Pantun: Jurnal Ilmiah Seni Budaya
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.
Articles
166 Documents
<![CDATA[Discourse of the Comedy of Ubrug Sentra Agata in the Rahwana Nganjor Play ]]>
<![CDATA[Rahayu, Zanuar Eko]]>;
<![CDATA[Nalan, Arthur S]]>;
<![CDATA[Dimyati, Ipit S]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 8, No 2 (2023): Exploring Cultural Narratives and Artistic Expressions ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v8i2.2747
<![CDATA[This study is entitled Discourse on Comedy Serving Ubrug Sentra Agata in the play Rahwana Nganjor, which was staged during the West Java and Banten Landslide Festival in 2015. The object of the study uses the video media of performance documentation and the focus of the study is discussing discourse in comedy presentations on the play Rahwana Up. The play Rahwana Nganjor carries the theme of wayang in the Ramayana epic, the war between the Kingdom of Alengka and the Kingdom of Ayodhya is used as the setting for the event in this play. Data collection techniques were carried out through interviews, observation, and information contained in the audiovisual. Critical Discourse Analysis Van A, Dijk is used to examine the discourse in the comedy presentation by paying attention to three dimensions, including Text Dimensions, Social Cognition, and Social Context. So the data obtained that social issues in the community is used as the basis for creating comedy in Ubrug Sentra Agata.]]>
<![CDATA[Weaving Emotions and Culture: The Success Story of Teh Botol Sosros Packaging on Indonesias 75th Independence Day West Java and DKI Jakarta Edition ]]>
<![CDATA[Setiawan, Andri]]>;
<![CDATA[supriatna, Supriatna]]>;
<![CDATA[Wartika, Enok]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 8, No 2 (2023): Exploring Cultural Narratives and Artistic Expressions ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v8i2.2714
<![CDATA[Teh Botol Sosro, the first ready-to-drink tea beverage in Indonesia, introduced a new packaging theme of Independence and the Cultural Diversity of Indonesia to celebrate Indonesias 75th Independence Day. The research aims to analyze the significant role of the concepts and themes of independence and Indonesias cultural diversity in building a solid emotional connection with consumers. The research methodology used qualitative analysis focusing on visual communication, gathering data through visual analysis and expert interviews. The research findings reveal that utilizing these elements, analyzed through Marc Gobes emotional branding concept, successfully establishes a solid emotional connection with consumers. This is reflected in a deeper understanding of national values and cultural diversity, as well as the introduction of a profound emotional dimension in the consumer experience. In conclusion, this research highlights the vital role of these concepts and themes in creating a significant emotional bond with consumers and enhancing the products appeal.]]>
<![CDATA[Unveiling HEREDIAQUA: An Exploration of Association Picture Storytelling in Documentary Filmmaking ]]>
<![CDATA[Markadi, Bhimo Wicaksono]]>;
<![CDATA[Swandi, I Wayan]]>;
<![CDATA[Udayana, Anak Agung Gde Bagus]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 9, No 1 (2024): Interdisciplinary Explorations in Cultural Expression: From Traditional Arts to ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v9i1.3269
<![CDATA[This study explores the application of the association picture story genre in documentary filmmaking, particularly focusing on the film Herediaqua, to effectively communicate water sustainability issues. The research employs a three-stage methodology: exploration (field research, observation, interviews, and collection of visual materials), experimentation (applying association picture story techniques in short film formats and testing with audiences), and creation (synthesizing findings to produce a cohesive and impactful film).Results indicate that Herediaqua successfully uses strong visual symbolism and narrative to convey messages about the interconnectedness between humans and nature, effectively enhancing audience awareness and understanding of water sustainability issues. The film employs powerful visual language to communicate its environmental message, evoking emotional responses from viewers. Positive audience feedback confirms the films success in communicating its message, demonstrating the effectiveness of the association picture story technique in visual narration. The conclusion asserts that the association picture story technique is a powerful tool for conveying environmental messages through visual storytelling. Herediaqua serves not only as a viewing experience but also as an educational medium and a catalyst for inspiring environmental conservation efforts. By leveraging compelling visual narration and engaging storytelling, the film promotes awareness and encourages concrete actions for sustaining the planets life. This research contributes to advancing documentary filmmaking by highlighting the effectiveness of combining visual symbolism with strong narrative techniques.]]>
<![CDATA[Dadung Feast Rite As A Cultural Expression in Legok Herang Village, Kuningan district ]]>
<![CDATA[Retnawati, Nina]]>;
<![CDATA[Wastap, Jaeni B]]>;
<![CDATA[Saleh, Sukmawati]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 8, No 2 (2023): Exploring Cultural Narratives and Artistic Expressions ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v8i2.2824
<![CDATA[This research aims to examine the tradition of the Dadung Party in Legokherang village, Kuningan Regency, West Java. A tradition that expresses gratitude to God for the harvest and the entity maintaining the relationship between living creatures and nature. The research method used is qualitative with a dance anthropology approach which is elaborated with choreographic concepts. This research shows that the Dadung Party is an integral part of community life and has been passed down from generation to generation. It also has connections to the Islamic beliefs propagated by the Wali Songo. This ritual involves various stages, such as worship, Rajah Pamunah, and entertainment and ritual equipment that must be adhered to by community participants. This tradition is a preserved cultural heritage and functions as a balance to modern culture. The noble philosophical values contained in the dance at the Dadung Party although this dance does not have fixed movements, the emphasis on expression as a manifestation of feelings is very important. Local cultural continuity is a dynamic part of society, and external cultural influences must be adapted to the worldview and local culture.]]>
<![CDATA[Implementation of Panca Curiga as a Method of Interpretation of Rumpaka Texts in Sundanese Culture ]]>
<![CDATA[Gardapandawa, Budi Setiawan]]>;
<![CDATA[Wastap, Jaeni B]]>;
<![CDATA[Saleh, Sukmawati]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 8, No 2 (2023): Exploring Cultural Narratives and Artistic Expressions ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v8i2.2725
<![CDATA[Panca Curiga is a method of Sundanese interpretation which is commonly used in understanding texts contained in art, especially in rumpaka songs. The existence of discourse about Panca Curiga in society until now has only been limited to discussion without scientific investigation. Efforts to understand how to interpret rumpaka, especially in art whose creator is unknown, has its own complexities. This can be seen from the rumpaka-rumpaka that appeared before the rise of artistic industrialization, for example in the Sundanese art of pantun or kawih kaulinan barudak. From the results of the study based on the application of Panca Curiga to the rumpaka pantun and kawih kaulinan barudak models, Panca Curiga actually has many similarities with the disciplines of interpretive methods such as Hermeneutics and Semiotics. Therefore, Panca Curiga can be an opportunity to be used to study rumpaka texts in Sundanese art.]]>
<![CDATA[Mekepung Jembrana Tradition As a Source of Creation of Documentary Film ]]>
<![CDATA[Yogantara, Wayan Arfian]]>;
<![CDATA[Mudra, I Wayan]]>;
<![CDATA[Swandi, I Wayan]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 9, No 1 (2024): Interdisciplinary Explorations in Cultural Expression: From Traditional Arts to ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v9i1.3272
<![CDATA[The Mekepung tradition in Jembrana, Bali, particularly in the form of buffalo racing, is a deeply rooted cultural spectacle representing joy and celebration for agrarian communities. This research aims to explore this tradition and create a documentary film to preserve and promote its significance. Employing a qualitative descriptive method and utilizing the documentary film structure approach, the study incorporates observation, interviews, and documentation to gather authentic data. The documentary follows a three-part story structure, capturing the essence of Mekepung through genuine visual presentations and a well-structured narrative flow. Embracing a performative documentary style, the film emphasizes captivating packaging and meticulous craftsmanship. The creation process encompasses pre-production, production, and post-production stages. Ultimately, the Mekepung Jembrana documentary not only showcases buffalo racing but also serves as a vital tool for cultural preservation and awareness for future generations, ensuring the continuity of this cherished tradition.]]>
<![CDATA[Cittaraga: Healing Dance Studio Based On Traditional Sundanese Dance ]]>
<![CDATA[Herdiani, Een]]>;
<![CDATA[Munggaran, Muhammad Mughni]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 8, No 2 (2023): Exploring Cultural Narratives and Artistic Expressions ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v8i2.2922
<![CDATA[Having a healthy body is the hope of every human being because with excellent health life feels more meaningful. To maintain a healthy body, routine and regular activities are needed through medical health checks and other activities such as sports and dancing. Dancing for health has not been revealed by many researchers. Generally, people understand functions for ritual, entertainment, and performance needs. However, there is a function of dance for health that has not been discussed much. This study aims to reveal one of the studio activities that develop dance for health, namely Studio Cittaraga in Bandung. This studio develops healing dance using traditional Sundanese dance movements. Qualitative-descriptive methods are used to uncover these problems. The objects he studied were the perpetrators, both figures of healing dance developers at the Cittaraga studio and training participants. Observation, interviews, and documentation carry out data collection techniques. The results showed that Studio Cittaraga succeeded in developing traditional Sundanese dance movements for healing needs carried out continuously and enjoyably.]]>
<![CDATA[Minimalist Art and the Iconization of Trees in Waiting for Godot ]]>
<![CDATA[Irianto, Adhy Pratama]]>;
<![CDATA[Timmerman, Benny Yohanes]]>;
<![CDATA[Saleh, Sukmawati]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 9, No 1 (2024): Interdisciplinary Explorations in Cultural Expression: From Traditional Arts to ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v9i1.3273
<![CDATA[The minimization of performance art is aimed at presenting human darkness and innocence in a philosophical interpretation. This is what Samuel Beckett presented in his 1953 performance Waiting for Godot. Art minimization makes the number of props less, but is able to visualize the desired thematic of the script. This minimalism, which is supposed to display simplicity, becomes more luxurious due to the presence of iconic things from absurd performances. In the midst of the minimalist, gloomy, and arid decorations in Waiting for Godot, the tree becomes the center of attention. This tree becomes something very iconic and will strongly remind the audience of the show. The process of something becoming iconic is called iconization, which is a deliberate process. Beckett allegedly deliberately iconizes the tree, with a number of realities in the text (textual) and the reality of the performance (atmospheric). This iconization and minimization is intended to make the performance more basic and simple, less philosophical and metaphysical. This article is the result of an analysis of several texts written by Samuel Beckett.]]>
<![CDATA[The Movement of Sundanese Karawitan Artist in the Indie Music From the Perspectiv of Music Sociology ]]>
<![CDATA[Saputra, Firman Adi]]>;
<![CDATA[Saleh, Sukmawati]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 9, No 1 (2024): Interdisciplinary Explorations in Cultural Expression: From Traditional Arts to ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v9i1.3200
<![CDATA[This research delves into the attitudes and perspectives of Sundanese karawitan artists toward the indie music movement through the lens of music sociology. Employing qualitative methodologies such as literature review and fieldwork, the study reveals that these artists do not merely act as preservers of cultural heritage but also actively adapt and integrate their traditional music into the indie music scene. As pivotal figures, they engage in collaborations with global elements within the indie world, making substantial contributions to the evolution of indie music. This active participation fosters a unique harmony that mirrors the diverse and dynamic nature of Indonesian culture. The study offers a comprehensive analysis of how Sundanese karawitan artists interact with and influence the indie music scene. Their involvement is not just a preservation of traditional art forms but a dynamic adaptation that enriches both their cultural heritage and the broader indie music movement. By blending traditional and contemporary elements, these artists create innovative music that appeals to a global audience while retaining its cultural roots. Furthermore, this research highlights the significant role of Sundanese karawitan artists in the indie music scene, showcasing their ability to navigate between tradition and modernity. Their contributions reflect a broader trend in the Indonesian music landscape where traditional art forms are not static but are continually evolving and adapting to new contexts and influences. This dynamic interplay between tradition and innovation is crucial for the sustainability and growth of both traditional and indie music genres in Indonesia.]]>
<![CDATA[The Construction of Sign that form Kabuyutan Cibulan ]]>
<![CDATA[Prasetyo, Eko Budi]]>;
<![CDATA[Nalan, Arthur S]]>;
<![CDATA[Herdiani, Een]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 8, No 2 (2023): Exploring Cultural Narratives and Artistic Expressions ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v8i2.2797
<![CDATA[Cibulan or known as Cibulan Tourism Object is a place that is believed to be kabuyutan. This belief is not only seen from the myths that develop in the community around Cibulan, but there are signs that exist in Cibulan which are the construction of a kabuyutan. This study uses a paradoxical aesthetic approach belonging to Jakob Sumardjo, namely the triple pattern or tritangtu. The concept of tritangtu is to marry two different things and produce harmony that has the properties of both. Tritangtu is needed because in kabuyutan there must be symbols of Tekad, Ucap, and Lampah which are symbols of Sang Hyang Hurip and tritangtu. In addition to the tritangtu element, kabuyutan must also be built at the confluence of male and female rivers. That is the construction of signs forming kabuyutan where this research will explain the signs and the role of the Cibulan kabuyutan in society.]]>
