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[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[Postgraduate Program of Institut Seni Budaya Indonesia 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[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[Postgraduate Program of Institut Seni Budaya Indonesia 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 person’s 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[The Role of Sinden in Wayang Golek: Functions And Challenges ]]>
<![CDATA[Krismayanty, Mayang]]>;
<![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[Postgraduate Program of Institut Seni Budaya Indonesia Bandung ]]>
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DOI: 10.26742/pantun.v9i1.3262
<![CDATA[In this era, the artists who preserve wayang golek are elderly. The urge need of the next generation to continue the journey of this art. Especially a sinden, in this art the role of sinden is very important even almost equivalent to the dalang. There are many young people who already have artist legality, whether academically or not. But rarely are they willing and able to be involved in the realm of wayang golek. This obstacle is related to the very high musical complexity. The focus of this research is to analyze the role of a sinden in wayang golek performances, both in terms of functions and challenges. The method in this research uses descriptive qualitative, with data collection techniques through literature and field study. Literature study is in the form of theses and dissertations. This technique to analyze previous studies related to the object of research. Field study techniques, namely data collection by means of observation, interviews, document collection, and triangulation. The position of sinden in this performance is very important, visual aesthetics and musicality of sinden are very influential on the success of a wayang performance. This is a big challenge for anyone who wants to become a wayang singer. Understanding Sundanese musical knowledge and lakon wayang is the main asset for a sinden. Also the risk of social pressure by facing society’s negative paradigm towards the profession of sinden. This study explored more deeply the specific functions and challenges of sinden wayang golek, visually, musically and socially.]]>
<![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[Postgraduate Program of Institut Seni Budaya Indonesia 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 film’s 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 planet’s life. This research contributes to advancing documentary filmmaking by highlighting the effectiveness of combining visual symbolism with strong narrative techniques.]]>
<![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[Postgraduate Program of Institut Seni Budaya Indonesia 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[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[Postgraduate Program of Institut Seni Budaya Indonesia 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[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[Postgraduate Program of Institut Seni Budaya Indonesia 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 Strauss’s 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[Visual Contemporary Painting Based on The Visual Appropriation of Abhimanyu’s Death ]]>
<![CDATA[Bayutha, Ida Bagus Rekha]]>;
<![CDATA[Karja, I Wayan]]>;
<![CDATA[Mudana, I Wayan]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol. 9 No. 2 (2024): The Role of Art and Culture in Shaping Social, Historical, and Psychological Di ]]>
Publisher : <![CDATA[Postgraduate Program of Institut Seni Budaya Indonesia Bandung ]]>
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DOI: 10.26742/pantun.v9i2.3470
<![CDATA[The concept of visual appropriation involves using elements borrowed from others to create a work of art. In this research, appropriation entails utilizing images and narrative context from various sources to depict Abhimanyu’s death on the 13th day of the Bharatayuda war. This article explains the method for creating the visual appropriation of Abhimanyu. The process of creating visual appropriation is based on exploring, designing, and realizing craft arts, incorporating digital sketching, manipulation, media and technique discovery, imprimatura, collage, cropping, coloring, and finishing. The creation process involves identifying visual forms and their relationship to current phenomena and adding new meanings that alter the original context. The aim of creating contemporary painting is to make young people aware of the challenges or obstacles of the current situation and the need to develop strategies to deal with them. Resulting works aim to juxtapose visual references to provoke thought and reinterpretation of their meaning for the audience. ]]>
<![CDATA[Cultural Diplomacy in Films by Garin Nugroho ]]>
<![CDATA[Muhammad Abdul Aziz Arif Bawono]]>;
<![CDATA[Saleh, Sukmawati]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol. 9 No. 2 (2024): The Role of Art and Culture in Shaping Social, Historical, and Psychological Di ]]>
Publisher : <![CDATA[Postgraduate Program of Institut Seni Budaya Indonesia Bandung ]]>
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DOI: 10.26742/pantun.v9i2.3503
<![CDATA[This article conducts an in-depth examination of Indonesian cultural elements in Garin Nugroho’s films, using Joseph Nye’s theory of cultural diplomacy as a conceptual framework. Through the analysis of films such as “Daun Di Atas Bantal” and “Opera Jawa,” the article aims to identify and explore the local cultural elements that Nugroho integrates into his film narratives. This research focuses on how Garin Nugroho presents traditional Indonesian cultural elements and how this contributes to international understanding of Indonesia’s cultural richness. By applying the theory of cultural diplomacy, the article highlights the importance of cultural representation in films as a form of soft power capable of building a positive image of Indonesia on the global stage. The study also discusses how Garin Nugroho’s films play a role in cultural diplomacy, serving not only as a medium of entertainment but also as an educational tool and cultural promotion. The article supports the hypothesis that cultural diplomacy plays a crucial role in building understanding and appreciation of a nation’s cultural wealth, as well as strengthening international relations through cultural exchange. Thus, this article functions not only as a critical analysis of Garin Nugroho’s films but also as a case study demonstrating how cultural diplomacy can be effectively used to promote and introduce Indonesian culture to international audiences. The findings of this research are expected to contribute to film studies, cultural diplomacy, and the development of future strategies for promoting Indonesian culture. ]]>
<![CDATA[The Role of Prince Ronggosukowati in the History and Culture of Pamekasan ]]>
<![CDATA[Noviyanti Supriliyanti]]>;
<![CDATA[Ahmad Sudi Pratikno]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol. 9 No. 2 (2024): The Role of Art and Culture in Shaping Social, Historical, and Psychological Di ]]>
Publisher : <![CDATA[Postgraduate Program of Institut Seni Budaya Indonesia Bandung ]]>
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DOI: 10.26742/pantun.v9i2.3601
<![CDATA[Folklore serves as a bridge connecting generations and allows communities to maintain their cultural heritage amidst changing times. Folklore is a national cultural heritage that has values that can be taken and applied in the present and the future, as well as the spread of folklore by word of mouth. This study aims to describe the role and values contained in Prince Ronggosukowati, an important figure in the history and culture of Pamekasan. The research method used in this study is field research. Data collection techniques include literature studies, documentation, and interviews. The findings show that the role of Prince Ronggosukowati has a significant influence on the cultural and historical identity of Pamekasan, as well as contributing to the fields of culture, education, and religion. His life story is reflected in various Madurese literary and folklore works, making him a symbol of pride and community identity. The historical and cultural perspective on Prince Ronggosukowati shows the importance of the role of local leadership in shaping the cultural character of a region, which is in line with the view that folklore contains values that apply in society and need to be introduced to the younger generation. Prince Ronggosukowati’s influence is not only seen in infrastructure and government, but also in the preservation of cultural traditions that are the identity of the Pamekasan community.]]>
