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Jurnal Ilmu Bahasa, Sastra, dan Budaya (BASADYA)
Published by CV. Sinar Howuhowu
ISSN : -     EISSN : 31232426     DOI : https://doi.org/10.70134/basadya
Core Subject : Humanities, Education, Social,
Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other
Jurnal Ilmu Bahasa, Sastra, dan Budaya (BASADYA) merupakan media publikasi ilmiah yang memfokuskan kajiannya pada penelitian, pemikiran kritis, dan analisis dalam bidang linguistik, kesusastraan, serta kebudayaan. Jurnal ini bertujuan untuk menjadi wadah akademik yang memfasilitasi pertukaran gagasan, temuan riset, dan pengembangan teori antara para peneliti, dosen, mahasiswa, dan praktisi yang memiliki perhatian pada bahasa, karya sastra, serta dinamika budaya. Bidang kajian jurnal ini meliputi linguistik teoretis dan terapan, termasuk analisis bahasa, pembelajaran bahasa, dan kajian wacana; sastra klasik, modern, dan kontemporer, baik dari perspektif struktural, intertekstual, maupun kontekstual; serta studi budaya yang mencakup identitas, tradisi, media, komunikasi, dan interaksi lintas budaya. Selain itu, jurnal ini juga menerima tulisan dalam ranah kritik sastra, penerjemahan, filologi, dan kajian interdisipliner antara bahasa, sastra, dan budaya. Artikel yang diterbitkan dalam jurnal ini diharapkan mampu memberikan kontribusi ilmiah, memperluas wawasan akademik, serta memperkaya khazanah pengetahuan dalam bidang bahasa, sastra, dan budaya, baik dalam lingkup nasional maupun internasional.
Arjuna Subject : Ilmu Sosial - Kajian Budaya
Articles 53 Documents
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Problematika Dakwah Humor: Antara Daya Tarik Dan Dangkalnya Substansi (Tinjauan Epistimologis Terhadap Teologi Transformatif Dan Retorika Populer) Ayu Trysnawati; Suf Kasman; Ramsiah Tasruddin
Jurnal Ilmu Bahasa, Sastra, dan Budaya Vol. 2 No. 2 (2026): BASADYA - Juli
Publisher : CV. SINAR HOWUHOWU

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70134/basadya.v2i2.1911

Abstract

This The phenomenon of humorous da’wah (religious outreach) in a contemporary context reveals a significant shift in religious communication practices, particularly amidst the dominance of popular culture and digital media. This article aims to analyze the issues surrounding humorous da’wah from an epistemological perspective, highlighting the tension between popular rhetorical appeal and the depth of theological substance within the framework of transformative theology. Employing a qualitative approach and descriptive-analytical library research, the study examines scholarly literature on contemporary da’wah, humor, and religious communication published over the last five years. The finding indicate that humor in da’wah has transformed from a mere rhetorical technique into a communication paradigm that shapes the construction of religious knowledge. Humor serves as an effective mechanism for cognitive and affective simplification, bridging the gap between complex theological teachings and the audience's reality. However, the dominance of humor also triggers an epistemological shift, wherein the validity of the message is determined more by audience response than by substantive depth. Furthermore, humorous da’wah has become integrated into the logic of the digital cultural industry, leading to commodification that threatens to shift the orientation of da’wah from education to entertainment. This phenomenon implies a trend of theological de-substantiation, where religious messages become superficial due to the dominance of popular rhetoric. Consequently, this study emphasizes the importance of formulating ethical communication guidelines for the use of humor in da’wah. Humor must be positioned as an instrument rather than a primary goal, while remaining grounded in prophetic values ​​that foster liberation and critical awareness. Thus, a synthesis between transformative theology and popular rhetoric can be achieved by balancing communicative appeal with theological depth.  
Peran Karang Taruna “Tunas Harapan” Dalam Melestarikan Tradisi Tari “Singo Mengkok Dan Leang-Leong” Di Desa Drajat, Kecamatan Paciran, Kabupaten Lamongan Moh. Syarif Hidayat
Jurnal Ilmu Bahasa, Sastra, dan Budaya Vol. 2 No. 2 (2026): BASADYA - Juli
Publisher : CV. SINAR HOWUHOWU

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70134/basadya.v2i2.1753

Abstract

The preservation of traditional art has become an important challenge amid the wave of modernization that affects the mindset and interest of the younger generation toward local culture. This condition requires the involvement of various elements of society, including youth organizations, in maintaining the sustainability of cultural heritage. This study aims to analyze the role of the Karang Taruna “Tunas Harapan” of Drajat Village in preserving the Singo Mengkok and Leang-Leong dance traditions as part of the cultural identity of the Drajat Village community, Paciran District, Lamongan Regency. This study uses a qualitative method with a descriptive approach. Data were obtained through observation, interviews, and documentation, then analyzed using data reduction, data display, and conclusion drawing. The results show that Karang Taruna “Tunas Harapan” acts as the main driver of art preservation through performer regeneration, routine rehearsals, involvement in village cultural activities, digital media promotion, and collaboration with the village government and community leaders. However, preservation still faces obstacles such as limited funding, low interest among some youths, and minimal historical documentation.
Representing Women's Empowerment Through Key Visual Elements In Wicked (2024): A Barthesian Semiotic Analysis Siti Nursaida
Jurnal Ilmu Bahasa, Sastra, dan Budaya Vol. 2 No. 2 (2026): BASADYA - Juli
Publisher : CV. SINAR HOWUHOWU

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70134/basadya.v2i2.1980

Abstract

Films do more than entertain; they also shape public understanding of social issues, including gender equality and women's empowerment. As a contemporary fantasy musical, Wicked (2024) offers a compelling portrayal of two female protagonists whose contrasting experiences of discrimination, identity, and friendship gradually evolve into a shared journey of empowerment. This study aims to explore how women's empowerment is represented through the film's key visual elements and narrative development. Using a qualitative descriptive design with a semiotic approach, the study examines selected scenes, dialogues, songs, and cinematic techniques through the concepts of denotation, connotation, and myth. The findings indicate that women's empowerment is portrayed not as an immediate achievement but as a continuous process shaped by marginalization, self-acceptance, resistance to social prejudice, and mutual support. Cinematic elements, including costume, lighting, camera angles, movement, and visual symbolism, reinforce the transformation of the protagonists from social exclusion to confidence and agency. The study concludes that Wicked reconstructs the meaning of women's empowerment by presenting resilience, authentic identity, and female solidarity as forces that challenge conventional expectations of femininity and authority. These findings demonstrate how semiotic analysis can uncover the ideological meanings embedded in contemporary cinematic representations of women while contributing to broader discussions in film, media, and cultural studies.  

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