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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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DESAIN MODEL PURWARUPA AUGMENTED REALITY PATUNG KARWAR 4.0 SEBAGAI MEDIA PEMBELAJARAN SENI TRADISI BIAK PAPUA wanda listiani; Sri Rustiyanti; Fani Dila Sari; IBG Surya Peradantha
Jurnal Budaya Nusantara Vol 3 No 2 (2020): Nusantara & Media
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no2.a2529

Abstract

One of the cultural arts of the Papua Biak tribe that is still maintained in traditional ceremonies is the wor tradition and the making of karwar or korwar statues. Karwar statue as a shadow of the spirit and where Nin lives. The spirit of karwar or arawah gives the strength to look after the family, the garden, bring rain, keep away diseases and so on. The re-introduction of the karwar statue using AR technology is one way for young people to be interested in the existence of Biak tribal arts and culture. This study used a static visualization method that shows phenomena or processes in the form of a representation of the design path of the AR PASUA PA prototype model specifically the spatial and temporary entities of the AR Karwar Biak Papua Statue. The results of this study illustrate the modeling concept and procedure model developed in the design of the AR Karwar 4.0 prototype model by considering the needs of users and the problems of artists, connoisseurs and pedagogic of cultural arts learners, especially the cultural arts of Biak Papua
SENI RUPA SEBAGAI MEDIA PENYADARAN Rahmat Jabaril
Jurnal Budaya Nusantara Vol 3 No 2 (2020): Nusantara & Media
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no2.a2530

Abstract

Fine Art as a form of expression of artists, certainly not like economists who need advantages in currency values. Art is not likely to be intervened by fields of pragmatic size. Then it will be so difficult to place art as part of the aesthetic element. So, in this case, we can see the strengths that are in the art itself. Art as a matter of which considered unconstitutional is certainly very paradoxical when it is part of standard rules. So when art works, it becomes part of aesthetic polarization and not being as a reading room in the future. The method used in this study is study of literature with an emphasis on the philosophy of art that gives bargaining power to change in thinking, freedom of interpretation Then The aim of study of literature is to gain an understanding that art gives its weight in thinking about renewal art with a constructive approach through aesthetic understanding. For this reason, fine arts should see forms of visualization as a form of social reality. With it, the artist must be able to create novelty as well as from ethics, aesthetics, and the philosophy of art itself. Without it, the existence of artists cannot be expected to advance the world of art, if the artists themselves lack understanding of the principles in creating fine arts. Therefore, in this paper, the author is obliged to offer solutions, as an effort to improve the quality of the concept of works and at the same time associated with the cultural movement in the public.
NILAI FILOSOFIS-KULTURAL MUSIK KOLINTANG Dominica Diniafiat; Ambrosius M. Loho
Jurnal Budaya Nusantara Vol 3 No 2 (2020): Nusantara & Media
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no2.a2541

Abstract

This paper departs from the fact that Indonesia is a cultural superpower. Because of this existence, it is necessary to put forward more intensely various efforts that are not just a tale that is known, but at the same time we try to see the depth of all the cultural richness that exists. The values ​​of the culture need to be continually strived for, not only remembered, but known, and subsequently developed. Minahasa is an area that is an integral part of Indonesia. Minahasa also contains various kinds of cultural richness. And one of them is the traditional music art of Kolintang. Kolintang music is a typical Minahasan music that needs to be maintained and developed continuously to be recognized to all circles. However, the most important thing to know is the cultural values ​​in the music, if it can be used as a model in living together. Cultural values ​​are the key to learning in our lives. Therefore, we need to know those cultural values ​​for a proper and deep understanding.
PROSES KREATIF ZAINAL BETA DALAM PENCIPTAAN LUKISAN MEDIA TANAH LIAT SepBianti Rangga Patriani
Jurnal Budaya Nusantara Vol 3 No 2 (2020): Nusantara & Media
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no2.a2542

Abstract

Creative artists are people who cultivate their imagination to always explore art through experimental and trial methods. Experiments carried out by an artist in creating a new work of art are part of an original creative process. As is the case, Zainal Beta is a regional artist in Makassar who develops his artistic creativity by painting using clay media. The purpose of this study was to determine the stages of Zainal Beta's creative process as a clay painter. This research method is described descriptively analysis using the creativity approach. This qualitative research data was obtained through observation, interviews, documentation studies, and literature review. The conclusion of this research is that the stages of the creative process that Zainal Beta went through in the creation of clay painting works originated from inventions accidentally. This discovery motivated Zainal Beta to continue to explore his painting experience using clay media. He continued to develop his creativity in painting using bamboo blades as a painting tool. He used the bamboo slats to make a scratch in painting. Related to the visualization of the object, Zainal Beta clay painting works tend to present the theme of the social and cultural life of the area where he lives, which is depicted in a naturalist and expressive style. The embodiment of the painting object is a representation of various life experiences obtained by Zainal Beta as a clay painter in Makassar.
NILAI-NILAI FILOSOFIS HUMA BETANG SUKU DAYAK KALIMANTAN TENGAH Heva Rostiana; Siti Nurbani; Dody Riswanto
Jurnal Budaya Nusantara Vol 3 No 2 (2020): Nusantara & Media
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no2.a2543

Abstract

The Dayak tribe in Central Kalimantan has a traditional custom house called the Huma Betang. Huma Betang is a stilt-shaped house that extends and can be inhabited by hundreds of people. Huma Betang is not only seen as a physical building, but also contains philosophical values contained in it. The purpose of this study is to discover the philosophical valuesof Huma Betang which are the teachings, traditions and heritage of the ancestors. The research method used is a qualitative approach to data collection techniques,namely interviews, observation, documentation study, and audio-visual information. The results and discussion found a description that the values of the Huma Betang philosophy consisted of 4 main elements namely the value of togetherness, honesty, equality, and tolerance. The implementation of Huma Betang values can be seen in the daily life of Dayak residents such as traditional Tiwah rituals, mutual cooperation, building houses, mutual respect and respect among people of different ethnic, religious, racial, class and cultural backgrounds. Huma Betang has the main function of maintaining harmony and unity of the people of Central Kalimantan for the creation of conditions for a safe, peaceful and harmonious society.
MAINAN SEBAGAI MEDIA TRANSFER NILAI-NILAI ETIKA DI MASYARAKAT BADUY DALAM Mohamad Zaini Alif
Jurnal Budaya Nusantara Vol 3 No 2 (2020): Nusantara & Media
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no2.a2544

Abstract

Baduy Dalam society is people who live in the area located in the Village of Kanekes, South Banten, Banten Province, Indonesia. In their daily activities there are children's activities called unknown play which they call pagawean barudak. The use of playing tools using materials, and methods that are within the scope of its culture, as a form of transfer of pikukuh values ​​or ancestral teachings that contain customary rules in Baduy Dalam. The forms that exist in the pagawean barudak are a medium for transferring ethical values ​​to the teaching of customs and culture. How communication play equipment is used, ways and systems that do it. their effectiveness in using media as a medium for teaching rules, prohibitions and values ​​is their strength in their cultural system. play in the Baduy Dalam community as a scaffolding media that guides childhood by changing the level of teaching guidance and transfer of values. Pagawean barudak or playing in Baduy society emphasizes collaboration, harmony, social interaction, and socio-cultural activities, with the final point of achievement depending on which skills are considered important in that culture.
NARASI VISUAL CERITA FABEL DALAM KARYA SENI LUKIS Ariesa Pandanwangi; Belinda Sukapura Dewi; Shopia Himatul Alya
Jurnal Budaya Nusantara Vol 3 No 2 (2020): Nusantara & Media
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no2.a2545

Abstract

Bandung is one of the creative cities in Java, especially West Java. Proven Bandung has a lot of local wisdom dug up from legendary stories, animal fable stories, culinary riches, and many more which later became interesting ideas into the concept of creating art. This local wealth is an important claim by artists who actively work. This research will reveal the expression of artists in paintings. They express their expression by bringing up the fable story of the archipelago. Archipelago fable story is processed, dug up and used as a source of inspiration to create works of art. The problems in this study are (1) What is the concept of a painting that was conceived from the fable story of the archipelago. (2) What is the visualization of the archipelago fable painting created by female artists ?. This research method is descriptive qualitative by examining the aesthetic aspects which include elements of the object, composition, color, harmonization. The media used in this painting is fabric. Samples of paintings, taken from works created by women from an exhibition held in Bandung. The coloring process with the colet technique. The color used is the dye for the fabric. The findings in the research are the concept of the work carried by artists visualizing animal stories that can be used as good moral examples. This exhibition is important because in addition to visual narration there is also a message delivered to the public. Whereas visually, many female artists use realistic objects, center composition, contrasting and attractive colors. The results of this study the concept of fable stories are brought back into an attractive visual narrative with colors that are presented in contrast with many techniques in coloring.
KEBUNTUAN PEMAHAMAN TERHADAP POLEMIK WACANA ISLAM NUSANTARA: KAJIAN DARI PERSPEKTIF MAKNA PRAGMATIK Taufik Nurhadi
Jurnal Budaya Nusantara Vol 3 No 2 (2020): Nusantara & Media
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no2.a2547

Abstract

This study is aimed at describing of the impasse understanding of the polemic of the Nusantara Islamic discourse. The data were in the form of Indonesian language used in the polemic of the pros and cons of the Nusantara Islam issue, which is published on social media, Youtube. Data collection uses the method of listening with tapping, SBLC, download, and note techniques. The data analysis method used is Constant Comparative Analysis. The results of the analysis showed that there was a deadlock in understanding the issues of the Nusantara Islamic discourse regarding 4 things, namely symbolic identity, rejection in terms of terms, classic rivalry between tribes, and culture as the core problem. The deadlock of understanding was triggered by long competition between the two circles of Muhammadiyah and Nahdatul Ulama in viewing worship practices from different perspectives.
New NORMAL SEBAGAI POLITIK BONUM COMMUNE DI MASA PANDEMI Mathias Adon
Jurnal Budaya Nusantara Vol 4 No 2 (2021): NUSANTARA & RUANG VIRTUAL
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol4.no2.a3219

Abstract

The Covid-19 pandemic which engulfes the world has affected almost all nations, including Indonesia. This crisis caused the Indonesian government to face a dilemmatic choice. Implementing a lockdown to control the spread of Covid-19 actually ravaged the economy. It had no other alternative to save the economic sector than by forcing implementation of ‘the new normal’. This paper describes phenomenologically the implementation of the new normal policy in Indonesia using qualitative methods by exploring opinions and news items in Kompas newspaper, particularly how the Indonesian government's is moving the economic sector without sacrificing public welfare. The government considers the new normal as the most realistic step given the economic pressure and uncertainty about when Covid-19 will end. Therefore, new normal has become the bonum commune policy during the pandemic. The main principle of new normal as a political bonum commune is adapting one’s lifestyle in accordance with the health protocol.
KOMUNIKASI ESTETIK DI MASA PANDEMI Sebuah Catatan Pengalaman Peciptaan Patung Nyi Ronggeng Supriatna
Jurnal Budaya Nusantara Vol 4 No 1 (2020): NUSANTARA & RUANG VIRTUAL
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol4.no1.a3243

Abstract

Berkarya seni rupa pada masa pandemi covid-19 merupakan pengalaman yang cukup menantang bagi seniman. Diterapkannya kebijakan pemerintah mengenai Pembatasan Sosial Berskala Besar (PSBB), dalam waktu yang tidak bisa ditentukan, memaksa setiap orang termasuk seniman untuk lebih banyak tinggal di rumah, bagi seniman kondisi seperti ini telah berdampak pada keterbatasan dalam mendapatkan ruang berekspresi, untuk berinteraksi dengan publiknya, yakni sanggar maupun galeri. Pada sisi lain seniman juga kesulitan untuk mendapatkan stok medium berkarya, seperti: kanvas dan cat minyak. Kondisi seperti ini memaksa seniman untuk berkreativitas mencari jalan keluar, sehingga hasrat seninya tetap tercapai. Penggunaan medium non konvensional untuk berkarya adalah jawaban seniman kerap lakukan, mengingat medium ini jumlahnya tidak terbatas, serta masih sangat luas untuk dieksplorasi, menjadi bentuk seni baru. Begitupun mengenai ruang saluran ekspresi, untuk mendapat umpan balik dari publik seninya, bisa memanfaatkan piranti teknologi komunikasi, melalui aplikasi interaktif. Pameran dan diskusi seni di ruang maya menjadi alternatif baru, dengan jangkauan dan publik yang lebih luas. Kreatifitas ini menarik mengingat melingkupi penyikapan seniman atas medium serta bagaimana komunikasi seni sebagai dilemma yang harus diatasi.

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