Article Per Year (5 Year)
p-Index From 2021 - 2026
2.517
P-Index
This Author published in this journals
All Journal Gorga : Jurnal Seni Rupa Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education ANDHARUPA Capture : Jurnal Seni Media Rekam Gelar : Jurnal Seni Budaya Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Jurnal Adat dan Budaya Indonesia Srawung: Journal of Social Sciences and Humanities Innovative: Journal Of Social Science Research Bulletin of Social Informatics Theory and Application Global Art Creativity Conference
Soewarlan, Santosa
Unknown Affiliation
Religion Arts Humanities Computer Science & IT Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

Published : 18 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 18 Documents
Search

 1   2 
SEMIOSIS PROCESS IN THE SOUNDS OF GAMELAN AND PESINDEN IN SANDEKALA FILM Pratama, Andri Albertha; Soewarlan, Santosa
Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (551.889 KB) | DOI: 10.33153/capture.v11i1.2664

Abstract

The research investigates the use of the sign (code) used by Amriy Ramadhan as the director when delivering messages through the sounds of ‘gamelan’ and ‘pesinden’ in the Sandekala film. Conflicts emerged when the signs that are used have broad interpretations for the audience. The signs are discribed and analyzed using the ten-sign classification analysis method from the Peirce semiotic trichotomy concept. This study shows the important meaning of the semiosis process of the distribution of other signs which in their presentation are interrelated to lead the audience's interpretation in the sounds of ‘gamelan’ and ‘pesinden’ presented in the Sandekala film. The using signs which the characteristic based are  generally accepted convention such as non-verbal dialect (kinesics) can lead the audience's interpretation that the sound of ‘gamelan’ and ‘pesinden’ in the Sandekala film is a metonym of magical figure who has long hair, white dress based on the semiosis process of signs which are interrelated in the presentation of the narrative structure of the film with repeated indexical relationship patterns.
MENGLOBALISASIKAN BENDAWI KRIYA DI MUSEUM PRABU GEUSAN ULUN DI SUMEDANG, JAWA BARAT Prihatin, Purwo; Sunarmi, Sunarmi; Soewarlan, Santosa
Gorga : Jurnal Seni Rupa Vol. 13 No. 1 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i01.55528

Abstract

This writing explains and traces the culture of Nusantara™s bendawi kriya (crafts) that are stored in the Museum Prabu Geusan Ulun in Sumedang, West Java, which are cultural artifacts as evidence of the skills and abilities possessed by the Sundanese ethnic group in West Java. This Sumedang Museum has various kinds of bendawi kriya relics from the Sumedang Larang Kingdom that are unique and have symbols and meanings in Sundanese culture. The method used in this writing uses qualitative data obtained through several techniques, namely reading literature through library studies of written sources related,  direct observation, interviews with the management of the Pangeran Geusan Ulun Foundation and some of the community, Documentation and reviewing documents related to the Museum Prabu Geusan Ulun, visual photo documentation, collections in the Museum Prabu Geusan Ulun can be concluded that this Sumedang Museum contains various bendawi kriya relics from the Sumedang Larang Kingdom, such as keris, kudi, gamelan, traditional clothes, household appliances, weapons, and chariots that are historical evidence of Sundanese culture in the past that have ethnic cultural traditions of kenusantaran as capital to be globalized according to their times.Keywords: Globalize, Craft,MuseumAbstrakTulisan ini menjelaskan dan menelusuri budaya bendawi kriya Nusantara yang tersimpan di  Museum Prabu Geusan Ulun di Sumedang Jawa Barat  yang merupakan artefak budaya sebagai bukti tentang keahlian, ketrampilan yang dimiliki oleh etnis Sunda di Jawa Barat. Museum Sumedang ini memiliki berbagai macam benda peninggalan bendawi kriya dari Kerajaan Sumedang Larang yang khas dan memiliki simbol, makna dalam kebudayaan Sunda. Metode yang digunakan dalam penulisan ini menggunakan data kualitatif yang diperoleh melalui beberapa teknik yaitu membaca literatur melalui studi pustaka sumber-sumber tertulis, observasi langsung, wawancara dengan pengurus Yayasan Pangeran Geusan Ulun dan sebagian masyarakat, Dokumentasi dan mengkaji dokumen-dokumen yang terkait dengan museum Prabu Geusan Ulun, dokumentasi foto visual, koleksi-koleksi yang ada di museum Prabu Geusan Ulun dapat disimpulkan bahwa  Museum Sumedang ini terdapat berbagai benda peninggalan bendawi kriya dari kerajaan Sumedang Larang, seperti keris, kudi, gamelan, pakaian adat, peralatan rumah tangga, senjata, dan kereta kencana yang merupakan bukti sejarah budaya Sunda masa lalu yang memiliki etnisitas budaya tradisi kenusantaraan sebagai modal untuk diglobalkan sesuai zamannya.Kata Kunci: Menglobalisasikan, Kriya, MuseumAuthors:Purwo Prihatin : Institut Seni Indonesia SurakartaSunarmi : Institut Seni Indonesia SurakartaSantosa Soewarlan : Institut Seni Indonesia SurakartaReferencesAsiarto, Luthfi, Ali Akbar, & Dian Sulistyowati, (2012). Museum Dan Pendidikan, Jakarta: Direktorat Pelestarian Cagar Budaya dan Permuseuman Direktorat Jenderal Kebudayaan Kementerian Pendidikan dan Kebudayaan.Gina, Luthfiatin, & Aam Abdillah, (2022). œSejarah Penyebaran Islam Di Sumedang Melalui Pendekatan Budaya, Jurnal Priangan, Volume 1,  Nomor 01,  Juni, 48-59.Haryono, Joko, Myrza Rahmanita, & Gratia Wirata Laksmi, (2023). œIdentifikasi Komponen Daya Tarik Wisata dan Manajemen Pengelolaan Museum Prabu Geusan Ulun Sebagai Wisata Pusaka di Sumedang, YUME: Journal of Management, Volume 6, Issue 1, 15-27.Hutama, Krishna, (2006). œPencitraan Kriya Sebagai Produk Seni Wisata, Jurnal Dimensi Seni Rupa Dan Desain, Volume 4, Nomor 1, September, 87-95.Juju, Ai Rohaeni, Wanda Listiani, & Khairul Mustaqin, (2018). œDesain Dan Proses Produksi Cinderamata Ikon Pangeran Aria Soeria Atmadja Sumedang, Jurnal Atrat. Vol. 6, No. 2, April, 1001-108.Kurniawan, Aris, (2014). œKajian Historis dan Filosofis Kujang, Jurnal Itenas Rekarupa, No. 1, Vol. 2, JanuariJuni, 29-40.Lucky, Raden (Raja Kerajaan Sumedang Larang). (2023). œMenglobalisasikan Bendawi Kriya Di Museum Prabu Geusan Ulun Di Sumedang, Jawa Barat. Hasil Wawancara Pribadi: 19 Desember 2023. Sumedang.Meisari, Yuliani, Tita Cardiah, & M Togar Mulya Raja, (2021), œRedesain Interior Museum Prabu Geusan Ulun, e- Proceeding of Art & Design, Vol. 8, No.2 April, 667-674.Muhsin, Mumuh Z., (2012). Kujang, Pajajaran, Dan Prabu Siliwangi, Bandung: Masyarakat Sejarawan Indonesia Cabang Jawa Barat.Siti, Nita Mudawamah, (2021). œPengelolaan Koleksi Di Museum Musik Indonesia Sebagai Upaya Pelestarian Warisan Budaya, Fihris: Jurnal Ilmu Perpustakaan dan Informasi,  Vol. 16, No.1, Januari-Juni, 1-20.Soewarlan, Santosa, (2015). Membangun Perspektif Catatan Metodologi Penelitian Seni, Surakarta: ISI Press. Sunarmi, (2023). œTradisi Dalam Kontestasi Global Dengan Kasus Interior Rumah Tradisi Dalam Kontestasi Global Orasi Ilmiah dalam Pidato Pengukuhan Guru Besar Prof. Dr. Dra. Sunarmi, M.Hum, disampaikan dalam Sidang Terbuka Senat Akademik Institut Seni Indonesia Surakarta, tanggal 29 Agustus,  di ISI Surakarta.Sunarmi, (2013). œPeran Riset Dalam Perwujudan Desain, Jurnal Brikolase, Institut Seni Indonesia Surakarta, Volume 5, No. 1, Juli. 14-23.Tubagus, Mochamad Rilo, Neneng Yanti K.L., & Lip Sarip H, (2020). œFungsi Tradisi Ngumbah Pusaka Prabu Geusan Ulun Sumedang Larang, Jurnal Budaya Etnika, Vol. 4 No. 1, Juni, 3-22.Thresnawaty, Euis, (2011). œSejarah  Kerajaan  Sumedang  Larang,  Jurnal  Patanjala, Volume 3, Nomor 1, Maret, 154-158.https://www.museumprabugeusanulun.org/catalogYunitawati, D., & Latifah, L. (2016, Juni). AKecemasan Dan Gangguan Fungsi Tiroid Pada Wanita Usia Subur. Media Gizi Mikro Indonesia, 7(2), 107-116. 10.22435/mgmi.v7i2.6017.107-116.
POLA AKTIVITAS MASYARAKAT SEBAGAI HIRARKI KAMPUNG NAGA SEBAGAI WARISAN BUDAYA CERDAS Budiarto, Asri; Sunarmi, Sunarmi; Soewarlan, Santosa
Gorga : Jurnal Seni Rupa Vol. 13 No. 1 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i1.59293

Abstract

The pattern of community activities in Tasikmalaya, Kampung Naga can be identified as a cultural transformation that exists in the neighborhood of the traditional house and can be seen with the expanse of agricultural lands and water ponds at the forefront of the residential area. Overlaying the houses of indigenous people and other facilities in a certain pattern unity. It can be stated that the livelihoods of the indigenous people of Kampung Naga form a village pattern from the available activity lands. The existence of the flow of life of the indigenous people of Kampung Naga as a place to live not only contains the meaning of the village, but the existence of the Ciwulan river as a sign and meaning of life. The customary leader's residence is characterized by the location of the customary leader's house which is in a higher area and becomes the orientation (direction) for the surrounding houses. This research wants to know the flow of the activities of the Kampung Naga community towards the existence of their customs that reflect a strong understanding of the importance of cultural sustainability and tradition. The community realizes that customary activities as a cultural heritage are the basis for their survival, which can be shown by their high involvement and responsibility for their ancestral heritage. The activities of the indigenous people of Kampung Naga as the place where one returns from.As far as someone who leaves one day will return to the place where he was born. So there is a very strong emotional bond between the village and one's soul. The Village Hierarchy in the site in Kampung Naga has characteristics with tiered ascending contours as a local land condition that reflects the adaptation of indigenous activities to the natural environment and local wisdom. This is the same as the identical pattern of Sundanese villages that have distinctive elements also found in the settlement pattern of Kampung Naga. Through settlement patterns as seen in Kampung Naga, the community has historically developed settlement strategies that are in accordance with the activities and characteristics of the environment and social needs.Keywords: Kampung Naga hierarchy, cultural heritageAbstrakPola aktivitas masyarakat di kampung naga Tasikmalaya dapat diidentifikasi sebagai transformasi budaya yang ada dalam lingkungan perkampungan rumah adat dan dapat dilihat dengan adanya  hamparan lahan-lahan pertanian dan kolam-kolam air di bagian terdepan pada kawasan permukiman. Hamparan rumah-rumah masyarakat adat dan fasilitas lain dalam kesatuan pola tertentu. Hal ini dapat dinyatakan bahwa mata pencaharian masyarakat adat kampung Naga membentuk pola kampung dari lahan-lahan aktivitas yang tersedia. Adanya aliran kehidupan masyarakat adat Kampung Naga sebagai tempat tinggal yang tidak hanya mengandung arti kampung, tetapi adanya sungai Ciwulan sebagai tanda dan makna kehidupan. Tempat tinggal pimpinan adat ditandai oleh Letak rumah ketua adat yang berada di daerah lebih tinggi dan menjadi orientasi (arah) bagi rumah warga yang ada disekitarnya. Penelitian ini bertujuan untuk mengetahui alur aktivitas masyarakat Kampung Naga terhadap eksistensi adat istiadat mereka yang mencerminkan pemahaman kuat akan pentingnya keberlanjutan budaya dan tradisi. Masyarakat menyadari bahwa aktivitas adat sebagai warisan budaya merupakan dasar bagi kelangsungan hidupnya dapat di  tunjukkan dengan keterlibatan dan tanggung jawab yang tinggi terhadap warisan leluhur mereka. Aktivitas masyarakat adat Kampung Naga sebagai tempat asal seseorang kembali (bali geusan ngajadi). Sejauh-jauhnya seseorang yang pergi suatu saat akan kembali lagi ketempat asalnya dilahirkan. Sehingga ada ikatan emosional sangat kuat antara kampung dengan jiwa seseorang. Hirarki Kampung dalam tapak di Kampung Naga memiliki karakteristik dengan kontur naik berjenjang sebagai keadaan tanah setempat yang mencerminkan adaptasi aktivitas masyarakat adat  terhadap lingkungan alam dan kearifan lokal. Hal ini sama sebagai identik pola perkampungan masyarakat Sunda yang memiliki elemen khas juga ditemukan di  dalam pola pemukiman Kampung Naga. Melalui pola pemukiman seperti yang terlihat di Kampung Naga, masyarakatnya secara historis telah mengembangkan strategi pemukiman yang sesuai dengan aktivitas dan karakteristik lingkungan dan kebutuhan sosialnya.Kata Kunci: Hirarki Kampung  Naga, Warisan budaya Authors:Asri Budiarto : Institut Seni Indonesia SurakartaSunarmi : Institut Seni Indonesia SurakartaSantosa Soewarlan : Institut Seni Indonesia SurakartaReferences:Adimihardja, K. (1993). Kebudayaan dan Lingkungan. Bandung: Ilham Jaya.Anto, A. A., Sunarmi, & Soewarlan, S. (2024). Kampung Naga¯: Exploration of Traditional Architecture and. Lakar: Jurnal Arsitektur, 07(01), 85“100. https://doi.org/http://dx.doi.org/10.30998/lja.v7i1.22100Basrowi. (2005). Pengantar Sosiologi. Bogor: Ghalia Indonesia.Koentjaningrat. (2009). Pengantar Ilmu Antropologi. Jakarta: PT Rineka Cipta.Linton, R. (1984). Antropologi, Sutau Penyelidikan tentang Manusia. Bandung: Jemmars.Maslucha, L. (2009). KAMPUNG NAGA: Sebuah Representasi Arsitektur sebagai Bagian dari Budaya. El-HARAKAH, 11(1), 35“49. https://doi.org/10.18860/el.v1i1.421Mikaresti, P., & Mansyur, H. (2022). Pewarisan Budaya Melalui Tari Kreasi Nusantara. Gorga¯: Jurnal Seni Rupa, 11(1), 147-155. https://doi.org/10.24114/gr.v11i1.33333Oktovan, R. N., Suryamah, D., & Dwiatmini, S. (2020). Pewarisan Budaya dalam Kesenian. Jurnal Budaya Etnika, 4(2), 114“125. https://jurnal.isbi.ac.id/index.php/etnika/article/view/1566Padma, A. (2001). Kampung Naga, Permukiman Warisan Karuhun. Bandung: Foris.Ranjabar, J. (2006). Sistem Sosial Budaya Indonesia: Suatu Pengantar. Bogor: PT Ghalia Indonesia.Rusnandar, N. (2013). Seba¯: the Culmination of Baduy ™S Religious Ritual in Kabupaten (Regency) Lebak, The Province Banten. Patanjala, 5(1), 83“100. https://doi.org/http://dx.doi.org/10.30959/patanjala.v5i1.163Sonia, T., & Sarwoprasodjo, S. (2020). Peran Lembaga Adat dalam Pelestarian Budaya Masyarakat Adat Kampung Naga, Desa Neglasari, Kecamatan Salawu, Tasikmalaya. Jurnal Sains Komunikasi Dan Pengembangan Masyarakat [JSKPM], 4(1), 113“124. https://doi.org/10.29244/jskpm.4.1.113-124Syukri, A., Azis, A. C. K., Olendo, Y. O., Elpalina, S., & Syam, C. (2023). Koleksi Museum Adityawarman¯: Sebagai Sumber Belajar Seni Dan Budaya. Gorga: Jurnal Seni Rupa, 12(November), 488“494. https://doi.org/https://doi.org/10.24114/gr.v12i2.51471Tri Sulistyo, E., & Sunarmi. (2021). Emotional Intelligence And Balanced Personality In Javanese Cultural. Intelligence And Balanced Personality In Javanese Cultural Understanding-Palarch™s Journal Of Archaeology Of Egypt/Egyptology, 18(4), 3344. https://archives.palarch.nl/index.php/jae/article/view/6827Widjaja, A. W. (1986). Komunikasi dan Hubungan Masyarakat. Jakarta: Bina Aksara.
Analysis photo of the year 2006 Indonesian press photo award based on the three visual layers theory Prasetyo, Andry; Guntur, Guntur; Ajidarma, Seno Gumira; Soewarlan, Santosa
Gelar: Jurnal Seni Budaya Vol. 22 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v22i1.5521

Abstract

This article aims to analyze the work of the 2016 Indonesian Press Photo Award Photo of the Year entitled "Tinjau Titik Api," using the "Three Visual Layers" theory. Photo of the Year 2016 was chosen because it has the advantage of good visual value and high news value, especially for people in the news. The three visual layers analysis includes optical, cultural, and photographic meaning. The optical aspect is for the non-blind eyes, the cultural aspect includes known visual appearances and unknown visual appearances, and the photographic aspect has a functional appearance, personal appearance, and subjective appearance. The research method is qualitative analysis because its implementation is based on visual analysis to find meaning from photos depicting three figures who are symbols of the strength of the Indonesian state, namely, the President of the Republic of Indonesia, Joko Widodo, TNI Commander General Gatot Nurmantyo, and Chief of the Indonesian National Police General Badarudin Haiti, who is inspecting the location of forest and land fires, in Geronggong Village, Ogan Komering Ilir Regency, South Sumatra. Data analysis involves: Scrutinizing relevant and irrelevant information, reducing data, compiling codes against findings data, and verifying codes as a reference for discussion and conclusion. The research results show that the 2016 Photo of the Year contains meaning that shows the Indonesian government's commitment to dealing with forest and land fires in Sumatra. The photo has advantages in terms of visual value which is reflected in the composition, depth of focus, and expression of the president, and in terms of news value, it is superior in terms of character value, as well as another advantage in the closeness of the photographer to the object of the event.
SEMIOSIS PROCESS IN THE SOUNDS OF GAMELAN AND PESINDEN IN SANDEKALA FILM Pratama, Andri Albertha; Soewarlan, Santosa
Capture : Jurnal Seni Media Rekam Vol. 11 No. 1 (2019)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i1.2664

Abstract

The research investigates the use of the sign (code) used by Amriy Ramadhan as the director when delivering messages through the sounds of ‘gamelan’ and ‘pesinden’ in the Sandekala film. Conflicts emerged when the signs that are used have broad interpretations for the audience. The signs are discribed and analyzed using the ten-sign classification analysis method from the Peirce semiotic trichotomy concept. This study shows the important meaning of the semiosis process of the distribution of other signs which in their presentation are interrelated to lead the audience's interpretation in the sounds of ‘gamelan’ and ‘pesinden’ presented in the Sandekala film. The using signs which the characteristic based are  generally accepted convention such as non-verbal dialect (kinesics) can lead the audience's interpretation that the sound of ‘gamelan’ and ‘pesinden’ in the Sandekala film is a metonym of magical figure who has long hair, white dress based on the semiosis process of signs which are interrelated in the presentation of the narrative structure of the film with repeated indexical relationship patterns.
BUKAN HANYA KANCA WINGKING PUSPA KARIMA DALAM STIGMA GENDER MENUJU PANGGUNG INTERNASIONAL Nugroho, Mukhlis Anton; Sunarmi; Soewarlan, Santosa
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i2.5732

Abstract

The rapid development of the digital era has changed the view of women's roles that were previously confined to household responsibilities, and now the stigma is starting to erode. In Javanese culture, there is the concept of "kanca wingking" which refers to the role of women at home to perform tasks such as cleaning, cooking, taking care of children, and so on. However, with the advent of the women's emancipation movement, the stigma has begun to fade as many women have careers. The same thing happened in the traditional music scene in West Java. Gender stigma also emerged by prohibiting women to play the Rebab instrument in Sundanese karawitan. This paper discusses how Puspa Karima, whose members are all women, tries to change the gender stigma in Sundanese karawitan performances. The method used is qualitative as a research procedure that produces descriptive data in the form of written or spoken words from people through the interview stage. In addition, data can also be collected through observation of people's behavior in the field on the object of research. The results of this paper show that Puspa Karima not only succeeded in changing the gender stigma that applies to Sundanese karawitan performances, but Puspa Karima actually succeeded in bringing gender issues in the case of karawitan art to the international arena. Keywords: Gender Stigma, Kanca Wingking, Women, Sundanese Karawitan
Komodifikasi Budaya Kampung Naga Tasikmalaya Siswanto, Silo; Sunarmi, Sunarmi; Soewarlan, Santosa
Innovative: Journal Of Social Science Research Vol. 4 No. 1 (2024): Innovative: Journal Of Social Science Research
Publisher : Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/innovative.v4i1.7837

Abstract

Kampung Naga adalah sebuah destinasi wisata yang terletak di Kabupaten Tasikmalaya, provinsi Jawa Barat, Indonesia. Destisinasi wisata ini merupakan jenis wisata adat istiadat masyarakat tertentu dikarena penduduknya masih memegang teguh nilai-nilai leluhur. Maka lahir satu pertanyaan apakah mungkin nilai-nilai adat istiadat menjadi sumber aset komoditas di destisinasi wisata Kampung Naga dimana nilai-nilai lokal dari leluhur masih dipegang teguh di era sekarang ini. Maka penelitian ini dilakukan dengan metode fenomenologi deskriptif analisis. Dimana metode ini dilakukan dengan amatan yang mendalam sumber data primernya adalah masyarakat Kampung Naga. Kemudian penelitan ini menghasilkan jawaban tentang ekowisata Kampung Naga adalah nilai adat istiadat dialih fungsikan menjadi nilai komoditi hal ini untuk kebertahan kebudayaannya agar tetap lestari dan terjaga, yang pada akhir nilai adat yang dapat diamati memalalui tempat wisata merupakan misi perdamaian yang merajut kembali menjadi insan yang humanis dan harmonis.
The Artistic Meaning of Isolo Tradition of Sentani Tribe, Papua in Indonesia's Sustainable Maritime Culture Peradantha, Ida Bagus Gede Surya; Widyastutieningrum, Sri Rochana; Soewarlan, Santosa; Triguna, Ida Bagus Gde Yudha
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 3 (2023): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

The purpose of this study is to uncover the aesthetic meaning in the Sentani Tribe's Isolo tradition in Lake Sentani, Papua. The study focused on how the artistic aspects of Isolo represent essential creative meanings and what the important implications of artistic meanings in the Isolo tradition are for the development of the archipelago's sustainable maritime culture. This study employs a qualitative technique based on Roland Barthes' semiotic theory. Data was gathered through observation of Isolo performances during the 2023 Lake Sentani Festival, interviews, and literature searches. The following are the study's findings: First, creative components such as dance moves, singing, clothes, property, and body painting motifs demonstrate symbolic connotations of natural prosperity, patriotism, spirituality, and fraternity. Second, the key meanings in Isolo derive from the concept of Rokhabia, a sense of brotherhood of one womb that is deeply established in Sentani tradition. Third, the implications of the Isolo tradition might build Sentani tribe social relationships through the meaning of the elements in its artistic representation. This study contributes significantly to expanding the horizon of the Sentani Tribe's Isolo heritage in preserving Indonesia’s sustainable maritime culture.
Co-Authors Asri Budiarto Daniar Wikan Setyanto Didit Widiatmoko Fajar Aji, Fajar Guntur Guntur Harahap, Rina Yanti Ida Bagus Gde Yudha Triguna Novita, Elmi Nugroho, Mukhlis Anton Pande Made Sukerta, Pande Made Peradantha, Ida Bagus Gede Surya Prasetyo, Andry Pratama, Andri Albertha Purwo Prihatin Seno Gumira Ajidarma, Seno Gumira Siswanto, Silo Sri Wahyuni Muhtar Sufiana, Sufiana Sukerna, Nyoman Sumbo Tinarbuko Sunarmi Sunarmi Sunarmi Taufik Murtono Widyastutieningrum, Sri Rochana