Calvin and Tradition

The Indigenous Village of Sukawana is a traditional settlement of the Bali Aga tribe that still exists today. Bali Aga is a native of Bali who have been there before the time of Majapahit in Bali. In general, the Bali Aga people live in the highlands of the island of Bali, in the mountainous area. Bali Aga has typical characteristics of traditional settlements and some unique traditions, such as ngaben cremation. Bali Aga and other Bali communities have not significant difference. As the modern development, there should be efforts to preserve traditional settlements so that that no loss of characteristic of the traditional village. In Sukawana, nearly 80% of the traditional houses have been turned into modern buildings. The building types, structures, and materials has started the current modernization. The purpose of this final project is the preservation of traditional settlements of Bali Aga that have existed since the time of Majapahit. The method used in this final project is a qualitative descriptive approach with primary and secondary data collection. Data analysis included analysis of the values of Indigenous Bali Aga religion, social, cultural, residential patterns, settlement patterns characteristics of traditional home, and changes of traditional settlement. The results show that the concept of preservation of the Indigenous Village of Sukawana uses physical and non-physical preservation. The concept of physical preservation includes the concept of preservation, conservation, and rehabilitation by maintaining traditional buildings that are still there and maintaining the function of the traditional houses, a way of keeping traditional houses as well as restoring the aesthetic value of traditional settlement that has begun to decline. The non-physical preservation concerns the economic aspects to see the potential of the Village, which includes Tourism, Plantation, and Livestock, cultural aspects and customs that had been there, as well as the legal aspects of maintaining awig-awig and strengthen the existing customary rules. Directives of preservation uses conservation directives. Somewhere, maintenance activities is undertaken to maintain the cultural value to facilitate the original activities. Preservation also performs as a preservation of the built environment in order to remain in its original condition and to prevent damage. The non-physical concerns the economic aspects, with tax incentives, levies, and providing subsidies. The social aspect is to prepare human resources, awards, their education about the importance of preservation of settlements and to foster social and cultural life, as well as customs of Sukawana. The legal aspects deals with legal protection, the establishment of a special permits enforcement of the building, the zoning, home ownership, and improvement of the awig-awig of Sukawana.

Hollandse Renaissance als bron van de Nieuwe Kunst

This thesis is a presentation and discussion of relevant themes surrounding the iconography of coffins from the 25th and 26th Dynasties. These themes include key art design concepts familiar within the canon of ancient Egyptian art — tradition, innovation and archaism. The data set consists of 224 coffins, from Egypt, Europe, North America and the UK, predominantly of Theban origin, which are examined in depth in appendix 1. Chapter One introduces the aims and limitations of the thesis. It explores tradition, innovation and archaism, and how these concepts are embedded within the Egyptian sense of self. Chapter Two focuses on dating criteria. One objective of this thesis was to create a way of formulating relative chronology for coffins. The focus for relative chronology is on two prominent families. These families share a strong genealogical connection to earlier kings or God’s Wives of Amun, thus establishing historical anchors, allowing for an attempt at the dating of coffins without any archaeological context or further familial information. Another key objective also seeks to assess the efficacy of sequential dating through stylistic criteria. This is done through a model created to demonstrate a phasing system of iconography throughout family generations. Chapter Three presents a new typology that separates inner, middle and outer coffins through distinct structural and iconographic features. The analysis of gods and their iconography depicted upon 25th and 26th Dynasty coffins is examined, in order to ascertain patterns of design. Earlier preceding coffin types are presented, as model for the continuation of certain iconographic schemes. Stone coffins are offered as comparandum to ascertain the uniqueness of Theban wooden coffin decoration. Chapter Four explores northern material, used to demonstrate regional variation occurring in both the north and south, and also to highlight certain trends that are used in both. It also explores tradition, innovation and archaism, and how these concepts are then utilized in the analysis of coffin iconography. Each concept is in some way applied to the coffin design scheme. A distinct relationship exists between tomb decoration and coffins design, with similar elements of tradition, innovation and archaism present in tomb and coffin decoration. Coffins of this period act as a substitute when tombs are no longer available. This thesis offers a new perspective on coffin iconography. The genealogical records explored alongside key stylistic criteria facilitate a relative chronology, which can be used for undated coffins. A functional typology is established, and acts as an efficient referencing tool. A combination of tradition, innovation and archaism are present on many of the coffins, which demonstrates their interconnectivity. This connection shows the importance of these concepts in the expression of funerary culture. Coffins also act as a microcosm when placed within sets of two or more coffins. This microcosm highlights the importance of coffins as funerary equipment and how the exploration of the specific iconographic programs can help understand the funerary setting of the early Late Period.

Traditional art has a characteristic, namely the art devoted for religious interests. Thus art, religion, and society become unity. Traditional culture the people of Cirebon much influenced by the culture of Sundanese, Javanese, Hindu, Chinese, and Islam. Cultural influences are then visualized by the symbols guide each culture, which disguise one another as well as forming a whole. One of the culture result is srabad that is the result of creative ideas as a compromise measure from the view of some people was believe about the restriction of drawing living being as a whole. In the development of srabads themes then influenced the development of Cirebons art tradition. This research was the study of the existence srabad which indicated the strength of the relationship of art and spiritual forms. This study was also a means of identified the influence of culture, explorated of the meaning and characteristics srabad. To achieved these objectives, this study used qualitative research, used the descriptive method, by took a sample of srabad. Data was collected through observation, study of literature, interviews and documentation. Data analysis was conducted by collecting and reviewing all existing data. Examination of the validity of the data was done by triangulation. The results showed that, first, the culture of Sundanese, Javanese, Chinese and Islamic art traditions greatly influence Cirebons art; second, srabad is the result of a spiritual conception of society of Cirebon, in its communication to the self, God, and nature; Third, traditional art of Cirebon including srabad, created and held with in the frame work of religious needs, beside as the spectacle is also as the guidance, will shift its meaning if interpret not as a whole. Keywords: Srabad, Fine art tradition, Cirebon

"Scriptural and theological perspectives reveal that women were called to discipleship and mission in the gospels and in the early church as portrayed in the New Testament. While emphasising the essential relationship between the ‘constants’ of church teaching and the immediate historical and cultural settings in their overview of the church in its call to universal mission, Bevans & Schroeder, in Constants in Context, identified the ‘liberating and transformative model’ as one of crucial significance. This early model was eventually re-emphasised through the renewed theology of Vatican II. Despite their authentic roles being subject to misrepresentation or obliteration in canonical and historical writings, women have continued as disciples and agents of mission. The second phase of the thesis outlines the historical antecedents leading to the post-World War II missionary engagement of the Australian Sisters of Mercy in the late colonial stage in what was then the Territory of New Guinea under Australian administration. This soon became the independent nation of Papua New Guinea (1975). A selective portrayal of women as agents of mission shows new ministerial models of women religious originating in post-revolutionary France. The spread of this movement in the nineteenth century is noted in relation to a) the founding traditions of the Sisters of Mercy in Ireland and their expansion and consolidation in Australia and b) the founding of missionary institutes, in particular, the Divine Word missionaries, whose early field of evangelisation was New Guinea. Twentieth century papal initiatives called for religious men and women, whose institutes were not primarily devoted to foreign missions, to be co-workers in mission, particularly in the Pacific. This appeal found a willing response among the Australian Sisters of Mercy who had recently, in response to church directives, reorganised their various congregations into Union and Federation canonical structures. The history of the Sisters of Mercy in Papua New Guinea (1956-2006) proceeds within the foundational context of the first two stages. The Sisters of Mercy, initially working in dioceses administered by the Divine Word Missionaries, eventually extended to other dioceses in the new nation. Research data are used from relevant archives, recorded in-depth interviews with Australian and Papua New Guinean Mercy Sisters and key consultants, as well as my own personal experience as a Sister of Mercy in Papua New Guinea (1964-2003). To reflect the changing contexts of mission, the findings are presented in three time-frames, 1956-69, 1970-81 and 1982-2006. This exploration shows that, following their founding traditions in a liberating and transformative paradigm as modelled in the New Testament and re-defined in Vatican II, the expatriate and indigenous sisters were challenged to new forms of initiative, adaptability, flexibility, mobility and collaboration as they branched out into emerging ministries. As they reached out in mission they were reciprocally enriched within changing social and multi-cultural contexts. As disciples of Jesus, they experienced the cycle of joys and sorrows in their own lives and in the lives of those with whom they stood in solidarity. In conclusion, the founding traditions expressed within a particular liberating and transformative model sustained the Sisters of Mercy as agents in mission in changing Melanesian (and global) contexts. These traditions are revisited in the light of contemporary theology, both of mission and of religious life."

The present study examines the conflict between cultures in Nigeria and western society as represented in Wole Soyinka’s play The Lion and the Jewel. The study shows the relationships between the different cultures. Soyinka is the first African who won the Nobel Prize in 1986 for his accomplishment in the field of literature for his country Nigeria. He likes traditional cultures so; he came out from all difficulties with power to enlighten his people. His upbringing reflected both African and western influences, and the conflict and interaction between these two forces occupies most of his writing. He wrote about the African experience. As the most radical and powerful voice from Nigeria, Soyinka played a significant role in shaping the consciousness of the world. Since 1986, hundreds of Nigerians have proudly studied Nigerian literature. In addition, Departments of Literature in Nigerian universities are being established across the country. Within his writings, he reflects the colonial and postcolonial suffering in Nigerian society. Soyinka depicts the post-colonial Africa, where modernity and tradition are in constant conflict. Thus, he creates characters who challenge themselves in an atmosphere punctuated with the defenders of modernity in one camp and those who are deeply rooted in the traditions and customs on the other side. The focus of this study is to demonstrate how Soyinka uses characters, themes, and plot to investigate the conflict between cultures. Also, the study concludes that Soyinka manages to reflect to the world that the dominated culture is the traditional one besides reflecting the view of the world, beliefs, and condition of cultures. The play, The Lion and the Jewel is set in the village of Ilunjuinle in Yoruba West Africa. Oxford University Press published the play in 1963. Key words: Culture, tradition, western, gap, old, new, domination, modernity, bride price, marriage.

This paper focuses on the new developments of traditional Buddhism itself. Since its arrival in China, Buddhism has undergone continual reform and redefinition and has survived amongst popular religions in the form of various traditions in different ways. The understanding of such Buddhism depended on the tradition that appealed to the majority people in each community in each time. In recent Chinese Buddhist history, monastic Buddhism-the practice of meditation and chanting sutras-seems to become the dominant tradition. However, it was after the civil war in mainland China in 1949 that the Buddhist movement in Taiwan started a new epoch, and this brought a new understanding of Buddhism attracting many supporters. In order to recruit new members effectively and win over the Taiwanese public, this new movement has applied and utilized different administrative and organizational theories, and mass media strategies. Its teaching has focused on the practice of ”Giving”, the first Perfection of the Six Perfections, and identified with it the practice of the bodhisattva path. It is very close to Japanese new religious movement. Similar patterns emerge such as the organizational structure, the appropriation of Buddhist doctrine, the membership categories, the importance of self-cultivation and responsibility, and the teachings on family and filial piety. These themes in Japanese new religious movements which are the main element to distinguish the Buddhism movement in Taiwan from traditional Chinese Buddhism.

This article presents the Lithuanian military aviation traditions in 1991–2012 and methodological aspects of their fixation. Social relations, political developments, economic conditions, historical and cultural environments, which affect the formation of a distinctive cultural space, are analyzed. In the article is discussed the principle of their creation “inventing” traditions, when from the existing cultural facts aviation culture is constructed, using cultural forms, invented, lent, got in the way of experiments and variations in the environment of aviators. Base of aircraft tradition is pilots’ “christening” and symbolism, confirming the essential wish for this subculture – desire to fly, which not only separates flying from flightless and make conditions for the continuity of these traditions and innovations, changing form but not essence.KEY WORDS: military aviation, pilots, traditions, innovations, continuity.

بوزرجمهر از جمله شخصیتهایی است که در شاهنامه از جایگاه ممتاز و نیکویی برخوردار است. او حکیم خردمند و فرزانه ای است که سخنان منقولش در شاهنامه در راستای اخلاق، خرد، هدایت، رشد، راستی و نیکوییهاست. همچنین آیین اسلام آیینی است که همة دستورها و قوانین اصیل و حقیقی آن در راستای کمال انسانی و هم سو با دلالتهای خرد و عقلانیت است. با بررسی سخنان بوزرجمهر در شاهنامه و مقایسة آنها با آیات قرآن و احادیث امامان معصوم ـ ع ـ که دو سرچشمة اصیل آیین اسلام به شمار می آیند، مشخص می شود میان بسیاری از سخنان بوزرجمهر و آیات و احادیث، شباهتها و هم سوییهای نزدیکی وجود دارد. بر این اساس دو سؤال اساسی در این مقاله مطرح است: الف ) چه نوع تقسیم-بندیهایی از شباهتهای سخنان بوزرجمهر در شاهنامه و قرآن و احادیث می توان ارائه داد؟ ب ) علل این شباهتها چیست؟ روش تحقیق در این مقاله روش علی ـ مقایسه ای است. با این توضیح که نخست با مقایسة سخنان بوزرجمهر با آیات و احادیث به توصیف و طبقه-بندی انواع شباهتها و مشترکات گوناگون آن پرداخته می شود، سپس با در نظر گرفتن دلایل عقلی و نقلی علل این شباهتها بررسی و ریشه یابی می گردد. کلیدواژه ها: شاهنامه، بوزرجمهر، قرآن، نهج البلاغه، حدیث، مقایسه.

Conventionally, the first Muslim-Buddhist encounters are thought to have taken place in the context of the Arab-Muslim expansions into eastern Iran in the mid-seventh century, the conquest of Sind in 711 and the rise of the Islamic empire. However, several theories promoted in academic and popular circles claim that Buddhists or other Indians were present in western Arabia at the eve of Islam and thus shaped the religious environment in which Muhammad’s movement emerged. This article offers a critical survey of the most prominent arguments adduced to support this view and discusses the underlying attitudes to the Islamic tradition, understood as a body of ideas and practices, and Islamic Tradition, understood as a body of texts. Such theories appear to be radical challenges of the Islamic tradition insofar as they seek to reinscribe the presence of religious communities in conventional narratives of Islamic origins that do not acknowledge them. On the other hand, they often operate with an unreconstructed reliance upon the sources of the Islamic Tradition. The assessment focuses ondescriptions of the Ka’ba and objects associated with it as well as on a story about an Indian physician who diagnosed an illness of Muhammad’s wife Aisha. While Indian or Buddhist connections with western Arabia and early Islam do not appear to be entirely impossible, the evidence does not amount to a persuasive case for the early seventh century.

「紅龜粿」為閩南文化圈特殊的慶典食品，與喜慶活動有具體的聯繫關係，藉著印有龜紋的紅色糕餅粿向人／神祝壽，元宵節乞龜還願，添丁得子亦作紅龜粿酬神感恩，並分享鄰里作為分福，這都是早期臺灣的民間文化中所具備的文化圖景。然而時代變遷，販售紅龜粿的店家越趨邊緣化，而新一代面對到即將消匿的傳統則又轉譯為現代詮釋，借用龜粿線條創作產品。本文則希望從傳統藝術的溯及，討論紅龜粿製作、原相、以及圖像使用的寓意，面對文化創意則了解不同商品與教學的承變關係。以「意念傳承：紅龜粿圖像及文化脈絡」、「教學展演：傳統衍襲的鄉土課程」、「創意糕餅：臺灣文化象徵體系的呈現」三部份為主論，以筆者田野記錄及相關活動文獻為依據，求其「傳承與創變是背離又交集的共構關係，以致筆者認為『傳藝／創意』是現當代必然之勢，需保其原始意涵及儀式規模，在進行物象上的革新與創發，附之經濟效益，讓原本循環在廟堂內的祭物可轉為人與人之間的禮物關係，走出窠臼，亦不摧毀過往文化的深厚底蘊」之結論。

On Museum, Fondue and Polar Expeditions: Struggling with Swiss Cultural Heritage In Switzerland where the UNESCO convention was adopted in 2008, the term “intangible heritage” was replaced by the term “living tradition.” The list of Swiss “living traditions” counted 167 items. Among the selected traditions were not only the national cheese dish, i.e. fondue, but also famous motorbike fan gatherings in the town of Hauenstein near Solothurn, and many more. This list of traditional items was designed during a science project called “Intangible Cultural Heritage: the Midas Touch?”. In response, in 2013, the Ethnography Museum in Neuchatel took for the subject of its exhibition entitled “Hors-Champs” everything that usually stays beyond such classifications, and also the need of doing such a classification itself. The idea that underlies this exhibition is that defining heritage is a process that in fact freezes it, and freezes the living culture. This paper gives a look on Swiss thoughts on heritage, a look that is based on the Neuchatel exhibition and on the interview with its authors that was conducted during the museological research in 2013.

The article analyzes the features of ethnographic recreational activity on the example of the Carpathian tourist macro-region (covering the territory of Zakarpattia, Ivano-Frankivsk, Lviv and Chernivtsi regions). The problems of professional training and the place of ethnographic tourism in modern scientific research are highlighted. The problem of definition of "ethnographic tourism", which is connected with the absence of the mentioned type of tourism in the current legislation, and its relation with the category "ethnic" tourism, is revealed. The basic components of ethnographic tourism are defined (traditional form of management, customs, traditions, rituals, holidays, crafts, cuisine, traditional housing, clothing, dance, music, folk art, museums, architecture and life in the open air (Skansen), fairs, festivals celebration of national holidays, festivities etc.) and main ethnographic recreational activity are distinguished (event-visit activities, ethnographic, naturalistic, historic and open-air museums (Skansen), settlement communities which keep the traditional way of life or its separate elements). The basic tourist resources are examined and based on them the ethnographic attractions of Carpathian tourism macro regions are created, which are characterized by the highest degree of ethnographic tourism and can serve as a model for other regions of Ukraine. The ethnographic recreational activity of the region is systematized in accordance with the above-mentioned directions of activity. The main premises of transforming ethnographic tourism into the leading industry through the legislative regulation at the state level, intensive use of available resources and qualified industry personnel are outlined.

This research is an ethnographic study of the Bengal Vaishnava Sahajiya tradition, which is the tantric influenced tradition blended together with Bengali devotion. Esoteric ritual is the Vaishnava Sahajiya key religious practice which leads the practitioners to liberation as well as marginalisation. Through participant observation, I draw on the unconventional lives and renunciant experiences of Vaishnava Sahajiya female renouncers to highlight the diversity in the lives of third-world women and the variety of female renunciation in South Asia. Brahmanical renunciant themes of celibacy, solitude and social engagement appearing in the Vaishnava religious practices of brahmacharya, madhukari and sadhu seva, will respectively be taken into account in analysing female renouncers’ positions and how they exercise their agency within the Vaishnava context and in the broader context of South Asia. Female agency as seen in the Vaishnava tradition will demonstrate that third-world women, South Asian women in particular, do not adhere to the typical perceptions of them attributed by some Western Feminists, being powerless, subordinated and victims of a patriarchal system. Indeed, women in the context of Vaishnava are under patriarchal control where men either of this worldly (householder) or the other worldly (renouncer) are dominant actors. The women, however, make the most of their lives by utilising womanhood, motherhood and wifehood qualities in a male defined renunciant sphere. The extent to which Vaishnava female practitioners become autonomous actors and gain the most benefit from their marginalised situation is to conform to what has been prescribed to them; that is, being good Bengali women whose lives are valued by being dependent to either a male partner, gurus, disciples, or lay the community.

First Nations constitutionalism unfolds within a chthonic legal tradition which is incommensurable with most of the positivist theoretical and conceptual models deployed to investigate Westphalian constitutional systems. The irreducibility of analysis of chthonic constitutional traditions with such models of constitutionalism calls, on the one hand, for rethinking positivistic approaches to legal reasoning and rationalisation and, on the other hand, for identifying new conceptual grids in charting the normative and legal landscape of Indigenous constitutionalism. With specific reference to Australian First Nations constitutionalism, the purpose of this paper is to suggest the adoption of a conceptual apparatus for its investigation which reflects 'emic' understandings of what Indigenous legal orders are and how they operate. In doing so, the paper subsumes Australian First Nations constitutionalism into Mills’s theoretical elaboration of ‘rooted constitutionalism’ and argues that such a ‘rooted’ kind of constitutionalism needs to be expounded through foundational concepts such as nomos, myths, and legal traditions which are experientially and culturally grounded in the lifeworld that sustain Australian First Nations constitutional traditions. Such a conceptual apparatus draws mainly from the theoretical framework elaborated by legal pluralism and legal theory to deal with the contemporary normative complexities of stateless legal orders. It is a macro-level conceptual apparatus that would be foundational to ‘etic’ understanding and theorisation of First Nations Australian constitutionalism.