Jurnal Budaya Nusantara
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<![CDATA[KAJIAN KOMPARATIF HISTORIS FILM 'PENGABDI SETAN' ]]>
<![CDATA[Iktia, Garcia]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 2 No 1 (2018): NUSANTARA & TEKNOLOGI ]]>
Publisher : <![CDATA[LPPM Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol2.no1.a1712
<![CDATA[Indonesian films experience development over time. In the beginning film in Indonesia served as a massmobilizer and propaganda, then suspended animation. Now Indonesian films are taken into account to internationalfestivals, especially the horror film genre. The object to be analyzed in this study is a horror film, entitled 'PengabdiSetan' by director Rudi Sudjarwo produced in 2017 which is also nominated for the Indonesian Film Festival. Researchthrough the analysis of historical studies with comparative research methods, literature study of two films that have beenadapted to the same genre, namely the horror genre. Both films have good unity in the story and cinematography, but inthe film “Pengabdi Setan†made in 2017 the audience is treated to a different cinematography than the one made in 1980and the many cinematographic developments in the Indonesian film horror genre.]]>
<![CDATA[Narasi Visual Kematian Pada Ilustrasi Buku Cerita Rakyat Anak Indonesia ]]>
<![CDATA[Indrayati, Refita Ika]]>;
<![CDATA[Setyawan, Pindi]]>;
<![CDATA[Saidi, Acep Iwan]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 2 No 1 (2018): NUSANTARA & TEKNOLOGI ]]>
Publisher : <![CDATA[LPPM Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol2.no1.a1713
<![CDATA[Folklore used as a tool to transfer life lesson from generation to generation. In the midst of modern children'sbooks that carry moral as a main theme, folklore must comes with a new adaptation to compete with other stories. Thisadaptation forced to change how sensitive theme must be delivered, such as death. This study aims to explore howIndonesian folklore books that narrated death in terms of images, texts, and relationships built between the twoelements. Using content analysis, this research takes an example of story containing subtheme as story line from fourprinted books of Indonesian children ’s folktales that published between 2015-2017.]]>
<![CDATA[PERGELARAN WAYANG KRUCIL SELOPURO STRUKTUR KUASA ISLAM JAWA DALAM RITUAL NYADRAN ]]>
<![CDATA[irawanto, rudi]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 2 No 1 (2018): NUSANTARA & TEKNOLOGI ]]>
Publisher : <![CDATA[LPPM Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol2.no1.a1714
<![CDATA[Nyadran is an annual event in the village of Selopuro, Pitu District, Ngawi Regency, East Java. This event was held on every 10th Besar or 10 Dzulhijah which contained the salvation and performance of the krucil puppet. Activities in Nyadran and the performance of wayang krucil indicate the process of acculturation between authentic beliefs and Islamic spirituality. The acculturative process appears in the conscious prayer read out by the puppeteer and also in the puppet performance ritual. Prayers delivered at the slametan ritual and at the pre show influence the concept of pantheism, or the concept of manunggaling kawulo gusti. The concept of manuggaling kawulo gusti is one of the core of Javanese Islamic teachings.]]>
<![CDATA[KARYA SENI SANGGIT: PERJUMPAAN TRADISI MODERN DALAM PARADIGMA KEKARYAAN SENI RUPA ]]>
<![CDATA[Kartika, Sony Dharsono]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 2 No 1 (2018): NUSANTARA & TEKNOLOGI ]]>
Publisher : <![CDATA[LPPM Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol2.no1.a1715
<![CDATA[The encounter of modern tradition is a paradigm of modern art with a touch of tradition, a phenomenon tosearch for Indonesian roots in Indonesian cultural identity, then called the work of sanggit. To meet the global era, thealternative we have to build is how to do local studies (traditional arts) that can be an alternative to the development ofart towards global ideology, so that global phenomena will become more local. Preservation of traditional art, as a formof cultural resilience. Preservation can be interpreted as preservation and conservation. Preservation is maintaining,caring for, and protecting, while conservation is the preservation of development and / or utilization of value. Thepurpose of this discussion is to offer a phenomenon of meeting modern traditions in the Indonesian art workforce paradigm; (1) offering the concept of revitalization of sanggit as the basis for art work, (2) offering the concept of reinterpretation of sanggit as the basis for art work and (3) offering the concept of symbolic expression and / or abstraction as the basis of art work. Research / study steps are carried out with a qualitative research model with a cultural approach, referring to the teachings of Javanese culture in accordance with Javanese cultural philosophy and philosophy. This approach emphasizes data interpretation in case specificity. The review of the analysis in this study emphasizes more on the interaction model of qualitative data analysis, using a Javanese cultural approach. Analysis interactions were carried out to analyze qualitative data from the results of empirical data collection. The interactive results of the analysis are then examined by interpretive analysis in a hermeneutic manner.]]>
<![CDATA[KATURANGGAN WANITA MERUPAKAN SALAH SATU MEDIA TEKNOLOGI INFORMASI DAN KOMUNIKASI MASA LAMPAU ]]>
<![CDATA[Dwidjowinoto, Wahjudhi]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 2 No 1 (2018): NUSANTARA & TEKNOLOGI ]]>
Publisher : <![CDATA[LPPM Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol2.no1.a1716
<![CDATA[In looking at the character and characteristics of a woman who is good and not good or who is called Katuranggan as a marker of the basic character. Katuranggan comes from the word turangga which means horse. The science of katurangan is actually a science of the traits and traits of horses as the mounts as well as the train pullers. Furthermore, this term katuranggan borrowed/used also to understand the characteristics of women based on their physical characteristics. This paper discusses female customers based on those of Serat Centhini, the character of Arjuna's wives, female characters from the face, the female character based on the impression of their body, the female character based on the expression of the expression, the female character according to the characteristics of their body.]]>
<![CDATA[PROBLEM SOSIAL DAN BUDAYA ]]>
<![CDATA[Wiryokusumo, Iskandar]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 2 No 1 (2018): NUSANTARA & TEKNOLOGI ]]>
Publisher : <![CDATA[LPPM Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol2.no1.a1717
<![CDATA[Social problems in society often occur in increasingly complex social environments. Many things happen which are in line with human life that continues to evolve and fluctuate especially it happens in developing countries. This is usually caused by the existence of social sustainability in a community group and arousing social jealousy, thus generate to behavior with certain characteristics. Through several theories, the behavior is reviewed and the symptoms are also observed. Finally, a simple understanding is obtained, that social problems are caused by, among others; 1) young generation movements, 2) poverty groups, 3) education groups. It is not the wrong educational process, but the supporting factors that are not in line with the values in the learning process are the factors that support the problem insociety.]]>
<![CDATA[PERGESERAN MAKNA, FUNGSI, DAN BENTUK TEMBIKAR TRADISIONAL SUNGAI JANIAH DI TANAH AGAM SUMATRA BARAT ]]>
<![CDATA[Damayanti, Nuning Y]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 2 No 1 (2018): NUSANTARA & TEKNOLOGI ]]>
Publisher : <![CDATA[LPPM Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol2.no1.a1718
<![CDATA[The background of the establishment of the earthenware craft of Sungai Janiah is acquired from the legend TheSacred Fish, which is a “karma†of the nature’s authority against a mother who neglected the care of her child, so thatthe child be came a fish. Since then every mother is forbidden to leave her child alone at home. The mother may work athome while taking care of her children. The work chosen is making earthenware, because the easily available rawmaterial, and easily done. The philosophy of the earthenware of Sungai Janiah is “Mother and Child Philosophyâ€Â. This isreflected by the attitude and behaviour in making earthenware like child-caring, and each stage of making earthenware isbased on that.The traditional earthenware craft today is decreasingly developing due to its inability to compete with industrial products. The problems most commonly faced are the technological development- and the marketingproblems. This study was done in Sungai Janiah Kabupaten Agam, West Sumatera, because it has never before researchhas been done in this field, and no written reference yet exists concerning this craft. This study had to be done so the nation’s cultural asset will be not forgotten without more and is needed for the scientific world. The method of study used is the qualitative method with the cultural approach. Data of study was acquired by direct observation, and interviews and field notes were made concerning matters that can support the study findings. The study findings can be explained as follow:Commonly the earthenware of Sungai Janiah is round-formed, functioning as household utensils receptacles. The Sungai Janiah earthenware has not experienced many changes in form, but in function and meaning. No changes in form is due to the limited capacity of the craftsmen and the local socio-cultural factor. The change in meaning is due to scientific developments and socio-cultural changes.]]>
<![CDATA[PRANATA MANGSA DAN BUDAYA KEARIFAN LINGKUNGAN ]]>
<![CDATA[Sobirin, Supardiyono]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 2 No 1 (2018): NUSANTARA & TEKNOLOGI ]]>
Publisher : <![CDATA[LPPM Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol2.no1.a1719
<![CDATA[Pranata mangsa is a traditional calendar about the rules of the season which has long been known primarily bythe farming community in Java. This calendar is based on pseudo-circulation of the sun, which in the past was a reliableguide for farmers to schedule farming in the rice fields. Along with the progress of civilization of life, understanding of pranata mangsa has faded a lot, among other things because of environmental changes due to population growth, land use change, climate anomalies, and modernization of life. Although pranata mangsa has experienced many deviations, it is assumed that it can still be saved as a very wise and valuable ancestral heritage. One of the benefits is as a cultural aid in preserving the environment, and as a basis for understanding the current season's forecasting technology. A hope that pranata mangsa culture can be revived, namely if the concept of development is carried out on the basis of consistent ecological sustainability, with integrated support in the form of political will, educational will, and cultural will, and integrating traditional wisdom of pranata mangsa with modern technology.]]>
<![CDATA[KAJIAN KOMPARATIF HISTORIS FILM 'PENGABDI SETAN' ]]>
<![CDATA[Garcia Iktia]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 2 No 1 (2018): NUSANTARA & TEKNOLOGI ]]>
Publisher : <![CDATA[Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol2.no1.a1712
<![CDATA[Indonesian films experience development over time. In the beginning film in Indonesia served as a massmobilizer and propaganda, then suspended animation. Now Indonesian films are taken into account to internationalfestivals, especially the horror film genre. The object to be analyzed in this study is a horror film, entitled 'PengabdiSetan' by director Rudi Sudjarwo produced in 2017 which is also nominated for the Indonesian Film Festival. Researchthrough the analysis of historical studies with comparative research methods, literature study of two films that have beenadapted to the same genre, namely the horror genre. Both films have good unity in the story and cinematography, but inthe film “Pengabdi Setan†made in 2017 the audience is treated to a different cinematography than the one made in 1980and the many cinematographic developments in the Indonesian film horror genre.]]>
<![CDATA[Narasi Visual Kematian Pada Ilustrasi Buku Cerita Rakyat Anak Indonesia ]]>
<![CDATA[Refita Ika Indrayati]]>;
<![CDATA[Pindi Setyawan]]>;
<![CDATA[Acep Iwan Saidi]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 2 No 1 (2018): NUSANTARA & TEKNOLOGI ]]>
Publisher : <![CDATA[Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol2.no1.a1713
<![CDATA[Folklore used as a tool to transfer life lesson from generation to generation. In the midst of modern children'sbooks that carry moral as a main theme, folklore must comes with a new adaptation to compete with other stories. Thisadaptation forced to change how sensitive theme must be delivered, such as death. This study aims to explore howIndonesian folklore books that narrated death in terms of images, texts, and relationships built between the twoelements. Using content analysis, this research takes an example of story containing subtheme as story line from fourprinted books of Indonesian children ’s folktales that published between 2015-2017.]]>
