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[Revealing the Visual Structure of the 1981 and 2019 Versions of Ratu Ilmu Hitam Film Posters ]]>
<![CDATA[yuliansyah, hendy]]>
<![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.v9i1.3316
<![CDATA[The horror film Queen of Black Magic, which is a remake of the film with the same title, was released in 1981 and 2019. This film was released with the same title, but with different characters. The 1981 version features Suzzanna as the horror queen as the main character, while the 2019 version does not feature Suzzanna and the main character is not famous. This film with the title black magic has become an iconic film, because it emphasizes the word science for horror stories. The word black, which is synonymous with magic, is juxtaposed with the word science, thus forming a paradoxical word relationship. The queen is a figure and incarnation of a ghost, which directly places the ghost in a noble and respected position. The posters for the two films have different designs because of the strength of the ideas, social and cultural atmosphere that exist in the two posters with the large distance between the years of release. This research aims to determine the differences in design concepts between two film poster designs. This analysis is based on Levi Strausss version of structuralism theory which reveals that the 1981 version of the Queen of Black Magic poster emphasizes the importance of Suzzanna as a figure or queen of horror who attracts public attention, while the 2019 version of the Queen of Black Magic poster emphasizes the exploration of the formation of visual elements that lead to the meaning of black magic.]]>
<![CDATA[Entrainment: Transcendental Condition that Affected with Musical ]]>
<![CDATA[Rizal, Samsul]]>;
<![CDATA[Wastap, Jaeni B]]>;
<![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.v9i1.3218
<![CDATA[This research examines the phenomenon of entrainment, which is associated with atmospheric phenomenon in meteorology, and is now also used in a persons psychological and neurological state that leads to a state of brainwave synchronization (neural entrainment). In the most extreme conditions, this neural oscillation process will make a person enter the transcendental phase. This research is examined through a qualitative method by conducting a literature study of a number of studies on the phenomenon of entrainment. The findings obtained by researchers and academics related to entrainment can be a source of evidence for this research. The results of the research conducted found that entrainment can be the most logical explanation to explain a number of transcendental phenomenon associated with traditional or modern music. Entrainment is also a scientific explanation for the phenomenon of being possessed by spirit in a number of traditional arts in Indonesia and entrainment also affects human behavior which can reach the most extreme phase when affected by music to the subconscious level. This article is not sufficient to provide a significant explanation for the phenomenon of trance in some traditional Indonesian arts. More proofs, experiments, and literature studies are needed to strengthen the explanation of the phenomenon scientifically.]]>
<![CDATA[Visual Identity Logo Collaboration Eiger 1989 x National Park Collection 2022 ]]>
<![CDATA[Taufiq, Muhammad]]>;
<![CDATA[Nalan, Arthur Supardan]]>;
<![CDATA[Iskandar, Andang]]>
<![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.v8i2.2722
<![CDATA[Every brand in the industry competition increasingly creates unlimited choices. That way, every brand is always trying to find ways to connect emotionally with consumers. Through this research, we can find out how the visual identity communicated through the collaboration logo design of the Eiger 1989 x National Park Collection is connected with the message of meaning to be conveyed. The research method uses qualitative to facilitate the analysis process. The authors also use a four-stage approach to visual communication design research methods, including description, analysis, interpretation, and assessment. The findings based on the research that has been done are collaboration logos that, at first glance, seem to use headlines with taglines. After being analyzed as a whole, the collaboration logo was designed based on following the anatomy of the logo formation, besides that, there are overall visual elements that can represent brand identity and collaboration concepts. Logo design through good composition and the meaning of good communication messages will increase customer loyalty.]]>
<![CDATA[Weaving Emotions and Culture: The Success Story of Teh Botol Sosro’s Packaging on Indonesia’s 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[Postgraduate Program of Institut Seni Budaya Indonesia 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 Indonesia’s 75th Independence Day. The research aims to analyze the significant role of the concepts and themes of independence and Indonesia’s 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 Gobe’s 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 product’s appeal.]]>
<![CDATA[Visual Identity Logo Collaboration Eiger 1989 x National Park Collection 2022 ]]>
<![CDATA[Taufiq, Muhammad]]>;
<![CDATA[Nalan, Arthur Supardan]]>;
<![CDATA[Iskandar, Andang]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol. 8 No. 2 (2023): Exploring Cultural Narratives and Artistic Expressions ]]>
Publisher : <![CDATA[Postgraduate Program of Institut Seni Budaya Indonesia Bandung ]]>
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DOI: 10.26742/pantun.v8i2.2722
<![CDATA[Every brand in the industry competition increasingly creates unlimited choices. That way, every brand is always trying to find ways to connect emotionally with consumers. Through this research, we can find out how the visual identity communicated through the collaboration logo design of the Eiger 1989 x National Park Collection is connected with the message of meaning to be conveyed. The research method uses qualitative to facilitate the analysis process. The authors also use a four-stage approach to visual communication design research methods, including description, analysis, interpretation, and assessment. The findings based on the research that has been done are collaboration logos that, at first glance, seem to use headlines with taglines. After being analyzed as a whole, the collaboration logo was designed based on following the anatomy of the logo formation, besides that, there are overall visual elements that can represent brand identity and collaboration concepts. Logo design through good composition and the meaning of good communication messages will increase customer loyalty.]]>
<![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[Postgraduate Program of Institut Seni Budaya Indonesia 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[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[Postgraduate Program of Institut Seni Budaya Indonesia 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[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[Postgraduate Program of Institut Seni Budaya Indonesia 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.]]>
<![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[Postgraduate Program of Institut Seni Budaya Indonesia 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[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[Postgraduate Program of Institut Seni Budaya Indonesia 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.]]>
