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Menggali Kearifan Lokal dalam Satua Cupak Gerantang: Pendekatan Systematic Literature Review Sujana, I Wayan; Dewi, Ni Made Dwi Ayu Mas Candra; Dewi, Ayu Nyoman Trisya; Wraspati, Ni Komang Dyah Tri Rahma
Jurnal Pendidikan Tambusai Vol. 10 No. 2 (2026): Agustus
Publisher : LPPM Universitas Pahlawan Tuanku Tambusai, Riau, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/jptam.v10i2.38177

Abstract

Penelitian ini bertujuan untuk menggali nilai-nilai kearifan lokal yang terkandung dalam Satua Cupak Gerantang sebagai salah satu warisan sastra lisan Bali yang sarat makna. Satua Cupak Gerantang merupakan geguritan Bali yang populer di Bali dan Lombok, mengandung ajaran moral, filsafat, serta nilai-nilai kehidupan yang relevan bagi pendidikan generasi muda. Metode yang digunakan adalah Systematic Literature Review (SLR) dengan menganalisis 10 artikel ilmiah terpilih yang berkaitan langsung dengan cerita Cupak Gerantang, nilai kearifan lokal, dan pendidikan karakter. Hasil kajian menunjukkan bahwa kearifan lokal dalam Satua Cupak Gerantang terwujud dalam tiga tema utama: nilai estetika dan representasi moral melalui pertunjukan seni, nilai didaktik kearifan lokal dalam sastra Bali klasik, serta relevansi kearifan lokal dalam kebijakan kurikulum dan pendidikan karakter berbasis jati diri siswa. Nilai-nilai tersebut sangat relevan untuk diintegrasikan dalam pembelajaran di sekolah dasar guna membentuk generasi yang berkarakter, berani, dan bijaksana.
Reaktualisasi Identitas Budaya melalui Tradisi Ngerobok serta Peran Generasi Muda dalam Pelestarian dan Inovasi di Desa Adat Kerobokan Sujana, I Wayan; Martayunita, Putu Jasmine Liani; Putri, Ni Putu Priska Dewi Elicia; Pradnyadewi, Ni Putu Ayu Indah; Trijayanti, Ni Komang Ayu
Jurnal Pendidikan Tambusai Vol. 10 No. 2 (2026): Agustus
Publisher : LPPM Universitas Pahlawan Tuanku Tambusai, Riau, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/jptam.v10i2.38178

Abstract

Penelitian ini bertujuan untuk mengkaji reaktualisasi identitas budaya melalui tradisi Ngerobok serta peran generasi muda dalam pelestarian dan inovasi di Desa Adat Kerobokan. Pendekatan yang digunakan adalah kualitatif dengan teknik pengumpulan data berupa observasi, wawancara, dan dokumentasi. Hasil penelitian menunjukkan bahwa tradisi Ngerobok mengandung nilai filosofis berupa kebersamaan, gotong royong, keikhlasan, dan rasa syukur yang menjadi dasar pembentukan identitas budaya masyarakat. Generasi muda (yowana) memiliki peran dominan sebagai penggerak utama, mulai dari perencanaan hingga pelaksanaan, sekaligus sebagai inovator yang mampu mengadaptasi tradisi tanpa menghilangkan esensinya. Transformasi Ngerobok dari praktik budaya lokal menjadi bentuk festival menunjukkan adanya proses adaptasi budaya yang tetap mempertahankan nilai-nilai tradisional.
Governance of Village-Owned Enterprises-Village Financial Institutions (BUMDesma-LKD) from a Sharia economic perspective: Analysis of institutional readiness Sujana, I Wayan; Ridzal, Nining Asniar
Journal of Islamic Economics Lariba Vol. 12 No. 2 (2026)
Publisher : Universitas Islam Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20885/jielariba.vol12.iss2.art6

Abstract

IntroductionVillage-Owned Enterprises–Village Financial Institutions are expected to strengthen village economic independence, expand financial inclusion, and improve community welfare through the collective management of local resources. However, in Central Buton Regency, these institutions remain dependent on revolving funds, have limited business diversification, and face weaknesses in administration, transparency, financial reporting, and community participation. Sharia economic governance offers an alternative framework based on justice, accountability, transparency, sustainability, and public benefit; however, its implementation depends on adequate institutional readiness.ObjectivesThis study examines the institutional readiness of Village-Owned Enterprises (VOEs) and village financial institutions (VFIs) in Central Buton Regency to implement governance based on a Sharia economic perspective. It also formulates policy recommendations to support gradual, accountable, and sustainable institutional transformation.MethodThis study used a descriptive qualitative design. Primary data were collected through in-depth interviews, focus group discussions, triangulation, and open-ended questionnaires involving managers, supervisors, religious leaders, beneficiaries, local government representatives, and representatives of Islamic financial institutions. Secondary data were obtained from institutional regulations, administrative documents and financial reports. The data were analyzed using thematic analysis supported by qualitative data analysis software and a strengths, weaknesses, opportunities, and threats analysis.ResultsThe findings show that institutional readiness is partial and uneven. Values such as fairness, transparency, deliberation, and concern for beneficiaries are informally present, but formal Sharia governance mechanisms have not been established. Savings and loan activities still use interest-based arrangements, while sharia contracts, standard operating procedures, supervisory structures, and compliance systems are largely absent. Limited managerial knowledge and inadequate community education also prevent stakeholders from distinguishing Sharia-based governance from conventional practices. Nevertheless, strong religious and cultural acceptance and available institutional partnerships create favorable opportunities for transformation.ImplicationsThe transition toward Shariah-based governance requires coordinated reforms in regulation, managerial competence, supervision, financial administration, digitalization, business diversification, and community participation.Originality/NoveltyThis study contributes to the literature by integrating institutional theory with Sharia economic governance and treating Sharia transformation as a multidimensional readiness process rather than merely a change in financing contracts.
An Initial Formulation of a Tactile-Based Art Creation Method from a Low-Vision Artist's Relief Painting Practice at <i>Yayasan Teratai Bali</i> Putra, Ida Bagus Komang Sindu; Adnyana, I Wayan; Karja, I Wayan; Sujana, I Wayan
Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya
Publisher : citeus

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

Abstract

This article examines the relief painting practice of one low-vision artist at Yayasan Teratai Bali as the basis for an initial formulation of a tactile-oriented visual art creation method. It addresses a methodological gap in inclusive art education and disability art studies, where blind and low-vision individuals are often discussed as learners, participants, or audiences, while their own procedures for making artworks receive less attention. Using an instrumental case study with a descriptive-interpretive orientation, data were collected through repeated observation, informal conversational interviews, artwork and process documentation, close observation of textural details, and contextual workshop documentation. Recurring actions and statements were reviewed, grouped into categories of work sequence, material use, assistance, evaluation, and tactile encounter, and translated into methodological components. The study proposes the Taktil-Raba Cipta Method as a preliminary and contextual framework, not as a broadly validated model for all blind and low-vision artists. The formulation consists of five core creation stages: concept formation from memory and experience, tactile-guided form planning, relief construction and material layering, assisted color access, and haptic evaluation and revision. Shared tactile encounter is positioned as an accessibility and appreciation orientation, not as a core production stage. The findings show that touch functions as a basis for artistic decision-making, the artist's authority remains central, and assistance should support access rather than direct the artwork. The article contributes a practice-derived framework for inclusive visual art education while emphasizing the need for further testing, adaptation, and participatory validation.
Co-Authors Adi, Gusti Made Adi, I Gusti Ngurah Krisna Aditha Angga Pratama Aditya, Made Lanang Nardanusha Adiutami, Ni Kadek Era Agustini, Ni Ketut Agustino, I Kadek Alzarliani, Waode Anak Agung Bagus Wirawan Anak Agung Gde Bagus Udayana Anak Agung Gede Agung, Anak Agung Gede Anggreni, Sagung Wina Antari, Ni Kadek Yuni aristi, dewa ayu sakania pradnya Aryani, Ni Ketut Yuni Aryantini, Ni Kadek Asniar Ridzal, Nining Asri, I G.A. Agung Sri Asriningsih, Ni Wayan Nonik Asrya, Asrya Budiasih, Ni Made Bukian, Putu Agus Windu Yasa Cahyono, Hari Candani, Ni Wayan Cintya Candrayani, Ni Made Windya Chindytia, Chindytia Damayanti, Ni Kadek Putri Darma Putra, I Gusti Ngurah Agung Devi, Bhavanii Devi, Putu Durga Laksmi Dewantara, Kadek Andre Karisma Dewi, Ayu Nyoman Trisya Dewi, Kadek Desintia Putri Cahyani Dewi, Ni Luh Putu Jayanti Dewi, Ni Made Dwi Ayu Mas Candra Dewi, Ni Nyoman Saras Kamala Dewi, Nur Warninda Diatmika, I Gede Ngurah Diatmika, I Gede Ngurah Didith Pramunditya Ambara Diputra, I Wayan Yoga Dita, Made Agus Dwi Pradnyana Drs. I Gusti Agung Oka Negara,S.Pd. M.Ke . Drs. I Wayan Darsana,M.Ed . Drs. I Wayan Mudana,M.Si. . Dwipayani, Ni Made Wina Ayu Edi Prayogo Ekayanti, Ni Luh Putu Eliantari, Ni Putu Regina evangelisa, era Gayatri, Ni Komang Prasti Gede Arimbawa, I Made Gusti Ngurah Sastra Agustika Hasan, Waode Adriani Hasni Hasni Hastari, Yashinta Nova Hastuti Hastuti I Gede Darma Putra, I Gede I Gede Mahardika I Gusti Agung Ayu Wulandari I Ketut Adnyana Putra I Ketut Muka I Ketut Setia Sapta I Komang Sudarma I Nengah Wirakesuma, I Nengah I Nyoman Dhana I Nyoman Sirtha I Nyoman Suka Ardiyasa, I Nyoman Suka I Nyoman Suparsa I Wayan Adnyana I Wayan Wiarta I Wayan Widnyana Ida Bagus Gede Surya Abadi Ida Bagus Komang Sindu Putra Ida Bagus Surya Manuaba Jana, I Made Jodog, I Made Kartini, Komang Ayu Widyanthi Ketut Sumerjana, Ketut Kirana, Laode Indra Kondra, I Wayan Krismona Arsana, I Wayan Oka Krisnayanti, Ni Luh Wayan Kristanti, Ni Nyoman Delia Kristina, Ni Kadek Sindy Dwi La Ode Abdul Rakhman Laras Lestari Leliana Sari, Dewa Ayu Putu Luh Ayu Tirtayani Maharani, Ni Putu Putri Prananda Mahardika, Ni Luh Candra Putri Mahendra, I Komang Aditya Mahmuda, Dewi Malik, Ernawati Manuaba, I. B. Surya Manuaba, I.B. Surya Manuaba, Ida bagus Baskara Maria Goreti Rini Kristiantari Martayunita, Putu Jasmine Liani Masyuni, Ni Made Putri Megy, Ni Made Lesiana Mia Mindari, Ni Kadek Miartha, I Wayan Mustaqim, Fariz Mustika, I Ketut Nabila Hidayani Nata, I Gede Hendra Negara, I Putu Bagus Juniarta Ni Made Purnami Utami Ni Nyoman Ganing Ni Wayan Suniasih Ningrum Manuaba, Ida Ayu Gede Prihati Ninni, Wa Nyoman Dewi Pebryani Oktaviani, Ni Putu Linda Pardana, Deki Partami, Ida Ayu Made Permana, I Made Juni Pradnyadewi, Ni Putu Ayu Indah Pradnyani, Luh Made Lely Pradnyawati, Luh Ayu Pramana, I M. Manuh Pramesti, Ni Putu Indiani Pramestika, Ni Putu Dyah Pramestika, Ni Putu Dyah Pramitha, Gusti Ayu Kade Winda Pranintya Dewi, Ni Komang Micka Prapinta, Ni Made Catrie Pratama, I Putu Aris Pratiwi, Ni Kadek Nova Senja Pratiwi, Ni Komang Ayu Sari Pratiwi, Putu Heta Maja Prawijaya, I Komang Triana Priyanti, Ni Luh Saras Priyanti, Ni Luh Saras Purnami , Ni Made Purohita, I Gusti Ayu Agung Mas Putra, I Made Agus Darma Putra, I Putu Gede Wahyu Nandika Putra, Made Putra, Made Putri Umbara, Ida Ayu Arieska Putri, A.A.Sg Paramita Ari Putri, Andi Riskiana Putri, Ni Putu Priska Dewi Elicia Putu Sabda Jayendra R, Muhammad Rais Raditya, I Kade Septatika Rahmat, Joey Rai Sawitri, Ni Nyoman Ratna Marta Dhewi Ratnasari, Ni Made Manika Ratnathatmaja, I Made Ridzal, Nining Asniar Romaliyana, Rafflesines Yuanisa Rosa, Karmilawati Sandy, Putu Wahyu Sri Juniantari Sanjaya Pande, Kadek Agus Santika, Tri Arnawest Saputra, I Kadek Hendra Dwi Saputra, I Nyoman Aries Wira Sari, Kompiang Sastrawan, I Ketut Gede Putra Satiari, Putu Putri Sidi, Mahmur Sri Asri, I G A Agung Sri Darmawati, I Gusti Ayu Putu Suandwi, Ni Ketut Mita Suci Lestari, Ni Komang Ayu Sudarmika, I Ketut Karsana Sudiartini, Ni Pande Kadek Dewi Suherman, La Ode Achmad Sujana, I Nyoman Sukmasari, Ni Ketut Reni Suliati, Ni Nyoman Sulistyana Dewi, Kadek Lina Sumarjaya Putra, I Made Adi Sunardy Kasim Supriadi, Ida Bagus Supriyatini, Sri Suputra, Kadek Yoga Suryadewi, Ni Kadek Ari Suryani, Ni Luh Putu Susiliastini, Ni Komang Taris Sutrisna, Gede Billy Bagiarta Sutrisna, Komang Randy Arjuna Sutrisna, Sang Gede Swadnyana, Ida Bagus Yoga Swari, Cokorda Sri Pradnya Syah Putra, Muhammad Adriyan Syahadat, Edy Fitriawan Tamayanti, Putu Adelia Tapa, I Gede Wana Treismayanti, Ni Made Trijayanti, Ni Komang Ayu Triyanti, Komang Udayana, I Putu Denny Aditya Utami, Ni Kadek Trisna Putri Valentina, Ni Putu Dina Vebianti, Ni Kadek Eliana Vitasari, Unzilla Olivia Wa Ode Rayyani Wardhana, Eka Wayan Karja Widianingsih, Desak Made Dian Widianita, Ni Kadek Feby Widnyani, Anak Agung Dwi Wirabrata, Dewa Gede Firstia Wiranata, Rai Aditya Wiyasa, I K. Ngurah Wiyasa, I Komang Ngurah Wiyasa, Komang Ngurah Wraspati, Ni Komang Dyah Tri Rahma Wulandari, Ni Kadek Ayu Gita Yoga, Ida Bagus Made Dwitama Yuliana, Fadjri Yulianti, Ni Made Karisma Yuliartini, Ni Kadek Dina Zainal Abidin, Ganong