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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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PERAN PENDIDIKAN TINGGI DALAM MENGEMBANGKAN SENI GRAFIS DI INDONESIA Damayanti, Nuning Y
Jurnal Budaya Nusantara Vol 3 No 1 (2019): NUSANTARA & MEDIA
Publisher : LPPM 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) Maulana, Syarif
Jurnal Budaya Nusantara Vol 3 No 1 (2019): NUSANTARA & MEDIA
Publisher : LPPM 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 Sugianto, Herman
Jurnal Budaya Nusantara Vol 3 No 1 (2019): NUSANTARA & MEDIA
Publisher : LPPM 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 Adriati, Ira
Jurnal Budaya Nusantara Vol 3 No 1 (2019): NUSANTARA & MEDIA
Publisher : LPPM 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.
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 : LPPM 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 Jabaril, Rahmat
Jurnal Budaya Nusantara Vol 3 No 2 (2020): Nusantara & Media
Publisher : LPPM 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 : LPPM 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 Patriani, SepBianti Rangga
Jurnal Budaya Nusantara Vol 3 No 2 (2020): Nusantara & Media
Publisher : LPPM 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 : LPPM 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 : LPPM 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.

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