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[Tari Pabbitte Passapu pada Upacara Tradisi Perkawinan di Suku Kajang Dalam ]]>
<![CDATA[Oktaviani, Ragil Tri]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 1, No 1 (2016): Pra Modern, Modern, Post Modern ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v1i1.745
<![CDATA[This article tries to reveal the existence of dance pabbitte passapu on pabuntingang ceremony and dance forms of presentation. The existence of pabbitte passapu dance is believed to be a fertility rite and custom entertainment facilities. However, the presence of dance in the ceremony pabuntingang pabbitte passapu is already secondary. In a sense, the dancers are not anymore considered as participants but performers to be seen. Meanwhile, the presentation of the dance, although in the form of a response, it does not change the structure of dance movement pa!erns pabbitte passapu. The focus of the analysis is the form of dance pabbitte passapu presentation in a traditional marriage ritual ceremony of Inner Kajang. The substance aims to reveal the analytical and descriptive of the subject matter associated with, the presence of dance pabbitte passapu in a traditional marriage ritual ceremony of Inner Kajang In; and the form presentation of pabbitte passapu dance. This article is expected to be contributive to the people of Inner Kajang to maintain the dance arts pabbitte passapu, as well as for the art people to add the inland art discourses in the archipelago.Keywords: Pabbitte Passapu Dance, Kajang Dalam tribe]]>
<![CDATA[Simulasi Kim dalam Sejarah dan Perkembangannya ]]>
<![CDATA[Rudi Eka Putra]]>;
<![CDATA[Asril .]]>;
<![CDATA[Wilma Sriwulan]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 3, No 2 (2018): Kreatif, Inovatif, dan Industri Kreatif ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v3i2.967
<![CDATA[KIM adalah pertunjukan musik dan undian dari Minangkabau yang mengunakan media pantun sebagai penyampaian setiap angka yang berhasil keluar dari tabung undian. Pedendang KIM, Musik, peserta KIM, kupon KIM dan hadiah adalah unsur penting dalam KIM. Kupon KIM yang menjadi salah satu syarat untuk bisa bermain. KIM dahulunya didapat dengan cara dibeli kepada penyelenggara KIM sehingga itulah KIM disebut judi. Seiring perkembangan ilmu pengetahuan sekarang kupon tersebut didapat dengan cara cuma-cuma guna menghindari permasalahan judi yang termasuk kedalam kategori penyakit masyarakat. Berubahnya konsep KIM yang dulu berjudi menjadi KIM sekarang berbentuk simulasi dari judi perlulah untuk diungkap, agar bisa mengetahui bagaimana proses simulacra dari KIM dahulu menjadi Kim saat ini. pengumpulan data dari narasumber seperti pelopor KIM, pedendang KIM dan masyarakat penikmat, pecinta dan pengamat KIM menjadi data penting yang nantinya akan dibedah secara interpertatif, agar permasalahan simulasi dan simulakra pada KIM ini dapat diungkap dengan jelas. Simulakra pada KIM dahulu terhadap KIM sekarang terjadi karena adanya beberapa perubahan pola sosial ditengah masyarkat. Kata kunci : KIM, musik dan undian, Simulasi. ]]>
<![CDATA[Komodifikasi Organ Jaipong di Kabupaten Sumedang ]]>
<![CDATA[Risna Suryana]]>
<![CDATA[ PANTUN Vol 4, No 1 (2019): Fenomena Kultural Dalam Paradigma Multikultural ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v4i1.1112
<![CDATA[Organ Jaipong performance is currently becoming a trend in the Sumedang regency. There are pros and cons amomg the artists regarding the Organ Jaipong, yet it still exists in the society. In fact, not few people accept Organ jaipong and invite it to be performed as the entertainment in a wedding ceremony or circumcision. Organ Jaipong is a commodity in the society both for the artists and the lovers. The community considers that Organ Jaipong art is very practical, economical and affordable. It is a solution for the people wanting a performance with minimal budget but the same quality as Bangreng art. The research is aimed to reveal the uses of Jaipong organ for Sumedang society. The study uses descriptive qualitative method applying Vincent Mosco’s commodification theory, 1996, that is by changing the use value into exchange rate. The data are obtained through interview, documentation analysis, field observation, and literature study. The result shows: (1) the Organ Jaipong in Sumedang has been commodified, (2) the commodification of Organ Jaipong in Sumedang is directed for the economy of Sumedang people and the art performers. Organ Jaipong is a commercial art, bought and sold to Sumedang people. Either the art performers or the audience involved in organ jaipong performances is part of the commodity form. This is to improve the economy of the organ Jaipong. The economy is used for daily needs of both the producers and the artists. Keywords: commodification, Organ Jaipong, Sumedang]]>
<![CDATA[Toponimi Kampung Sarkanjut Nenggeng dan Cibudug dalam Persfektif Hermaneutik ]]>
<![CDATA[Hadianto Hadianto]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 5, No 2 (2020): Kolaborasi Seni Desain, Film, dan Media Digital ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v5i2.1421
<![CDATA[The naming of a village is not only based on geographical location, but also on the psychological character of the village. As in Leuwigoong Subdistrict, the naming of the village is from an oral tradition, namely "sasakala" or a legend about how the village was formed. The story is based on folklore which develops and is embedded in society so that it unconsciously becomes an attitude or behavior. The use of unusual words makes the village toponymy unique, funny and even ridiculous. In its development, several village names seemed unsuitable for use, and even embarrassed the residents. The name Kampung Sarkanjut was shortened to disguise the pornographic connotation of the word 'Sarkanjut' to 'SKJ'. This study applies Paul Ricoeur's hermeneutics, through three processes of cultural understanding, namely: (a) Understanding of the appreciation of symbols (language) towards thinking ideas, (b) Giving meaning by symbols and careful exploration of meaning, and (c) Thinking by using symbols as the starting point. Through the process of understanding Paul Ricoeur's hermeneutics, village toponymy represents a view of life or advice in living life. The use of the word "kuntung" as a symbol of the property which has been passed on from parents to their children is illustrated by the use of the bag ("kuntung") as a place to store small coins so that they are not scattered. The assets which are inherited will be the responsibility of the children and their descendants to be cared for and guarded for the next generation. Life is always connected with other people. Humans are obliged to maintain social relations among humans, to complement and benefit each other.Keywords: Toponymy, Sasakala, identity, hermeneutics]]>
<![CDATA[Mengungkap Karakter Kreatifitas 3 Karya Nirmana Dwi Matra ]]>
<![CDATA[Hendy Yuliansyah]]>
<![CDATA[ PANTUN Vol 5, No 1 (2020): Kolaborasi Seni ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v5i1.1336
<![CDATA[Nirmana dwi matra as one and the basis for the introduction of works of art into works is still rare but is in demand by the public. It is an interesting visualization but it is difficult to understand the meaning or meaning in the work of nirmana dwi matra. The various types of nirmana dwi matra works with visualization going hand in hand with certain goals have led to an increase in people’s insight into the work of nirmana dwi matra. Through this research, using descriptive analysis method, through art theory and classification, nirmana dwi matra has the potential to become an expert in the form of material, aesthetics, imagination, color harmonization, crossing the concept of performance, recording media, and visualization.Keywords: expert, aesthetics, imagination, nirmana, art, color.]]>
<![CDATA[Pemertahanan Kelas Hegemonik dalam Pertunjukan Ngadu Domba Garut ]]>
<![CDATA[Febryani, Irma]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 4, No 2 (2019): Kuasa Seni Tradisi Dalam Dialektika Modern ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v4i2.1182
<![CDATA[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 Gramscis 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]]>
<![CDATA[Komodifikasi Musik Resepsi Pernikahan di Bandung ]]>
<![CDATA[Yudi Permana]]>;
<![CDATA[Arthur S. Nalan]]>;
<![CDATA[Indra Ridwan]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 5, No 2 (2020): Kolaborasi Seni Desain, Film, dan Media Digital ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v5i2.1427
<![CDATA[The term cover here means to re-sing or re-perform a song. The process of covering a song is essentially an adaptation, in which much of the value lies in the cover musician’s interpretation. Covers can easily be found at wedding receptions in the case of performing popular songs and romantic themes. This research studies about pop cover songs on wedding receptions, using commodification theory by Vincent Mosco. Data collection methods are literature studies, interview, and observation. From this research, the results show that the commodification of pop music covers are as follows: (1) commodification of content, cover songs are packaged into a romantic musical performance, as if giving a "message" or “meaning” that a wedding party without musical entertainment would be felt less lively (2) commodification of audiences, the bride as clients are used as a source of economic (3) commodification of labor, skill and service of musicians as workers, are treated as commodities and rewarded in return. Wedding reception as popular culture is closely related to a society prioritizing prestige and image rather than just utilities.Keywords: commodification, cover, wedding music]]>
<![CDATA[Fotografi Dokumenter “Surabi” melalui Metode EDFAT1 ]]>
<![CDATA[Shauma Silmi Faza]]>
<![CDATA[ PANTUN Vol 4, No 1 (2019): Fenomena Kultural Dalam Paradigma Multikultural ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v4i1.1113
<![CDATA[The method applied in the producing of this documentary photography is EDFAT: Entire, Detail, Frame, Angle, Time. EDFAT is a method which is still rarely used among academicians but usually applied by professionals especially journalists or photographers. This study is creative process to understand and apply EDFAT method. The object of this study is Surabi sellers in Bandung city, they are, Surabi Ema Ayu, Surabi Cihapit, and Waroeng Setiabudhi. The result of the study depicts the phenomena of the changes of Surabi in Bandung City from traditional such as Surabi Ema Ayu, to modern such as Surabi Cihapit and Waroeng Setiabudhi. Keywords: Documentary Photography, Traditional Surabi, Modern Surabi, EDFAT]]>
<![CDATA[Tiwika: Kolaborasi Musik Kaleran dalam Aransemen Kacapi ]]>
<![CDATA[Maryana Darsim Sutisna]]>;
<![CDATA[Lili Suparli]]>;
<![CDATA[Dinda Satya Upaja Budi]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 5, No 2 (2020): Kolaborasi Seni Desain, Film, dan Media Digital ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v5i2.1422
<![CDATA["Tiwika" is a form of musical composition taken from a variety of Karawang typical arts. The arts meant are banjet mask, kacapian, and bajidoran. The process of working on the musical composition is using Kacapi waditra as a medium of expression packaged into a single unit work on a musical composition in the form of a kacapi arrangement, entitled Tiwika (Tina Wirahma Kaleran). The theoretical basis used is the theory of Atik Soepandi's Karawitan Function: Panca Pramaksara namely arkuh songs, anceran wiletan, amardawa songs, anggeran wiletan, and adumanis songs. In addition, it also adopts Rahayu Supanggah’s Garap theory. The basic concept of this work is a manifestation of traditional art which have existed into different forms with after the creativity. Tiwika's work aims to create and raises a new genre of Waditra Kacapi, especially in Karawang Regency. A waditra Kacapi in this composition can be said to be multifunctional because it can function as carrier of rhythmic, melodic, tempo, and dynamics. Although this work is based on the existing Kacapi instruments, the results show musical characteristics which are different from those in the previous arts.Keywords: Kacapi, Collaboration, Arts in Karawang]]>
<![CDATA[Wayang Sukuraga Dari Bahasa Rupa ke Bahasa Pertunjukan ]]>
<![CDATA[Alief Suardi]]>
<![CDATA[ PANTUN: Jurnal Ilmiah Seni Budaya Vol 4, No 1 (2019): Fenomena Kultural Dalam Paradigma Multikultural ]]>
Publisher : <![CDATA[Pascasarjana ISBI Bandung ]]>
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DOI: 10.26742/pantun.v4i1.1103
<![CDATA[Wayang Sukuraga has initially been performed to the public since 1997. Generally, the story of Wayang Sukuraga is different from the common Wayang whose stories are inspired from Ramayana and Mahabrata. The names of the characters of Wayang Sukuraga are taken from part of bodies, such as, mouth, eye, ear, nose, hand, foot. The stories focus on telling internal conflict of human from their bodies. The research is aimed to reveal the meaning and symbol on Wayang Sukuraga. This is a qualitative study applying Levi-Strauss theory in analyzing the concept of structure and transformation. The result of the study shows that Wayang Sukuraga wants to share the understanding on how the human part of bodies fight and handle their desires. One of the creators, Effendy, has multi interpretation toward the characters in Wayang Sukuraga. The interpretations are an argumentation based on the phenomena in the daily life. The interpretation is easily understood by the human who have bodies.Keywords: Sukuraga, Wayang Sukuraga, Contemporary, Effendy]]>
