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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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Perjuangan Perempuan Menghadapi Kekuasaan Dalam Lakon “Susi Duyung”: Ludruk Budhi Wijaya Anwar, M. Shoim; Ambarwati, Listyo
Jurnal Budaya Nusantara Vol 1 No 1 (2017): NUSANTARA & KONTEMPORER
Publisher : LPPM Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol1.no1.a992

Abstract

Ludruk Budi Wijaya Group is a cultural actor who is active in maintaining and developing the arts of thepeople. The characteristic of ludruk as a critical stage art is maintained, including the structure of the show. Ludruk isa channel for the aspirations of the little people and represents their lives. The "Susi Duyung" play performed byLudruk Budhi Wijaya is also related to the lives of the low society, the fishermen in Ngliyep Village who areoppressed economically by the authorities. The presence of Susi's character as a hero is a modeling that injustice must beresisted. Women should not be underestimated and should be given equal opportunities with men in the fight. Becauseof his firm and courageous attitude, with the public, Susi's character strugled persistently for social justice and erasedfor political corruption so that he is appointed leader.
Analisis Motif Kain Tradisional Indonesia: Pemaknaan Visualisasi Abstrak hingga Naturalis Winarno, Ira Adriati
Jurnal Budaya Nusantara Vol 1 No 1 (2017): NUSANTARA & KONTEMPORER
Publisher : LPPM Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol1.no1.a993

Abstract

Indonesia is a country with various cultures. One of cultural product that interesting to be analysis is textile.Indonesian traditional textiles are made by weaving and batik techniques. Traditional textiles have a deepphilosophical meaning related to the human existence in the universe. Traditional textiles have various motifs. It isinteresting to analyze the meaning of the motifs of Indonesian traditional textile. The approaches of this research aretraditional Indonesian aesthetics and cultural approach. Traditional textile motifs can be categorized into geometrics,figurative, and naturalist motifs. The motifs are influenced by textile making techniques. For instance, weavingtechnique has limitation in motif type. Weaving technique produces geometrics motif. The other technique is batik thathas freedom to produce various motifs for textile. The original Indonesian textile motifs generally are abstract motives.Figurative and naturalist motifs emerge after the entrance of other culture influence. Based on visualization analysis,abstract motif has deep meaning related to people life philosophy. Some of figurative motifs have philosophical meaning,but naturalist motifs generally do not have philosophical meaning in Indonesian people.
KONSEP KEINDAHAN BUDAYA RUPA DALAM NASKAH SUNDA KUNO M,Ds, Dr. Jamaludin
Jurnal Budaya Nusantara Vol 1 No 2 (2018): NUSANTARA & KONTEMPORER
Publisher : LPPM Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol1.no2.a1571

Abstract

Some ancient Sundanese texts that have been traced are Sewaka Darma (kropak 408) which contains theconcept of visual beauty (appearance) in various contexts ie place or environment in the form of a garden by making the composition or composition of various types of plants both flowering and which is not. The diversity of ornamental plants is characterized among others by the shape of the leaves, the shape and color of flowers, and the height of each plant. The beauty in a metaphysical context is also found in relation to death. Death is a perfect beauty. The image of beauty of the palace and the state of heaven or of the gods is depicted in the form of a palace construction which uses precious metals of gold, silver, as well as metals such as iron which are processed into beauty. Some ancient Sundanese texts that have been traced are Sewaka Darma (kropak 408) which contains the concept of visual beauty (appearance) in various contexts ie place or environment in the form of a garden by making the composition or composition of various types of plants both flowering and which is not. The diversity of ornamental plants is characterized among others by the shape of the leaves, the shape and color of flowers, and the height of each plant. The beauty in a metaphysical context is also found in relation to death. Death is a perfect beauty. The image of beauty of the palace and the state of heaven or of the gods is depicted in the form of a palace construction which uses precious metals of gold, silver, as well as metals such as iron which are processed into beauty.
REVITALISASI KEARIFAN LOKAL SUNDA Sumardjo, Jakob
Jurnal Budaya Nusantara Vol 1 No 2 (2018): NUSANTARA & KONTEMPORER
Publisher : LPPM Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol1.no2.a1572

Abstract

In Sundanese culture, local wisdom is the middle sineger (sineger tengah) or middle siger (siger tengah) a middleground that is moderate. The excavation of local Sundanese wisdom means finding a rational pattern or basicphilosophy that is suitable for living in this area. In other areas where the situation is similar it is possible to find abasic philosophy which is more or less the same. Foreign local wisdom which enters the local wisdom of Sundanese tendsto conform not the other way around. Times will always change but Sundanese become another Sundanese of its ownkinds. The outward form can change, but the structure and pattern of building the meaning of life tend to remain workgenetically unnoticed because since childhood has been investigated by the older generation in the same pattern. Therevitalization of Sundanese culture is necessary or not depending on its actuality to solve the present problems.
GAGASAN CERITA PANJI SEBAGAI ASPEK KETELADANAN nurcahyo, henri
Jurnal Budaya Nusantara Vol 1 No 2 (2018): NUSANTARA & KONTEMPORER
Publisher : LPPM 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 supriyanto, henricus
Jurnal Budaya Nusantara Vol 1 No 2 (2018): NUSANTARA & KONTEMPORER
Publisher : LPPM 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 Budiyono, Sunu Catur
Jurnal Budaya Nusantara Vol 1 No 2 (2018): NUSANTARA & KONTEMPORER
Publisher : LPPM 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 Pramujiono, Agung
Jurnal Budaya Nusantara Vol 1 No 2 (2018): NUSANTARA & KONTEMPORER
Publisher : LPPM 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 Adisasmito, Nuning Damayanti
Jurnal Budaya Nusantara Vol 1 No 2 (2018): NUSANTARA & KONTEMPORER
Publisher : LPPM 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 Tabrani, Primadi
Jurnal Budaya Nusantara Vol 1 No 2 (2018): NUSANTARA & KONTEMPORER
Publisher : LPPM 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.

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