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<![CDATA[SPATIAL CONSERVATION STRATEGIES FOR POTENTIAL HERITAGE AT KAMPONG KAUMAN SURAKARTA ]]>
<![CDATA[Musyawaroh, Musyawaroh]]>;
<![CDATA[Pitana, Titis Srimuda]]>;
<![CDATA[Masykuri, Mohammad]]>;
<![CDATA[Nandariyah, Nandariyah]]>
<![CDATA[ Geoplanning: Journal of Geomatics and Planning Vol 5, No 2 (2018): In Press ]]>
Publisher : <![CDATA[Department of Urban and Regional Planning, Diponegoro University ]]>
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DOI: 10.14710/geoplanning.0.0.191-204
<![CDATA[Kauman is one of the cultural heritage kampong in Surakarta which was developed when Paku Buwono III was building Masjid Agung (The Great Mosque) in 1757. Abdi dalem ulama (the religious servant courtiers), together with their santries (Islamic students boarding school), live around the mosque which later was developed into Kauman. The abdi dalem ulama wives are taught to produce batik by the palace where they evolved to be batik entrepreneurs and made Kauman be batik center at the point of time. Batik business went bankrupt and made the Kaumanâs old buildings get ignored, damaged, and dirty due to the less maintenance. Kaumanâs unique culture should be conserved to support the ongoing revitalization. The researchâs main discussion was aimed at identifying the potential of cultural heritage at Kauman Surakarta and what strategies that can be used to conserve it. It was an applied research with the rationalistic qualitative approach. The conservation aspects discussed are tangible heritage and intangible heritage which are supported by spatial analysis using satellite imagery and Arch-GIS. The result of the research shows that tangible heritage which needs to be conserved at Kauman is ancient kampong toponym and ancient buildings. Meanwhile, intangible heritage is in the forms of social, cultural, economic, and religious aspects. The difference of this research from other researches is the involvement of Kauman community in preserving their area.]]>
<![CDATA[ARSITEKTUR JAWA PADA WUJUD BENTUK DAN RUANG MASJID AGUNG SURAKARTA ]]>
<![CDATA[Adityaningrum, Dewi]]>;
<![CDATA[Pitana, Titis Srimuda]]>;
<![CDATA[Setyaningsih, Wiwik]]>
<![CDATA[ Sinektika: Jurnal Arsitektur Vol 17, No 1: Januari 2020 ]]>
Publisher : <![CDATA[Universitas Muhammadiyah Surakarta ]]>
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DOI: 10.23917/sinektika.v17i1.10864
<![CDATA[Budaya tradisi memiliki estetika tersendiri. Arsitektur tradisional Jawa memiliki nilai estetika tersendiri yang merupakan manifestasi dari cara orang Jawa hidup dalam menanggapi lingkungan. Joglo sebagai bangunan arsitektur Jawa merupakan representasi simbolis dari realitas yang nilainya telah melampaui bentuk dan struktur bangunan. Masjid Agung Surakarta adalah masjid yang berkaitan dengan masuknya Islam di tanah Jawa. Pengaruh dari nilai-nilai lokal menjadikan masjid tersebut memiliki nilai-nilai arsitektur Jawa. Penelitian ini menggunakan metode kualitatif deskriptif yang bertujuan mengetahui wujud representasi Arsitektur Jawa dan menemukan unsurunsur yang memuat nilai-nilai kehidupan masyarakat Jawa pada Masjid Agung Surakarta, sehingga nilai-nilai dari kehidupan masyarakat Jawa tersebut juga berimbas pada masjid Jawa lainnya yang mengambil prototipe dari masjid ini. Hasil penelitian menunjukkan bahwa terdapat unsur-unsur pada Masjid Agung Surakarta yang mengadopsi nilai-nilai budaya dan arsitektur Jawa. Berbagai elemen pembentuk masjid yang berkaitan erat dengan apa yang ada pada arsitektur Jawa, yaitu atap tajug yang menjadi penanda tipe masjid Jawa adalah unsur bentuk yang paling dominan, ruang dalem dan pendopo, soko guru, atap tajug tumpang tiga dan atap limasan, serta pajupat dan pancer.]]>
<![CDATA[PERAQ API TRADITION N LOMBOK: A BOURDIEU PERSPECTIVE REVIEW ]]>
<![CDATA[Zuhriah, Nur Azizah]]>;
<![CDATA[Warto, Warto]]>;
<![CDATA[Pitana, Titis Srimuda]]>
<![CDATA[ Humaniora Vol 11, No 1 (2020): Humaniora (In Press) ]]>
Publisher : <![CDATA[Bina Nusantara University ]]>
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DOI: 10.21512/humaniora.v11i1.6205
<![CDATA[The research aimed to dismantle the meaning of peraq api in its social practices involving habitus and the field in Sasak cosmology. Pierre Bourdieu?s social practice theory was used as an analysis to uncover the meanings built in the tradition of the peraq api. The meaning of peraq api in its social practice was discussed using qualitative methods and interpretative descriptive data analysis techniques and using a hermeneutic approach. The results of this research indicate that the tradition of peraq api is a manifestation of life that represents the creation of beings. This happens because the attitude and perspective of Sasak society about nature originated from the monotheism?s cosmology. This perspective gives rise to behavior to maintain the cosmological balance. Tawhid is a general view of reality, truth, the world, space and time, and human history, which is represented through the tradition of the peraq api.]]>
<![CDATA[CULTURAL REVIVALISM OF MANGKUNEGARA VII AND THE ISLAMISM DISCOURSE IN THE EARLY 20th CENTURY ]]>
<![CDATA[Wardhana, Adi Putra Surya]]>;
<![CDATA[Pitana, Titis Srimuda]]>;
<![CDATA[Susanto, Susanto]]>
<![CDATA[ ULUL ALBAB Jurnal Studi Islam Vol 20, No 1 (2019): Islamic Politics and Society ]]>
Publisher : <![CDATA[Universitas Islam Negeri Maulana Malik Ibrahim Malang ]]>
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DOI: 10.18860/ua.v20i1.5664
<![CDATA[This article aims at studying Javanese cultural revivalism of Mangkunegara VII, its function, and meaning, within the context of the rise of Islamism in the early 20th century. Mangkunegara VII was a Mangkunegaran ruler who actively participated in developing Javanese culture. When he was young, he was an essential figure in Budi Utomo, a movement organization that represented Javanese nationalism which was influenced by the complex relations between language awareness, colonialism, modernism, and Islamism. He was also involved in various Kejawen organizations. Using Michel Foucault's discourse theory, this paper argues that Javanese cultural revivalism is a Javanese nationalist success to overcome the excessive radicalism of Islamic discourse. When Islamism arose with their attacks against the abangan, he carried out counter-narratives through Javanese cultural organizations. As a ruler, he was successful in assuming legitimacy from the Mangkunegaran people as well as to influence the Dutch colonial government, and other Javanese nationalists as well.]]>
<![CDATA[Pemetaan Kawasan Wisata Riung Kabupaten Ngada Nusa Tenggara Timur ]]>
<![CDATA[Muhayat, Nurul]]>;
<![CDATA[Majid, Imam Abdul]]>;
<![CDATA[Hadi, Syamsul]]>;
<![CDATA[Ariawan, Dody]]>;
<![CDATA[Pitana, Titis Srimuda]]>;
<![CDATA[Prasetyo, Ari]]>
<![CDATA[ Jurnal Berdaya Mandiri Vol 2, No 2 (2020): Jurnal Berdaya Mandiri (JBM) ]]>
Publisher : <![CDATA[Universitas PGRI Yogyakarta ]]>
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DOI: 10.31316/jbm.v2i2.1369
<![CDATA[Kawasan Riung terletak di pantai utara Pulau Flores, Provinsi Nusa Tenggara Timur, Ngada. Kawasan ini memiliki banyak pulau yang membentuk suatu kawasan pariwisata yang saling melengkapi satu sama lain dan membentuk sebuah taman laut surgawi yang unik. Banyak keunikan-keunikan yang ditawarkan oleh Riung, diantaranya keanekaragaman hayati, pantai berpasir putih dengan birunya air yang sangat jernih, hingga pulau-pulau yang masih “suci†dengan keunikan alamnya yang tidak dapat ditemukan di daerah lain. Namun, keindahan akan Riung belum banyak terekspos baik secara nasional bahkan internasional, sehingga wisatawan yang datang masih cenderung sedikit. Menindaklanjuti permasalahan yang ada maka tim Kuliah Kerja Nyata, Universitas Sebelas Maret (KKN UNS) merekomendasikan untuk dilakukan pemetaan dengan menggunakan drone sehingga potensi wisata yang ada di Riung bisa disebarkan dengan lebih menarik dan secara luas di dunia. Pemetaan dilakukan secara professional menggunakan drone yang telah dimodifikasi oleh tim KKN UNS, sehingga menghasilkan video yang menarik untuk disaksikan. Hasil pemetaan menunjukkan bahwa terdapat banyak lokasi wisata yang ada di Riung masih belum terekspos media, padahal lokasi ini mempunyai potensi besar untuk menarik wisatawan dalam maupun luar negeri. Beberapa lokasi tersebut adalah pegunungan, air terjun dan rumah adat yang ada di kabupaten Ngada, Nusa Tenggara Timur.]]>
<![CDATA[Presenting Local Wisdom: A Multimodal Analysis of Sedekah Gunung Merapi Video as a Tourism Promotion in Boyolali Regency ]]>
<![CDATA[Rachmawati, Julianne Indah]]>;
<![CDATA[Warto, Warto]]>;
<![CDATA[Pitana, Titis Srimuda]]>
<![CDATA[ JURNAL KOMUNIKASI INDONESIA Vol. 7, No. 3 ]]>
Publisher : <![CDATA[UI Scholars Hub ]]>
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<![CDATA[Upacara tradisional Sedekah Gunung adalah salah satu kearifan lokal yang dimiliki oleh masyarakat Desa Lencoh, Selo, Kabupaten Boyolali. Upacara ini bertujuan untuk mengungkapkan rasa terima kasih penduduk desa dan meminta perlindungan Tuhan dari bencana. Upacara ini memiliki potensi karena sering menjadi daya tarik wisata. Liputan media diperlukan untuk menyebarkan konten dan informasi tentang upacara ini. Salah satu contoh liputan media tentang tradisi ini adalah video yang diunggah di situs berbagi video YouTube bernama Sedekah Gunung merapi. Tulisan ini menganalisis beberapa aspek: (1) Apa sarana yang digunakan dalam video Sedekah Gunung Merapi untuk menghadirkan Sedekah Gunung sebagai objek wisata Kabupaten Boyolali? (2) Bagaimana penyajian kearifan lokal Boyolali dalam video Sedekah Gunung Merapi mempromosikan pariwisata Kabupaten Boyolali? (3) Apa makna penyajian kearifan lokal dalam video Sedekah Gunung merapi sebagai promosi pariwisata di Kabupaten Boyolali? Metode yang digunakan dalam penelitian ini adalah nalisis multimodal yang dikembangkan oleh Kress dan van Leeuwen. Video yang diteliti mengandung lebih dari dua sistem semiotik yang terdiri dari linguistik, visual, audio, gestural, dan spasial. Penelitian ini menemukan bahwa wacana tentang kearifan lokal dibangun untuk menonjolkan kekayaan budaya yang dimiliki oleh komunitas Boyolali. Wacana dikemas dan disebarluaskan melalui video untuk mengkomersialkan pariwisata kabupaten Boyolali. The traditional ceremony of Sedekah Gunung is one of the local wisdoms possessed by the community of Lencoh Village, Selo, Boyolali Regency. The ceremony aims to express the villagers’ gratitude and requests the protection of God from disasters. This ceremony has potency as it often becomes a tourist attraction. media coverages are needed to disseminate contents and information about this ceremony. one example of existing media coverages on the tradition is a video uploaded on video-sharing website YouTube named Sedekah Gunung Merapi. This paper analyzes several aspects: (1) What are the means used in the Sedekah Gunung Merapi video to present Sedekah Gunung as a tourist attraction of Boyolali Regency? (2) How does the presentation of Boyolali’s local wisdom in Sedekah Gunung merapi video promotes Boyolali Regency’s tourism? (3) What is the meaning of presenting local wisdom in Sedekah Gunung Merapi video as tourism promotion in Boyolali Regency? The method used in this research is multimodal analysis developed by Kress and van Leeuwen. The studied video contains more than two semiotic systems consisting of linguistic, visual, audio, gestural, and spatial. The research finds that discourses on local wisdom are constructed to accentuate the cultural richness possessed by Boyolali’s community. discourses are packaged and disseminated through the video to commercialize the regency’s tourism.]]>
<![CDATA[PKM Pemetaan dan Dokumentasi Cagar Budaya Desa Genggelang Untuk Peningkatan Kesadaran Budaya ]]>
<![CDATA[Kamila, Aisyah Rahma]]>;
<![CDATA[Virgie, Arrley]]>;
<![CDATA[Sulistyaningati, Endah]]>;
<![CDATA[Badriah, Maulida Nabilah]]>;
<![CDATA[Ernawati, Nurul]]>;
<![CDATA[Faviansyah, Okta Arkana]]>;
<![CDATA[Putri, Salsabila Adinda]]>;
<![CDATA[Ananda, Wildan Purbo]]>;
<![CDATA[Firmansyah, Yusuf]]>;
<![CDATA[Pratama, Yuwanda Budi]]>;
<![CDATA[Pitana, Titis Srimuda]]>
<![CDATA[ J-ADIMAS (Jurnal Pengabdian Kepada Masyarakat) Vol 12, No 2 (2024) ]]>
Publisher : <![CDATA[(STKIP) PGRI Tulungagung ]]>
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DOI: 10.29100/j-adimas.v12i2.6551
<![CDATA[Sebagai bagian dari Program Kuliah Kerja Nyata (KKN) UNS 102 dan 104 di Desa Genggelang, Lombok Utara, proyek ini berfokus pada pemetaan dan dokumentasi situs cagar budaya dari 30 Juli hingga 20 Agustus 2024. Inisiatif ini bertujuan untuk mengidentifikasi dan melestarikan artefak budaya serta situs bersejarah di desa. Proyek ini mencakup pendataan artefak di rumah-rumah warga, katalogisasi barang-barang di museum desa, serta observasi dan pendataan makam bersejarah dan petilasan. Selain itu, koordinasi dengan lembaga adat setempat juga dilakukan. Hasil dari upaya ini adalah pembuatan buku "Situs Cagar Budaya Desa Genggelang Vol 1", yang memberikan catatan rinci mengenai warisan budaya Desa Genggelang. Dokumentasi ini penting untuk meningkatkan kesadaran budaya dan melestarikan warisan sejarah desa.Kata kunci: Warisan budaya; pemetaan situs; Desa Genggelang; dokumentasi artefak; pelestarian budaya.]]>
<![CDATA[The New Museology Discourse at the Radyapustaka Surakarta Museum ]]>
<![CDATA[Sugara, Badra]]>;
<![CDATA[Warto, Warto]]>;
<![CDATA[Pitana, Titis Srimuda]]>
<![CDATA[ International Journal of Multi Discipline Science (IJ-MDS) Vol 7, No 2 (2024): Volume 7 Number 2 August 2024 ]]>
Publisher : <![CDATA[STKIP Singkawang ]]>
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DOI: 10.26737/ij-mds.v7i2.6634
<![CDATA[This qualitative descriptive research, within the field of cultural studies, aims to explore the practice of New Museology discourse at the Radyapustaka Museum in Surakarta. The data sources included: informants, namely museum managers and visitors; the event location, the Radyapustaka Surakarta Museum; and relevant documents and references. Data collection was carried out through field observation, document studies, literature review, and interviews with selected informants using purposive and snowball sampling techniques. Data validity was ensured through triangulation, and data analysis was performed using interpretive techniques based on generalized propositions. The results of this study showed that activities carried out at the museum, such as exhibitions, workshops, and similar events, are practices of The New Museology discourse at the Radyapustaka Surakarta Museum.]]>
<![CDATA[The Symbolism of The Ruwat Banyu Panguripan Tradition: Culture and Religion Integration Perspective ]]>
<![CDATA[Ilafi, Afiliasi]]>;
<![CDATA[Sudardi, Bani]]>;
<![CDATA[Subiyantoro, Slamet]]>;
<![CDATA[Pitana, Titis Srimuda]]>
<![CDATA[ IBDA` : Jurnal Kajian Islam dan Budaya Vol. 22 No. 2 (2024): IBDA': Jurnal Kajian Islam dan Budaya ]]>
Publisher : <![CDATA[Lembaga Penelitian dan Pengabdian kepada Masyarakat, Universitas Islam Negeri Profesor Kiai Haji Saifuddin Zuhri Purwokerto Purwokerto ]]>
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DOI: 10.24090/ibda.v22i2.12267
<![CDATA[This study aims to explore the symbols in the tradition of Ruwat Banyu Panguripan in the integration of culture and religion in commemorating the Islamic New Year in Pemalang Regency. Banyu panguripan literally means water of life. This tradition reflects a harmonious combination of cultural values and community beliefs correlated with the Islam adhered to. The Ruwat Banyu Panguripan ruwat tradition exists in the Pulosari District, especially at the Manunggal Jati Utama College. This study uses a qualitative approach with a qualitative descriptive method in collecting data through observation, interviews, and literature related to the tradition of Ruwat Banyu Panguripan. This research shows that the tradition of Ruwat Banyu Panguripan in Pulosari is not exclusively organized by the Wong Gunung Festival but also by the Manunggal Jati Utama College, which was formerly a member of the Prabasari Padepokan. The Ruwat Banyu Panguripan tradition aims to deliver each individual's wishes to God. In the process of Ruwat Banyu Panguripan, water intake comes from four directions of the compass (the west, west, south, and north). For several months, verses of the Qur'an were chanted by members of the College until, at the time of this unification, the Prophet's prayer was recited. It shows that preserving local culture is integrated with the routine of the Muslim community, specifically reading the Qur'an and praying to the Prophet in a clean and holy state.]]>
<![CDATA[Hiperrealitas Nostalgia dalam Video Klip Sakura Abadi Karya Diskoria Bersama Laleilmanino dan Neida ]]>
<![CDATA[Paramanandana, Satrya]]>;
<![CDATA[Pitana, Titis Srimuda]]>;
<![CDATA[Ardianto, Deny Tri]]>
<![CDATA[ Bahasa: Jurnal Keilmuan Pendidikan Bahasa dan Sastra Indonesia Vol 7, No 2 (2025): Bahasa: Jurnal Keilmuan Pendidikan Bahasa dan Sastra Indonesia ]]>
Publisher : <![CDATA[ppjbsip ]]>
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DOI: 10.26499/bahasa.v7i2.1489
<![CDATA[The trend of returning to the past or retro—particularly in the realm of music—has recently gained popularity on social media. This phenomenon has grown rapidly since the Covid-19 pandemic, with the 1980s being the chosen decade. One of the music groups that initiated this trend in Indonesia is Diskoria. This DJ duo has revived the creative pop genre of the 1980s in the present day, reproducing nostalgia in a way that can be enjoyed across generations. Sakura Abadi is one of Diskoria's music videos on YouTube that embodies this concept both in audio and visual aspects. This study aims to explore the hyperreality of nostalgia constructed by Diskoria through the music video and its impact on viewers, as reflected in the comments section. This research employs a netnographic method and is analyzed using Baudrillard’s concept of hyperreality and Boym’s theory of nostalgia. The findings reveal that Sakura Abadi is a pastiche of Fariz RM’s 1980 song Sakura and TVRI programs such as Selekta Pop and Aneka Ria Safari. The use of neon fonts, VHS recording effects, and fashion in the video also draw inspiration from 1980s pop culture. Meanwhile, YouTube users’ responses to the video show that they experience a sense of nostalgia, as if returning to the 1980s. Thus, it can be concluded that Sakura Abadi successfully evokes a hyperreality of nostalgia for its audience. Abstrak Tren kembali ke masa lalu atau retro, terutama di bidang musik belakangan populer di media sosial. Fenomena ini berkembang pesat sejak pandemi Covid-19 dan periode yang dipilih adalah dekade 1980-an. Salah satu grup musik yang memulai tren ini di Indonesia adalah Diskoria. Grup DJ ini menghidupkan kembali genre pop kreatif dari dekade 1980-an di masa kini dan mereproduksi nostalgia sehingga dapat dinikmati lintas generasi. Sakura Abadi adalah salah satu video klip musik karya Diskoria di YouTube yang mewakili konsep tersebut baik dari aspek audio maupun visual. Penelitian ini bertujuan untuk mengetahui tentang hiperrealitas nostalgia yang dibangun Diskoria melalui video klip tersebut dan dampaknya bagi penontonnya dalam kolom komentar. Penelitian ini menggunakan netnografi kemudian dianalisis dengan konsep hiperrealitas Baudrillard dan nostalgia Boym. Hasil penelitian menunjukkan bahwa Sakura Abadi merupakan pastische terhadap lagu Sakura karya Fariz RM (1980) dan program TVRI seperti Selekta Pop dan Aneka Ria Safari. Font neon, efek rekaman VHS dan fesyen dalam video klip tersebut juga mengadaptasi dari budaya populer dekade 1980-an. Sementara respons pengguna YouTube yang melihat video klip tersebut menunjukkan bahwa mereka merasakan nostalgia seperti kembali ke dekade 1980-an. Oleh karena itu, dapat disimpulkan bahwa Sakura Abadi berhasil menghadirkan hiperrealitas nostalgia bagi para penikmat video klip mereka.]]>
