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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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RUANG PUBLIK DAN SENI PUBLIK Rahmat Jabaril
Jurnal Budaya Nusantara Vol 2 No 2 (2019): NUSANTARA & TEKNOLOGI
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol2.no2.a1970

Abstract

Public Space and Public art, are two different senses. Public Space is a space that can be spread out because of the existence of a community that has the imagination that engages in it. Society is created and creates public space as a real democratic space. This is because, every actor in it interferes with imagination, and ideas that make that space continue to be spread out as public space. Public art is unconstitutional, so its beauty is a dynamic process. In that, then the public space and the art of public are compounds which have no meaning. Often it is not revealed that what we see on the streets, for example, provides reflective space and gives inspiration to the street performers. Public art, public space and public actors will make public dynamics an aesthetic form.
TANTANGAN DALAM PENCIPTAAN SENI RUPA TRADISI DI ERA REVOLUSI INDUSTRI 4.0 Karsam .
Jurnal Budaya Nusantara Vol 2 No 2 (2019): NUSANTARA & TEKNOLOGI
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol2.no2.a1971

Abstract

The industrial revolution 4.0 was an era where all aspects were made, carried out, carried out with tools and facilities that were all modern including the creation of traditional art. The order of human behavior in work that cannot keep up with changes in the digital age will be marginalized. This condition can marginalize and even destroy the existence of traditional art.This research was carried out by using qualitative method in which data are obained from observation, literature review and direct practice in the field, where the author is the actor of the creation of traditional art.The purpose of this study is to preserve and preserve the existence of traditional fine art on this earth, so the creators (Artists, Masters, Kriyawan, Craftsmen, etc.) must be able to use media, tools, materials, facilities that develop in this time. The author hopes that this research can benefit readers, researchers, reviewers and traditional art actors to continue working in this era of industrial revolution 4.0 without abandoning traditional artistic values.
UNSUR RUPA DAN MAKNA PADA BUSANA PENGANTIN BETAWI Ayoeningsih Dyah Woelandhary
Jurnal Budaya Nusantara Vol 3 No 1 (2019): NUSANTARA & MEDIA
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no1.a2109

Abstract

Bridal dress is found in all cultures in the archipelago, its existence is often used as a focal pointfor invited guests, so it is not surprising that fashion is one of the elements that most brides payattention to. Variety of designs and modifications are made by designers and brides to wear,but ingeneral the basic form is not removed, it is manifested in maintaining the spirit of culturalvalues embedded in it. The focus of this research is the Betawi regional wedding dress. ThisBetawi tribe is a tribe whose majority of the population used to be people who lived and settledin this region since the time of the formation of Batavia, they grew up and developed as a largeethnic group, the result of intermarriages and mixed marriages of various ethnic migrants.The form of acculturation can be seen in the designation of the clothes worn by the bride andgroom, namely the wedding dress 'haji care' for the bride and groom, and the "rias besar dandanancare none pengantin cine" for the bride. In this study will reveal a lot of the elements of formand symbolic meaning embedded in it, then the method in this research is descriptive analysiswith qualitative methods, the analysis process uses visual art review theory, descriptive in nature,where data and pictures will be broken down and explanations about various things relating tothe visual elements in the object of research that have been redrawn with illustration techniques.The most interesting finding in this study is the existence of different absorption elements, inthis Betawi bridal costume is in the bride costume thick with Chinese culture, but in the malecostume, thick with nuances of Arabic culture, and as we know that in history two this culturereally has a strong influence on the development and growth of Betawi people.
REPRESENTASI BUDAYA DALAM IKLAN: (Analisa Semiotika Iklan Marjan Versi Tari Betawi dan Sepatu Roda) Dian Handayani
Jurnal Budaya Nusantara Vol 3 No 1 (2019): NUSANTARA & MEDIA
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no1.a2111

Abstract

The purpose of this research is to understand the culture representation and the meaning ofBetawi dance and roller skate's version of Marjan advertising. This research used some theories,they are:Mass Communication, Advertising, Cultural Imagery, Semiotics, Culture Study, Semiologyby Roland Barthes. This research was analysed by Roland Barthles as denotation and connotationmeaning. This research showed that Marjan advertisement represented two cultures, they aretraditional culture through mask dance and modern culture trough roller skate's show. Thisadvertisement was successful to represent Betawi and modern culture through the show ofOndel-ondel who played the roller skates.
PENERAPAN TEKNIK DIGITAL PRINTING DAN BORDIR DENGAN INSPIRASI BANGUNAN HOTEL SAVOY HOMANN BANDUNG UNTUK PRODUK FESYEN Deanita Nabilla Fernanda; Widia Nur Utami Bastaman
Jurnal Budaya Nusantara Vol 3 No 1 (2019): NUSANTARA & MEDIA
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no1.a2112

Abstract

Buildings are one of the major inspiration frequently used on design theme for fashion industries.The purpose of this research is to raise the potential of a functional historical building in Bandungby the name of Hotel Savoy Homann. The visual potential of Hotel Savoy was used as inspirationfor fashion products in the form of women's clothing. To represent the value of Hotel SavoyHomann, the writer choosed to use two varieties of surface design techniques which is digitalprinting and embroidery. This research carried out the qualitative method by doing field observationand collecting data from related literature studies. The execution was in the form of explorationsketches from images inspired by the exterior design of Hotel Savoy Homann. The outcomeof this research is the application of digital printing and embroidery techniques on fashionproducts inspired by the building design of Hotel Savoy Homann Bandung whichprovidesfurther alternative choices for fashion products in women's clothing and acquaint Hotel SavoyHamman to citizens of Bandung.
ESTETIKA DALAM SENI ISLAM MENURUT SAYYED HOSSEIN NASR Iswahyudi .
Jurnal Budaya Nusantara Vol 3 No 1 (2019): NUSANTARA & MEDIA
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no1.a2113

Abstract

The discussion about the phenomenon of religion and the cultural arts system is very interestingbecause the two have a close relationship. Islamic art, according to Nasr, has three elements.First, religious art is art that completely avoids something secular, can be a fence of expressionto hold back pagan art or the like. Secondly, Islamic art must be extracted from aesthetic elementswhich must animate the meaning of monotheism, so that it contributes to always remind againof the majesty of God. Third, Islamic art must be truly wisdom, because it is inspired by spiritualvalues. Associated with aesthetics, is to provide beauty that reflects aspects of positive judgment.The problems that arise in this case, how far beauty can be felt by someone and once able toevaluate it. Ethical and aesthetic freedom are often seen in relation to diametric patterns. Binaryopposition between ethical freedom governed by various normative rules and aesthetic freedomthat tends to be explosive is often a problem especially when art is associated with religiousvalues. Based on this, it is known that Nasr paid great attention to spirituality in building hisphilosophy of Islamic aesthetics and rejecting modernism.
PERAN PENDIDIKAN TINGGI DALAM MENGEMBANGKAN SENI GRAFIS DI INDONESIA Nuning Y Damayanti
Jurnal Budaya Nusantara Vol 3 No 1 (2019): NUSANTARA & MEDIA
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no1.a2114

Abstract

Conventional Graphic Art is understood by academics through the history of its development.The Chinese nation is thought to have started the tradition of print as the forerunner of graphicart in its 'primitive' era, while the Romans began etching-glass techniques for portraying gladiators.Furthermore, the Japanese in the 8th century had begun their first authentic print by tracing andprinting Buddhist faces. When the Europeans used it as a printing technique as a medium forartistic expression, the word "printmaking" emerged, which was later adopted by the field of artuntil now. Later the graphic arts were increasingly used to reproduce various human needs. Inearly 1900 the Dutch introduced the technique of Graphic Printing in education at the BandungTechnical College is now the Bandung Institute of Technology. History and development ofIndonesian Graphic Arts in history began at Institute of Technology Bandung (ITB) as the firstacademic provider of formal education in the Department of Fine Arts, then now a Faculty ofFine Arts and Design (FSRD) of ITB. Conventional Graphic Printing Techniques become oneof the main areas of interest, the Graphic Arts Studio of the Fine Arts Department, then becamethe Fine Art Study Program and the Graphic Art Printing Technique until now is still the mainarea of interest and subject matter in the curriculum of the FSRD ITB Fine Arts Study Program.
A MOVIE WITH DISTANCE: (FILM ANALYSIS OFBANDE A PARTWITH BERTOLT BRECHT EPIC THEATER THEORY APPROACH) Syarif Maulana
Jurnal Budaya Nusantara Vol 3 No 1 (2019): NUSANTARA & MEDIA
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no1.a2115

Abstract

T ujuan dari penelitian ini untuk memberikan pemahaman bahwa, tidak semua film mendapatkanrespon emosional penonton secara instan clan memiliki orientasi tunggal memperoleh keuntunganfinansial tertinggi. Beberapa film memiliki orientasi seni clan mampu dianalisis dengan teoritertentu clan mengandung beberapa estetika sebagai aspek filosofis yang layak menjadi sumberpengetahuan yang dapat dipercaya. Paradigma penelitian ini adalah konstruktivisme denganpendekatan kualitatif dengan observasi clan tinjauan pustaka sebagai instrumennya. Pengamatandilakukan dengan menonton film secara berulang kali diikuti dengan analisis menggunakan TeoriTeater Epic Bertolt Brecht. Analisis-analisis tersebut dilakukan menurut unsur yang diketahuioleh Bande; yaitu keberadaan narator, korelasi adegan, stabilitas setiap karakter clan perkembangancerita, yang berkembang secara linear atau berputar-putar. Hasil analisis menunjukkan bahwaBandea part oleh Jean Luc Godard memiliki narator dari luar film untuk menggambarkanbeberapa adegan yang tidak terkait dengan adegan berikutnyadan sebelumnya sampai adanyaperubahan genre dari film kriminal, romansa, sindiran, aksi hingga menjadi komedi. Denganperubahan jenis clan genre film, karakter di dalam film juga perlu disesuaikan. Perubahan tersebutmenciptakan efek yang disebut Verfremdungs effektor Distancing Effect dalam terminologiBrecht. The Distancing Effect memberi antisipasi kepada penonton untuk tidak terlibat, melayangatau mengalami ilusi dramatis dengan film. Dengan Distancing Effect, Godard ingin agarpenonton tidak terlibat secara emosional dengan film clan ingin penonton menjadi penontonyang santai. Menjadi penonton yang santai memungkinkan mereka untuk menjadi lebih kritis,konstruktif, clan memiliki visi yang lebih rinci tentang film ini.
RELIEF MOTIF BURUNG MERAK PADA PESAREAN SUNAN SENDANG DUWUR PACIRAN LAMONGAN: KAJIAN BENTUK, MAKNA DAN ESTETIKA Herman Sugianto
Jurnal Budaya Nusantara Vol 3 No 1 (2019): NUSANTARA & MEDIA
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no1.a2116

Abstract

This study aims to examine the relief of peacock motifs at the gate of Paduraksa I and PaduraksaII tomb complex of Sunan Sendang Duwur Paciran Lamongan which includes (1) visual reliefof peacock motifs, (2) the meaning of relief of peacock motifs, and (3) aesthetic value reliefof peacock motifs. This research uses descriptive qualitative methods with data collectiontechniques, observations, interviews, and documentation. Data analysis using sign analysis ortextual analysis. The results of this study include: visual relief forms of peacock motifs at thegate of Paduraksa I and Paduraksa II at the Sunan Sendang Duwur tomb are ornaments witha floristic style that has undergone Islamization, namely the shape of ornamentation informedof the flora motif into the shape of a peacock animal. The meaning of relief in the tombcomplex of Sunan Sendang Duwur basically gives a picture of how human relations with humans,human relations with nature and the relationship between humans and their Lord. This reliefalso provides a description of the symbols of life that is about courage, knowledge, protection,protection, greatness, strength and justice. This relief also gives us an idea that this tomb complexis a gathering of holy spirits, the final resting place from human to human journey to face Godin another sense that the Sunan Sendang Duwur tomb complex is a sacred/ sacred place, so wemust not carelessly take action or acts that violate the applicable ethics. The aesthetic valuescontained in the reliefs in the tomb complex of Sunan Sendang Duwur, which is a picture ofa journey to holiness and also a picture of the division of nature, that is physical, spiritual andconscience. From the analysis it can be concluded that the relief of the tomb complex of SunanSendang Duwur has a form of ornamentation with a floristic style that is Islamized both interms of visual form, meaning and aesthetic values contained therein connected with Islamicteachings in the form of the teachings about God.
NILAI ESTETIS BATIK GARUT PEGUNUNGAN DAN PESISIR Ira Adriati
Jurnal Budaya Nusantara Vol 3 No 1 (2019): NUSANTARA & MEDIA
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no1.a2117

Abstract

Batik is a result of a tradition of ownership owned by various regions in Indonesia. One ofthe areas in West Java is known as Batik Priangan, including the region of Garut. Each regionin Priangan has a batik that is batik with unique motifs and coloring in each region. In this paper,it describes the aesthetic value of batik Garut in the mountainous areas with the coastal areas.This research uses historical approach, the value of tradition-oriented, and in cultural acculturation.Based on the analysis, it can be known that the waters can be different from the visualizationof batik motifs in the mountainous regions, which tend to be classic motifs, typical of the latenight and the coast of the region. The other difference appears from the ability of the craftsmen,the craftsmen in the mountainous regions show more detailed and smooth skills, while on thecoast there is no detail.

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