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Slamet Haryono
Universitas Negeri Semarang,Indonesia
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Cultural Acculturation in the Architecture of the Kudus Tower Mosque: A Study of Art Semiotics Johan Sutarjo; Eko Haryanto; Rahina Nugrahani; Widodo Widodo; Slamet Haryono
Catharsis Vol. 13 No. 2 (2024): November 2024
Publisher : Universitas Negeri Semarang

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Abstract

This study examines the process of cultural acculturation reflected in the architecture of the Al-Aqsa Menara Kudus Mosque using an art semiotic approach. This mosque is real evidence of the harmony of Hindu, Buddhist, and Islamic cultures in Java during the spread of Islam. Architectural elements such as towers that resemble Hindu-Buddhist temples, lotus flower ornaments, and Islamic calligraphy reflect an inclusive and adaptive blend of cultures. This study uses a descriptive-analytical method based on case studies by combining primary data through direct observation and interviews, as well as secondary data from related literature. Semiotic analysis was carried out to identify the symbolic meaning in the architectural elements of the mosque, with the theoretical approach of Charles Sanders Peirce and Roland Barthes. The results of the study also explain that the Menara Kudus Mosque not only functions as a place of worship, but also as a symbol of cultural identity that emphasizes harmony in diversity. This acculturation process reflects the success of Islam in adapting local traditions without eliminating original cultural values. This study makes an important contribution to understanding cultural integration in architectural art and the preservation of local cultural heritage.
Local Culture–Based Dance Learning with the Integration of Students’ Creativity, Motor Skills, and Social Sensitivity Fitri aji Nury astuti; Malarsih Malarsih; Slamet Haryono; Widodo Widodo
Catharsis Vol. 14 No. 2 (2025): November 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v14i2.18824

Abstract

Indonesia’s cultural wealth encompasses a wide range of ethnic groups and traditions, including traditional dances that uniquely represent the history, values, and daily lives of local communities. However, in the current era of technological advancement and globalization, traditional dance faces significant challenges, particularly a decline in cultural awareness among younger generations, which has resulted in decreasing interest in cultural heritage. The limited number of studies examining local culture–based dance learning models that integrate creativity, motor skills, and social sensitivity has prompted this study to further explore the implementation of local culture–based dance education as a strategy for preserving cultural heritage while simultaneously fostering students’ creativity, motor development, and social competencies. This article employs a qualitative research approach through literature review, observation, interviews, and documentation conducted in several senior high schools in Pemalang Regency. The findings indicate that local culture–based learning not only contributes to the preservation of traditional dance but also enhances students’ appreciation of their cultural identity. Instructional methods such as demonstration, participatory learning, creative exploration, case studies, and collaborative projects were identified as effective pedagogical approaches. Furthermore, strategies including collaboration with local artists, curriculum integration, and the utilization of technology were found to enrich learning outcomes. Local culture–based dance education plays a crucial role in shaping culturally aware, creative young generations with strong social skills. This approach serves as a bridge connecting young people to their cultural roots, ensuring that traditional arts remain vibrant amid modernization while simultaneously strengthening cultural identity.
Adaptation Strategies of Ubrug Theatre on Wayang Nganjor Group Theatre in Pandeglang Regency Banten Pinta Resty Ayunda; Slamet Haryono; Syahrul Syah Sinaga
Catharsis Vol. 14 No. 2 (2025): November 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v14i2.25594

Abstract

This research aims to identify the strategies of Ubrug theatre adaptation in the theatre performance of Wayang Nganjor Group in Pandeglang Regency, Banten Province. It focuses on the Ubrug’s meaning, identity, and elements that are preserved and adapted in the Wayang Nganjor Group theatre, as well as its founder’s perceptions related to the meanings and functions of the adaptation strategies to preserve the traditional values and create new aesthetics in the Wayang Nganjor Group performances. Based on the observation and in-depth interview results with the founders of Wayang Nganjor, it is found that the Wayang Nganjor Group theatre performances are Ubrug improvisational dialogue, structure and narrative of Wayang Golek show as well as the typical rhythm play of Rampak Beduk which are combined creatively by reflecting the cultural interpenetration and creative reconversion from the hybridization of Néstor Garcia Canclini, also shows the space of symbolic negotiation from third space theory by Homi L. Bhabha, where the elements of Ubrug, Wayang Golek, and Rampak Bedug meet and influence each other as well as create new asthetics. The founders of Wayang Nganjor stated that these adaptation strategies are an effort to introduce the art tradition that is more relevant to society’s taste, especially the young generation. It is also an effort to foster awareness towards the local language of Banten and local values in Banten traditional arts. The impact of the research shows that this model of adaptation strategies effectively strengthens the cultural identity, modernizes the traditional performance without losing local identity, and exemplifies the practice model of cultural hybridization that is sustainable and contextual in the preservation of contemporary art.
Co-Authors Eko Haryanto Fitri aji Nury astuti Johan Sutarjo Malarsih Malarsih Pinta Resty Ayunda Rahina Nugrahani Syahrul Syah Sinaga Widodo Widodo