• Timetable

    International Studio for Arts and Culture FSRD – ALVA (ISACFA)

    In collaboration between Faculty of Fine Art and Design (FSRD;Fakultas Seni Rupa dan Desain), ISI Denpasar and Faculty of Architecture, Landscape, and Visual Arts (ALVA), UWA

    1. I. Orientation Program

    Week 1 Activity Time Person Incharge Location Remarks
    SATURDAY

    June 11

    Grand Opening Bali Art Festival /

    Pesta Kesenian Bali (PKB)

    10 am Paul Trinidad Art Center, Denpasar Officially opened by President of Republic of Indonesia
    SUNDAY

    June 12

    Arrive in Denpasar – Meet at Taman Rosani Hotel.  Meet members of ISI Team. 12 pm

    (Noon)

    Paul Trinidad Taman Rosani Hotel,Pettitenget, Bali.
    http://tamanrosani.com/
    Taxi to Night Markets
    MONDAY

    June 13

    Transfer to Dormitories ISI 10 am Paul Trinidad & Group Denpasar Kota Welcome Party at Natya Mandala building.
    Lunch at ISI 12 pm Prof. Dr. I Wayan Rai S, MA. ISI Denpasar Lunch at Green Room
    Orientation to ISI Campus
    Visit to Bali Art Festival
    2 pm –

    4 pm

    Prof. Dr. I Wayan Rai S, MA.

    Wayan Suweca, S.Skar., M.Mus

    ISI Denpasar Introduction and Glance of ISI Denpasar

    1. II. Class Activities

    Week 1 Course Time Course Content Person Incharge Location
    TUESDAY

    June 14

    Breakfast 8 am Paul Trinidad Dormitories
    Indonesian Language/ bahasa 9 am History of Indonesian/

    History of bahasa

    Putu Agus Bratayadnya, S.S., M.Hum.

    Ni Kadek Dwiyani, S.S

    Class – ISI Dps
    Bali  Art and Culture 10 am Understanding of Bali Art and Culture Drs. I Ketut Murdana, M.Sn.

    Dr. Tjok Udiana Np, S.H., M.Hum.

    Class – ISI Dps
    Photography 11 am Art Photography I Komang Arba Wirawan, S.Sn., M.Si.

    I Kadek Puriartha, S.Sn, M.Sn

    Class – ISI Dps
    Lunch 12 pm
    Drawing/Painting Studio 1 pm Outdoor drawing with line technical Dra. Ni Made Rinu, M.Si.

    Drs. I Made Bendi Yudha, M.Sn.

    Studio- ISI Dps/    outdoor area
    Break 3.30 pm
    First Photographic hunting 4 –5 pm I Komang Arba Wirawan, S.Sn., M.SI.   Ida Bagus Candra Yana, S.Sn. Art Center
    WEDNESDAY

    June 15

    Breakfast 8 am Dormitories
    Indonesian Language/ bahasa 9 am Indonesian Grammar Putu Agus Bratayadnya, S.S., M.Hum.

    Nyoman Dewi Pebryani, ST,MA

    Class – ISI Dps
    Bali Art and Culture 10 am Prehistoric Civilization and Culture of Bali I Gede Arya Sugiartha, S.Skar., M.Hum. Drs. Ketut Buda, M.Si. Class – ISI Dps
    Photography 11 am Photo Composition Anis Raharjo, S.Sn., M.Sn.

    Cokorda Istri Puspawati Nindhia, S.Sn.

    Class – ISI Dps
    Lunch 12 pm
    Drawing/Painting Studio 1 pm Outdoor painting, water base black and white technic Drs. I Made Yasana, M.Erg.

    Drs. I Wayan Kondra, M.Si.

    Studio- ISI Dps/    outdoor area
    Break 3.30 pm
    Photography hunting 4 –5 pm Anis Raharjo, S.Sn., M.Sn.

    Cokorda Istri Puspawati Nindhia, S.Sn.

    Art Center
    THURSDAY

    June 16

    Breakfast 8 am Dormitories
    IndonesianLanguage/ bahasa 9 am Vocabulary Drs. Wayan Mardana,M.Pd

    Putu Agus Bratayadnya, S.S., M.Hum

    Class – ISI Dps
    Bali Art and Culture 10 am Cultural Concepts in Bali I Drs. I Made Subrata, M.Si.

    Drs. I Ketut Muka, M.Si

    Class – ISI Dps
    Photography 11 am Lighting Ida Bagus Candra Yana, S.Sn

    I Made Bayu Pramana, S.Sn.

    Class – ISI Dps
    Lunch 12 pm
    Drawing/Painting Studio 1 pm Mixing Technic I Wayan Sujana , S.Sn., M.Sn

    Drs. A.A.Ngr  Gede Surya Buana, M.Sn

    Studio- ISI Dps/    outdoor area
    Break 3.30 pm
    Assignment 4 –5 pm
    Friday

    June 17

    Breakfast 8 am Dormitories
    Indonesian Language/ bahasa 9 am Pronunciation Drs. Wayan Mardana,M.Pd

    Ni Kadek Dwiyani, S.S

    Class – ISI Dps
    Bali Art and Culture 10 am Cultural Concepts in Bali II I Gusti Ayu Srinatih, S.ST., M.Si

    Ida Ayu Kade Sri Sukmadewi,S.Sn, M.Erg

    Class – ISI Dps
    Field Trip 11 am – 5 pm Drs. I Made Bendi Yudha, M.Sn

    Putu Agus Bratayadnya, S.S., M.Hum

    Paul Trinidad

    Seeing Arts Museums in Ubud
    SATURDAY, June 18, Free Time Sight seeing : several art museums in Denpasar and Ubud
    SUNDAY,

    June 19

    Free Time
    Week 2 Course Time Course Content Person Incharge Location
    MONDAY
    June 20
    Breakfast 8 am Dormitories
    Indonesian Language/ bahasa 9 am Greetings Ni Kadek Dwiyani, S.S

    Ketut Dewi Yulianti, S.S., M.Hum

    Class – ISI Dps
    Bali  Art and Culture 10 am Communities in the ritual and ceremony Drs. I Wayan Mudana., M.Par.

    I Wayan Setem, M.Si

    Drs. D.A. Tirta Ray, M.Si

    Class – ISI Dps
    Photography 11 am Arts and Journalism I Komang Arba Wirawan, S.Sn., M.Si

    Amoga Lelo, S.Sos., M.Sn.

    Class – ISI Dps
    Lunch 12 pm
    Drawing/Painting studio 1 pm Basic painting with water color Dewa Putu Gde Budiarta,S.Sn, M.Si Dra. Ni Made Purnami Utami, M.Erg Drs. I Wayan Gulendra, M.Sn Studio- ISI Dps/    outdoor area
    Break 3.30 pm
    Photography hunting 4 pm I Made Saryana, S.Sn., M.Sn.

    Amoga Lelo, S.Sos., M.Sn.

    Art Center
    TUESDAY

    June 21

    Breakfast 8 am Dormitories
    Indonesian Language/ bahasa 9 am Indonesian behavior/ habit Ni Kadek Dwiyani, S.S

    Nyoman Dewi Pebryani, ST,MA

    Class – ISI Dps
    Bali Art and Culture 10 am Communities in system : Subak & Banjar Drs. I Dewa Putu Merta, M.Si

    Dr. Drs. I Made Gede Arimbawa,M.Sn

    Dra. Ni Made Rai Sunarini, M.Si

    Class – ISI Dps
    Graphic Art 11 am History of Graphic Art I Made Saryana, S.Sn., M.Sn.

    Drs. Cok Gde Raka Swendra

    Class – ISI Dps
    Lunch 12 pm
    Drawing/Painting Stuido 1 pm Ancient treasure (drawing temple and museum) I Made Jodog, MFA

    Drs. I Nyoman Marsa

    Drs. I Wayan Sutha,S

    Studio- ISI Dps/    outdoor area
    Break 3.30 pm
    WEDNESDAY June 22 Breakfast 8 am Dormitories
    Indonesian Language/ bahasa 9 am Simple Conversation I Ketut Dewi Yulianti, S.S., M.Hum

    Putu Agus Bratayadnya, S.S., M.Hum

    Class – ISI Dps
    Balinese Traditional Architecture 10 am Introducing of Balinese Traditional Architecture Dr.Drs. I Nyoman Artayasa,M.Kes

    A.A. Gde Bagus Udayana,S.Sn,M.Si

    Class – ISI Dps
    Graphic Art 11 am Wood Cut with Black White monoprint IB. Trina Windu

    I Made Saryana, S.Sn., M.Sn.

    Class – ISI Dps
    Lunch 12 pm
    Drawing/Painting Studio 1 pm Painting Model using water color Drs. I Nyoman Nirma

    Drs. I Nyoman Wiwana, M.Si

    Studio- ISI Dps/    outdoor area
    Break 3.30 pm
    THURSDAY

    June 23

    Breakfast 8 am Dormitories
    Balinese Traditional Architecture 9 am Asta bumi & Kosala-Kosali (Balinese Traditional Architecture) Drs. A.A. Gede Rai Remawa,M.Sn

    Drs. Cok Gde Rai Padmanaba, M.Erg

    Class – ISI Dps
    Graphic Art 10 am – 12am Wood cut and Print color Drs. Nyoman Mantra Fandy, M.Si. & Drs. Nengah Sudika Negara Class – ISI Dps
    Lunch 12 pm
    Drawing/Painting Studio 1 pm Opaque uses human model. Drs. A.A. Gde Ngurah TY, M.Si

    Drs. I Ketut Mustika

    Studio- ISI Dps/    outdoor area
    Break 3.30 pm
    Assignment 4 pm
    FRIDAY

    June 24

    Breakfast 8 am . Dormitories
    Indonesian Language/ bahasa 9 am Simple Conversation II Ketut Dewi Yulianti, S.S., M.Hum

    Nyoman Dewi Pebryani, ST,MA

    Class – ISI Dps
    Balinese Traditional Architecture 10 am Balinese ornament Drs. Olih Solihat Karso,M.Sn

    Drs. I Wayan Balika Ika, M.Si

    Made Ida Mulyati, S.Sn., M.Erg

    Class – ISI Dps
    Field trip 11am –  5 pm Visit holy spring temple at Tampak Siring Village
    SATURDAY June 25 Free Time .
    SUNDAY

    June 26

    Free Time Go to Klungkung earlier

    Check in at Tower Hotel Klungkung

    Visit Gamelan Foundary and Kertagosa
    1. III. Klungkung Activities
    Week 3 Course Time Course Content Person incharge Location
    MONDAY
    June 27
    Breakfast 8 am Klungkung Hotel
    Studying Painting 9 am Kamasan Painting I Nyoman Mandra (artist)

    Drs. I Made Mertanadi, M.Si

    Kamasan Village
    Studio Painting 1 – 4 pm Kamasan Painting I Nyoman Mandra (artist) Kamasan Village
    Break 4 pm
    TUESDAY

    June 28

    Breakfast 8 am Klungkung Hotel
    Studying Painting 9 am Kamasan Painting I Nyoman Mandra (artist)

    I Made Sumantra, S.SN.,M.Sn

    Kamasan Village
    Lunch 12 pm Kamasan Painting Kamasan Village
    Studio Painting 1 – 4 pm Kamasan Painting I Nyoman Mandra (artist) Kamasan Village
    Assignment work 3 pm Kamasan Painting Kamasan Village
    WEDNESDAY

    June 29

    Breakfast 8 am Check out from Hotel Klungkung Hotel
    Drawing/Painting 9 am Kamasan Painting I Nyoman Mandra (artist)

    I Made Brata, S.Sn., M.Sn

    Kamasan Village
    Lunch 12 pm Kamasan Painting Kamasan Village
    Studio Painting 1 – 3 pm Kamasan Painting I Nyoman Mandra (artist) Kamasan Village
    Assignment work 3 pm Kamasan Painting Kamasan Village
    THURSDAY

    June 30

    Breakfast 8 am Dormitories
    Folio day 9 am Prepare Exhibition
    Lunch 12 pm
    FRIDAY

    July 1

    Breakfast 8 am Dormitories
    Folio Day 9 am Prepare Exhibition
    Folio Submission 4 pm
    SATURDAY July 2 Preparation time 10 am Setting the exhibition place
    5 pm Exhibition Open
    8 pm Dinner + farewell party
    SUNDAY

    July 3

    RETURN OF FOLIOS 10 am Taman Rosani Hotel
    Monday

    July 4

    RETURN TO PERTH
  • COLOR MEANING IN KAMASAN PAINTING

    (presented during Truly Bagus Project on 16th – 20th of August 2010 in seminar on 18th of August 2010 in The University of Western Australia (UWA) Australia)

    BY

    PUTU AGUS BRATAYADNYA

    FACULTY OF FINE ARTS AND DESAIN

    INDONESIAN INSTITUTE OF THE ART

    OF DENPASAR

    2010

    ABSTRACT

    Calour meaning of God Figures in Kamasan Painting

    .

    Semantics, the study of meaning, stand at the very centre of linguistic quest to understand the natural of language and human abilities. Why? Because expressing meanings is what languages are all about.  Semantics concern is to shed light on the relationship between language and culture or more accurately, between languages and cultures, which are socialized into the values, belief systems, and practices of their culture. For example, red has many meaning, if we are talking about red at traffic lamp, it have meaning “stop”, but if talking about red in Indonesia national flag, it has meaning “courage” and etc.

    In Balinese painting especially in Classic painting such as Kamasan painting, this kind of painting was established since long time ago, in 17 century and a lot of themes is talking about God stories. Colour in that issue uses as symbol of God figures, which his function and philosophy that the painter want explain.

    Key words: Semantic, Kamasan painting, God figures

    1.         Background and problem

    1.1 Background

    If we are talking about meaning and it is automatically related  to sematic. Semantics, the study of meaning, stand at the very centre of linguistic quest to understand the natural of language and human abilities. Why? Because expressing meanings is what languages are all about.

    It is same in Bali. Bali is one of most place that has their identity for their local colours. There is many understanding for Balinese colours like concepts of  Tri Datu (3 colour concepts) until Nawa Sanga (9 colour concepts) and those become a phenomenon because that colours concepts will have consideration of meaning and message in Bali, especially in “art” because from art the artist explain and transfer their knowlwdge with message in their work.

    1.2  Scope of problem

    Colour meaning of God figures in Kamasan Painting

    1.3 Method:

    Library Research

    1.4 Scope of Study

    This study is focused in Colour meaning of God Figures in Kamasan painting in general, included  knowledges of others Balinese concepts that  support this study and also as a glance for workshop about Kamasan Painting  from Indonesian Institute of the Arts of Denpasar/ISI Denpasar

    2.         DISCUSSION

    Understanding of Colour Meaning of God Figures in Kamasan Painting paper is started to give the clean understanding of: 2.1. Kamasan Painting Style., 2.2. God Figures Concept., 2.3. Balinese Colour., 2.4. And the last is about Balinese Colour Concept

    2.1. Kamasan Painting Style.

    Classic Balinese art painting is fomous with name Kamasan Style is a painting style that established in Balinese Hindu period, after Balinese art prehistory period and before Balinese Hindu period. (Sulastianto, 2010: 5). Nowsday there is three (3) concept of puppet painting style: 2.1.1. Classic Balinese art painting and in other words it is called Kamasan Painting style., 2.1.2. Kamasan style of modern puppet art painting., 2.1.3. Contemporary puppet art painting.

    2. DISCUSSION

    Understanding of Colour Meaning of God Figures in Kamasan Painting paper is started to give the clean understanding of: 2.1. Kamasan Painting Style., 2.2. God Figures Concept., 2.3. Balinese Colour., 2.4. And the last is about Balinese Colour Concept

    2.1. Kamasan Painting Style.

    Classic Balinese art painting is fomous with name Kamasan Style is a painting style that established in Balinese Hindu period, after Balinese art prehistory period and before Balinese Hindu period. (Sulastianto, 2010: 5). Nowsday there is three (3) concept of puppet painting style: 2.1.1. Classic Balinese art painting and in other words it is called Kamasan Painting style., 2.1.2. Kamasan style of modern puppet art painting., 2.1.3. Contemporary puppet art painting.

    2.2  God Figures.

    In  Hindu Religion, God is one, in Balinese Hindu he is called with name, “Ida Sang Hyang Widhi Wasa” and he has a lot (totally 33, according Hindu holy book, Veda) of manifestations related of his functions but here it focused in Gods who has colour has  their identity or symbol that is Tri Kono/Tri Murthi, Panca Warna and Nawa Sanga.

    2.3 Balinese Colours

    Balinese colours are the colour, which is from traditional material that usually used in Bali and without international style colour. They are:

    —  Ancur is from oil of fish and its colour is white. Ancur can bought in Chinese iron shop and it used for glue.

    —  White is from animal horns and bone , which are fired, and  mixed with ancur (glue), then crushed on plate until soft and then mixed again with enough water.

    —   Yellow  Gold is from from atal (chalk/lime stone) mixed with ancur (glue)

    —  Dark red is from kencu (lipstick imported from China) mixed with ancur (glue)

    —  Blue is from taum leaf mixed with ancur.

    —  Brown is from brown pere stone mixed with ancur.

    —  Black is from jelaga (charcoal) and ancur (glue)

    —  Grey/mangsi banyu is from jelaga (charcoal) with ancur (glue) and mixed with enough water.

    —  Dark green is from the mixing atal /yellow colour ( from yellow chalk/lime stone) with mangsi banyu/grey.

    —  Light green is from the mixing of blue with yellow gold.

    —  Pink/Dadu is from dark red mixed with white and ancur (glue)

    —  Light yellow is from Yellow gold mixed with white and ancur (glue)

    2.4  There is many Balinese Colour Concepts, started with,. 2.4.1 Tri Kono ( 3 colours),. 2.4.2  Panca Warna Which is consists of five (5) colours,. 2.4.3  And the last is Nawa Sanga Colour Concepts. that consist of  9 colours concepts.

    The first we are going to discuss about tri kono and this concept made from three (3) main colour from getih (blood), areng (charcoal) and pamor (chalk/lime stone). This colour concepts was already consideration for Balinese as their medium for their ceremony, for example kober and pengider-ider. This colour concept, if it related to concept of God figures is popular with name Tri Murthi, which has concept with red for Brahma, Black for Visnu and White for Shiva.

    Colour RED BLACK WHITE
    Balinese name Bang/barak Ireng Petak
    From Blood Charcoal Chalk/Lime Stone
    Symbols Birth Life Death
    God Brahma Visnu Shiva

    The second, concept of panca warna consists of five (5) colours, that is black, white, red, yellow and all colour. This concept just taking the main direction of Balinese philosophy, north, east, south, west and center. The using of this colouring concept can we see also when offering ceremony that uses five chicken, which  has the same colour with the direction colouring concept. (i.e red chicken is take in the south position).

    Colour BLACK WHITE RED YELLOW ALL COLOUR
    Balinese name Ireng Petak Bang/barak Jenar brumbun
    From Charcoal Chalk/Lime Stone Kencu mixed with ancur Atal mixed with ancur Mixid of all traditional balinese colour
    Direction North East South East Center
    God Visnu Shiva Brahma Mahadeva Shiva

    The third colour concept is nawa sanga. This is the biggest colour concepts for Hindu in Bali. This concept is used all eight (8) directions include the center directions, so total there is nine (9) colours concepts for nawa sanga.

    Colour BLACK GREY WHITE PINK RED ORANGE YELLOW GREEN All Colours
    Balinese name Ireng/bulu, sikep/selem Pelung/Klawu Petak Dadu Barak/bang Kudrang Kuning Gadang/Wilis Brumbun
    Direction North North East East South East South South  West West North West Center
    God Visnu Sambu Isvara Maheswara Brahma Rudra Mahadewa Sangkara Shiva
    Temple’s name Batur Temple Besakih Temple Lempuyang Temple Goa Lawah Temple Andakasa Temple Uluwatu Temple Batukaru Temple Pulaki Temple Pusering Jagat Temple

    Besides this, we will know the message from the painting from seeing of God colour figures. We know that the figures in kamasan painting  must follow pattern from certain condification as regard, form, size, position, colour, character, body, face and attribute and this condification will clarify the figures character, for example in God figures. In outline, there is two characters, good group (Dharma) and bad group (Adharma) as related of Hindu philosophy, ruabineda, it means two things in our life. The God figures  is always beeing good group and they againt with bad group such as Giant figures. In Kamasan painting, the Gods figures usually imaged gorgeous but their pose is static and it is much different with scene of war or hunting, which is full of movement. The using of  attribute and colour in figures has a tight symbolic relationship based on the Nawa Sanga knowledge (Sulastianto:13). From those Gods figures concepts, the Kamasan Painters painted the story of Gods and this kind of story is very fomous.  One of the reason is, this painting  style already established in 17th Christh. In that period art painting has tight connection with kingdom, it means all creativities process was for the suprime King and holy man who be counsellor of the King. The holy man would give spiritual, religious and myth loands knowledge for the painters (Rinu, 2009:2) and from the knowledge, the kamasan painters used their work in painting to transfer what they got from the holy man. It means, painting as a media to explain the message. A lot of Kamasan painters success with their works in that time and the King would give the honour title for painters, “Sangging” (maestro) such as, I Gede Mersadi with his title Sangging Modara.

    3. CONCLUSION

    After analyzing the data some conclusions can be formulated and presented as follows,

    —  Every Balinese is an artist (Covarrubias, 1976:160 cited in Sulastianto:tt) said like that. It is seen from the connection between art and all aspect in Bali, for example, painting for nawa sanga is used in temple as kober and pengider-ider etc, that every temples in Bali have.

    —  Balinese colours have tight relationship with Gods figures, started with tri kono concept until nawa sanga because relavancy with philosophy and Hindu religion that underlain appeared of those colours.

    —  The Using of Colour meaning of God Figures in Kamasan painting is used as a message from Painters to transfer the knowledge that they got from the holy man and this process is still established in present day because the Kamasan painting still save about Kamasan Painting style and concept until now.

    3.         BILBIOGRAPHY

    —  Beratha, N.L.S., 2003, Peran Semantik Dalam Penerjemahan, Pidato

    Pengenalan Jabatan Guru besar Tetap Dalam Bidang Ilmu Bahasa Inggris Pada Fakultas Sastra Universitas Udayana. Denpasar: Udayana University

    —  Goddard, C., 1997.,  Semantic Analysis a Practical Introduction. Australia:

    The University of New           England  Armidale.

    —  Remawa., A.G.R. & et al. 2009. Intensitas Visual Warna Bali. Seminar

    Akademik FSRD ISI Denpasar. Denpasar    21 Desember 2009.

    —  Remawa., A.G.R. & et al. 2009. Pengembangan Warna Bali Dengan Teknik

    Modern Sebagai          Upaya Untuk  Meningkatkan Nilai Jual Produk Lokal. Denpasar: FSRD ISI             Denpasar.

    —   Sulastianto, H. tt. Seni Lukis Bali Klasik Cerlang Budaya Seni Lukis

    Nusantara.  (serial online), [cited 11st of August 2010]. Available from:             http://file.upi.edu/Direktori/

    —  Rinu, N. M., 2009. Seni Lukis Bali Klasik, Keunggulan Dan Pencitraan Seni

    Lukis Bali Masa Depan. Seminar Akademik FSRD ISI Denpasar. Denpasar 21 Desember 2009.

    .

    CURRICULUM VITAE

    I. PERSONAL DATA

    Name                           : Putu Agus Bratayadnya, S.S., M.Hum.

    Place &Date of Birth  : Gianyar, August 29th 1982

    Sex                              : Male

    Religion                       : Hindu

    Marital Status              : Single

    Address                       : Hanoman street, no 51 Ubud-Bali

    Email                           : [email protected]

    Web                             : http://blog.isi-dps.id/bratayadnya

    Mobile Phone              : 081933048191/0361 975598

    II. EDUCATIONAL BACKGROUND

    1. TK. Darmapatni Denpasar 1989
    2. SDN 5 Ubud, 1995
    3. SMPN 1 Ubud , 1998
    4. SMUN 1 Gianyar , 2001
    5. Faculty of Letters, Udayana University, 2006
    6. Post Graduate School, Translation Studies, Udayana University, 2008

    III.  WORK EXPERIENCE

    1.   English Lecturer  in ISI Denpasar,  2008 up to present

  • PAPER

    INTERPRET BETWEEN TWO OR MORE TYPES OF INTERESTING IN CONSECUTIVE INTERPRETING AND USE COURT AND MEDICINE INTERPRETING AS THE STUDY CASE

    by

    PUTU AGUS BRATAYADNYA

    (0690161032)

    TRANSLATION STUDIES IN APPLIED LINGUISTICS

    SCHOOL OF POST GRADUATE STUDIES

    UDAYANA UNIVERSITY

    2008

    CHAPTER I

    INTRODUCTION

    1. Phenomenon

    Nowadays the use of interpreting is very important in globalization era because

    people need interpreter when they want communicate with other people who talking different language with them in that time. There are many types of interpreting such as: Conference interpreting, Legal/court interpreting, Escort interpreting, Public Service interpreting, Medical interpreting and Sign language interpreting. The uses of interpreting in two or more types of interpreting make phenomenon because it needs understanding between these types of interpreting have their own term. For example if we discuss between court interpreting with medical interpreting as an analysis model, of course both of types of interpreting have different lexical choice and term.

    1.2.  Understanding of interpreting

    Interpreting is to presuppose knowledge of what the speaker clearly means in order to explain the speaker meaning, Continue reading »

  • Translated by agus brata

    THE SUMMARY:    Aesthetics Fine Art Research of Pita Maha Style

    by

    I Dewa Made Pastika

    Indonesian Institute of the Arts (ISI) Denpasar

    2009

    Aesthetics Fine Art Research of Pita Maha Style

    Fine art of Pita Maha style is one of fine art style, which arises and develops in Ubud village since established one of painters group named Pita Maha then spread to other place in Bali. It was a collaboration of fine art that basically in classic traditional and had influenced by western fine art, which have been motif and unique style and it is still continuing with their generation until now famously called Ubud fine art style.

    Balinese fine arts is developing because of positive and negative influence from domestic and international so it would many renewal in idea, concept and its making technique. The renewal of idea is from Balinese puppet story been changing to activities such as ceremony in temple, dance performance, activities in rice field etc and technique renewal is in anatomy proportion, perspective, glittery shadow and  colour.  Fine art of Pita Maha style right now is still collecting by Puri Lukisan Ratna Warta Museum in Ubud and up to present has collecting of 227 paintings and 105 sculptures. Continue reading »

  • PAPER

    The Types and Different Crying Meaning Between West Culture and East Culture (In This Case West Culture is Representatived by England and East Culture is Respentatived by Japan).

    By

    Putu Agus Bratayadnya

    Chapter I

    Introduction

    1.1 Background

    The cognitive scenario (Which is readily translatable into any other language) is presented in the meaning of this English word as typical rather than necessary, for one can say in English for example, “I feel sad-I Don’t why” (cf. Johnson-Laired and Oatley 1989). What this shows is that by describing my feeling as “sadness” I would be saying, in effect, That I feel like a person who actually thinks some such thoughts. One of the cognitive scenarios “single out” by the English lexicon and encoded in the word sad.

    Some aspects Japanese Culture ethos Embedded in nonverbal communicative behaviour should be always kept in mind that translation is not simply a matter of language, but also of cross cultural transfer. Today, many works in one language are translated into other languages. A translator must be versed in the cultural traits such as attitudes, values, beliefs, and social rules that are shared by a group of people in the cultures of both source and target languages. This because, without information on these cultural traits, the reader will find it extremely difficult to obtain a complete picture that a given novel in a foreign language intends to present.

    This also applies to the translation of nonverbal behaviour, because nonverbal communication pattern are to a large extent, culturally determined. Although the actions of crying or smiling, for example, are universally performed, in what situation, in what manner, for what proposes, and with what meanings people cry or smile determined by their culture.

    This paper will consider the nonverbal behaviour typical of Japanese people and culture. The focus of discussion will be those patterns which often appear incomprehensible or inscrutable from the eyes of non-Japanese, paying special attention to the gestures of eye-movement, crying and smiling. The study of these patterns will clarify the important characteristics of  Japanese people’s psychology and socio-cultural norms/needs/values in society.

    The primary purpose of this paper is to examine if these psychological and socio-cultural aspects associated with Japanese nonverbal behaviour can be translated into some concise and explicable form which would be accurately comprehended by non-Japanese people. This is because simply using English terms for explaining Japanese concepts or norms will lead English readers to interpret Japanese behaviour through the prism of their own culture. Wierzbicka clearly articulates this problem of explaining non-cultural specific concepts in term of English words (e.g. Wierzbicka 1991 a:1991b). Although they are useful as a first approximation, they are English words, and they do not accurately present the Japanese point of view.

    If we want to define concepts or norms of Japanese culture in a way which is truly free of ethnocentrism and is explanatory, we must do so by means of explicit semantic formulas, such as those offered by the “semantic primitives” approach proposed by Wierzbicka (See e.g. 1991a; 1992; 1995; In press) In this approach, a “natural semantic metalanguage(NSM)” is used as a tool. These NSM words are “maximally clear, maximally simple and maximally universal” in the sense of having absolute equivalents in all the languages in the world, and thus are intuitively understandable to people any culture. This metalanguage enables us to explicate cultural concepts attached to Japanese nonverbal behaviour in simple words and grammar which are understandable to anyone in a non-ethno-biased way. Continue reading »

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