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Studi Budaya Nusantara
Published by Universitas Brawijaya
ISSN : -     EISSN : 26211068     DOI : -
Core Subject : Religion, Humanities, Art, Social,
Religion Arts Humanities Environmental Science Social Sciences
Jurnal Studi Budaya Nusantara (SBN) adalah media komunikasi ilmiah yang diterbitkan oleh Jurusan Seni dan Antropologi Budaya, Fakultas Ilmu Budaya, Universitas Brawijaya Malang. Jurnal ini dimaksudkan untuk mewadahi hasil penelitian dan kajian ilmiah di bidang seni dan budaya Nusantara sebagai bentuk sumbangan masyarakat ilmiah bagi pengembangan wawasan seni dan budaya dalam kehidupan masyarakat yang lebih luas. Terbit 2 kali setahun (Juni dan Desember).
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Articles 6 Documents
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Search results for , issue "Vol. 8 No. 2 (2024)" : 6 Documents clear
TRILOGI FILOSOFIS KENTONGAN BANYUMASAN: ONTOLOGI, EPISTEMOLOGI, DAN AKSIOLOGI DALAM GELIAT TRADISI SENI LOKAL Zaki Zulfian; Ryolita, Widya Putri
Studi Budaya Nusantara Vol. 8 No. 2 (2024)
Publisher : Studi Budaya Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21776/ub.sbn.2024.008.02.01

Abstract

This study aims to analyze the philosophical dimensions of Kentongan art in Banyumas, covering ontology, epistemology, and axiology. This research employs a qualitative descriptive approach, with data collection techniques including observation, interviews, and documentation. Primary data were obtained by visiting the Kentongan Bambu Laras community in Patikraja Village, Patikraja District, Banyumas Regency. Indepth interviews were conducted with Mr. Sujiono, the leader of the Kentongan Bambu Laras community, as the primaryinformant. The results show that Kentongan art in Banyumas has undergone significant development, both in terms of musical instruments and its functions. Initially, Kentongan only used a single bamboo instrument and served as a traditional communication tool. However, over time, it has evolved into a performing art involving various musical instruments and functions as a medium of entertainment for the community. This development is closely tied to the role of the Banyumas government, which has provided attention and support to this art form as one of the region's cultural attractions. Through the study of ontology, epistemology, and axiology, this research reveals that Kentongan art not only possesses aesthetic value but also embodies profound philosophical values as part of the cultural identity of the Banyumas community.
KAJIAN KUDA LUMPING SEBAGAI IDENTITAS BUDAYA JAWA: MENUJU PENGAKUAN INTERNASIONAL SEBAGAI WARISAN BUDAYA TAK BENDA Br Karo, Aulia Maharani Putri; Raja Gukguk, Devy Meylani; Aprija, Dina; Siburian, Yeremia; Khairi, Nurkhafizah
Studi Budaya Nusantara Vol. 8 No. 2 (2024)
Publisher : Studi Budaya Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21776/ub.sbn.2024.008.02.03

Abstract

This research aims to examine the role of kuda lumping as a symbol of Javanese cultural identity and pioneer efforts for its international recognition as an Intangible Cultural Heritage. The lumping horse is a Javanese cultural icon that has become a strong identity for the local community. This performance shows the actions of the dancers as if they were riding horses with agile movements and the accompanying rhythm of gamelan music. Apart from horse riding, kuda lumping also often performs spiritual acts, such as trance, eating broken glass, and stabbing itself with sharp objects. The research method used was descriptive qualitative, with the research subject being the owner of the kuda lumping group and one of its members. Data collection techniques were carried out through observation, interviews and literature study. The research results show that kuda lumping is not only a traditional dance performance, but also a symbol that reflects cultural values, courage and skill. The kuda lumping group is identified as a guardian of cultural heritage that needs to be safeguarded and promoted more widely. These findings strengthen the urgency of international recognition of kuda lumping as an important part of Indonesia's intangible cultural heritage. Recommendations from this research include the need for further support from the government and related institutions to document, preserve and promote Kuda Lumping as an integral part of Java's cultural richness. Concrete steps such as creating digital archives, learning from the younger generation, and participating in international cultural events can increase understanding and appreciation of kuda lumping globally
Analisis Proses Kreatif Komunitas Artnonymous Visual Dalam Penciptaan Karya Mural Di Cianjur Akhmad Baehaqi, Faiq; Cahyana, Agus; Nagara, Martien Roos; Falah, Asep Miftahul
Studi Budaya Nusantara Vol. 8 No. 2 (2024)
Publisher : Studi Budaya Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21776/ub.sbn.2024.008.02.04

Abstract

Murals, a form of artistic expression that emphasizes creativity in painting on large, expansive, and permanent media such as building walls, fences, streets, and other surfaces. Murals serve as the primary outlet for artists to convey their ideas using various types of paint such as spray paint, water-based paint, or oil paint. The aim of this research is to explore the factors underlying the creative ideas acquisition within the Artnonymous Visual community, referencing Graham Wallas' theory comprising stages of preparation, incubation, illumination, and verification. Additionally, the study aims to deeply understand the process of mural creation undertaken by the Artnonymous Visual community and to analyze the level of creativity in their mural works in Cianjur. The research methodology employed is qualitative descriptive, enabling researchers to describe, analyze, and depict phenomena and events occurring in the context of mural art creation. Murals created by the Artnonymous Visual community feature themes centered around animals and their lives, designed to allow local residents and pedestrians to interact directly with the artwork, fostering profound visual and social experiences in public spaces. This study is expected to significantly contribute to understanding the creative process in mural art and the importance of interaction between artwork and society. The findings aim to provide valuable insights for the development of local visual culture and to inspire mural art practitioners in various community settings.
EKSISTENSI JALADWARA DALAM MEMBENTUK RUANG SAKRAL PADA SITUS PATIRTHAN PENINGGALAN KERAJAAN SINGHASARI: STUDI KASUS : SITUS PATIRTAN WATUGEDE SINGOSARI KABUPATEN MALANG Yusran, Yusfan; Roro Rahmawati Tri , Wahyuni; Kusdiwanggo, Susilo
Studi Budaya Nusantara Vol. 8 No. 2 (2024)
Publisher : Studi Budaya Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21776/ub.sbn.2024.008.02.02

Abstract

In Javanese cultural cosmology, particularly in Hindu-Buddhist beliefs, patirtan (sacred bathing) which generally has a spring source holds significant meaning. Since the era of Hindu kingdoms on the island of Java, the concept of water gardens as sacred bathing places known as patirtan has been recognized. However, unlike Hindu patirtan, the patirtan from the Singasari kingdom has its uniqueness due to the influence of both immigrant and local cultures, which can be seen in the spatial concepts and ornamentation of the patirtan. One of the important ornaments of this patirtan is the fountain statue, also known as Jaladwara, which makes it the strongest element among the others and simultaneously gives the patirtan a function beyond fulfilling daily water needs, as it is also used for religious rituals. The revelation of a Jaladwara serves as the focal point of this research, based on supporting data from archaeological findings at the Patirtan site, using the study object at the Patirtan Watugede site. This research aims to understand the forms of macro spatial arrangement, micro spatial arrangement, and the ornamentation of the Jaladwara at the Patirtan Watugede site. The macro space structure includes the cosmology of the patirtan, while the micro space structure encompasses the physical form of the patirtan. In addition, it also aims to describe the spatial role of Jaladwara in shaping sacred space in patirtan. This research employs a quasi-qualitative method to formulate findings that are descriptive and ideographic, using discourse analysis techniques on case objects from the perspective of the concept of space. The findings indicate that the location of Jaladwara influences the spatial arrangement patterns in the sacred area, which in turn impacts the circulation patterns within the region, especially for religious practitioners during ritual processes.
Krisis Pengetahuan Lokal: Terputusnya Rantai Pendidikan Pertanian Padi di desa jambuwer. Haryana, Desvandy Saputra; Mahardika, Putri Mayo
Studi Budaya Nusantara Vol. 8 No. 2 (2024)
Publisher : Studi Budaya Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21776/ub.sbn.2024.008.02.06

Abstract

The young generation’s preference for rice farming in Galagarum Hamlet, Jambuwer Village, Malang Regencyseems to have undergone significant changes. This research examines the cessation of rice farming education thatpreviously has been passed down from generation to generation, caused by the loss interest of the young generation in agriculture, and the cessation of the local knowledge education program, named ‘Penyuluhan Pelatihan Lapangan (PPL)’ that specialized in rice farming. This research used qualitative methods and an Ethnography approach, involving in-depth interview and participant observation for data collection. Using Anthony Giddens' theory of structuralization, this research proves that agents and social structures are interrelated and can cause social change. The result of this research shows that the disconnection of the farmer generation is caused by the negative stigma that is attached to rice farmers, economic opportunities and many jobs outside agriculture that seems more attractive for the younger generation, and the absence of non-formal education encouragement such as PPL. Youth generation in Galaharum hamlet, Jambuwer village tend to choose to continue their education in Sekolah Menengah Kejuruan (SMK) which offers direct access to jobs in the industrial and mining sectors. As a result, many farmers in Jambuwer Village are forced to choose to hire farm laborers to manage their land, or in some cases, sell it. This research proves that the development of non-formal education, such as rice farming education, is very useful to reengage the young generation's interest in the agrarian sector and maintain the agricultural heritage.
PENURUNAN MINAT GENERASI MUDA TERHADAP TARI TOPENG: RESISTENSI DAN TANTANGAN PELESTARIAN BUDAYA Frenadya, Amanda Excel; Safara, Annisa Fitri
Studi Budaya Nusantara Vol. 8 No. 2 (2024)
Publisher : Studi Budaya Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21776/ub.sbn.2024.008.02.05

Abstract

The declining interest of the younger generation in mask dance in Jambuwer Village reflects the challenges faced by traditional arts in the era of modernization and globalization. Mask dance, as a cultural heritage full of philosophical and spiritual values, is now starting to lose its relevance in the eyes of the younger generation who are more interested in popular culture. This research uses an ethnographic approach with methods ofparticipant observation, in-depth interviews, and documentation to explore the factors of this decline in interest. The research shows that modernization, social media, and cultural innovations such as mberot and sound horeg are themain factors causing the shift in cultural preferences. On the other hand, lack of regeneration and support from family and government also exacerbate the situation. However, art workers in Jambuwer Village show a form of resistance through adaptive strategies, such as utilizing social media, formal education approaches, and the integration of contemporary elements in dance performances. These efforts reflect the importance of synergy between conservative and innovative approaches in traditional art preservation. Mask dance preservation requires active collaboration from various parties to bridge tradition and modernity, so that this art remains relevant and can be passed on to future generations.

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