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Musi (Basé Musi) is a Malayic variety spoken primarily in parts of South Sumatra, Indonesia.While the name Musi in the broad sense can also refer to the wider Musi dialect network comprising both Upper Musi and Palembang–Lowland clusters, [2] it is locally used as an endonym specific to the variety spoken in the upstream parts of Musi River.
Indonesian literature is a term grouping various genres of South-East Asian literature.. Indonesian literature can refer to literature produced in the Indonesian archipelago.
Hans Bague Jassin (31 July 1917 – 11 March 2000), better known as HB Jassin, was an Indonesian literary critic, documentarian, and professor.Born in Gorontalo to a bibliophilic petroleum company employee, Jassin began reading while still in elementary school, later writing published reviews before finishing high school.
Balai Pustaka ([ˈbalai pusˈtaka]; also spelled Balai Poestaka, both meaning "Bureau of Literature") is the state-owned publisher of Indonesia and publisher of major pieces of Indonesian literature such as Salah Asuhan, Sitti Nurbaya and Layar Terkembang.
The Research Organization for Archaeology, Language, and Literature (Indonesian: Organisasi Riset Arkeologi, Bahasa, dan Sastra, ORARBASTRA) [1] is one of Research Organizations under the umbrella of the National Research and Innovation Agency (Badan Riset dan Inovasi Nasional, BRIN). On 24 January 2022, the formation of the agency is announced ...
Baduy (or sometimes referred to as Kanekes) is one of the Sundanese-Baduy languages spoken predominantly by the Baduy people. [2] It is conventionally considered a dialect of Sundanese, [3] but it is often considered a separate language due to its diverging vocabulary and cultural reasons that differ from the rest of the Sundanese people. [4]
In Western literature, Shastra is sometimes spelled as Sastra, [4] reflecting a misunderstanding of the IAST symbol 'ś', which corresponds to the English 'sh'.
An alapana, sometimes also called ragam, [7] is the exposition of a raga or tone - a slow improvisation with no rhythm, [8] where the raga acts as the basis of embellishment. [9] In performing alapana, performers consider each raga as an object that has beginnings and endings and consists of sequences of thought.