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Ethnography
Published by Institut Seni Indonesia Padang Panjang
ISSN : -     EISSN : 30311616     DOI : http://dx.doi.org/10.26887/ethnography
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Education Environmental Science Social Sciences Other
FOCUS Ethnography : Journal of Cultural Anthropology fokus menerbitkan artikel terkait isu-isu antropologi budaya dari hasil kajian riset/penelitian para akademisi, peneliti. SCOPE 1. Kajian Tradisi dan Ritual 2. Kajian Multikulturalisme 3. Kajian Gender dalam kebudayaan 4. Kajian Lingkungan dan Kebudayaan 5. Kajian Agama dan Budaya
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 36 Documents
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Analisis Semiotika Tradisi Antuang-antuang dalam Upacara Kematian di Nagari Saok Lawe Fitria Fitria
Ethnography : Journal of Cultural Anthropology Vol 4, No 2 (2025): Etnography Juli - Desember 2025
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ethnography.v4i2.5638

Abstract

Antuang-antuang merupakan sebuah tradisi yang terdapat di Nagari Saok Laweh, Kabupaten Solok, Sumatera Barat. Tradisi ini dilaksanakan dalam sebuah upacara kematian yang disebut dengan manyaratuih, manyaratuih merupakan upacara kematian yang dilaksanakan pada 100 hari setelah kematian seseorang. Pada hari ke-100 tersebut biasanya juga akan dilaksanakan mando’a oleh orang alim, pemilihan tradisi antuang-antuang tergantung dengan pilihan sipangka sendiri, karena antuang-antuang dilaksanakan pada alek manangah dan alek gadang. Tujuan dari penelitian ini adalah untuk mengkaji makna antuang-antuang sebagai sebuah tradisi dalam alek manangah dan alek gadang, menggunakan perspektif Charles Sanders Peirce. Metode penelitian yang digunakan adalah pendekatan kualitatif deskriptif, dengan melakukan wawancara secara mendalam dengan narasumber dan observasi lapangan secara langsung. Tradisi Antuang-antuang memiliki  makna sebagai sedekah kepada orang alim ulama dari si Pangka yang telah melaksanakan mando’a selama 100 hari dirumahnya. Jadi Antuang-antuang merupakan sebuah tanda ucapan terimakasih yang diberikan si Pangka dari para Sumandan kepada alim ulama, dan setiap bagian antuang-antuang memiliki makna mendalam, agar setelah mengaji hari ke-100 ini kesedihan si Pangka digantikan dengan keikhlasan dan kedamaian yang masuk kerumah.
Transformasi Surau, Lapau, Dan Rantau Dalam Struktur Sosial Masyarakat Minangkabau: Studi Etnografi Di Nagari Canduang Koto Laweh Ahmad Muzaki; Ahmad Bahrudin; Hijratur Rahmi
Ethnography : Journal of Cultural Anthropology Vol 4, No 2 (2025): Etnography Juli - Desember 2025
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ethnography.v4i2.5663

Abstract

Surau, lapau, dan rantau merupakan institusi budaya yang secara historis membentuk struktur sosial dan karakter laki-laki Minangkabau. Ketiga institusi ini berfungsi sebagai ruang pendidikan moral, sosial, dan kultural yang saling berkelindan dalam kehidupan masyarakat. Namun, dinamika sosial, perkembangan zaman, serta perubahan kebutuhan ekonomi telah mendorong terjadinya transformasi peran surau, lapau, dan rantau dalam masyarakat Minangkabau kontemporer. Penelitian ini bertujuan untuk menganalisis bentuk dan faktor transformasi peran surau, lapau, dan rantau dalam struktur sosial masyarakat Minangkabau di Nagari Canduang Koto Laweh. Penelitian ini menggunakan pendekatan kualitatif dengan metode etnografi melalui observasi lapangan dan wawancara mendalam dengan tokoh adat serta masyarakat setempat. Hasil penelitian menunjukkan bahwa surau mengalami penyempitan fungsi dari pusat pendidikan sosial dan budaya menjadi ruang ibadah semata, lapau mengalami perubahan makna dari ruang dialektika menjadi ruang yang dipersepsikan negatif oleh sebagian masyarakat, sementara tradisi merantau mengalami perluasan subjek pelaku yang tidak lagi terbatas pada laki-laki. Transformasi ini berdampak pada perubahan pola pembentukan karakter, relasi sosial, dan pewarisan nilai budaya dalam masyarakat Minangkabau
Prosesi Mandi Pengantin dalam Pernikahan Adat Masyarakat Banjar di Kecamatan Betara Yosa Oktriwagi; Mutia Kahanna
Ethnography : Journal of Cultural Anthropology Vol 4, No 2 (2025): Etnography Juli - Desember 2025
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ethnography.v4i2.4308

Abstract

From the research entitled "Bridal Bathing Procession in Banjar Community in Betara District, West Tanjung Jabung Regency, Jambi Province" aims to describe the bridal bathing procession in Banjar community in Betara District. The type of data collection uses qualitative methods, with interview, observation and documentation techniques. Bridal bathing is one of the traditional ceremonies carried out before the wedding ceremony in Banjar community in Betara District. Bridal bathing is a tradition that must be carried out in the marriage process according to Banjar customary beliefs and beliefs. Bridal bathing aims to purify oneself as a whole, both physically and spiritually. Banjar people believe that the bride's face will be radiant for 40 days and kept away from disaster. The equipment for the bridal bathing procession is young areca nut shoots, 40 types of cakes, 4 yellow sugar cane stalks, yellow thread rope, yellow clothes, yellow shawls, long cloth, mirror, comb, powder, kohl, hair oil, candles, prayer water and yasin water. Bridal bathing until now, one of them in West Tanjung Jabung Regency still carries out bridal bathing as one of the traditional wedding processions.
Mitos Satu Suro dan Sistem Kepercayaan Lokal dalam Tradisi Jaranan di Desa Majenang, Kabupaten Lamongan: Kajian Etnografi Like Zanjabil Anfa'ullinaas; Abdul Halim
Ethnography : Journal of Cultural Anthropology Vol 4, No 2 (2025): Etnography Juli - Desember 2025
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ethnography.v4i2.6051

Abstract

Majenang Village in Lamongan Regency, East Java, maintains various cultural traditions that continue to be practiced by the local community, particularly during the commemoration of the night of Satu Suro. This night is regarded as a sacred moment associated with spiritual reflection, ancestral respect, and communal rituals. One of the prominent traditions performed on this occasion is the jaranan performance, a form of traditional folk art that contains elements of spirituality and local belief. This study aims to examine the myth of Satu Suro and its relationship with the local belief system reflected in the jaranan tradition in Majenang Village. Using an ethnographic approach, data were collected through observation, interviews with community members, and documentation of ritual activities. The findings show that the jaranan performance during the Satu Suro commemoration functions not only as a cultural performance but also as a medium for expressing collective beliefs, maintaining social solidarity, and reinforcing the cultural identity of the community. The myth of Satu Suro plays an important role in shaping the community's perception of sacred time and guiding ritual practices that connect social life with spiritual values. This tradition continues to be preserved as part of the cultural heritage and belief system of the Majenang community
Materiality of Prehistoric Visual Practices: The Relevance of Maros–Pangkep Cave Paintings and Pasemah Megalithic Sculptures to Craft Traditions Salma Rahmadani
Ethnography : Journal of Cultural Anthropology Vol 5, No 1 (2026): Etnography Editon January - June 2026
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ethnography.v5i1.30760

Abstract

This study analyzes the materiality of the Maros–Pangkep cave paintings and Pasemah megalithic statues and explains their conceptual relevance to craft traditions. It employed a qualitative approach using a literature review method. Secondary data, consisting of journal articles and scholarly books on the two forms of prehistoric heritage and theories of materiality, were analyzed descriptively and interpretively through data reduction, coding, thematic categorization, and interpretation. The results demonstrate that the use of rock surfaces, mineral pigments, and stone as sculptural material reflects empirical knowledge of material properties and mastery of painting and carving techniques. Materials did not merely serve as passive media but also influenced the techniques, visual forms, and creative processes. The artifacts also embody symbolic functions associated with group identity, beliefs, social activities, and human relationships with the environment, although their meanings must be interpreted according to the context of each site. The relevance of these visual practices to craft traditions lies in their use of natural materials, manual skills, and direct engagement between makers and materials. This relevance is conceptual and does not constitute evidence of direct genealogical continuity between prehistoric visual practices and craft traditions.
Hybrid Craft from a Postmodern Perspective: A Literature Review on the Deconstruction of the Fine Art–Craft Dichotomy in Contemporary Art Practices Era Ramadhani
Ethnography : Journal of Cultural Anthropology Vol 5, No 1 (2026): Etnography Editon January - June 2026
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ethnography.v5i1.30761

Abstract

The hierarchical separation of fine art and craft established by modernist discourse has increasingly been challenged in contemporary art. This study examines how postmodern thought supports the emergence of hybrid craft and how such practices deconstruct the fine art–craft dichotomy. Using a qualitative narrative literature review, the study analyzes scholarly books and journal articles addressing postmodern aesthetics, contemporary craft, hybridity, materiality, and interdisciplinary artistic practices. Sources were selected according to their conceptual relevance to the research focus and synthesized through thematic coding. The analysis identifies three interrelated characteristics of hybrid craft: media interdisciplinarity, technical hybridization, and conceptual experimentation. These characteristics are manifested in the combination of traditional craft techniques with installation, digital media, contemporary conceptual approaches, and new production technologies. The findings indicate that hybrid craft not only expands artistic materials and techniques but also repositions material knowledge, manual skill, creative process, and concept within the same field of contemporary artistic practice. This study offers a postmodern interpretive framework for understanding hybrid craft as a critical practice that destabilizes fixed disciplinary categories and renegotiates the relationship between fine art and craft

Page 4 of 4 | Total Record : 36

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