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All Journal Harmonia: Journal of Research and Education Panggung SOSIOHUMANIKA Tawarikh : Journal of Historical Studies SUSURGALUR
Setiawan Sabana
Bandung Institute of Technology, Bandung, Indonesia Jl. Ganesha No.10, Jawa Barat Indonesia
Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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The Cultural Identity of Nusantara in a Movie Entitled Sang Pencerah by Hanung Bramantyo Puspitasari, Dyah Gayatri; Sabana, Setiawan; Ahmad, Hafiz Aziz
Harmonia: Journal of Arts Research and Education Vol 16, No 1 (2016): (Nationally Accredited, June 2016)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v16i1.6768

Abstract

Nowadays, during this intercultural era and global challenge, film can be interpreted as a practical strategy to develop meaning and Indonesian cultural identity. Through many singers of audiovisual creation, film has not only served as entertainment, but can also act as an instrument to reflect local values and traditional perspective through the storytelling that has been presented by film director. This role is a significant point to develop local insight and cultural value as the identity of Indonesian film. Although, at some point, this strategy still becomes a problem in Indonesian film fields. Sang Pencerah film that was directed by Hanung Bramantyo is one of Indonesian films that attempted to deliver local identity in its storytelling. This research is an endeavour to identify Indonesian cultural identity that has been represented through Sang Pencerah film. By applying cultural studies and interdisciplinary as their methods, the researchers acquired some interesting findings. Firstly, aesthetic and thematic elements in the film narrative had a significant relation to traditional and cultural values of Javanese society. Secondly, the meaning of cultural identity also had a linear proportion to spiritual values in life, such as determination, peacefulness, gloriness, tolerance, as well as social understanding. Therefore, it can be concluded that the Sang Pencerah film is a manifestation of Hanung Bramantyo regarding to the meaning of Indonesian culture that is based on Javanese society’s local wisdom.How to Cite: Puspitasari, D. G., Sabana, S., & Ahmad, H. A. (2016). The Cultural Identity of Nusantara in a Movie Entitled Sang Pencerah by Hanung Bramantyo. Harmonia: Journal of Arts Research And Education, 16(1), 57-65. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6768
Representasi Perempuan Indonesia Melalui Artikel Mode Pada Majalah Femina Warhani, Ariani; Sabana, Setiawan; Ardianti, Ira
PANGGUNG Vol 26, No 4 (2016): Orientalisme & Oksidentalisme Sebagai Relasi, Dominasi, dan Batasan dalam Este
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v26i4.204

Abstract

AbstrakMajalah merupakan salah satu bentuk media massa telah lahir sejak lama sebagai sarana media informasi dan alat pendidikan bagi masyarakat. Bagi perempuan, informasi dapat diperoleh salah satunya melalui majalah wanita.Majalah Femina adalah salah satu majalah wanita pertama di Indonesia sehingga memiliki pembaca dari beberapa generasi yang berbeda. Tujuan dari penelitian ini untuk menganalisis visual artikel mode dengan menggunakan analisis semiotika dari awal majalah Femina terbit tahun 1974 hingga 2015 untuk melihat elemen visual dan tanda sebagai representasi perempuan Indonesia melalui artikel mode. Metode yang digunakan pada penelitian ini adalah metode kualitatif dengan pendekatan diakronik dengan pemaparan secara deskriptif melalui studi literature pengumpulan artikel mode.Pendekatan pada penelitian ini menggunakan pendekatan semiotika diakronik dengan analisis semiotika.Penelitian ini fokus untuk mendapatkan representasi citra perempuan di Indonesia dengan melalui elemen-elemen visual yang terdapat pada artikel mode, sehingga mengetahuicitra melalui pemahaman mendalam tentang situasi sosial budaya perempuan di Indonesia.Kata Kunci: perempuan, mode, majalah, visual, semiotika.ABSTRACTMagazine is one of mass media that have been born since a long time as a means of information and educational tools for the community. Information can be obtained for women from women’s magazine. Femina magazine is one of the first magazines in Indonesia that have readers from several generations. The aim of this study was to see the visual elements and the sign as representation of Indonesia women from Femina magazine’s visual article mode using semiotic analysis during 1974 to 2015. The method used in this study is a qualitative method diachronic approach with descriptive exposure through the study literature mode article Femina magazine. This research is going to appearance at the representation of the image of women in Indonesia with through visual elements contained in article mode. Thus the visual mode produces an image through a deep understanding of the social and cultural situation of women in Indonesia.Key words: women, mode, magazine, visual, semiotic
Mitos Representasi Ibu dari Masa ke Masa Sihombing, Riama Maslan; Sabana, Setiawan; Sunarto, Priyanto
SOSIOHUMANIKA Vol 8, No 2 (2015)
Publisher : ASPENSI in Bandung, Indonesia

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Abstract

RESUME: Di masa lalu, sosok ibu mendapat tempat utama dalam kehidupan manusia, karena ia dianggap sebagai subjek, pemimpin, dewi, sumber kehidupan dan memiliki kekuatan yang besar, serta penempatan posisi-posisi tinggi lainnya. Perbedaan kondisi alam, perubahan sosial, dan dinamika kebudayaan menyebabkan ada perbedaan tipologi, fungsi, dan pemaknaan sosok ibu dari masa ke masa pada tiap-tiap tempat, baik di Timur maupun di Barat, sehingga, muncul pemitosan dan stereotipe tertentu pada sosok ibu. Representasi adalah hal yang sengaja dibuat atau diadakan dengan tujuan untuk mewakili sesuatu, sehingga memiliki karakteristik dari apapun yang diwakilinya itu. Penelitian ini bermaksud untuk mengkaji pengelompokan representasi ibu, perubahan pemitosan, dan seterotip sosok ibu dari masa ke masa dengan menggunakan metode kajian literatur historis. Ibu selalu digambarkan sebagai sosok yang berhubungan dengan alam, kehidupan, dan kesuburan. Pada awalnya, ibu dianggap sebagai satu-satunya sumber kehidupan yang menyatu dengan alam semesta. Kemudian, penggambaran ibu yang agung berubah menjadi bagian yang harus dikuasai dan dikendalikan pada masa Yunani dan Romawi. Meskipun dipresentasikan sebagai dewi yang subur dan melahirkan dewa/keturunan yang hebat (super), ibu digambarkan bukan menjadi kekuatan yang utama. Penggambaran ibu di Timur masih tetap sebagai ibu yang agung, subur, dan memiliki kekuatan yang multidaya. Sedangkan di Indonesia, sosok ibu tetap digambarkan dengan alam, tanah tempat manusia hidup, yang harus dihormati. KATA KUNCI: Ibu, nilai, mitos, representasi, sejarah, dunia Timur dan Barat, Indonesia, kondisi alam, perubahan sosial, dan dinamika kebudayaan. ABSTRACT: “The Myths of Mother Representations from Time to Time”. In the past, mother gained the prominent place in human life, because she was regarded as the subject, the leader, the goddess, the source of life with great power, and other high positions. Differences in natural conditions, changes in social, and cultural dynamics have caused differences in typology, function, and meaning of mother from time to time in each place, both in the East and in the West, so that there is a certain stereotype and myths on mother figure. Representation is something that is deliberately created or held with the aim to represent an item, so that has the characteristics of whatever it represents. This study was intended to examine the grouping of maternal representations, the changes of the stereotypes, and myths of mother figure from time to time by using the method of historical literature review. Mothers have always been portrayed as a figure that is in touch with nature, life, and fertility. At first, the mother was considered as the only source of life that blends with the universe. Then, the glorious depiction of a mother turned into a part that must be mastered and controlled during the Greek and Roman era. Although presented as a goddess of the fertile and gave birth to the gods/great (super) descents, the mother was portrayed not as the major force. The portrayal of mothers in the East is still described as the great mother, fertile, and having multi-powers. While in Indonesia, the mother is still depicted with nature, the land where human life, that must be respected. KEY WORD: Mother, values, myths, representation, history, East and West worlds, Indonesia, natural conditions, social changes, and cultural dynamics.     About the Authors: Riama Maslan Sihombing, M.Sn. adalah Kandidat Doktor pada Fakultas Senirupa dan Desain ITB (Institut Teknologi Bandung), Jalan Ganesha No.10 Bandung 40132, Jawa Barat, Indonesia. Prof. Dr. Setiawan Sabana dan Dr. Priyanto Sunarto adalah Staf Pengajar di Program Studi Seni Murni, Fakultas Seni Rupa dan Desain ITB Bandung. Korespondensi penulis adalah: fleur2ria@yahoo.comHow to cite this article? Sihombing, Riama Maslan, Setiawan Sabana & Priyanto Sunarto. (2015). “Mitos Representasi Ibu dari Masa ke Masa” in SOSIOHUMANIKA: Jurnal Pendidikan Sains Sosial dan Kemanusiaan, Vol.8(2) November, pp.171-184. Bandung, Indonesia: Minda Masagi Press and UNIPA Surabaya, ISSN 1979-0112. Chronicle of the article: Accepted (August 17, 2015); Revised (September 17, 2015); and Published (November 30, 2015).
A Romantic Spirit in Priangan Setiawan, H.W.; Sabana, Setiawan
TAWARIKH Vol 6, No 2 (2015)
Publisher : ASPENSI in Bandung, Indonesia

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Abstract

ABSTRACT: Java, where the VOC (Verenigde Oost-Indische Compagnie or East Hindia-Dutch Company) — later a colonial state — established its base, was undoubtedly one of the most important regions in East Indies, which attracted colonial era of Europeans, not to mention those who relied on visual images, especially in 19th century. It was the age when revolution broke out in Europe and liberal thoughts paved the way for private companies to open business in the colony, resulting various writings and drawings made by Europeans, especially the Dutch and British, on the East Indies, especially Java. This essay discusses three interrelated subjects in the history of European visual representation of Dutch East Indies (the present day Indonesia). Firstly, the attractiveness of East Indies, especially Java, as Dutch colony in Asia, for 19th century European society as could be seen from innumerable pictures and travelogues on the region and world-class exhibitions on the subject, in both the Netherlands and France, which displayed various aspects of the land and people. Secondly, the significance of Priangan, a mountainous region in western part of Java, in the eyes of 19th century European, who traveled and conducted scientific investigations in the region so that the mountain region became a subject of various images and narratives. Thirdly, the role of Franz Wilhelm Junghuhn (1809-1864), probably the most important researcher and explorer of Java at the time, in the production of visual images and travelogues of the land.KEY WORDS: Dutch East Indies, Java island, Franz Wilhelm Junghuhn, history, Priangan, European society, and visual representation.  About the Authors: H.W. Setiawan is a Postgraduate Student of Doctoral Programme at the Faculty of Art and Design ITB (Bandung Institute of Technology), Jalan Ganesha No.10 Tamansari, Bandung, West Java, Indonesia; and Prof. Dr. Setiawan Sabana is a Lecturer at the Faculty of Art and Design ITB. For academic interests, the authors are able to be contacted via e-mails at: hawesetiawan@unpas.ac.id and setiawansabana@yahoo.comHow to cite this article? Setiawan, H.W. & Setiawan Sabana. (2015). “A Romantic Spirit in Priangan” in TAWARIKH: International Journal for Historical Studies, Vol.6(2) April, pp.139-148. Bandung, Indonesia: Minda Masagi Press and UNHAS Makassar, ISSN 2085-0980. Chronicle of the article: Accepted (September 22, 2014); Revised (December 29, 2014); and Published (April 28, 2015).
Socio-Historical and Cultural Influences on Visual Differentiation of Wayang Kulit of Cirebon, West Java, Indonesia: A Case Study of the Attributes Differentiation of Priest Drona Puppets Koesoemadinata, Moh Isa Pramana; Sabana, Setiawan; Adisasmito, Nuning Damayanti
TAWARIKH Vol 5, No 1 (2013)
Publisher : ASPENSI in Bandung, Indonesia

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Abstract

ABSTRACT: The “wayang kulit” (shadow play) is a traditional art of theatre that popular in Java and Bali, and considered as a multidimensional state of art which consists dimension of theatrical, literature, philosophy, moral education, and not to mention visual arts and crafts dimension as well, in which is the main discussion of this paper. There are several styles of Javanese “wayang kulit” based on their geographical area. Among those, Cirebon style possesses unique visualization which has resemblance to early phase of Islamic era “wayang” puppet. One of the character transformations done which includes personality and visual descriptions happened to the Priest Drona, the vital character of Mahabharata that role as “guru” (teacher) to both Pandawas and Kurawas, who was trapped inside dilemma between his warring disciples. In the adaptation version of Javanese shadow play, for some various and speculative reasons, Drona has been altered into an antagonistic character, and reached its extreme point of alteration as an absolute evil character in Cirebon version. Cirebon’s history, culture, and plural society gave significant influence on this. Drona puppets themselves have unique and specific visual attributes in comparison to other main characters puppets, and possess highly symbolic meaning beneath them. These facts told us that the character has a great significance. Later, these negative connotations of Drona was being sharpened and escalated in accordance of socio-historical events and local phenomenon, thus producing visual differentiation within the Drona puppets.KEY WORDS: “Wayang kulit”, Drona character, Cirebon area, visual, differentiations, attributes, socio-historical events, and symbolic meaning.    About the Authors: Moh Isa Pramana Koesoemadinata, M.Sn. is a Student of Doctoral Program at the Faculty of Visual Arts and Design ITB (Bandung Institute of Technology), Jalan Ganesha No.10, Tamansari, Bandung, West Java, Indonesia. Prof. Dr. Setiawan Sabana and Dr. Nuning Damayanti Adisasmito are Lecturers at the Faculty of Visual Arts and Design ITB. Corresponding author is: dronacarya@yahoo.co.idHow to cite this article? Koesoemadinata, Moh Isa Pramana, Setiawan Sabana & Nuning Damayanti Adisasmito. (2013). “Socio-Historical and Cultural Influences on Visual Differentiation of Wayang Kulit of Cirebon, West Java, Indonesia: A Case Study of the Attributes Differentiation of Priest Drona Puppets” in TAWARIKH: International Journal for Historical Studies, Vol.5(1) October, pp.43-56. Bandung, Indonesia: ASPENSI [Asosiasi Sarjana Pendidikan Sejarah Indonesia] and UVRI [Universitas Veteran Republik Indonesia], ISSN 2085-0980.Chronicle of the article: Accepted (August 5, 2013); Revised (September 9, 2013); and Published (October 28, 2013).
Priangan dalam Kehidupan Franz Wilhelm Junghuhn Setiawan, H.W.; Sabana, Setiawan
SUSURGALUR Vol 3, No 1 (2015)
Publisher : SUSURGALUR

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Abstract

IKHTISAR: Orang Eropa, terutama orang Belanda, pada zaman kolonial menyebut dataran tinggi di belahan barat Pulau Jawa sebagai “Preanger” atau “Prijangan”. Istilah “Preanger” untuk wilayah-wilayah di dataran tinggi Jawa Barat memang berpaling dan merujuk ke masa kolonial. Esai ini membahas beberapa segi sejarah Priangan, dataran tinggi di Jawa Barat, pada abad ke-19 dalam kaitannya dengan sosok, perjalanan hidup, dan karya Franz Wilhelm Junghuhn (1809-1864). Figur tersebut adalah peneliti, penjelajah, dan pejabat kolonial Belanda kelahiran Jerman, yang selama 13 tahun tinggal dan bekerja di Hindia Belanda. Dari penyelidikan keilmuannya dihasilkan karya utamanya mengenai morfologi Pulau Jawa, yang mendapat pengakuan masyarakat ilmiah di tingkat internasional pada masanya. Karya itu bukan hanya berupa tulisan terperinci mengenai bentang alam Pulau Jawa, melainkan juga berupa citraan visual seperti sketsa, peta topografi, dan gambar elok. Priangan merupakan salah satu area penelitian Franz Wilhelm Junghuhn, bahkan menjadi tempat ia tinggal dan bekerja pada tahun-tahun terakhir menjelang ia wafat. Tulisan dan gambar karya Franz Wilhelm Junghuhn mengenai Priangan dapat memperkaya historiografi mengenai dataran tinggi tersebut pada abad ke-19.KATA KUNCI: Franz Wilhelm Junghuhn, Priangan abad ke-19, citraan visual, ilustrasi, historiografi, dan bentang alam pulau Jawa.ABSTRACT: “Priangan in the Life of Franz Wilhelm Junghuhn”. Europeans, particularly the Netherlands, in the colonial times call plateau in western Java as "Preanger" or "Prijangan". The term of "Preanger" to the areas in the highlands of West Java is to turn and refer to the colonial period. This essay discusses some aspects of the history of Priangan, a plateau in West Java, in 19th century in relation to the figure, life journey, and works of Franz Wilhelm Junghuhn (1809-1864). The figure was German-born Dutch researcher, explorer, and colonial official, who for 13 years had lived and worked in Dutch East Indies. Based on his scientific investigation, he had contributed his major work on morphological aspects of Java’s natural landscapes that had gained the recognition from international scientific communities at the time. His works didn’t only present detailed account of natural landscapes of Java, but also presented several visual images, such as sketches, topographical maps, and picturesque images. Priangan was one of Franz Wilhelm Junghuhn’s areas of research, even a place where he lived and worked during the last years before his death. Franz Wilhelm Junghuhn’s writings and drawings on Priangan can enrich the historiography of the plateau in 19th century.KEY WORD: Franz Wilhelm Junghuhn, 19th century Priangan, visual images, illustrations,  historiography, and natural landscapes of Java.  About the Authors: H.W. Setiawan adalah Mahasiswa Program Doktor di Fakultas Seni Rupa dan Desain ITB (Institut Teknologi Bandung) dan Dosen di UNPAS (Universitas Pasundan) Bandung, Jawa Barat, Indonesia; dan Prof. Dr. Setiawan Sabana adalah Guru Besar di Fakultas Seni Rupa dan Desain ITB, Jalan Ganesha No.10 Tamansari, Bandung, Jawa Barat, Indonesia. Untuk kepentingan akademis, penulis bisa dihubungi dengan alamat emel: hawesetiawan@unpas.ac.id and setiawansabana@yahoo.com How to cite this article? Setiawan, H.W. & Setiawan Sabana. (2015). “Priangan dalam Kehidupan Franz Wilhelm Junghuhn” in SUSURGALUR: Jurnal Kajian Sejarah & Pendidikan Sejarah, Vol.3(1), Maret, pp.31-56. Bandung, Indonesia: Minda Masagi Press and UBD Bandar Seri Begawan, Brunei Darussalam, ISSN 2302-5808. Chronicle of the article: Accepted (September 9, 2014); Revised (December 19, 2014); and Published (March 24, 2015).
Graffiti sebagai Pengisi Ruang Komunikasi Simbolik Seni Jalanan Masyarakat Urban Harjanto, Rudy; Sabana, Setiawan
PANGGUNG Vol 23, No 4 (2013): Membaca Tradisi Kreatif, Menelisik Ruang Transendental
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v23i4.153

Abstract

ABSTRACT Public spaces in a city have become more vibrant with the presence of street art which displays colorful and interesting shapes. The concept of public spaces evolves, so does the acceptance of the people as part of the city landscape, and in turn creates a symbolic communication between the street artists and the urban society. The communication may offer new insights to the world of art in the context of space, and each art represents joy, courage, fear, and anxiety arising from the graffiti art- ists. Artists conception to the world of street art, space and text influence each other, despite at some level they are all independent and separated. Street art is not only a masterpiece that explores form or ornamental coloring, but it is an integral part of a city. Every street art carries a theme through which to interact, and creates a medium to communicate symbolically. The visual and physical form of street art has become an entity to communicate about a variety of topics, including social criticism with various packages of thematic, symbolic, and politic visuals as well as entertaining (recreative) thus art in the context of street life has a wider potential. Keywords: space, street art, and communication  ABSTRAK Ruang-ruang publik di kota lebih semarak dengan kehadiran karya-karya seni jalanan yang menampilkan keindahan visual. Konsep ruang-ruang kota berkembang dan peneri- maan masyarakat berubah dengan mencerminkan terciptanya komunikasi simbolik antara perupa jalanan   dengan masyarakat kota. Pemahaman fenomena komunikasi visual ini dapat menawarkan wawasan lain bahwa dunia kesenian dalam konteks ruang, masing- masing memiliki sifat keriangan, keberanian, ketakutan, dan kecemasan yang ditimbul- kan dari seniman graffiti. Konsepsi perupa jalanan tentang dunia kesenian, ruang, dan teks memberikan pengaruh satu sama lain, meskipun pada tingkat tertentu: ketiganya berdiri sendiri-sendiri dan terpisah. Seni jalanan ini tidak hanya sekadar karya yang mengete- ngahkan  representasi bentuk, ornamen pewarnaan, namun menjadi bagian dari sebuah kota. Seni jalanan menorehkan tema-tema yang menjadi sarana untuk saling berinteraksi, dan seni jalanan menjadi sarana untuk saling berkomunikasi secara simbolik. Visualitas dan bentuk fisik karya seni jalanan menjadi penanda entitas dalam berkomunikasi dengan berbagai topik, termasuk kritik sosial dengan berbagai kemasan visual tematis, simbolis, politis sekaligus menghibur (rekreatif), sehingga seni dalam konteks kehidupan di jalanan memiliki potensi yang lebih luas. Kata kunci: ruang, seni jalanan, dan komunikasi
Ideologi Seni Rupa Indonesia Era 1990-an Pada Karya Tisna Sanjaya Tornado, Anggiat; Suganda, H. Dadang; Sabana, Setiawan; D. Dienaputra, H. Reiza
PANGGUNG Vol 24, No 2 (2014): Modifikasi, Rekonstruksi, Revitalisasi, dan Visualisasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v24i2.111

Abstract

ABSTRACT The 1990s was the spirit of the New Art Movement undeniable as the embryo of the development of art in the 1990s. Fine art combining all the art that developed (sculpture, painting and printma- king and performance art) by some of the artists who eventually become aesthetic choice. This re- search used emic and etic, semiotic and hermeneutic approach. The research result describes Tisna Sanjaya ideology in the process of creative work tends to raise the issue in this case social critic.Tisna Sanjaya more knows from the source which was appointed to be the theme of his work. Installation art and performace art are an art form that is recognized by Tisna that can communicate directly with the people who were subjected to his art. Tisna Sanjaya as an artist who has the inclination and ideology, art as follows: a) Awareness of the problems though art can not reply on the matter then and there, because art takes time to find the answer. b) Representation of the things that happen to be reported continuously up through artpeople can catch from the issues that are and have happened. Keywords: Ideology,  Art in The 1990’s, Tisna Sanjaya  ABSTRAK Era 1990-an adalah semangat Gerakan Seni Rupa Baru yang tak dapat dipungkiri sebagai embrio dari perkembangan seni rupa 1990-an. Seni rupa yang memadukan seluruh seni yang berkembangh (antara seni patung, seni lukis dan seni grafis dan performance art) berkembang dan mendapat tem- pat oleh beberapa seniman yang akhirnya menjadi pilihan estetikanya. Penelitian ini menggunakan pendekatan hermeneutik, semiotik dan etik dan emik.Hasil penelitian memaparkan ideology Tisna Sanjaya dalam proses kerja kreatifnya cenderung mengangkat persoalan kritik sosial.. Tisna Sanjaya sebagai seniman yang memiliki kecenderungan dan memiliki ideologi,  seni sebagai berikut: a) Penyadaran terhadap persoalan walaupun seni tidak dapat menjawab dari persoalan tersebut saat itu juga , karena seni membutuhkan waktu untuk me- nemukan jawabannya. b) Representasi dari hal yang terjadi yang harus dikabarkan terus menerus hingga lewat seni orang dapat menangkap dari persoalan yang sedang dan pernah terjadi. Kata kunci: Ideologi, Seni Era 1990-an, Tisna Sanjaya 
Revitalisasi Ragam Hias Batik Keraton Cirebon dalam Desain Baru Kreatif Kudiya, Komarudin; Sabana, Setiawan; Sachari, Agus
PANGGUNG Vol 24, No 2 (2014): Modifikasi, Rekonstruksi, Revitalisasi, dan Visualisasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v24i2.116

Abstract

ABSTRACT Respecting traditions of the nation, which is preserving a batik tradition. Cirebon is the region that has a rich cultural treasures batik varied. Given its development, with a variety of Cirebon Kraton, Kraton Batik Cirebon products nowadays have more characteristics, e.g.: (1) Kasepuhan Kraton on Singa Barong’s ornament; (2) Kanoman Kraton on Paksi Naga Liman’s ornament; (3) Kacirebonan Kraton on Bintulu’s ornament and (4) Kaprabonan on Dalung’s ornament and motif without pictures of animals.This research needs to exploring, discovering, and formulating design elements (ornament, mate- rial, and color). This study used ethnographic method and experimental visuals method for ornaments on Kraton Batik Kasepuhan, Kanoman, Kaprabonan, and Kacirebonan based on historical cultural influences from Hinduism, Islam, China, and Europe.As long batik owned by all Cirebon Kraton which is available during this condition can not be iden- tified and their physical condition is damage. Thus in order to preserving the old batiks, it is necessary to reproduce a creative new batik designs with any dimensional aspects. Keywords: Revitalization, Kraton Batik Cirebon, Creative,    ABSTRAK Dalam kerangka menghargai tradisi suatu bangsa, yaitu melestarikan sebuah tradisi di an- taranya berkarya batik, yang merupakan warisan budaya Indonesia. Cirebon adalah wilayah yang memiliki kekayaan khasanah budaya batik yang variatif, baik yang masih tetap ada hing- ga kini, maupun yang sudah punah. Mengingat di dalam perkembangannya, Keraton Cirebon dengan aneka produk Batik Keraton Cirebon kini terbagi dalam tiga keraton dan satu peguron yang mempunyai ciri khas, antara lain: (1) Keraton Kasepuhan pada ragam hias Singa Barong; (2) Keraton Kanoman pada ragam hias Paksi Naga Liman; (3) Keraton Kacirebonan pada ra- gam hias Bintulu; (4) Peguron Kaprabonan pada ragam hias Dalung dan motif tanpa gambar hewan.Perlu dilakukan penelitian untuk menggali, menemukan, dan memformulasikan khusus- nya unsur teraga (ragam hias termasuk di dalamnya corak, bahan, dan warna). Penelitian ini menggunakan metode etnografi dan eksperimen visual terhadap ragam hias Batik Keraton Kasepuhan, Kanoman, Keprabonan, dan Kacirebonan yang berlandaskan pada kesejarahan mulai dari pengaruh budaya Hindu, Islam, Cina, dan Eropa.Adapun batik-batik lama yang dimiliki oleh seluruh Keraton Cirebon yang ada selama ini kondisinya tidak bisa dikenali secara umum dan kondisi fisiknya sudah rapuh menuju kondisi rusak. Dengan demikian guna menjaga kelestarian batik-batik lama tersebut maka diperlukan penelitian agar bisa dibuat reproduksinya menjadi desain batik baru kreatif. Kata kunci: Revitalisasi, Batik Keraton Cirebon, Kreatif,
Narasi Cahaya Kearifan Lokal Dalam Film Sang Pencerah Karya Hanung Bramantyo Puspitasari, Dyah Gayatri; Sabana, Setiawan; Ahmad, Hafiz Azis
PANGGUNG Vol 26, No 4 (2016): Orientalisme & Oksidentalisme Sebagai Relasi, Dominasi, dan Batasan dalam Este
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v26i4.206

Abstract

ABSTRACT Narrative is an important element in film. Its sequence has certain logic related to the meaning of film story. A film is the work of a director, its events sequence has accommodated certain message or in- tention of the director. The study of Sang Pencerah by Hanung Bramantyo applies the text visual nara- tive analysis using narrative theory of Genette and semiotics of Peirce as supporting theory. The result of the analyses finds out that Sang Pencerah is a film structure in three chapters with linier pattern. The light aspect correlated  with the meaning of enlightment seems to be used as the binding factor of the main story. By analysing various visual signs it is found that the enlightment idea (pencerahan) in the film is the western rationality of modernism versus Ahmad Dahlan. It is a rationality which manifests hospitality and local wisdom as a strong identity which balances the modernity. Keywords: narrative, film, light, message, modernism    ABSTRAK Narasi merupakan unsur penting dalam film. Urutannya mengandung logika tertentu yang berkaitan dengan makna cerita film. Film dapat dikatakan sebagai narasi yang merep- resentasikan realitas. Namun karena film merupakan gubahan sutradara, maka urutan peris- tiwa itu tentunya sudah dibubuhi pesan atau niatan tertentu sutradara. Dengan mengambil film Sang Pencerah karya Hanung Bramantyo sebagai studi kasus, dilakukan identifikasi pesan dan makna yang termuat di dalam film tersebut. Kajian ini menggunakan metode analisis teks visual naratif dengan teori narasi Genette dan semiotika Peirce sebagai pembantu. Dari hasil analisis struktur narasiditemukan bahwa Sang Pencerah merupakan film alur tiga babak dengan pola linier. Aspek cahaya yang dikorelasikan dengan makna pencerahan, tampak dimanfaat- kan sebagai pengikat rangkaian inti cerita. Melalui analisis berbagai penanda visual selanjutnya ditemukan bahwa gagasan pembaharuan (pencerahan) yang diketengahkan sutradara dalam film ini merupakanrasionalitas modernisme Barat versus Ahmad Dahlan. Sebuah rasionalitas yang mengejawantahkan kesantunan dan kearifan lokal sebagai keutuhan jati diri pengimbang kebaharuan. Kata kunci: narasi, film, cahaya, pesan, modernisme 
Co-Authors Achmad Haldani Agus Sachari Anggiat Tornado, Anggiat Ariani Warhani, Ariani Dyah Gayatri Puspitasari, Dyah Gayatri H. Dadang Suganda, H. Dadang H.W. Setiawan Hafiz Azis Ahmad, Hafiz Azis Hafiz Aziz Ahmad Ira Ardianti, Ira Iwan Gunawan Kankan Kasmana Kiki Rizky Soetisna Putri, Kiki Rizky Komarudin Kudiya, Komarudin Maulina, Rini Mira Sutrisna, Mira Mohamad Zaini Alif Mohammad Isa Pramana Koesoemadinata Muhtadin, Teddi Nuning Damayanti Adisasmito, Nuning Damayanti Nuning Yanti Damayanti Pramono, Suyin PRIYANTO SUNARTO Reiza D. Dienaputra Riama Maslan Sihombing Riksa Belasunda Rudy Harjanto Willy Himawan