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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 173 Documents
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Gandari Menjelaga Pertunjukan Drama Tari Wayang Kontemporer Anggraeni, Anggraeni
PANTUN: Jurnal Ilmiah Seni Budaya Vol. 4 No. 2 (2019): Kuasa Seni Tradisi Dalam Dialektika Modern
Publisher : Postgraduate Program of Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v4i2.1179

Abstract

Gandari Menjelaga is a dance drama taken from wayang story, that is Epos Mahabarata. This is a dance composition telling about a female character named Gandari, the daughter of King Prabu Subala of Gandara’s Kingdom. She should sacrifice her beauty by covering her eyes with white cloth as her loyalty to her fate. The concept of this work describes a self-denial of a woman toward her life. The combination of traditional and contemporary dance becomes the main element in producing the dance drama. The dramatic structure is arranged into four scenes whose settings are in the Gandara Kingdom Gate, in Gandara Palace, and in Dewi Gandari’s Courtyard. This dance drama is accompanied by gamelan compositionKeywords: Dance Drama, Gandari Menjelaga, Wayang Dance
Open Knowledge Pada Gerakan Free Culture Sebagai Preservasi Budaya di Media Siber Suherman, Anggung
PANTUN: Jurnal Ilmiah Seni Budaya Vol. 4 No. 2 (2019): Kuasa Seni Tradisi Dalam Dialektika Modern
Publisher : Postgraduate Program of Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v4i2.1180

Abstract

This research aims to reveal and analyze the movement of free culture on the website Aural Archipelago as audio library which preserve the culture through archiving. The emergence of free culture in the provision of data and information through archiving provides an opportunity for the public to be able to access unlimited various information legally. The collection in Aural Archipelago is a digital audio library that focuses on traditional music. Its completeness and freedom of access is better than the Indonesian government departments assigned to related issues. The research method uses qualitative with Cyber Media analysis approach, exploring how free culture becomes a movement in a new media preserving culture through archiving. The theory applied is the combination theory of Cyber Media by Rulli Nasrullah with the Virtual Ethnography by Christine Hine who thoroughly examines the world of reality with the world of cyber. Aural Archipelago provides information data generated through ethnographic processes. The expedition and its documentation are archived through the digital library model and has granted permission for the user to redistribute the archives to others. The result of open knowledge including new works to be the subject of research, academic needs, innovation, inspiration and collaboration.Keywords: Free Culture, Open Knowledge, Cultural Preservation, Digital Library
Tari Karawitan Manifestasi Simbol Aristokrat Priangan Nugraha, Dea
PANTUN: Jurnal Ilmiah Seni Budaya Vol. 4 No. 2 (2019): Kuasa Seni Tradisi Dalam Dialektika Modern
Publisher : Postgraduate Program of Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v4i2.1181

Abstract

Kawitan dance is one of the genres of Keurseus dance created in Priangan Aristocratic society. This study tries to reveal textual and contextual elements in Karawitan Dance. Ernst Cassirer’s symbol theory is applied to study the Priangan aristocrat symbols on Kawitan dance. Most of the main source persons of this study have passed away. Therefore, the interviews are conducted to etic persons who ever became the dancer or the testator of Kawitan Dance. The data of Kawitan Dance performances are taken from documentation. Meanwhile, the observation is conducted to studio, school, or higher institution which put Kawitan Dance as one of their learning materials. The elements of Kawitan Dance such as dance movement, dance structure, costume, staging style, and gamelan show symbol relation depicting the characteristics of menak priyai called Priangan Aristocrat.Keywords: Kawitan Dance, Aristocrat, Symbol
Pemertahanan Kelas Hegemonik dalam Pertunjukan Ngadu Domba Garut Febryani, Irma
PANTUN: Jurnal Ilmiah Seni Budaya Vol. 4 No. 2 (2019): Kuasa Seni Tradisi Dalam Dialektika Modern
Publisher : Postgraduate Program of Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v4i2.1182

Abstract

Sheepfight (Ngadu Domba) as one of the performances highly favored by the people has many changes especially from the performance issues. The sheepfight is not an activity only for fun. It is more as the means for raising the living standard of the people especially of the sheepfight farmer. The research applies qualitative method. The data are obtained through observation, interview, literature study, and documentation. Antonio Gramsci’s hegemony theory is applied to analyze the issues in this study. The research question in this study is how HPDKI organization maintain its power as hegemonic class in Garut sheepfight performance. The regulation of HPDKI stabilize its position as hegemonic class. HPDKI has its own strength by consistently approaching and negotiating with the people during certain time.Keywords: Ngadu Domba Garut, Hegemonic, Performance
Struktural Fungsional Seni Kerajinan Bambu Masyarakat Selaawi, Garut Rediansyah, Sandi
PANTUN: Jurnal Ilmiah Seni Budaya Vol. 4 No. 2 (2019): Kuasa Seni Tradisi Dalam Dialektika Modern
Publisher : Postgraduate Program of Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v4i2.1183

Abstract

Bamboo Craft in Garut, especially in Selawi, plays a significant role for Selawi people. Bamboo is not beneficial for their own benefit but also for their source of income. The famous bamboo craft from Selawi people is a big bird cage. Moreover, a famous event regarding bamboo in Selawi is the simultaneous planting of one billion bamboos of 100 kinds. The existence of Selawi is the manifestation of utilizing natural resources into beneficial products either for the surrounding people or outside society. This research applies sociology approach regarding how Selawi people utilize their surrounding nature. The method applied is qualitative method with functional structuralism to analyze the structure of the society. Bamboo Craft has become the main daily activity of the people. The people are skilful in making bamboo’s crafts such as bird cage, plaited bamboo, and bamboo musical instrument such as Angklung.Keywords: Bamboo Craft, Selawi People, Functional Structuralism
Sakralitas Ritual Sedekah Bumi di Makam Kramat Batok Kabupaten Bekasi Fatimah, Siti
PANTUN: Jurnal Ilmiah Seni Budaya Vol. 4 No. 2 (2019): Kuasa Seni Tradisi Dalam Dialektika Modern
Publisher : Postgraduate Program of Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v4i2.1184

Abstract

This study is aimed at revealing the process of the Sacredness of Ritual Sedekah Bumi in Kramat Batok, Bekasi. The study is done toward the structure of the ritual and the sacred elements of Batok sacred tomb, the offerings, ronggeng, masks, shadow puppets, a winding paddy (pocong padi) and buffalo slaughtering. This is to find out how people perceive the phenomena. The analysis of the sacredness uses Mircea Eliade’s view of sacredness and Victor Turner’s point on symbolic form. It is found out that the ways in which the community carries out its meaning are influenced by the social facts of the dominance of buhun (ancient) Sundanese culture, Pre-Islam and Hindu-Buddhist in the lives of Kramat Batok people for generations as a legacy from their ancestors.The analysis applying Jacob sumardjo’s proposition on paradox esthetic shows the harmony understanding between two contrary entities but completing each other. This is formulated as the three of Sundanese people, Tritangtu. The qualitative observation method is used in recording the activities of Kramat Batok community. By conducting interviews, field studies, literature studies and documentation studies, it is known that the Ritual Sedekah Bumi is a paradoxical cultural phenomenon in Kramat Batok community. This is because of the dualism belief in the system of thinking of the people, namely believing in the existence of Islam and its karuhun. The Sacredness of Ritual Sedekah Bumi has become part of the cycle of cultural events. This is as a form of expression of gratitute for the harvest. The ritual shows the primordial view of Kramat Batok community which is passed down from generation to generation, making the ritual activities maintained until todays.Keywords: Ritual, Sacred, Ngukup, Sedekah Bumi
The Diversity and Shared Culture of Lusheng in Guangxi: An Interethnic Symbol in Southwest China Zhuo, Chu
PANTUN: Jurnal Ilmiah Seni Budaya Vol. 10 No. 2 (2025): Interculturality and Social Representation in Music, Art, and Community Tradit
Publisher : Postgraduate Program of Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v10i2.3912

Abstract

The lusheng, a traditional Chinese bamboo wind instrument, is predominantly located in southwestern China, where ethnic minorities reside. In Guangxi, this instrument has assumed several shapes. For instance, Sanjiang possesses a six-pipe lusheng, Rongshui features a fifteen-pipe variant, and Longlin showcases enormous examples measuring six meters in height. Collectively, these encompass over 10 distinct varieties, with heights varying from 30 cm to 6 meters. The lusheng has historically evolved beyond its musical purpose to serve as a spiritual emblem for the Dong, Miao, Yao, and other ethnic communities. During events like as the Miao New Year, Slope Meetings, and the Pan Wang Festival, its booming tones reverberate through communities, functioning as ceremonial fanfares and repositories of collective memory. The performance system demonstrates extensive dimensionality. Solo compositions such as "Golden Pheasant Dance" exhibit exceptional delicacy; unison renditions by several musicians produce profound reverberations; and the most visually striking is "lusheng caitang," where hundreds of performers encircle bronze drums in coordinated choreography. The Song Dynasty "tayao" custom is entirely preserved in the Dong ethnic "Duoye" dances of Sanjiang and the Miao "Slope Meeting" festivals of Rongshui. The lusheng contains a cultural code, with tunes that express courting, recount ethnic epics, and enable competitive "sound dueling." These bamboo pipes create a nonverbal linguistic system, enhancing the instrument's significance in three ways: as a ritual tool for spiritual contact, a living historical archive, and a medium for social engagement. In 2008, Dong Ethnic Lusheng Music was inscribed on China's National Intangible Cultural Heritage List, therefore affirming its distinctive status within the nation's cultural heritage storehouse.
Representation of Post-Islamism in Hip Hop Music Song Ebith Beat A Collaboration Kurnain, Genya Anuceni Kurnain
PANTUN: Jurnal Ilmiah Seni Budaya Vol. 10 No. 2 (2025): Interculturality and Social Representation in Music, Art, and Community Tradit
Publisher : Postgraduate Program of Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v10i2.3914

Abstract

Hip-hop music serves as a distinctive platform for expressing identity, struggle, and social reform at the convergence of art, religion, and culture. In Indonesia, hip-hop has fostered forms that confront urban challenges while also incorporating spirituality and contemporary religious beliefs. It aims to elucidate how hip-hop music may articulate the ideology and values of Islamic teachings, while also analyzing the depiction of post-Islamism in the collaborative hip-hop track Ebith Beat A. The research methodology employs Charles Sanders Peirce's semiotic analysis. The study's results indicate that the lyrics of the hip-hop song by Ebith Beat A. Collaboration is rooted in Islamic doctrine, with its foundational principles derived from the Qur'an and sunnah (hadith). All of these elements constitute teachings found throughout Islam. The music ideology serves as a negotiation tool employed by Ebith to communicate Islamic teachings through hip-hop music, which stems from the street music subculture. This signifies the portrayal of Post-Islamism in hip-hop music in partnership with Ebith Beat A
Faces Amid the Mountains: A Barthesian Reading of a Photograph in Sore Aninditya Ardhana Riswari; Febrian Putra; Novia Sisca Handayani; I Putu Adi Putra Wiwana
PANTUN: Jurnal Ilmiah Seni Budaya Vol. 10 No. 2 (2025): Interculturality and Social Representation in Music, Art, and Community Tradit
Publisher : Postgraduate Program of Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v10i2.4313

Abstract

In an era characterized by media saturation, cinematic visuals possess considerable ideological and emotional significance. This study analyzes the portrait of a Ladakhi woman in Sore (2025), directed by Yandy Laurens, to investigate how visual elements in mainstream cinema serve as cultural representations and evoke emotional responses. Employing Roland Barthes's semiotic notions of studium and punctum, the photograph is examined as a locus of dual significance: intellectually comprehensible via cultural norms and emotionally resonant through subtle, unarticulated nuances. Utilizing a qualitative descriptive methodology, the analysis focuses on Barthes’s semiotic framework as delineated in Camera Lucida (1980). Each visual component encompasses gesture, attire, look, color, and background, which are analyzed for their representational and emotional meaning. The theoretical foundation is grounded in Barthes's multiple semiotic layers and Stuart Hall's encoding/decoding paradigm, which emphasize that meaning is not fixed but is influenced by viewers through cultural and emotional settings. The findings underscore how studium elucidates the socio-cultural backdrop of Ladakh, gendered identity, and physical isolation, whereas punctum manifests in nuanced visual features, particularly the woman's partially obscured mouth, which elicit profound, personal responses. These characteristics show that the photograph is not just a decorative narrative, but also a place for international empathy and societal commentary. This research illustrates that visual components in movies can convey intricate cultural tales and emotional depth. Barthes posits that cinematic images function as affective texts that connect aesthetics and ethics, documentation and emotion, so cultivating critical awareness and empathic engagement with oppressed identities.
The Paradoxical Aesthetics of Kawih Wanda Anyaran by Mang Koko Riza Windyagiri, Sony; Herdini, Heri; Suparli, Lili
PANTUN: Jurnal Ilmiah Seni Budaya Vol. 10 No. 2 (2025): Interculturality and Social Representation in Music, Art, and Community Tradit
Publisher : Postgraduate Program of Institut Seni Budaya Indonesia Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v10i2.4342

Abstract

This research analyzes the aesthetics of Kawih Wanda Anyaran by Mang Koko via the lens of Paradox Aesthetics as articulated by Jakob Sumardjo. Paradox Aesthetics posits that the allure of Nusantara art emerges from the tension between two ostensibly contradictory aspects that finally converge into harmony. This research utilizes a qualitative method with an ethnomusicological approach to analyze the lyrical, musical, and social contextual elements of Kawih Wanda Anyaran. The results identify four principal types of paradox: tradition–modernity, simplicity–complexity, individuality–collectivity, and rationality–emotionality. These paradoxes form a unique artistic basis, as Mang Koko adeptly showcases musical innovation while being deeply rooted in Sundanese cultural traditions. Kawih Wanda Anyaran exemplifies the intricate interplay among the artist, the community, and the encompassing cultural milieu. These findings affirm that Mang Koko's compositions function as expressions of musical creativity and as embodiments of paradoxical aesthetics, which hold substantial importance for arts education, cultural preservation, and the progression of Sundanese karawitan studies in contemporary and future contexts. This study provides a conceptual contribution to comprehending how paradox aesthetics can function as a framework for interpreting traditional musical compositions and presents avenues for additional research on aesthetic alterations within Nusantara Arts.

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