu Budaya Universitas Sumatara Utara, 2012.
Said, Edward W. Orientalism (London: Routledge and Keagen Paul, 1979).
Wahyudiarto. ”Perubahan dan Kontinuitas Seni Barongsai di Surakarta Pasca Reformasi”, dalam Acintya Jurnal Penelitian Seni Budaya, Volume 1, No. 2 Desember 2009.
Downloads
Published
Issue
Section
License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
This work is licensed under a Attribution-NonCommercial 4.0 International (CC BY-NC 4.0).
Al'Adalah licensed under Creative Commons Attribution-NonCommercial 4.0 International License.