Articles
<![CDATA[Perjalanan Panjang Paṭola Menjadi Jlamprang: Transformasi Motif Tenun Menjadi Motif Batik ]]>
<![CDATA[Siti Maziyah]]>;
<![CDATA[Alamsyah Alamsyah]]>
<![CDATA[ KALPATARU Vol. 30 No. 1 (2021) ]]>
Publisher : <![CDATA[Pusat Penelitian Arkeologi Nasional ]]>
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DOI: 10.24832/kpt.v30i1.810
<![CDATA[The background of this research comes from the public's understanding that the jlamprang motif is a typical Pekalongan batik motif, besides that there are also those who state that this motif is an imitation of the paṭola motif. Therefore, this paper aims to determine the transformation process of the patola woven motif into the jlamprang batik motif, one of the characteristic batik motifs of Pekalongan. Why can the weaving motif turn into a batik motif? Why does the jlamprang batik motif become the hallmark of Pekalongan? The method used in this research is to trace the trade of paṭola motif cloth from India and its distribution in Java, both in the form of the distribution of decorative motifs on temples and on cloth. The search was carried out through literary texts, decorative motifs on temple walls, and motifs of cloth worn by statues. The results showed that in Java the paṭola motif has undergone a transformation from a woven motif to a decorative motif on the temple walls to a batik motif. Jlamprang became the signature batik motif of Pekalongan because it was in this city that the motif was first developed by Arab traders to overcome the scarcity of paṭola woven motifs from India. Thus, it can be concluded that the Javanese society is an adaptive society, with local genius capable of processing foreign decorative motifs into their own motifs and making them a local identity.]]>
<![CDATA[Penetrasi Budaya Wargee Dalem dan Warga Kilalan dalam Kontruksi Masyarakat Jawa Kuna ]]>
<![CDATA[Siti Maziyah]]>
<![CDATA[ Endogami: Jurnal Ilmiah Kajian Antropologi Vol 2, No 2: Juni 2019 ]]>
Publisher : <![CDATA[Prodi Antropologi Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/endogami.2.2.192-202
<![CDATA[Java in the 7th century has become one of the trading centers in Southeast Asia. Therefore it is not surprising that in this period of time foreigners have come in various destinations. The inscription calls the foreigners the term wargee dalĕm and wargga kilalan. The purpose of this study was to reveal the foreigners and their relationship with the Old Javanese community. The method used for this study uses a historical method that begins by looking for written sources contained in inscriptions of the 9th century to the 14th century that have been translated and have been published in the form of a collection of inscriptions. The inscription used as data is an inscription that contains terms about wargee dalĕm and wargga kilalan. In addition, Chinese news sources are also used which are related to the problem of trading in Java in the contemporary period. Based on the data, then the origin of the foreign countries was traced, and analyzed for their role in the Old Javanese community. The results of the study show that as one of the central commercial areas in Southeast Asia, it is very possible for Javanese people to connect with foreign nations. The long relationship caused a cultural influence that was caused.]]>
<![CDATA[Walisanga: Asal, Wilayah dan Budaya Dakwahnya di Jawa ]]>
<![CDATA[Siti Maziyah]]>;
<![CDATA[Rabith Jihan Amaruli]]>
<![CDATA[ Endogami: Jurnal Ilmiah Kajian Antropologi Vol 3, No 2: Juni 2020 ]]>
Publisher : <![CDATA[Prodi Antropologi Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/endogami.3.2.232-239
<![CDATA[Islamization in Java in the 15th century to the 16th century is inseparable from the role of Walisanga. According to local Javanese beliefs, they numbered nine people. Most of their da'wah areas are in East Java, then in Central Java, and in West Java. Why is that? Where are they from? How does Walisanga carry out its mission so that the Javanese are still close to the nine saints and their graves are still frequently visited? The writing of this article uses a historical approach, starting with the study of literature, which looks for books and articles relating to the origin, territory and propaganda of Walisanga. Next, each data is arranged into several topics to answer the problem. The results showed that the nine people who joined Walisanga were all descendants of foreigners from various Islamic countries. They were missionaries who could be closer to the Javanese government. In carrying out their da'wah, they use a cultural approach, both through the fields of social economy, education, marriage, art, and politics.]]>
<![CDATA[Kesenian Kentrung Jepara dalam Perkembangan Zaman ]]>
<![CDATA[Alamsyah Alamsyah]]>;
<![CDATA[Siti Maziyah]]>
<![CDATA[ Endogami: Jurnal Ilmiah Kajian Antropologi Vol 4, No 1: Desember 2020 ]]>
Publisher : <![CDATA[Prodi Antropologi Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/endogami.4.1.55-64
<![CDATA[Kentrung art is one of the local arts in Jepara. According to oral tradition, the existence of kentrung around the 16th century. During its development, kentrung reached the peak of popularity in the 20th century. Currently the art of kentrung still survives thanks to the support of the community in performing activities both rituals and entertainment in various places. This condition makes kentrung art still exist in the midst of limited resources of art actors. At the end of the 20th century, along with the development of technology and information, this art was intended to match market needs through more attractive packaging in order to survive. When traditional kentrung retained its old performance style, this art experienced a decline in popularity. From here, kentrung was born, which was modified from the aspects of the equipment, players, and the content of the story to make it more interesting. Even so, kentrung which still maintains its old performance pattern still exists because it has the support of the community, government and cultural community. In order for this art to be sustainable, there needs to be efforts to regenerate actors and innovate performances by still paying attention to traditional values as distinctive and unique local arts]]>
<![CDATA[Jiwa Kewirausahaan dan Strategi Keberhasilan dalam Penjualan ]]>
<![CDATA[Sri Indrahti]]>;
<![CDATA[Siti Maziyah]]>;
<![CDATA[Alamsyah Alamsyah]]>
<![CDATA[ Endogami: Jurnal Ilmiah Kajian Antropologi Vol 5, No 1: Desember 2021 ]]>
Publisher : <![CDATA[Prodi Antropologi Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/endogami.5.1.1-7
<![CDATA[Sales strategy in entrepreneurship activities has an important role in the success of the business. It takes persistence to create mutual trust between the seller and the buyer. Some of the efforts made by sellers who are engaged in the MSME sector in Semarang, among others, maintain quality, have standard prices according to the market and conduct healthy competition between sellers with the same or various types of business.]]>
<![CDATA[Motif Batik Tegal: Pengaruh Mataram, Pesisiran dan Islam ]]>
<![CDATA[Siti Maziyah]]>
<![CDATA[ Endogami: Jurnal Ilmiah Kajian Antropologi Vol 1, No 2: Juni 2018 ]]>
Publisher : <![CDATA[Prodi Antropologi Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/endogami.1.2.177-193
<![CDATA[BATIK -- motif is one of the cultural results that can show the identity of the region and has a unique cultural background. This article highlights the issue of Tegal Batik motif. What kind of batik Tegal is ? What cultures are behind the Tegal batik motifs? I apply the research method with historical approach to find the history of Tegal. Who are the actors in carrying out cultural changes in Tegal, especially related to the emergence of batik motifs. Based on the history, it will be known why Tegal batik has such motives. The results showed that based on the history of Tegal, batik motifs get influence from some other cultural areas besides the Tegal community itself, namely from the Kingdom of Mataram and from the Pasisiran region. In addition, batik motifs Tegal also get a strong influence from “wong kaji”, namely the Muslim traders that taft with the Islam included in describing to the batik motifs. Again, there is one type of batik produced by rural communities of Tegal, called “folk-batik”.]]>
<![CDATA[Makna Simbolis dan Filosofis Kuliner Tradisional pada Upacara Tradisi di Kudus ]]>
<![CDATA[Sri Indrahti]]>;
<![CDATA[Siti Maziyah]]>;
<![CDATA[Alamsyah Alamsyah]]>
<![CDATA[ Endogami: Jurnal Ilmiah Kajian Antropologi Vol 2, No 1: Desember 2018 ]]>
Publisher : <![CDATA[Prodi Antropologi Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/endogami.2.1.88-101
<![CDATA[Kudus is an area rich in historical and cultural sites related to the spread of Islam. In several tombs of religious leaders in Kudus, there are still traditional ceremonies which are always complemented by various culinary traditions. What are the symbolic and philosophical meanings of each of the traditional culinary traditions in some ways related to the five prominent figures of Islam in Kudus? In writing this article the research begins with collecting data which includes the collection of primary and secondary sources such as literature, observation, participatory, in-depth interviews, and Focus Group Discussion (FGD) with informants from various elements. All data that has been collected through the various approaches above will then be classified, connected or accumulated between data from one another, linked between primary sources and library sources or secondary sources, as a form of interpretation and synthesized in order to obtain research results . The results of the study show that the symbolic and philosophical meanings of each culinary tradition in some traditional ceremonies relating to the characterization of Islamization in Kudus are closely related to the greatness of the figure itself. Based on the culinary tradition, it can be seen that the beliefs of the Kudus community still have a relationship with previous beliefs (pre-Islam).]]>
<![CDATA[Implementasi Shibori Di Indonesia ]]>
<![CDATA[SIti Maziyah]]>;
<![CDATA[Sri Indrahti]]>;
<![CDATA[Alamsyah Alamsyah]]>
<![CDATA[ KIRYOKU Vol 3, No 4 (2019): Jurnal Kiryoku ]]>
Publisher : <![CDATA[Diponegoro University ]]>
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DOI: 10.14710/kiryoku.v3i4.214-220
<![CDATA[(Title: Shibori Implementation in Indonesia) Shibori is a technique for making batik-like cloth motifs carried out in Japan. Lately, this technique has been favored by many Indonesians because of its simpler technique and faster production than batik making. Actually this technique is similar to batik, which is doing a color barrier to create a motif on the fabric. If in batik the barrier device used is wax, then the shibori used can be from various tools such as rubber, yarn, clothespin, and so on. Based on a search on the culture of making traditional fabric motifs in Indonesia, it turns out that the shibori technique has also been carried out by fabric artisans in Indonesia. What is the implementation of shibori in Indonesia like? By using literature studies from various writings relating to making fabric motifs, finally some shibori techniques can be investigated that have been carried out by traditional fabric artisans in Indonesia.]]>
<![CDATA[SOSIALISASI SKALA KERAWANAN PANGAN BERBASIS-PENGALAMAN BAGI NELAYAN TRADISIONAL DI TAMBAK LOROK SEMARANG ]]>
<![CDATA[Slamet Subekti]]>;
<![CDATA[Siti Maziyah]]>
<![CDATA[ Harmoni: Jurnal Pengabdian Kepada Masyarakat Vol 5, No 3 (2021): HARMONI ]]>
Publisher : <![CDATA[Departemen Linguistik, Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/hm.5.3.74-79
<![CDATA[ ABSTRAKKerawanan pangan mencerminkan kondisi absennya ketersediaan pangan yang cukup dalam satu keluarga untuk dapat hidup sehat, aktif dan produktif secara berkelanjutan. Kondisi kerawanan pangan rumah-tangga dapat diketahui dengan menggunakan metode berdasarkan skala pengukuran berbasis-pengalaman. Sehubungan dengan keberadaan nelayan tradisional di Tambak Lorok Semarang, maka dipandang perlu mengadakan sosialisasi tentang skala pengukuran kerawanan pangan rumah-tangga. Tim pengabdian masyarakat ini bermaksud mengedukasi nelayan tradisional untuk dapat melakukan penilaian-diri terkait kerawanan pangan rumah-tangga mereka. Hasil sosialisasi ini untuk mendapatkan profil nelayan tradisional Tambak Lorok berdasarkan pengukuran kerawanan pangan rumah-tangga berbasis-pengalaman. Kata kunci: Nelayan tradisional, Kerawanan pangan, Tambak Lorok Semarang ABSTRACTFood insecurity reflects the condition of insufficient food availability in a family to be able to live healthy, active and productive in a sustainable manner. The condition of household food insecurity can be determined using a method based on an experience-based measurement scale. In connection with the existence of small-scale fishermen in Tambak Lorok Semarang, it is necessary to conduct socialization on the scale of household food insecurity. This community service team intends to educate traditional fishermen to be able to conduct self-assessments regarding the food insecurity of their households. The result of this socialization is a profile of the traditional fishermen of Tambak Lorok through an experience-based household food insecurity scale. Keywords: Small-scale fishermen, Food insecurity, Tambak Lorok Semarang]]>
<![CDATA[SOSIALISASI TOKOH ‘AISYIYAH JAWA TENGAH: MASKANI AZIZAH KETUA PIMPINAN DAERAH AISYIYAH TEGAL YANG INSPIRATIF ]]>
<![CDATA[Siti Maziyah]]>;
<![CDATA[Slamet Subekti]]>
<![CDATA[ Harmoni: Jurnal Pengabdian Kepada Masyarakat Vol 5, No 2 (2021): HARMONI ]]>
Publisher : <![CDATA[Departemen Linguistik, Fakultas Ilmu Budaya Universitas Diponegoro ]]>
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DOI: 10.14710/hm.5.2.63-68
<![CDATA[‘Aisyiyah adalah organisasi perempuan Islam yang memiliki berbagai majlis dan lembaga untuk melaksanakan program kegiatannya. Salah satunya adalah Lembaga Kebudayaan yang tugasnya antara lain menggali sejarah tumbuhnya ‘Aisyiyah baik berupa peristiwa maupun yang berkaitan dengan tokoh-tokoh yang dimilikinya. Tim penulis bekerjasama dengan Lembaga Kebudayaan Pimpinan Wilayah ‘Aisyiyah Jawa Tengah dan Lembaga Kebudayaan Pimpinan Pusat ‘Aisyiyah mengangkat biografi Ibu Maskani Azizah, salah satu tokoh ‘Aisyiyah dari Tegal yang inspiratif. Selain merupakan salah satu pucuk pimpinan ‘Aisyiyah di Daerah Tegal, beliau juga seorang guru, dan sukses dalam membina keluarga hingga terpilih menjadi ibu teladan dan keluarga sakinah. Pada pengabdian kali ini, profil Ibu Maskani Azizah yang sukses dalam berorganisasi, dalam bekerja, serta dalam membina keluarga, dikulik dan disosialisasikan kepada semua Lembaga Kebudayaan ‘Aisyiyah se-Indonesia, agar bisa dijadikan teladan dan inspirasi dalam membina keluarga di tengah kesibukan sebagai pegawai dan organisator. Keluarga merupakan salah satu bagian terpenting untuk mencetak generasi yang taat beragama dan berakhlak mulia.Kata kunci : ‘Aisyiyah; Jawa Tengah; Maskani Azizah; Tegal; tokoh inspiratif]]>
