Proceedings of the International Conference on Religion and Public Civilization (ICRPC 2018) 2019
DOI: 10.2991/icrpc-18.2019.22
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Religious Conflict Transformation through Collective Memory and the Role of Local Music

Abstract: This study departs from the writer's interest in efforts for conflict transformation in Maluku where religious diversity has been used as an instrument to escalate the conflict between people in Maluku. In efforts for conflict transformation in Maluku, the local music functions as a way of reviving the collective memory of the Maluku people about their cultural identity as orang basudara, an identity that was formed within the cultural institution of the community, such as in the cultural ritual pela-gandong t… Show more

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Cited by 3 publications
(4 citation statements)
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“…Modus Karema, or the oldest tritonic tone system found in Zazanian ni Karema, see Fig 1, consists of three sounds or tones in the diatonic system note: do (1) -re (2) -mi (3) which are not rhythmic [26]. 5) -la ( 6) -si (7) Bomboya mode, zazanin for releasing the body for burial, see In the Bomboya mode, there is an interjection or side note la ( 6) which is not part of the mode. There is also modus Mengaley, zazanin supplication to God.…”
Section: Form and Structure Of The Mahzani Musicmentioning
confidence: 99%
See 1 more Smart Citation
“…Modus Karema, or the oldest tritonic tone system found in Zazanian ni Karema, see Fig 1, consists of three sounds or tones in the diatonic system note: do (1) -re (2) -mi (3) which are not rhythmic [26]. 5) -la ( 6) -si (7) Bomboya mode, zazanin for releasing the body for burial, see In the Bomboya mode, there is an interjection or side note la ( 6) which is not part of the mode. There is also modus Mengaley, zazanin supplication to God.…”
Section: Form and Structure Of The Mahzani Musicmentioning
confidence: 99%
“…In Addition, Soul Louis and Elizabeth Hellmuth Margulis, in their research on Creativity and Tradition, assert that music can function as a time-sensitive lens into the interaction between instrumental and ritual attitudes in the cultural evolution [6]. Apart from preserving traditional music, the meaning and form of traditional music can also shape the cultural identity of a community, collective memory, and building peace [7]. All the research that has been done previously has a research gap with this research, even though there is a similarity, which emphasizes the importance of revitalizing the existence of traditional music in the midst of today's development of society.…”
Section: Introductionmentioning
confidence: 99%
“…Kajian mengenai memori kolektif dan fungsinya dalam membentuk kembali identitas kultural masyarakat juga bukanlah sesuatu yang baru. Dewi Tika Lestari telah meneliti sebelumnya mengenai peranan musik lokal Maluku dalam menghidupkan memori kolektif masyarakat yang bertujuan untuk membangun perdamaian (Lestari, 2019). Penelitian lain tentang memori kolektif telah dilakukan oleh Georgia Foscarini yang mengkonstruksi suatu etnisitas dan identitas kultural berdasarkan ingatan bersama suatu kelompok masyarakat etnik (ethnology) (Foscarini, 2018).…”
Section: Pendahuluanunclassified
“…The Pela Gandong local wisdom lied not only in the message of the acronym itself, but rather in a culture of harmony based on kinship ties, namely social relations between people from two or more villages because they feel that they are related, although they have different religions and ethnicities, and live in different islands and between villages (Ralahalu , 2012 Lestari, 2018) which shows the behavior of brothers who help, trust and respect each other. This tolerant attitude is described through the behavior of protecting, helping and making peace with each other and in addition to building networks and work strategies.…”
Section: Introductionmentioning
confidence: 99%