著者

三宅 良美 MIYAKE Yoshimi

出版者

秋田大学教育文化学部

雑誌

秋田大学教育文化学部研究紀要. 人文科学・社会科学自然科学 (ISSN:1348527X)

巻号頁・発行日

vol.70, pp.53-58, 2015-03-01

著者

スナルディ 三宅 良美 Sunaryadi MIYAKE Yoshimi

出版者

秋田大学教育推進総合センター

雑誌

秋田大学教養基礎教育研究年報 (ISSN:13449311)

巻号頁・発行日

no.16, pp.75-85, 2014-03-28

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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.

著者

三宅 良美 MIYAKE Yoshimi

出版者

秋田大学教育文化学部

雑誌

秋田大学教育文化学部研究紀要 教育科学 (ISSN:13485288)

巻号頁・発行日

vol.62, pp.103-107, 2007-03-01