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All Journal Rekam : Jurnal, Fotografi, Televisi Animasi Harmonia: Journal of Research and Education Jurnal Kawistara : Jurnal Ilmiah Sosial dan Humaniora JADECS (Journal of Art, Design, Art Education and Culture Studies) Arty: Jurnal Seni Rupa MUDRA Jurnal Seni Budaya Panggung Gondang: Jurnal Seni dan Budaya Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Pantun: Jurnal Ilmiah Seni Budaya INTEGRITAS : Jurnal Pengabdian Melayu Arts and Performance Journal Dasarrupa : Desain dan Seni Rupa Jurnal Riset Jurnalistik dan Media Digital Jurnal Kawistara Panggung Harmonia: Journal of Arts Research and Education
Yanti Heriyawati
Institut Seni Budaya Indonesia (ISBI) Bandung
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences Other

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Journal : Pantun: Jurnal Ilmiah Seni Budaya

 1 
Adegan Makan dalam Film-film Roufy Nasution (Analisa Semiotika Roland Barthes) Minfadly Robby; Yanti Heriyawati; Enok Wartika
PANTUN Vol 6, No 2 (2021): Karakter Seni Lokal Untuk Penguatan Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v6i2.1810

Abstract

Roufy Nasution is a filmmaker from Bandung who has produced many audio-visual works. This article aims to explain the meaning of signs, signifiers and signified of eating scenes in films made by Roufy Nasution. Roufy Nasution’s films studied here are Jeni Lova, Elise and Unseen Foot, The Substitute Woman, A Matter of Time, and The Boy with Moving Image. The study applies a qualitative descriptive method based on Roland Barthes’ semiotic theory. This qualitative descriptive method looks at the signs of the eating scenes in Roufy Nasution’s films. The results show that the eating scenes in Roufy Nasution’s films are closed to people’s lives. The conversations coming out in the eating scenes are the emotional determinants and clues of the film’s characters. The signs-signifiers from one film to another made by Roufy are not related to one another. However, the types of shots taken by Roufy are generally similar. Roufy interprets the eating scene as a sacred moment to talk about complaints.Keywords: Semiotics, Barthes, Roufy Nasution, Food Scenes, Film
Struktur Tanda Pembentuk Sakralitas Sumur 7 Objek Wisata Cibulan Eko Budi Prasetyo; Yanti Heriyawati; Sukmawati Saleh
PANTUN Vol 7, No 1 (2022): Ritual, Seni, dan Rekayasa Budaya
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v7i1.2093

Abstract

ABSTRACTSumur 7 Cibulan Kuningan, West Java, is a religious tourism object which is rarely deserted by public. One of the factors is that Sumur 7 is believed as the remains of King Siliwangi. The focus of the study is on identifying the signs at Sumur 7 area as a form of sacredness believed by the community. Ferdinand de Saussure’s semiotics is used to analyze the structure of the sacred formation signs at Sumur 7. The concept of Saussure’s semiotics is a system of sign dichotomy, namely signifer and signifed. Signifer is the material aspect while signifed is the mental aspect. The fnding shows that the naming of Sumur 7 and positioning of the serial numbers of the visits are signs which are relatedto the myth of Prabu Siliwangi and the concept of Tritangtu Sunda. The relationship of these signs forms the community’s belief system towards the sacredness of Sumur 7 Cibulan.Keyword: Sumur 7, Prabu Siliwangi, semiotics, sacred, TritangtuABSTRAKSumur 7 Cibulan Kuningan Jawa Barat adalah objek wisata religi yang tidak pernah sepi dikunjungi masyarakat. Salah satu faktornya, Sumur 7 ini lekat dengan mitos yang diyakini masyarakat sebagai salah satu petilasan Prabu Siliwangi. Fokus kajian ini pada identifkasi tanda-tanda yang terdapat di area Sumur 7 sebagai pembentuk sakralitas yang diyakini oleh masyarakatnya. Semiotika Ferdinand de Saussure digunakan untuk menganalisis struktur pembentukan tanda sakralitas pada Sumur 7. Konsep dasar darisemiotika Saussure adalah sistem dikotomi tanda yakni penanda dan petanda. Penanda merupakan aspek material sedangkan petanda merupakan aspek mental. Ditemukan bahwa, penamaan ketujuh sumur dan pemetaan atau penempatan nomor urut tahapan kunjungan merupakan tanda-tanda yang memiliki relasi dengan mitos Prabu Siliwangi dan konsep Tritangtu Sunda. Relasi tanda-tanda inilah yang membentuk sistem keyakinanmasyarakat terhadap sakralitas Sumur 7 Cibulan.Kata Kunci: Sumur 7, Prabu Siliwangi, Semiotika, Sakralitas, Tritangtu.
Pembalikan Oposisi Biner Cerita Si Kabayan Ditinggal Kawin Pada Film Di Youtube Iwan Muhammad Ridwan; Yanti Heriyawati; Enok Wartika
PANTUN Vol 7, No 1 (2022): Ritual, Seni, dan Rekayasa Budaya
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v7i1.2036

Abstract

ABSTRACTThe figure of Si Kabayan has always been identified as a stupid, lazy but clever character who can always beat his rivals. However, his figure in a new genre film, namely a sketch film on youtube media, has a shift in character. Si Kabayan's bumpkin figure has been deconstructed into a Kabayan living in the city. Likewise, his stupidity has shifted into one who has religious values as the other side of the Si Kabayan character in the original story. Using Derrida's deconstruction analysis, it can be seen the symbols presented through the visual narration of the film entitled Si Kabayan Ditinggal Kawin published on Kampung Utan TV Youtube channel. The study was conducted through narrative and visual stories at the level of representational reality and ideology. The changes occuring in a number of visual narrative elements are seen as a form of rearranging the narrative of Si Kabayan's life in oral stories. Based on the results of the reading of the narrative in the film Kabayan Ditinggal Kawin, there is a reversal of the binary opposition hierarchy, namely; (1) reversal of the binary opposition hierarchy of smart and stupid, (2) reversal of the binary opposition hierarchy of men and women, (3) reversal of the binary opposition hierarchy of village and city.Keyword: si kabayan, binary opposition, filmABSTRAKSosok Si Kabayan selalu diidentikan dengan karakter pandir, pemalas namun cerdik yang sering kali bisa mengalahkan lawan-lawan dalam kehidupannya. Namun kemunculannya dalam film genre baru yakni film sketsa pada media baru youtube, sosok Si Kabayan telah mengalami pergeseran karakter dalam bentuk pembalikan oposisi biner. Sosok Si Kabayan yang udik telah didekonstruksi menjadi Kabayan yang tinggal di kota. Begitu juga dengan kepandirannya telah bergeser pada jiwa yang mimiliki nilai religius sebagai sisi lain dari tokoh Si Kabayan dalam cerita asalnya. Melalui analisis dekonstruksi Derrida nampak simbol-simbol yang dihadirkan melalui narasi visual dari film yang berjudul Si Kabayan Ditinggal Kawin pada channel youtube Kampung Utan TV. Kajian dilakukan melalui naratif cerita dan visual pada level reality representasional dan ideology. Perubahan-perubahan yang terjadi dalam sejumlah unsur naratif visual terlihat sebagai bentuk penyusunan ulang dari narasi kehidupan Si Kabayan dalam cerita-cerita lisan. Berdasarkan hasil pembacaan terhadap narasi dalam film Kabayan ditinggal kawin, terdapat pembalikan hierarki oposisi biner yakni; (1) pembalikan hierarki oposisi biner pintar bodoh, (2) pembalikan hierarki oposisi biner laki-laki perempuan, (3) pembalikan hierarki oposisi biner kampung kota.Kata kunci: si kabayan, oposisi biner, film
Narasi Ketimpangan Sosial dalam Pertunjukan Topeng Banjet Abah Pendul Lakon Cerita Gordon Muda Rudi Hartono; Arthur S. Nalan; Yanti Heriyawati
PANTUN Vol 6, No 2 (2021): Karakter Seni Lokal Untuk Penguatan Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v6i2.1813

Abstract

Mask Banjet is a folk theater which was born and developed from the community in Karawang Regency. The focus of this study is on the play of Topeng Banjet Abah Pendul performance. The analysis applies a critical sociology of art approach. In this study, the text of the play story which has been analyzed as a source of document data is Gordon Muda as a representation of the story text. Social inequality narratives are found to be thematic. The story of the play is presented in a comedic way with the story of Odah as a wife whose husband is left helpless economically. Her child is hungry. Buying rice is very difficult. To fulfil the necessities of life, various affairs are carried out such as being washermen, farm laborers, lawn mowers, selling fried food and borrowing money from Emok Bank. Gordon Young and his men carried out robberies. The robberies were planned to be used as the business capital. The description in the story above is the narrative of social inequality in the text of the performance. The text for the description of the story shows the conditions of the existing social factsKeywords: Performance play, Social Inequality, Sociology of the Arts
Ikonologi Gambar Karya Anak TPA An-Nawawi Cikeusal Syarifah Nur Hajja; Yanti Heriyawati; Supriatna Supriatna
PANTUN: Jurnal Ilmiah Seni Budaya Vol 5, No 2 (2020): Kolaborasi Seni Desain, Film, dan Media Digital
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v5i2.1425

Abstract

Expressions in the imagination process of making fine art works naturally have a positive impact on children's intellectual, emotional, creative and social development. In this case, art activities are associated with mental health because art activities are a medium for expressing feelings, either sad or happy ones. In drawing activities there is a process of imagination with the innocence of children. Through a unique image, even with minimal knowledge of drawing and coloring techniques, children still produce interesting works. The approach used is the Psychology of Imagination from Jean Paul Satre and Iconology from Erwin Panofsky. The research method used is a qualitative with participatory methods letting children play and express themselves without being directed and commanded. The drawings that TPA An-Nawawi children produced shows that the work uses four images according to Jean Paul Satre: images of consciousness, images of spontaneity, images of imitation, and mental images.Keywords: Imagination, Creativity, Child Image
Mitos Tenun Gedogan Indramayu sebagai Sistem Kebudayaan Masyarakat Juntikebon Dewi Mustika; Retno Dwimarwati; Yanti Heriyawati
PANTUN Vol 6, No 1 (2021): Glokalisasi Seni Budaya dalam Tranformasi Mitos dan Spiritualitas
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v6i1.1691

Abstract

Tenun (weaving fabric) of Gedogan Indramayu is no longer merely a daily clothing in its development. It has been mythized by the user community as a woven fabric that is intended for noble goals in more noble social strata. The four mythical motifs include Babaran, Kluwungan, Poléng Mentisa, and Udan Mas Prambutan motifs. The myth of the weaving of Gedogan Indramayu is used as a guide not only for religious values, but also for the ethics of the people have become part of the culture. Myths in the form of beliefs are actualized in the traditions of the people and in a sacred ceremony, such as: ritual after giving birth, Ruwatan Anak Sukerta, Kirab Kuwu tradition, and Nurubi-Mayat ritual. These traditional ceremonies and rituals are presented as transcendent events. More specifcally, the spirit which cannot be sensed is presented into the material which is tangible. The myth of Gedogan Indramayu weaving has become part of the Junti Kebon cultural system. The values are applied as the patern of the society daily behavior, individually and in society.Keywords: Myth, Babaran, Kluwungan, Poléng Mentisa, Udan Mas Prambutan.
Proses Kreatif Ubiet dalam Mengembangkan Puisi Senja di Pelabuhan Kecil Mirna Nurmala; Yanti Heriyawati; Indra Ridwan
PANTUN: Jurnal Ilmiah Seni Budaya Vol 5, No 2 (2020): Kolaborasi Seni Desain, Film, dan Media Digital
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v5i2.1423

Abstract

Senja di Pelabuhan Kecil is a poem by Chairil Anwar which was later made into a song by Nya Ina Raseuki who is familiarly called Ubiet. Ubiet is known as a music composer who is unique in terms of musical ideas and vocal ornamentation, one of which is on the song of Senja di Pelabuhan Kecil. This can be seen from the character of the song which has a different style from other musicians adopting Chairil Anwar's poem. This research study focuses on how the creative process carried out by Ubiet in making the song Senja di Pelabuhan Kecil. The process is starting from the stage of developing ideas, transforming works of art, to becoming complete expressions and works of music. The research was conducted using qualitative methods with data collection techniques such as; observation, interview, documentation, and literature study. The writer uses Mel Rhodes' theory of creativity as a tool to examine the object of the problem taken in writing this study. The Rhodes creativity concept discusses four points, namely; press, person, process, and product or what is known as the 4p concept. This research focuses the discussion on the process point. The analysis method is supported by the approach of the principles of musical poetry according to Hamdy Salad. The results of this study are targeted to find a variety of new musical expressions from the concept of musical poetry and as a musical product with the concept of contemporary keroncong.Keywords: Creative Process, Ubiet, Poetry, Senja di Pelabuhan Kecil
Rekayasa Budaya dalam Pertunjukan Teater Musikal “Kabayan Metropolitan” Chandra Jumara Mukti; Retno Dwimarwati; Yanti Heriyawati
PANTUN: Jurnal Ilmiah Seni Budaya Vol 7, No 2 (2022): Keragaman Seni Tradisional & Media Baru
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v7i2.1992

Abstract

 Cultural engineering is currently growing, especially in the performing arts. Innovations and creations will continue to be explored so that various discoveries emerge. Art itself is dynamic, art can be collaborated with various disciplines, especially in an era that is increasingly sophisticated in technology, every work of art can grow. A work must be clearer and the meaning in the work can be conveyed to the audience through innovation and collaboration. Today's digital media can be used for the development of performing arts. Musical theater is a form of theater that combines song, speech dialogue, acting, and dance. Emotional content – humor, sadness, love, anger – and stories are communicated through words, music, movement, and the technical aspects of entertainment as a whole.Keywords: Cultural Engineering, Musical Monologue, Theatre ABSTRAKRekayasa budaya sekarang ini semakin berkembang, khususnya dalam seni pertunjukan. Inovasi dan kreasi akan terus tergali sehingga berbagai penemuan akan bermunculan. Di dalam seni itu sendiri bersifat dinamis, seni sangat bisa di kolaborasikan dengan berbagai macam disiplin ilmu, apalagi di zaman sekarang teknologi semakin canggih, setiap karya seni bisa lebih berkembang lagi. Suatu karya seharusnya akan semakin jelas dan makna didalam karya tersebut bisa tersampaikan kepada penonton melalui inovasi dan kolaborasi. Media digital zaman sekarang bisa dimanfaatkan untuk perkembangan seni pertunjukan. Teater musikal adalah bentuk teater yang menggabungkan lagu, dialog ucapan, akting, dan tarian. Konten emosionalnya – humor, pathos, cinta, kemarahan – serta ceritanya dikomunikasikan melalui kata-kata, musik, gerakan dan aspek teknis hiburan sebagai satu kesatuan utuh.
Co-Authors Abdul Rahman, Mohd Kipl Afri Wita Afri Wita Alisca Putri Dirgantari Andang Iskandar Andri Setiawan Apip - Apip -, Apip Arthur S. Nalan Budi Budi Chandra Jumara Mukti Chandra Jumara Mukti Dewi Mustika Een Herdiani Eko Budi Prasetyo Enok Wartika Enok Wartika Enok Wartika, Enok Firman Pribadi Heri Herdini I Wayan Mudra, I Wayan Indra Ridwan Ipit Saefidier Dimyati Ipit Saefidier Dimyati, Ipit Saefidier Iwan Muhammad Ridwan Juju Masunah Magfhirah Murni Bintang Minfadly Robby Moh Wail Mohd Zahid, Muhammad Fairul Azreen Mukti, Chandra Jumara Musa, Syahrul Fithri Nanang Jaenudin Ni Luh Sustiawati Ni Made Arshiniwati Nurmala, Mirna Rahardian, Adinatasya Luthfiyyah Rahman Saleh Retno Dwimarwati Retno Dwimarwati Rizki Ferry Ramdani Rudi Hartono Salehuddin, Ahmad Kamal Basyah Saniman Andi Kafri Sudibya, I Gusti Ngurah Sukmawati Saleh Sukmawati Saleh Supriatna Supriatna Syarifah Nur Hajja Yadi Mulyadi Yusri Yusuf Zaelani, Budi