<![CDATA[Barongan is a form of traditional performing art rooted in ritual practices and belief systems, particularly within Javanese and Balinese traditions. Along with social change and cultural mobility, this art form has undergone transformation when practiced within transmigrant communities. This study aims to analyze the recontextualization of Barongan aesthetics in the works of Andre Saputra in Sumber Sari Village, Nibung District, North Musi Rawas Utara Regency, South Sumatra. The research employs a qualitative approach with an art ethnography strategy to examine the relationship between the artist’s creative process, the visual characteristics of the artwork, and the socio-cultural context of the transmigrant community. Data were collected through observation, in-depth interviews, documentation, and literature review, and analyzed using the Miles and Huberman model with a symbolic-aesthetic approach based on Monroe Beardsley’s theory of aesthetics, which includes unity, complexity, and intensity. The findings reveal that Andre Saputra’s Barongan works represent a process of cultural adaptation that integrates Javanese Barongan visual traditions with the local socio-cultural context of transmigrant society. The artworks demonstrate strong aesthetic qualities through coherent visual composition, intricate ornamental details, and intense expressive character. Furthermore, Barongan has undergone a recontextualization of function from a ritual medium into a form of popular performance art that serves both as entertainment and as a cultural commodity within the creative economy. Thus, Barongan in transmigrant settings functions not only as cultural heritage but also as a form of urban art that reflects cultural identity, artistic creativity, and the social dynamics of contemporary society]]>
