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All Journal KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Catharsis
Nur Rokhmat
Gedung B5 Lantai 2, Kampus Sekaran, Gunungpati, Semarang, Indonesia 50229
Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences

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WARAK NGENDOG: SIMBOL AKULTURASI BUDAYA PADA KARYA SENI RUPA -, Triyanto; Rokhmat, Nur; -, Mujiyono
Jurnal Komunitas: Research and Learning in Sociology and Anthropology Vol 5, No 2 (2013): Tema Edisi: Model-Model Pemberdayaan Masyarakat dan Pendidikan Karakter Bangsa
Publisher : Jurnal Komunitas: Research and Learning in Sociology and Anthropology

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

AbstrakWarak Ngendog merupakan kreativitas budaya lokal yang menjadi maskot dalam tradisi ritual Dugderan masyarakat Kota Semarang.  Penelitian ini bertujuan  mengkaji masalah maskot seni rupa  tersebut  sebagai simbol akulturasi budaya  melalui analisis intra estetik dan ekstra estetik. Hasil penelitian menunjukkan bahwa dari aspek intra estetik, perwujudan Warak Ngendog sebagai maskot Dugderan merepresentasikan hewan rekaan berkaki empat yang bersifat enigmatik, unik, eksotik, dan ekspresif. Dari aspek  ekstra estetik, maskot tersebut  secara simbolik mencerminkan  akulturasi budaya Jawa, Arab, dan Cina yang merefleksikan pesan-pesan edukatif ajaran moral Islami serta nilai harmoni kehidupan masyarakat multikultur. Interaksi sistemik unsur-unsur ulama, pemerintah, masyarakat,  ritual Dugderan, dan maskot seni rupa Warak Ngendog sebagai simbol akulturasi budaya dapat berperan secara sinergis sebagai model dalam membangun integrasi budaya.AbstractWarak Ngendog, a mascot of Semarang City in Dugderan ritual tradition, is a symbolically laden cultural creativity. This research aims to study visual artwork of a mascot as a symbol of cultural accuturation through intra-aesthetic and extra-aesthetic analysis. The result of the research showed that, from intra-aesthetic aspect, the actualization of Warak Ngendog as Dugderan mascot presents fictional four-legged animal which were enigmatic, unique, exotic, and expressive. In addition, from extra-aesthetic aspects, the mascot symbolically mirrors Javanese, Arabic, and Chinese cultural acculturation reflecting educational messages of Islamic morals and invitation for harmony in a multicultural society. Creating systemic interaction between ulama, government, society, Dugderan ritual and its mascot plays important roles as a model for developing harmony and cultural integrity.© 2013 Universitas Negeri Semarang
Brebes Buroq: The Art Expression of Coastal Javanese Moslem Society Triyanto, Triyanto; Rokhmat, Nur; Mujiyono, Mujiyono; Sugiarto, Eko
KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Vol 8, No 1 (2016): Komunitas, March 2016
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/komunitas.v8i1.5266

Abstract

The art of Buraq is a procession of puppet which has beautiful female face with winged-horse body and dance to the music of Genjring and tambourine. This traditional art is one of the dominant arts that becomes one cultural identity of the people in Brebes District, located in the west of the northern coast of Java island, Central Java Province. This study aims to study the aesthetic form, function and symbolic values of Buroq, as well as the system of relationship patterns among actors, Buroq puppets, and the audience. The result of the research shows that the rise of Buroq art stems from the Isra’-Mi’raj ‘ trip of Prophet Muhammad by using the vehicle named Buroq. It is narrated that Buraq is like a winged-horse with a beautiful woman face who can move with lightning speed as a vehicle in the Isra’-Mi’raj journey of the Prophet Muhammad. This story is the primary source of inspiration for local artists to express aesthetic-symbolic in accordance with the imagination they possess in the form of acculturation that combines elements of Javanese, Chinese, and Islamic cultural symbols. As Islamic-based traditional arts of community, Buroq with all the uniqueness of its physical form not only has functions and values in the grandeur of Islam which awakens and strengthens the cultural awareness among residents to act and behave in accordance with the teaching of Islam in coastal Javanese Islamic culture but also has the functionality and entertainment value for the multicultural community.
WARAK NGENDOG: SIMBOL AKULTURASI BUDAYA PADA KARYA SENI RUPA -, Triyanto; Rokhmat, Nur; -, Mujiyono
KOMUNITAS: International Journal of Indonesian Society and Culture Vol 5, No 2 (2013): Tema Edisi: Model-Model Pemberdayaan Masyarakat dan Pendidikan Karakter Bangsa
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/komunitas.v5i2.2735

Abstract

AbstrakWarak Ngendog merupakan kreativitas budaya lokal yang menjadi maskot dalam tradisi ritual Dugderan masyarakat Kota Semarang.  Penelitian ini bertujuan  mengkaji masalah maskot seni rupa  tersebut  sebagai simbol akulturasi budaya  melalui analisis intra estetik dan ekstra estetik. Hasil penelitian menunjukkan bahwa dari aspek intra estetik, perwujudan Warak Ngendog sebagai maskot Dugderan merepresentasikan hewan rekaan berkaki empat yang bersifat enigmatik, unik, eksotik, dan ekspresif. Dari aspek  ekstra estetik, maskot tersebut  secara simbolik mencerminkan  akulturasi budaya Jawa, Arab, dan Cina yang merefleksikan pesan-pesan edukatif ajaran moral Islami serta nilai harmoni kehidupan masyarakat multikultur. Interaksi sistemik unsur-unsur ulama, pemerintah, masyarakat,  ritual Dugderan, dan maskot seni rupa Warak Ngendog sebagai simbol akulturasi budaya dapat berperan secara sinergis sebagai model dalam membangun integrasi budaya.AbstractWarak Ngendog, a mascot of Semarang City in Dugderan ritual tradition, is a symbolically laden cultural creativity. This research aims to study visual artwork of a mascot as a symbol of cultural accuturation through intra-aesthetic and extra-aesthetic analysis. The result of the research showed that, from intra-aesthetic aspect, the actualization of Warak Ngendog as Dugderan mascot presents fictional four-legged animal which were enigmatic, unique, exotic, and expressive. In addition, from extra-aesthetic aspects, the mascot symbolically mirrors Javanese, Arabic, and Chinese cultural acculturation reflecting educational messages of Islamic morals and invitation for harmony in a multicultural society. Creating systemic interaction between ulama, government, society, Dugderan ritual and its mascot plays important roles as a model for developing harmony and cultural integrity.© 2013 Universitas Negeri Semarang
Brebes Buroq: The Art Expression of Coastal Javanese Moslem Society Triyanto, Triyanto; Rokhmat, Nur; Mujiyono, Mujiyono; Sugiarto, Eko
KOMUNITAS: International Journal of Indonesian Society and Culture Vol 8, No 1 (2016): Komunitas, March 2016
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/komunitas.v8i1.5266

Abstract

The art of Buraq is a procession of puppet which has beautiful female face with winged-horse body and dance to the music of Genjring and tambourine. This traditional art is one of the dominant arts that becomes one cultural identity of the people in Brebes District, located in the west of the northern coast of Java island, Central Java Province. This study aims to study the aesthetic form, function and symbolic values of Buroq, as well as the system of relationship patterns among actors, Buroq puppets, and the audience. The result of the research shows that the rise of Buroq art stems from the Isra’-Mi’raj ‘ trip of Prophet Muhammad by using the vehicle named Buroq. It is narrated that Buraq is like a winged-horse with a beautiful woman face who can move with lightning speed as a vehicle in the Isra’-Mi’raj journey of the Prophet Muhammad. This story is the primary source of inspiration for local artists to express aesthetic-symbolic in accordance with the imagination they possess in the form of acculturation that combines elements of Javanese, Chinese, and Islamic cultural symbols. As Islamic-based traditional arts of community, Buroq with all the uniqueness of its physical form not only has functions and values in the grandeur of Islam which awakens and strengthens the cultural awareness among residents to act and behave in accordance with the teaching of Islam in coastal Javanese Islamic culture but also has the functionality and entertainment value for the multicultural community.
The Revitalization of Garapan of Jemblung A Traditional Art Preserved in Blakasuta Studio in Banyumas Regency Pangestika, Nurratri Widya; Wadiyo, Wadiyo; Rokhmat, Nur
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.28833

Abstract

Jemblung is a traditional arts developed in Banyumas regency. Modernization has made the society have less interest in preserving the tradition. Hence, this research aims to analyze the revitalization of Jemblung by Blakasuta studio in Banyumas regency. The researcher employed qualitative interpretative method along with interdisciplinary approach for this research. The discipline of this research mainly concerns on ethnomusicology. The collection for the research data consist of observation, interview, and documentation. The validation of the data was through source triangulation. The analysis for the finding started from data collection, reduction, clarification, conclusion, and selective interpretation. The findings showed that the revitalization of Jemblung covers the ideas, materials, creators, facilities, consideration, reconstruction, refunctionalization, reformation, representation, reinterpretation, and reorientation. This research implies that the revitalization of Jemblung is a form of appreciation of traditional arts by Blakasuta studio. The studio continuously holds traditional arts preservation to minimize the effect of modernization. It is a challenge for the studio and the appreciators to consistently promote and perform traditional arts in a more creative way amongst Banyumas community.
Shape and Meaning of Banyumasan Batik Motif: A Study in The Context of Finding Cultural Identity Esa Yulianto, Robin; Triyanto, Triyanto; Rokhmat, Nur
Catharsis Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i2.43112

Abstract

Banyumasan batik is one of the original cultural products from Banyumas Regency which has its own aesthetic shape and distinctive meaning as one of the identities of the Banyumas community. This study aims to analyze the aesthetic shape of Banyumasan batik, the meaning of Banyumasan batik by batik craftsmen, and to construct cultural identity through Banyumasan batik. The study was conducted by using qualitative methods with interdisciplinary socio-cultural studies and arts (fine arts), the data collection was conducted by observation, recording, interviews and documents. The analysis of art data used the theory of aesthetic shape, cultural symbols, and cultural identity. First, the aesthetic shape of Banyumasan batik motif has distinctive and varied ornaments. Second, the meaning of the craftsmen of batik produces iconic and symbolic meanings that reflect the community, natural and physical environment, and culture of Banyumas. Third, the aesthetic shape and the meaning of Banyumasan batik motif are interrelated and support to be used as the cultural identity of the Banyumas community. The results of this study can be used as a reference source for batik craftsmen in the creation of batik motif, as well as sources and media for learning art and culture formally and informally, namely in schools and in the community about Banyumasan batik.
The Revitalization of Garapan of Jemblung A Traditional Art Preserved in Blakasuta Studio in Banyumas Regency Pangestika, Nurratri Widya; Wadiyo, Wadiyo; Rokhmat, Nur
Catharsis Vol 8 No 1 (2019)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.28833

Abstract

Jemblung is a traditional arts developed in Banyumas regency. Modernization has made the society have less interest in preserving the tradition. Hence, this research aims to analyze the revitalization of Jemblung by Blakasuta studio in Banyumas regency. The researcher employed qualitative interpretative method along with interdisciplinary approach for this research. The discipline of this research mainly concerns on ethnomusicology. The collection for the research data consist of observation, interview, and documentation. The validation of the data was through source triangulation. The analysis for the finding started from data collection, reduction, clarification, conclusion, and selective interpretation. The findings showed that the revitalization of Jemblung covers the ideas, materials, creators, facilities, consideration, reconstruction, refunctionalization, reformation, representation, reinterpretation, and reorientation. This research implies that the revitalization of Jemblung is a form of appreciation of traditional arts by Blakasuta studio. The studio continuously holds traditional arts preservation to minimize the effect of modernization. It is a challenge for the studio and the appreciators to consistently promote and perform traditional arts in a more creative way amongst Banyumas community.
Shape and Meaning of Banyumasan Batik Motif: A Study in The Context of Finding Cultural Identity Esa Yulianto, Robin; Triyanto, Triyanto; Rokhmat, Nur
Catharsis Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i2.43112

Abstract

Banyumasan batik is one of the original cultural products from Banyumas Regency which has its own aesthetic shape and distinctive meaning as one of the identities of the Banyumas community. This study aims to analyze the aesthetic shape of Banyumasan batik, the meaning of Banyumasan batik by batik craftsmen, and to construct cultural identity through Banyumasan batik. The study was conducted by using qualitative methods with interdisciplinary socio-cultural studies and arts (fine arts), the data collection was conducted by observation, recording, interviews and documents. The analysis of art data used the theory of aesthetic shape, cultural symbols, and cultural identity. First, the aesthetic shape of Banyumasan batik motif has distinctive and varied ornaments. Second, the meaning of the craftsmen of batik produces iconic and symbolic meanings that reflect the community, natural and physical environment, and culture of Banyumas. Third, the aesthetic shape and the meaning of Banyumasan batik motif are interrelated and support to be used as the cultural identity of the Banyumas community. The results of this study can be used as a reference source for batik craftsmen in the creation of batik motif, as well as sources and media for learning art and culture formally and informally, namely in schools and in the community about Banyumasan batik.
Brebes Buroq: The Art Expression of Coastal Javanese Moslem Society Triyanto, Triyanto; Rokhmat, Nur; Mujiyono, Mujiyono; Sugiarto, Eko
Komunitas Vol 8, No 1 (2016): March 2016
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/komunitas.v8i1.5266

Abstract

The art of Buraq is a procession of puppet which has beautiful female face with winged-horse body and dance to the music of Genjring and tambourine. This traditional art is one of the dominant arts that becomes one cultural identity of the people in Brebes District, located in the west of the northern coast of Java island, Central Java Province. This study aims to study the aesthetic form, function and symbolic values of Buroq, as well as the system of relationship patterns among actors, Buroq puppets, and the audience. The result of the research shows that the rise of Buroq art stems from the Isra’-Mi’raj ‘ trip of Prophet Muhammad by using the vehicle named Buroq. It is narrated that Buraq is like a winged-horse with a beautiful woman face who can move with lightning speed as a vehicle in the Isra’-Mi’raj journey of the Prophet Muhammad. This story is the primary source of inspiration for local artists to express aesthetic-symbolic in accordance with the imagination they possess in the form of acculturation that combines elements of Javanese, Chinese, and Islamic cultural symbols. As Islamic-based traditional arts of community, Buroq with all the uniqueness of its physical form not only has functions and values in the grandeur of Islam which awakens and strengthens the cultural awareness among residents to act and behave in accordance with the teaching of Islam in coastal Javanese Islamic culture but also has the functionality and entertainment value for the multicultural community.
WARAK NGENDOG: SIMBOL AKULTURASI BUDAYA PADA KARYA SENI RUPA -, Triyanto; Rokhmat, Nur; -, Mujiyono
Komunitas Vol 5, No 2 (2013): September 2013
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/komunitas.v5i2.2735

Abstract

AbstrakWarak Ngendog merupakan kreativitas budaya lokal yang menjadi maskot dalam tradisi ritual Dugderan masyarakat Kota Semarang.  Penelitian ini bertujuan  mengkaji masalah maskot seni rupa  tersebut  sebagai simbol akulturasi budaya  melalui analisis intra estetik dan ekstra estetik. Hasil penelitian menunjukkan bahwa dari aspek intra estetik, perwujudan Warak Ngendog sebagai maskot Dugderan merepresentasikan hewan rekaan berkaki empat yang bersifat enigmatik, unik, eksotik, dan ekspresif. Dari aspek  ekstra estetik, maskot tersebut  secara simbolik mencerminkan  akulturasi budaya Jawa, Arab, dan Cina yang merefleksikan pesan-pesan edukatif ajaran moral Islami serta nilai harmoni kehidupan masyarakat multikultur. Interaksi sistemik unsur-unsur ulama, pemerintah, masyarakat,  ritual Dugderan, dan maskot seni rupa Warak Ngendog sebagai simbol akulturasi budaya dapat berperan secara sinergis sebagai model dalam membangun integrasi budaya.AbstractWarak Ngendog, a mascot of Semarang City in Dugderan ritual tradition, is a symbolically laden cultural creativity. This research aims to study visual artwork of a mascot as a symbol of cultural accuturation through intra-aesthetic and extra-aesthetic analysis. The result of the research showed that, from intra-aesthetic aspect, the actualization of Warak Ngendog as Dugderan mascot presents fictional four-legged animal which were enigmatic, unique, exotic, and expressive. In addition, from extra-aesthetic aspects, the mascot symbolically mirrors Javanese, Arabic, and Chinese cultural acculturation reflecting educational messages of Islamic morals and invitation for harmony in a multicultural society. Creating systemic interaction between ulama, government, society, Dugderan ritual and its mascot plays important roles as a model for developing harmony and cultural integrity.© 2013 Universitas Negeri Semarang
Co-Authors Eko Sugiarto, Eko Esa Yulianto, Robin Mujiyono - Mujiyono Mujiyono Pangestika, Nurratri Widya Wadiyo Wadiyo