“Patience, persistence and perspiration make an unbeatable combination for success.” – Napoleon Hill
“Someone has defined genius as intensity of purpose: the ability to do, the patience to wait… Put these together and you have genius, and you have achievement.” – Leo J. Muir
“Genius is eternal patience.” – Michelangelo
Patience, persistence and perspiration
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“Patience, persistence and perspiration make an unbeatable combination for success.” – Napoleon Hill
“Someone has defined genius as intensity of purpose: the ability to do, the patience to wait… Put these together and you have genius, and you have achievement.” – Leo J. Muir
“Genius is eternal patience.” – Michelangelo
“Someone has defined genius as intensity of purpose: the ability to do, the patience to wait… Put these together and you have genius, and you have achievement.” – Leo J. Muir
“Genius is eternal patience.” – Michelangelo
Kelola bisnis Anda secara efektif dan efisien
Kelola seluruh bisnis Anda dengan Microsoft Office Enterprise 2007. - Microsoft Office Excel 2007 untuk menganalisis informasi bisnis Anda, menciptakan lembar kerja, serta melacak waktu, biaya, sumber daya, dan orang
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- Groove 2007 untuk berkolaborasi dengan orang lain secara dinamis dalam sebuah ruang kerja tunggal yang mempersatukan seluruh anggota tim, perkakas, dokumen, dan informasi
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Silahkan Download DISINI.
Microsoft office Enterprise 2007
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Kelola bisnis Anda secara efektif dan efisien
Kelola seluruh bisnis Anda dengan Microsoft Office Enterprise 2007.
- Microsoft Office Excel 2007 untuk menganalisis informasi bisnis Anda, menciptakan lembar kerja, serta melacak waktu, biaya, sumber daya, dan orang
- Microsoft Office Word 2007 untuk menciptakan, mengelola, menyimpan, dan mengubah dokumen
- Microsoft Office Publisher 2007 untuk menghasilkan publikasi profesional
- Microsoft Office Outlook 2007 dengan Business Contact Manager untuk mengelola pelanggan, kontak, dan penjualan
- Microsoft Office PowerPoint 2007 untuk menciptakan presentasi penjualan dinamis
- Microsoft Office Accounting Express 2008 untuk menghemat waktu, terorganisir, dan menjalankan bisnis secara online dengan solusi akuntansi yang lengkap untuk bisnis kecil
- Microsoft Access 2007 untuk menciptakan sebuah basis data dan kemudian menyaring, mengurutkan, membentuk grafik, dan memvisualisasikan informasi bisnis
- InfoPath 2007 untuk menurunkan biaya eksekusi transaksi bisnis dan memprosesnya dengan teknologi formulir elektronik tingkat lanjut
- Communicator 2007 untuk berkomunikasi secara lebih mudah dengan kolega dan klien dalam lokasi dan zona waktu yang berbeda menggunakan berbagai teknik komunikasi yang mencakup Instant Messaging, suara, dan video
- Groove 2007 untuk berkolaborasi dengan orang lain secara dinamis dalam sebuah ruang kerja tunggal yang mempersatukan seluruh anggota tim, perkakas, dokumen, dan informasi
- OneNote 2007 untuk mengumpulkan dan mengorganisasi catatan tulisan tangan, rekaman audio dan video, riset Web, kliping layar, gambar, dan lain sebagainya semuanya dalam sebuah lokasi tunggal.
It has a typical composition of dance movement and costume mask which is characterized by specific differentiating with dance mask with other regions. dermayon mask dance has received high appreciation by the milikinya moestro Indramayu mask dance in the mother Rasinah.
Mask Dance Dermayon
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Tarling is one type of music that is popular in coastal areas north coast (coast) of West Java, especially in areas Indramayu and Cirebon. Tarling name identified with the name of the instrument take around (guitar) and flutes (flute) and the term yen wismlatar gage eling (Had a lot of sinners repent soon.) Tarling origins began to emergearound the year 1931 in the village of Kepandean, District / County Indramayu. At that time, there was a Dutch commissioner who asks for help to local residents who calledMang Sakim, to fix his guitar. Mang Sakim then known as gamelan expert. Afterrepair, the Dutch commissioner nevertheless it was not taking back his guitar. That opportunity finally Sakim Mang used to study the guitar tones, and compare it withpentatonic tones of gamelan. This rose carried by a child named Mang Sakim Sugra.In fact, Sugra then make the experiment by moving pentatonic tones of gamelan toguitar strings are pitched diatonic. Therefore, song-song (Kiser) Dermayonan andCerbonan which typically accompanied by gamelan, could become more beautifulwith guitar accompaniment. The beauty of the rose more complete after the passagestrings accompanied by a bamboo flute lilting.The strains of guitar and bamboo flute which presents Dermayonan and CerbonanKiser began infecting around 1930s. At that time, young children in many remote villages in Indramayu and Cirebon, accept it as a lifestyle. rend liked and popular, injondol or Rangoon * young people like to play it, music is starting loved. In 1935, the music Tarling also comes with a soap box that serves as a drum, and the jug as agong. Then in 1936, the strains Tarling equipped with other instruments and ketipung asmall basin that serves as percussion.Sugra and his friends were often invited to perform at celebration parties, thoughwithout any honorarium. Typically, the stage that was just a mat-lit patromak (at night).Do not stop there, no matter Sugra tarlingnya complete performances with dramaperformances. The drama that conveys it is about everyday life that occur in society.Finally, play-act like a born-Saeni Saida, Pegat-Balen, and Lair-mind is so legendaryto this day. In fact, Saida-Saeni play ended tragically, always drain the tears of hisaudience.But certainly, Tarling name was not used as musical genres. It was the name used to refer to this kind of music is melody City Ayu for the region and Melody IndramayuShrimp City for the region of Cirebon. And the name of the new Tarling inaugurated atRRI often broadcast this kind of music and by the Daily Government Agency (nowParliament) on August 17, 1962 inaugurated the name Tarling as the official name ofthe type music.But one thing is certain, Tarling art today although it has almost become extinct.However, Tarling forever will not be separated from the history of coastal communitiescoast. Due Tarling is their soul, to participate Sawer and above the stage or just to see, and hear it as capable of eliminating the heavy burden of life that press. Lyrics ofthe song and the story told in it, is also capable of providing a moral message thatenlighten and entertain.
TARLING
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Tarling is one type of music that is popular in coastal areas north coast (coast) of West Java, especially in areas Indramayu and Cirebon. Tarling name identified with the name of the instrument take around (guitar) and flutes (flute) and the term yen wismlatar gage eling (Had a lot of sinners repent soon.) Tarling origins began to emergearound the year 1931 in the village of Kepandean, District / County Indramayu. At that time, there was a Dutch commissioner who asks for help to local residents who calledMang Sakim, to fix his guitar. Mang Sakim then known as gamelan expert. Afterrepair, the Dutch commissioner nevertheless it was not taking back his guitar. That opportunity finally Sakim Mang used to study the guitar tones, and compare it withpentatonic tones of gamelan. This rose carried by a child named Mang Sakim Sugra.In fact, Sugra then make the experiment by moving pentatonic tones of gamelan toguitar strings are pitched diatonic. Therefore, song-song (Kiser) Dermayonan andCerbonan which typically accompanied by gamelan, could become more beautifulwith guitar accompaniment. The beauty of the rose more complete after the passagestrings accompanied by a bamboo flute lilting.
The strains of guitar and bamboo flute which presents Dermayonan and CerbonanKiser began infecting around 1930s. At that time, young children in many remote villages in Indramayu and Cirebon, accept it as a lifestyle. rend liked and popular, injondol or Rangoon * young people like to play it, music is starting loved. In 1935, the music Tarling also comes with a soap box that serves as a drum, and the jug as agong. Then in 1936, the strains Tarling equipped with other instruments and ketipung asmall basin that serves as percussion.
Sugra and his friends were often invited to perform at celebration parties, thoughwithout any honorarium. Typically, the stage that was just a mat-lit patromak (at night).Do not stop there, no matter Sugra tarlingnya complete performances with dramaperformances. The drama that conveys it is about everyday life that occur in society.Finally, play-act like a born-Saeni Saida, Pegat-Balen, and Lair-mind is so legendaryto this day. In fact, Saida-Saeni play ended tragically, always drain the tears of hisaudience.
But certainly, Tarling name was not used as musical genres. It was the name used to refer to this kind of music is melody City Ayu for the region and Melody IndramayuShrimp City for the region of Cirebon. And the name of the new Tarling inaugurated atRRI often broadcast this kind of music and by the Daily Government Agency (nowParliament) on August 17, 1962 inaugurated the name Tarling as the official name ofthe type music.
But one thing is certain, Tarling art today although it has almost become extinct.However, Tarling forever will not be separated from the history of coastal communitiescoast. Due Tarling is their soul, to participate Sawer and above the stage or just to see, and hear it as capable of eliminating the heavy burden of life that press. Lyrics ofthe song and the story told in it, is also capable of providing a moral message thatenlighten and entertain.
Many of the rich theatrical cultures of Indonesia have yet to receive adequate attention by scholars. This translation of The Incantation of Semar Smiles provides an introduction to one of these genres-tarling, performed primarily in north-coastal West Java. This musical melodrama, with book, lyrics, and music by Pepen Effendi and released by the audiocassette company Prima in 1994, represents a new development in the history of the theatrical form. Dialogue for all previous live stage productions and recordings is largely improvised and songs are stock. In contrast, Fendi's operetta of jilted love and magical revenge is almost completely prescripted and musically through-composed. Matthew Isaac Cohen is a cultural anthropologist who has conducted extensive fieldwork on theatrical cultures in Java, Indonesia. He is currently a postdoctoral research fellow at the International Institute for Asian Studies, the Netherlands, in the "Performing Arts of Asia: Tradition and Innovation" program and is working on a book on shadow puppet theatre in the Cirebon region. His "Barikan: A Ritual Drama for Shadow Puppet Theatre" is forthcoming from the Lontar Foundation.Ajian Semar Mesem ( the Incantation Of Semar smiles ) is a musical drama for tarling, a popular operetta or musical melodramatic form of the cirebon region of north-coastal West Java , Indonesia. tarling Is hybrid theatre amalgamating exogenous cultural streams of influence. In its Stories, music, acting style and dramaturgy, it draws directly and directly from javanes folk clowning and social dancing traditions as well as nineteenth-century British, melodrama, television, Java's Classical tradition of gamelan ( Gong chime ) music, Portuguese, ballad singing, and Middle Eastern and Indian popular music. Tarling has much in common with other socalled syncretic theatres found around the postcolonial word such as.
The Incantation of Semar smiles : A Tarling Musical Drama
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Many of the rich theatrical cultures of Indonesia have yet to receive adequate attention by scholars. This translation of The Incantation of Semar Smiles provides an introduction to one of these genres-tarling, performed primarily in north-coastal West Java. This musical melodrama, with book, lyrics, and music by Pepen Effendi and released by the audiocassette company Prima in 1994, represents a new development in the history of the theatrical form. Dialogue for all previous live stage productions and recordings is largely improvised and songs are stock. In contrast, Fendi's operetta of jilted love and magical revenge is almost completely prescripted and musically through-composed. Matthew Isaac Cohen is a cultural anthropologist who has conducted extensive fieldwork on theatrical cultures in Java, Indonesia. He is currently a postdoctoral research fellow at the International Institute for Asian Studies, the Netherlands, in the "Performing Arts of Asia: Tradition and Innovation" program and is working on a book on shadow puppet theatre in the Cirebon region. His "Barikan: A Ritual Drama for Shadow Puppet Theatre" is forthcoming from the Lontar Foundation.
Ajian Semar Mesem ( the Incantation Of Semar smiles ) is a musical drama for tarling, a popular operetta or musical melodramatic form of the cirebon region of north-coastal West Java , Indonesia. tarling Is hybrid theatre amalgamating exogenous cultural streams of influence. In its Stories, music, acting style and dramaturgy, it draws directly and directly from javanes folk clowning and social dancing traditions as well as nineteenth-century British, melodrama, television, Java's Classical tradition of gamelan ( Gong chime ) music, Portuguese, ballad singing, and Middle Eastern and Indian popular music. Tarling has much in common with other socalled syncretic theatres found around the postcolonial word such as.
