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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 166 Documents
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Ilustrasi Cerpen Majalah Mangle Periode April dan Mei 2010 Karya Agus Mulyana Agus Triyadi
PANTUN Vol 6, No 1 (2021): Glokalisasi Seni Budaya dalam Tranformasi Mitos dan Spiritualitas
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v6i1.1689

Abstract

Illustration as an integral part of a short story plays an important role in helping the reader'simagination to describe the scene in the story. Sundanese Mangle magazine is published for loyal readers, with a short story column with a variety of stories in a familiar Sundanese culture perspective. This Mangle illustration aims to provide reinforcement and to emphasize the content or narrative of the literary works. The illustrator, Agus Mulyana, visualizes the narrative in an informative way, with contrasting black and white characters. The illustrations are included in the type of naturalist illustration images which have the same shape and color as the reality or the actual situation (realist) existing in nature without any reduction or addition of the same shape as the actual situation. The appearance of Agus Mulyana's illustrations in short stories in Mangle Magazine as one of the local media loyal to Sundanese culture is a valuable contribution to the depiction of West Java. Narrating the history of Mangle Magazine from 1957 to 2021, it is appropriate that we preserve the documents of the illustrations and save them in the collection. More specially, it needs to be exhibited so that it becomes a Sundanese cultural asset.Keyword: Illustration, culture, Sundanese
Sakralitas Ritual Sedekah Bumi di Makam Kramat Batok Kabupaten Bekasi Fatimah, Siti
PANTUN Vol 4, No 2 (2019): Kuasa Seni Tradisi Dalam Dialektika Modern
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v4i2.1186

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
Mengungkap Karakter Kreatifitas 3 Karya Nirmana Dwi Matra Yuliansyah, Hendy
PANTUN Vol 5, No 1 (2020): Kolaborasi Seni
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v5i1.1339

Abstract

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.
Misykat Cahaya Spiritualitas dalam Seni Tauhid Teguh Agus Priyanto; Supriatna Supriatna; Benny Yohannes T.
PANTUN Vol 6, No 1 (2021): Glokalisasi Seni Budaya dalam Tranformasi Mitos dan Spiritualitas
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v6i1.1695

Abstract

‘Misykat Cahaya’ is an artwork inspired by personal spiritual experiences about self-existence, the search for religious human beings overshadowed by the existence of God. Through qualitative research methods, the artist tries to dissect this spiritual phenomenon to fnd values that will be used as a guide in the work process. The combination of the non-fgurative style of Ismail Raji’ Al-Faruqi (Art of Tawhid) with Sartre’s Existentialism is used to show the relationship between man and his God. This combination is used to show the choice of being a free human being or who recognizes God as a source of value and provides a way to beter understand the existence of Muslim artists today. The Awareness of position as a human being who must exist at the same time as a servant leads to always build sensitivity to the surroundings. This is also regarding encounters with objects which are often underestimated and the light in which the existence is often ignored. This experience leads to awareness of the life force. The object of beads and light becomes a metaphor to reveal the veil that covers it in order to be able to fnd Allah SWT. The objects enable power to stimulate the emergence of imagination to the level of spiritual awareness, which ultimately brings awareness to the position of Muslim artists who are not autonomous.Keywords: Spirituality, Al-Faruqi Aesthetics, Sartre’s Existentialism, object, light
Desain Visual Typografy pada Busana Casual T-Shirts dan Budaya Pop Annita Komariati Prihandayani
PANTUN Vol 6, No 1 (2021): Glokalisasi Seni Budaya dalam Tranformasi Mitos dan Spiritualitas
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v6i1.1690

Abstract

Studies on the typography transformation has historically experienced a shift in meaning, function, value, and form. Starting from casual clothes that can only be used for everyday clothing to semi-formal ones. The casual dress emphasizes comfort and personal expression over the presentation and uniformity of one's dress, which includes jeans and t-shirts. To examine these problems, a qualitative descriptive method is applied with a historical approach related to pop culture in modern society. The literature and feld analysis by using Levi-Strauss theory can help fnding answers in surface structure research (Surface – Structure). It shows that, the typography in casual clothing has changed, according to fashion trends. While in the inner structure (Deep – Structure), typography which is related to meaning and value, has no changes.Keywords: Transformation, Popular Culture, Typography, Casual fashion
Pemetaan Pola Progresi Chord Berdasarkan Kombinasi Interval Pamuji, Ilham
PANTUN Vol 5, No 1 (2020): Kolaborasi Seni
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v5i1.1338

Abstract

Mitos Tenun Gedogan Indramayu sebagai Sistem Kebudayaan Masyarakat Juntikebon Dewi Mustika; Retno Dwimarwati; Yanti Heriyawati
PANTUN Vol 6, No 1 (2021): Glokalisasi Seni Budaya dalam Tranformasi Mitos dan Spiritualitas
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v6i1.1691

Abstract

Tenun (weaving fabric) of Gedogan Indramayu is no longer merely a daily clothing in its development. It has been mythized by the user community as a woven fabric that is intended for noble goals in more noble social strata. The four mythical motifs include Babaran, Kluwungan, Poléng Mentisa, and Udan Mas Prambutan motifs. The myth of the weaving of Gedogan Indramayu is used as a guide not only for religious values, but also for the ethics of the people have become part of the culture. Myths in the form of beliefs are actualized in the traditions of the people and in a sacred ceremony, such as: ritual after giving birth, Ruwatan Anak Sukerta, Kirab Kuwu tradition, and Nurubi-Mayat ritual. These traditional ceremonies and rituals are presented as transcendent events. More specifcally, the spirit which cannot be sensed is presented into the material which is tangible. The myth of Gedogan Indramayu weaving has become part of the Junti Kebon cultural system. The values are applied as the patern of the society daily behavior, individually and in society.Keywords: Myth, Babaran, Kluwungan, Poléng Mentisa, Udan Mas Prambutan.
Konstruksi Sosial Nicky Astria Sebagai Lady Rocker Indonesia Yully Hidayah; Een Herdiani; Retno Dwimarwati
PANTUN Vol 6, No 2 (2021): Karakter Seni Lokal Untuk Penguatan Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v6i2.1814

Abstract

The focus of this study is on the social construction of Nicky Astria as a singer on the influence of the development of rock music in Indonesia. The term “constructive” refers to the structuralist-constructive theory of Pierre Bourdieu or better known as social constructivism or postmodernism which recognizes the role of subjects and objects in the development of science. The theory is then applied to map, analyze, and e xplain the construction including the realm, habitus, and capital which represent Nicky Astria as a Lady Rocker. The research method applied is Kuntowijoyo approach, namely history to understand life records, namely the era that is the background of the biography and the socio-political environment. Qualitative data are obtained by literature study, observation of the works and figures of Nicky Astria and interview with Nicky Astria and other sources related to Nicky Astria as the research subject. The results of the study shows that Nicky Astria as Lady Rocker is represented through her consistency and popularity in the world of rock music. Her activities and productivities color and contribute to the development of rock music in Indonesia.Keywords: Nicky Astria, structural constructive, Lady Rocker
Paduan Ornamen Budaya Nusantara dalam Estetika Fasade Arsitektur Landmark Karya Wolff Schoemaker Ganesha Wibisana; Arthur S. Nalan; Supriatna Supriatna
PANTUN Vol 6, No 2 (2021): Karakter Seni Lokal Untuk Penguatan Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v6i2.1809

Abstract

Wolff Schoemaker is an architect who reads local culture in architectural works. Placement of archipelago ornaments in the facade of the Landmark building forms an architectural blend of western aesthetics with rational understanding and eastern concepts with cultural symbols. The method used in this research is qualitative, which is described in an interpretive descriptive manner. The study uses the aesthetic theory of Edmund Burke Feldman with his formulation regarding four aspects, namely function, structure, style and meaning. This concept produces a model of formalism and symbolic analysis as part of the aesthetic meaning of architecture. Pepatraan ornaments on the shape of the building are equipped with the heads of Kala and Makara as the application of the decoration in the façade. It forms Landmark architecture with the concept of west and east. The placement of Kala is influenced by the concept of Total Work of Art in the Jugendstil style in Europe by placing figurative ornaments in accordance with formal aesthetic principles. The eastern concept is seen in the left and right sides of the building which has a shape similar to the temple architecture. It applies to the Kala ornament in the middle, so that the aesthetic appeal of the Landmark consists of the aspects of formal and symbolic form.Keywords: Ornament, Architecture, Kala, Wolff Schoemaker
Adegan Makan dalam Film-film Roufy Nasution (Analisa Semiotika Roland Barthes) Minfadly Robby; Yanti Heriyawati; Enok Wartika
PANTUN Vol 6, No 2 (2021): Karakter Seni Lokal Untuk Penguatan Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v6i2.1810

Abstract

Roufy Nasution is a filmmaker from Bandung who has produced many audio-visual works. This article aims to explain the meaning of signs, signifiers and signified of eating scenes in films made by Roufy Nasution. Roufy Nasution’s films studied here are Jeni Lova, Elise and Unseen Foot, The Substitute Woman, A Matter of Time, and The Boy with Moving Image. The study applies a qualitative descriptive method based on Roland Barthes’ semiotic theory. This qualitative descriptive method looks at the signs of the eating scenes in Roufy Nasution’s films. The results show that the eating scenes in Roufy Nasution’s films are closed to people’s lives. The conversations coming out in the eating scenes are the emotional determinants and clues of the film’s characters. The signs-signifiers from one film to another made by Roufy are not related to one another. However, the types of shots taken by Roufy are generally similar. Roufy interprets the eating scene as a sacred moment to talk about complaints.Keywords: Semiotics, Barthes, Roufy Nasution, Food Scenes, Film

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