Husni Mubarat
Program Studi Desain Komunikasi Visual, Fakultas Ilmu Pemerintahan dan Budaya, Universitas Indo Global Mandiri

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Representation of Muara Takus Temple in the Stage Design of the 31st Srivijaya Festival 2023 Didiek Prasetya; Mukhsin Patriansah; Husni Mubarat; Iqbal Maulana Yazid; M. Ridwan
Sanggitarupa Vol. 6 No. 1 (2026): Sanggitarupa
Publisher : Institut Seni Indonesia Surakarta

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Abstract

The 31st Srivijaya Festival 2023 was a cultural arts event that highlighted historical values and regional cultural identity. The festival involved participants from 17 regencies and municipalities across South Sumatra. One of the key elements in the event was the stage design, which adapted the visual form of Muaro Takus Temple. The selection of Muaro Takus Temple was based on its historical significance related to the glory of the Srivijaya Kingdom and its distinctive architectural features, particularly its stupa form and red-brick construction. This study aims to examine and analyze the process of cultural transformation and representation from the temple’s architectural form into the stage design. The research employed a descriptive qualitative method with an interpretative approach. Data were collected through observation, interviews, and documentation as primary sources, while literature studies from internet sources, social media, scientific articles, and relevant books served as secondary data. The validity of the data was established through data triangulation, which included documentation of the architectural form of Muaro Takus Temple, verification of relevant literature, and interpretative analysis using Stuart Hall's representation theory. The data were analyzed through data reduction, data presentation, and conclusion drawing. The findings reveal that the representation of Muaro Takus Temple was manifested through the application of visual elements, including form, line, color, texture, and space, which were derived from the temple’s architectural characteristics such as its tiered structure, red-brick material, and stupa shape. These elements were transformed into the main stage property, functioning not only as a performance backdrop but also as a symbol of the grandeur of Srivijaya as a maritime kingdom and a center for the dissemination of Buddhism in the Indonesian archipelago. Therefore, the stage design of the 31st Srivijaya Festival 2023 serves as a visual, aesthetic, and communicative representation of the cultural and historical values embodied in Muaro Takus Temple
Makna Simbolik dan Fungsi Sosial Kain Jumputan Palembang dalam Perspektif Geertz dan Malinowski Heri Iswandi; Husni Mubarat
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 18 No. 1 (2026)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v18i1.8432

Abstract

Kain jumputan Palembang merupakan warisan budaya tekstil tradisional masyarakat Palembang yang telah berkembang sejak masa Kesultanan Palembang Darussalam (abad ke-17 hingga ke-19). Sebagai artefak budaya, kain jumputan tidak hanya berfungsi sebagai produk kerajinan, melainkan mengandung lapisan makna simbolis yang mencerminkan sistem nilai, identitas sosial, dan pandangan hidup masyarakat Palembang. Penelitian ini bertujuan untuk mengkaji makna simbolik yang terkandung dalam motif, warna, dan penggunaan kain jumputan Palembang, serta menganalisis fungsi sosialnya dalam kehidupan masyarakat melalui kerangka teori Clifford Geertz dan Malinowski. Metode yang digunakan adalah pendekatan deskriptif-interpretatif melalui kajian literatur dan analisis teks budaya dengan metode thick description (deskripsi mendalam) sebagaimana dikembangkan oleh Geertz. Hasil kajian menunjukkan bahwa motif-motif dalam kain jumputan seperti bintang/ceplok, bunga, tritik, dan geometris mengandung makna kosmologis, spiritual, dan sosial yang mendalam. Warna-warna yang digunakan (merah, kuning keemasan, hitam, biru, hijau, dan ungu) terikat erat dengan stratifikasi sosial dan fungsi ritual. Dalam perspektif Geertz, kain jumputan berfungsi sebagai sistem simbol sekaligus teks budaya yang mengoperasikan dua fungsi: model of reality (mencerminkan realitas sosial) dan model for reality (membentuk perilaku dan identitas). Dalam perspektif Malinowski, kain jumputan memenuhi tiga tingkatan kebutuhan manusia: kebutuhan biologis dasar (proteksi), kebutuhan instrumental (transmisi nilai budaya dan sistem ekonomi), dan kebutuhan integratif (kohesi sosial dan identitas kolektif). Integrasi kedua perspektif ini mengungkap bahwa kain jumputan bukan sekadar artefak estetis, melainkan institusi budaya yang hidup dan dinamis yang mencerminkan konstruksi sosial budaya masyarakat Palembang secara komprehensif.