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ika ismurdiyahwati
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INDONESIA
Jurnal Budaya Nusantara
Published by Universitas PGRI Adi Buana Surabaya
ISSN : 23553367     EISSN : 25978802     DOI : https://doi.org/10.36456/b.nusantara.vol3.no2
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Environmental Science Languange, Linguistic, Communication & Media Social Sciences
Diterbitkan dalam bentuk jurnal yang berfungsi sebagai media hasil disseminasi penelitian dan karya ilmiah, yang bertujuan untuk menambah wawasan dalam science, knowledge, skill, dan ability dalam bidang pendidikan, seni, budaya dan desain pada aspek olah gerak, rupa, teater, sastra, suara dan bunyi-bunyian yang berada dalam khasanah budaya Nusantara.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 216 Documents
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GAGASAN CERITA PANJI SEBAGAI ASPEK KETELADANAN henri nurcahyo
Jurnal Budaya Nusantara Vol 1 No 2 (2018): NUSANTARA & KONTEMPORER
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol1.no2.a1573

Abstract

The Panji story is a popular cultural heritage during the Majapahit period, spreading to various regions andcountries of Southeast Asia. Panji's story is not just a romantic story of Panji Asmarabangun with Dewi Sekartajibut has many interesting aspects that can be studied from various sides. There are many fairy tales that tell the story ofPanji, as well as the performing arts of tradition, art, the art of chanting, and even the Panji Story enshrined in reliefsof dozens of temples in East Java and hundreds of manuscripts of Panji scattered in various countries. From thevarious stories of Panji is contained noble values that can be a role model in the life of society and state. In the story ofPanji there is a load of courage, heroism, unyielding spirit, creativity in running tactics, caring for others, love animalsand flora, not vengeance, do not apply cruelly, love to study, devoted to mother, love and master various art and so on. The Panji is an ideal figure so much is personified by many Kings throughout history. The story of the Panji becomesintertwined between fairy tales and facts. The Panji story becomes a myth that eventually becomes a reference in life. Infact, the example of the Panji Story is not only reflected in its traits as a person but the moral of the story contained init, as well as the inspiration that can be picked as a raw material for the creation of artwork and also the creativeeconomy.
MENGOMUNIKASIKAN KETELADANAN PANJI: Apresiator Kompleks dalam Budaya Etnik, Era Digital, Regulasi Kebudayaan henricus supriyanto
Jurnal Budaya Nusantara Vol 1 No 2 (2018): NUSANTARA & KONTEMPORER
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol1.no2.a1574

Abstract

The current proposed discussion is related to the complexity that is analyzed based on the stage of thinking.This happens because the current turn of the era which 'back and forth' turns out into a cultural cross. Not monitoredin detail, followed by a changing educational system, and not necessarily in tune with the needs and expectations ofgenerations of "X" and "Y" in the present. In this connection, the idea of harmony can be learned from variousfolklore, which is common in speech stories or by using role models with the following characteristics; 1) always presentas the savior of the kingdom, 2) a consistent figure in the family (in the world of love and the protection of hisgeneration), 3) the original figure of the archipelago earth, not imported figures. All three of these are in the story / play-story of Folk Art Performing/Panji Tradition. Apresiator Mapping in the Digital Age Culture today and thefuture will be more complex, because it can not be separated from non-cultural factors, such as industry, economics,politics and technology. Therefore, the birth function of Review on Transfer Modes based on consideration is to observethe development of digital technology and information technology, increasingly supporting the transformation (Budiman,2012: ii). Considering ethnic and sub ethnic cultures, the digital age, the transfer of modes and regulations of"Cultural Progress", communicating the Panji Oral Tradition can be carried out as follows; 1) Direct or face-to-facecommunication, by way of storytelling, staging folk/traditional performances, effective in 3 T areas (disadvantaged,leading, marginalized) 2) Media communication, 3) Communication in modern areas/no communication systembarriers.
CERITA PANJI DALAM PERSPEKTIF SEJARAH Sunu Catur Budiyono
Jurnal Budaya Nusantara Vol 1 No 2 (2018): NUSANTARA & KONTEMPORER
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol1.no2.a1575

Abstract

As a story which spread is dominated by oral tradition, Panji is presented in various versions. Meanwhile,history uses facts, data, or documents to be systematically explored and elaborated. In this case, history speaks in thedomain of "the logic of acceptability" whereas literature extends into the realm of "the logic of ignorance". If literatureand history serve the phrase "historical literature" and "literary history" then two things are different. Historicalliterature is part of a literary history study, but not the other way around. History literature stems from the belief ofsomething. Instead, history begins with the proof of something (Ibrahim, 1986: vii). The story of Panji is also the onlylocal story that is globalized. Panji is also appointed as a cultural hero of the archipelago. Starting from the abovediscussion, it is stated that historical literature can only be used to give an overview of civilization society, the concept of state administration, and the style of thinking in that era.
BENTUK KESANTUNAN BERBAHASA DALAM WACANA DIALOG KETOPRAK SAPTA MANDALA LAKON BABAD ALAS MENTAOK Agung Pramujiono
Jurnal Budaya Nusantara Vol 1 No 2 (2018): NUSANTARA & KONTEMPORER
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol1.no2.a1576

Abstract

This study aimed at describing and explaining the phenomenon of linguistic politeness in dialogue discourse inKetoprak Sapta Mandala of in the play of Babad Alas Mentaok. This phenomenon needs to be studied becausepoliteness in this discourse is unique, particularly in the selection of forms and politenesss trategies. The study used thePoliteness Theory of Brown and Levinson (1987) with ethnopragmatic perspectives. Ethnopragmatics is aninterdisciplinary study of Pragmatics and Ethnographic of Communication. Data were taken from the recording ofKetoprak Sapta Mandala “Ratu Kidul ” episode of “Babad Alas Mentaok ” drama series by Fajar which isconverted into a digital format in website of jamansemono.com. It was then analyzed by using descriptive analysis following the interactive model of Miles and Huberman. Based on the analysis of data, it can be concluded thatutterances representing forms of politeness can be broken down into three categories: declarative (SUBDek),interrogative (SUBInt), and imperative (SUBImp) modes. SUBDek was realized in various forms of speech actsincluding (1) assertive speech acts: notifying and stating; and (2) expressives: thanking, expressing happiness,apologizing, praising, and criticizing. SUBInt was realized indirective speech acts, such as requesting information,confirming, and asking for permission. SUBImp realized indirective speech acts, for instance giving commands,allowing, prohibiting, and inviting. The politeness strategies used in the play discourse include direct strategies; positivepoliteness strategies with sub-strategies (1) giving attention, (2) giving praise, and (3) using a group marker; negativepoliteness strategies with sub-strategies(1) using speech of respect, (2) using indirect speech, and (3) using a variety ofmanners; and off-record/indirect strategies under taken by (1) using narrative strategies and (2) using implied speech.The use of narrative strategies as the indirect strategy constitutes a finding that can be used to complement the indirectsub-strategy proposed by Brown and Levinson (1987).
HISTORIOGRAFI GLOBALISASI BATIK MASA KOLONIAL DAN TANTANGAN GLOBAL ERA KONTEMPORER Nuning Damayanti Adisasmito
Jurnal Budaya Nusantara Vol 1 No 2 (2018): NUSANTARA & KONTEMPORER
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol1.no2.a1577

Abstract

With regard to the long history of the creation of Batik Indonesia and its development, batik technique becomesone that is recognized as the world cultural heritage. UNESCO on October 2 , 2009 recognized belonging of Batik to the nation of Indonesia which became world heritage, then October 2nd at once also celebrated as National Batik Day. This is the work of many parties and government support. Batik is a product of indigenous culture of Indonesia, especially made by the people of Java Island, but now scattered centers of batik industry almost throughout theIndonesian archipelago, not only in Pekalongan, Solo, Yogyakarta, Madura, Tasikmalaya, Cirebon, Garut. This fact adds to the rich variety of Batik Nusantara.
PRINSIP-PRINSIP BAHASA RUPA Primadi Tabrani
Jurnal Budaya Nusantara Vol 1 No 2 (2018): NUSANTARA & KONTEMPORER
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol1.no2.a1579

Abstract

The concept of Fine Language is the result of the creation of a long research, originally in the form of a researchreport on the science of Fine Language which later developed into dissertation research as much and as thick as 'onecoffin' (58x33x37cm). This Fine Language is a way of 'reading' pictures, from various images, pictures of children,prehistoric cave pictures, wayang beber pictures, then to symbolic images, decorative images and shadow images fromshadow puppets (wayang kulit). Also included are temple relief images and modern drawings, animated images, filmsand pictures produced by other digital technologies, such as ad images. The word language is different from the imagelanguage. In the image language, we can already describe the shape of the drawn. In the word language, use the word torepresent an object that is drawn. Often experience miscommunication because with various words (from different regions/tribes/countries) to describe an object. In the language of the image there are wimbas, in the wimba there is thecontent of wimba and way of wimba. The content of the wimba is a picture contained in the wimba, and the way thewimba is how the wimba is drawn and can be told. Through the 'science' is the original image that is beginning to beunderstood and retold as teaching materials or materials of scientific art for future studies, about the image of traditionsand modern drawings.
KAJIAN KOMPARATIF HISTORIS FILM 'PENGABDI SETAN' Garcia Iktia
Jurnal Budaya Nusantara Vol 2 No 1 (2018): NUSANTARA & TEKNOLOGI
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol2.no1.a1712

Abstract

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.
Narasi Visual Kematian Pada Ilustrasi Buku Cerita Rakyat Anak Indonesia Refita Ika Indrayati; Pindi Setyawan; Acep Iwan Saidi
Jurnal Budaya Nusantara Vol 2 No 1 (2018): NUSANTARA & TEKNOLOGI
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol2.no1.a1713

Abstract

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.
PERGELARAN WAYANG KRUCIL SELOPURO STRUKTUR KUASA ISLAM JAWA DALAM RITUAL NYADRAN rudi irawanto
Jurnal Budaya Nusantara Vol 2 No 1 (2018): NUSANTARA & TEKNOLOGI
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol2.no1.a1714

Abstract

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.
KARYA SENI SANGGIT: PERJUMPAAN TRADISI MODERN DALAM PARADIGMA KEKARYAAN SENI RUPA Sony Dharsono Kartika
Jurnal Budaya Nusantara Vol 2 No 1 (2018): NUSANTARA & TEKNOLOGI
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol2.no1.a1715

Abstract

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.

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