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Pantun: Jurnal Ilmiah Seni Budaya
Published by Institut Seni Budaya Indonesia Bandung
ISSN : 24077143     EISSN : 27157350     DOI : 10.26742/pantun
Core Subject : Humanities, Art,
Arts Humanities
Pantun merupakan jurnal ilmiah seni dan budaya, ilmu pengetahuan, dan disiplin ilmu yang berkaitan dengan kedua wilayah kajian tersebut. Pantun memiliki tanggung jawab untuk mengembangkan seni dan budaya lokal-tradisi, sekaligus perhatian terhadap dinamika seni dan budaya mutakhir (kontemporer) yang berlangsung di tengah-tengah tradisi kosmopolit.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 7 Documents
 1 
Search results for , issue "Vol 1, No 2 (2016): Dialektika, Seni Budaya Nusantara" : 7 Documents clear
Kearifan Lokal ‘Orang Pulo’ dalam Tradisi Ngaplus Imah Prijana .; Dadang Sugiana
PANTUN Vol 1, No 2 (2016): Dialektika, Seni Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (255.174 KB) | DOI: 10.26742/pantun.v1i2.760

Abstract

The tradition of ngaplus imah of Pulo people has been conducted until the eighth generation todays. The Pulo people reside in Cangkuang Village of Leles District of Garut Regency, West Java. The Pulo people are able to maintain six houses of the ancestral heritage, no more and no less. The grounded research shows that the Pulo people admit the children right as heirs of the inheritance. The inheritance right for the Pulo is the right to inhabit not to own the heritage. The occupancy right is not a resolution in the form of structure, but an offerdable rights for girls not boys. They consider that if one of the parents dies then the right to occupy is given to the children. The research concludes that the implementation of Ngaplus Imah tradition has ups and downs. It is sometimes desirable, sometimes less desirable, sometimes complicated, sometimes smooth andsurviving through the local wisdom.Keywords: ngaplus imah, inheritance right, occupancy right, local wisdom
Kontinuitas Gorga Batak Toba Sofi Andriyanti
PANTUN Vol 1, No 2 (2016): Dialektika, Seni Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (871.967 KB) | DOI: 10.26742/pantun.v1i2.765

Abstract

This article is wri!en based on the result of research entitled “Gorga Batak Toba di Kabupaten Samosir: kontinuitas dan perubahan bentuk dan fungsi”, conducted in 2014 - 2015. The focus of this writing is on three main issues: the form and function of traditional gorga in Batak Toba houses before 1970s; the development of form and function of ‘new’gorga in the modern buildings that have been developed since 1970s to the present; and why there is continuity and changes on form and function of gorga. A qualitative method in narrative-descriptive with historical approachis used to fi nd out the continuity of gorga Batak Toba in Batak Toba society, and internal and external factors are analyzed to see the causes of the continuity. The data are collected through literature study, observation, and interview with researchers role as the key instrument. The result shows that the survival of gorga in Batak Toba society can be described simply, that is, from existing to nothing, and from nothing to rise again into being, but in the ‘new’ form.Keywords: gorga, continuity, Batak Toba people
Gamelan Sistem Sepuluh Nada dalam Satu Gembyang untuk Olah Kreativitas Karawitan Bali Hendra Santosa; Saptono .
PANTUN Vol 1, No 2 (2016): Dialektika, Seni Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (838.652 KB) | DOI: 10.26742/pantun.v1i2.747

Abstract

This article is part of the Competitive Grants study entitled “Prototipe Gamelan Sistem Sepuluh Nada dalam Satu Gembyang.” The concept of ten tones in one gembyang (oktav) has once been formulated by Raden Angga Mahyar Kusumadinata, Indonesian musicologist. In Balinese, gamelan scales with ten-tone system are wri!en in the Prakempa manuscript. This interesting musical concept has not been thoroughly investigated. The previous research has produced a prototype set of ten system gamelan tones in one gembyang whose try out uses the existing gending Bali.This research is expected to provide significant contribution in supporting the creativity of Karawitan artists.Balinese Karawitan Artists no longer need to carry a lot of gamelan to play all the Balinese gamelan since they are already represented in the gamelan of ten tones system in one gembyang.Keywords: gamelan, ten-tone, gembyang, prakempa
Perspektif Gender pada Lengger Lanang Banyumas Sugeng Iman Hartanto
PANTUN Vol 1, No 2 (2016): Dialektika, Seni Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (222.567 KB) | DOI: 10.26742/pantun.v1i2.766

Abstract

The changes of lengger role is closely related to a shift in the meaning of the role of Lengger by Somakaton Village community as a sacred figure representing Dewi Sri. These issues need to be discussed to find out the link between the role of Lengger Lanang to be Lengger Wadon. The purpose of this study is to determine the public response to the background of Lengger Lanang Dariah, thevalues contained in Lanang Lengger Dariah, and to know the factors that cause social change, and factors in the development of Lengger Banyumasan. The method used is descriptive analytical. The process of data collection is through the study of documentation, observation and interviews. The result shows that the spiritual activities like sin confession, fasting, ritual offering, and meditatingare still done by Lengger Lanang Dariah. Lengger Banyumasan describes the emotional involvement between the Lengger roles so that social change dominates all these activities.Keywords: Lengger Lanang Dariah, Lengger Banyumasan, crossgender
Fenomena Tari Cokek di Jakarta Nurul Rohmawati
PANTUN Vol 1, No 2 (2016): Dialektika, Seni Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (325.585 KB) | DOI: 10.26742/pantun.v1i2.758

Abstract

Cokek dance as one of the Betawi arts has experienced dynamic as other arts. The dynamics lies in the presentation of cokek dance performances and cokek dance role today is more used as a foothold by most choreographer to create a new dance work creations were also relatively preferred Betawi community than its role as entertainment at weddings. Allegedly it happens because now the art of thetaste and values prevailing in society. Qualitative research methods with the Theory of Phenomenology is used to examine the phenomenon. The data obtained were later analyzed using philosophical analysis unit shaped descriptive analysis.Keywords: phenomenology, Cokek dance, Betawi
Fungsi dan Nilai Tradisi Hajat Lembur di Tatar Karang Priangan Tasikmalaya Jawa Barat Samson CMS; N Rinaju Purnomowulan
PANTUN Vol 1, No 2 (2016): Dialektika, Seni Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (569.463 KB) | DOI: 10.26742/pantun.v1i2.763

Abstract

The purpose of this research is to determine the function and traditional values of hajat lembur in the life tatar Karang Priangan society. The research method used is an ethnographic study. The result shows that the transfer of knowledge on how to care for nature and how humans communicate with the universe, namely the harmonization of culture and religion, become a collective identityin this ethics of life. Hajat lembur tradition is a media culture and local wisdom in controlling the people’s lives. The external perception which is not in harmony with the traditions is thought to be one of the causes of disharmony. It is concluded that the tradition of hajat lembur in tatar Karang Priangan is a reality of the transfer of knowledge which is structured by considering local ethics andaesthetics.Keywords: hajat lembur, tatar Karang Priangan, transfer of knowledge, local wisdom
Kolaborasi Budaya pada Lukisan Tradisional Tiongkok di Indonesia Ariesa Pandawangi; Belinda Sukapura Dewi
PANTUN Vol 1, No 2 (2016): Dialektika, Seni Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (708.932 KB) | DOI: 10.26742/pantun.v1i2.740

Abstract

Chiang Yu Tie is a female painter recognized with her Chinese painting technique. Few Chinese women are recorded in Indonesia fine art history. Chiang Yu Tie had qualified track record of exhibitionin 1900s.However, her name was not recognizable yet in national fine art. The aim of this research is to equip infrastructure of social fine art area in Indonesia relating to the visualization of Chinese female art works. This research uses qualitative method and case study. This research shows that the local genius of Chiang Yu Tie work can be appreciated through figure of the dancer and panorama collaborated with Chinese traditional painting style. The composition made by Chiang Yu Tieis convergence. This composition is used to state that the object is important. The colors highlighted in her painting are the natural colors such as light green, light brown, light blue, with black outlineas the confi rmation of the highlighted object. Keywords: Chiang Yu Tie, Chinese painting, fine art

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