Jurnal Budaya Nusantara
Diterbitkan dalam bentuk jurnal yang berfungsi sebagai media hasil disseminasi penelitian dan karya ilmiah, yang bertujuan untuk menambah wawasan dalam science, knowledge, skill, dan ability dalam bidang pendidikan, seni, budaya dan desain pada aspek olah gerak, rupa, teater, sastra, suara dan bunyi-bunyian yang berada dalam khasanah budaya Nusantara.
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<![CDATA[DEKONSTRUKSI KESAKRALAN DUNIA PEWAYANGAN : Sebagai Peninggalan Adiluhung melalui Manyura ]]>
<![CDATA[Nurhadi, Taufik]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG ]]>
Publisher : <![CDATA[LPPM Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol1.no1.a12
<![CDATA[Abstrak The purpose of this study is to obtain the results of descriptions and explanations on puppet world deconstruction which is sacred and sublime masterpiece through the creative work of fiction, Manyura written by Yanusa Nugroho. The results of this literature review based on the approach prove that deconstruction in Manyura produce: (1) the lawsuit against submission of puppet history, (2) the degradation of intensity characterizations, and (3) demoralization figure Yudhishthira. The three forms of deconstruction express the social criticism to the behavior of Indonesian politics, especially in the Era of ORBA. Keywords: deconstruction, puppet, submission, degradation, demoralization.]]>
<![CDATA[DEKONSTRUKSI KESAKRALAN DUNIA PEWAYANGAN : Sebagai Peninggalan Adiluhung melalui Manyura ]]>
<![CDATA[Taufik Nurhadi]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG ]]>
Publisher : <![CDATA[Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol1.no1.a12
<![CDATA[Abstrak The purpose of this study is to obtain the results of descriptions and explanations on puppet world deconstruction which is sacred and sublime masterpiece through the creative work of fiction, Manyura written by Yanusa Nugroho. The results of this literature review based on the approach prove that deconstruction in Manyura produce: (1) the lawsuit against submission of puppet history, (2) the degradation of intensity characterizations, and (3) demoralization figure Yudhishthira. The three forms of deconstruction express the social criticism to the behavior of Indonesian politics, especially in the Era of ORBA. Keywords: deconstruction, puppet, submission, degradation, demoralization.]]>
<![CDATA[PHILOSOPHICAL, ETHICAL, AND AESTHETIC: Values in Shadow Puppet Theatre (Wayang) Performance ]]>
<![CDATA[Dwijonagoro, Soetarno]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG ]]>
Publisher : <![CDATA[LPPM Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol1.no1.a281
<![CDATA[Pertunjukan wayang sering dipandang sebagai bahasa simbol kehidupan yang lebih spiritual daripada yang tampak di alam. Konsepsi implisit dalam pawayangan meliputi sikap atau pandangan tentang esensi kehidupan, asal dan tujuan hidup, hubungan antara manusia dengan Tuhan, hubungan antara satu orang dan yang lain, dan hubungan antara manusia dan alam. Sebuah studi tentang nilai-nilai filosofis yang terkandung dalam pagelaran wayang dapat dilakukan dengan menggunakan berbagai aspek yang berbeda yaitu: Aspek Metafisik, aspek etis, aspek epistemologis, dan mistisisme. Aspek metafisik mengambil sebagai titik awal keberadaan manusia dan alam sebagai entitas nyata yang dapat ditangkap oleh panca indera. Aspek etika mencoba untuk memahami mengapa kita harus mengikuti prinsip-prinsip moral tertentu, atau bagaimana kita harus mengambil sikap yang bertanggung jawab terhadap berbagai prinsip-prinsip moral. Aspek epistemologis, menghadapi banyak pengetahuan yang perlu diuji, dengan harapan bahwa jika kita menemukan kebenaran dari suatu pengetahuan yang akan meningkatkan derajat kepastian dan akhirnya tingkat keyakinan kebenaran. Total pemahaman Spiritual Mistisisme adalah suatu kedekatan dan penuh emosi dalam keberadaan realitas mutlak yang penuh rahasia. Sehingga pertunjukan wayang kulit adalah suatu pertunjukan yang lebih dari sekedar sebuah pertunjukan, melainkan memberi makna bagi kehidupan masyarakat.]]>
<![CDATA[PHILOSOPHICAL, ETHICAL, AND AESTHETIC: Values in Shadow Puppet Theatre (Wayang) Performance ]]>
<![CDATA[Soetarno Dwijonagoro]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG ]]>
Publisher : <![CDATA[Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol1.no1.a281
<![CDATA[Pertunjukan wayang sering dipandang sebagai bahasa simbol kehidupan yang lebih spiritual daripada yang tampak di alam. Konsepsi implisit dalam pawayangan meliputi sikap atau pandangan tentang esensi kehidupan, asal dan tujuan hidup, hubungan antara manusia dengan Tuhan, hubungan antara satu orang dan yang lain, dan hubungan antara manusia dan alam. Sebuah studi tentang nilai-nilai filosofis yang terkandung dalam pagelaran wayang dapat dilakukan dengan menggunakan berbagai aspek yang berbeda yaitu: Aspek Metafisik, aspek etis, aspek epistemologis, dan mistisisme. Aspek metafisik mengambil sebagai titik awal keberadaan manusia dan alam sebagai entitas nyata yang dapat ditangkap oleh panca indera. Aspek etika mencoba untuk memahami mengapa kita harus mengikuti prinsip-prinsip moral tertentu, atau bagaimana kita harus mengambil sikap yang bertanggung jawab terhadap berbagai prinsip-prinsip moral. Aspek epistemologis, menghadapi banyak pengetahuan yang perlu diuji, dengan harapan bahwa jika kita menemukan kebenaran dari suatu pengetahuan yang akan meningkatkan derajat kepastian dan akhirnya tingkat keyakinan kebenaran. Total pemahaman Spiritual Mistisisme adalah suatu kedekatan dan penuh emosi dalam keberadaan realitas mutlak yang penuh rahasia. Sehingga pertunjukan wayang kulit adalah suatu pertunjukan yang lebih dari sekedar sebuah pertunjukan, melainkan memberi makna bagi kehidupan masyarakat.]]>
<![CDATA[Estetika Wayang ]]>
<![CDATA[Hadiprayitno, Kasidi]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG ]]>
Publisher : <![CDATA[LPPM Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol1.no1.a282
<![CDATA[The basics are the puppet aesthetic perspective of the relation elements of beauty in the unity of the structure of the wayang. Understanding the true aesthetic beauty rests on the concept of thought that developed and followed by Western thinkers, however, in the operatate of implemeta- tion still refer to terms that are known in the art of traditional puppet convention. Not all data in the beauty of the puppets can be presented in this short article, but limited to the aspects of beauty essentials only such convention and modernity in the universe puppet, puppet or convention in the art of puppetry, in the currency of view of the puppet, and aesthetic concepts in art puppetry and puppetry.]]>
<![CDATA[Estetika Wayang ]]>
<![CDATA[Kasidi Hadiprayitno]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG ]]>
Publisher : <![CDATA[Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol1.no1.a282
<![CDATA[The basics are the puppet aesthetic perspective of the relation elements of beauty in the unity of the structure of the wayang. Understanding the true aesthetic beauty rests on the concept of thought that developed and followed by Western thinkers, however, in the operatate of implemeta- tion still refer to terms that are known in the art of traditional puppet convention. Not all data in the beauty of the puppets can be presented in this short article, but limited to the aspects of beauty essentials only such convention and modernity in the universe puppet, puppet or convention in the art of puppetry, in the currency of view of the puppet, and aesthetic concepts in art puppetry and puppetry.]]>
<![CDATA[Pelestarian Dan Ekspansi Pasar Batik Tulis Gedhog Tuban Di Era Globalisasi ]]>
<![CDATA[., Karsam]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG ]]>
Publisher : <![CDATA[LPPM Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol1.no1.a283
<![CDATA[Batik Gedhog is a traditional batik in the District Kerek, Tuban. Fabric of batik gedhog has a rough surface because it is made by hand. Motif batik gedhogtends to follow the flow pat-terned geometric rough cloth. Seeing by this condition, the authors worrybatik gedhog will be expire ev- erlasting. On the basis of this research was conducted by reviewing about, first, how the traditional batik ‘batik gedhog Tuban, both how business should be done to preserve the traditional batik Tuban , namely Batik Gedhog in this era of globalization and to address mar-ket expansion. Objectives is to find strategies or ways for traditional batik preservation, namely batik gedhog Tuban in the present and the future , so batik gedhog Tuban can enterthe market competition in today’s global economy era. To answer these problems the authors conducted research using qualitative descriptive methods. Several attempts to preserve batik gedhog Tuban is to improve the quality of fabric, pattern in the current era motif now, promo-tion, exhibition and increase brand emage. This study is expectedto be useful for the readers and the batik gedhog markers Tuban.]]>
<![CDATA[Pelestarian Dan Ekspansi Pasar Batik Tulis Gedhog Tuban Di Era Globalisasi ]]>
<![CDATA[Karsam .]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG ]]>
Publisher : <![CDATA[Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol1.no1.a283
<![CDATA[Batik Gedhog is a traditional batik in the District Kerek, Tuban. Fabric of batik gedhog has a rough surface because it is made by hand. Motif batik gedhogtends to follow the flow pat-terned geometric rough cloth. Seeing by this condition, the authors worrybatik gedhog will be expire ev- erlasting. On the basis of this research was conducted by reviewing about, first, how the traditional batik ‘batik gedhog Tuban, both how business should be done to preserve the traditional batik Tuban , namely Batik Gedhog in this era of globalization and to address mar-ket expansion. Objectives is to find strategies or ways for traditional batik preservation, namely batik gedhog Tuban in the present and the future , so batik gedhog Tuban can enterthe market competition in today’s global economy era. To answer these problems the authors conducted research using qualitative descriptive methods. Several attempts to preserve batik gedhog Tuban is to improve the quality of fabric, pattern in the current era motif now, promo-tion, exhibition and increase brand emage. This study is expectedto be useful for the readers and the batik gedhog markers Tuban.]]>
<![CDATA[CADIK SAMUDRA BOROBUDUR : Jenius Lokal Nusantara ]]>
<![CDATA[Tabrani, Primadi]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG ]]>
Publisher : <![CDATA[LPPM Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol1.no1.a284
<![CDATA[Dugout canoe is from prehistory. It develops to become outrigger canoe: catamaran, one out- rigger and two outrigger. Then it is equipped with sails. After that came the plank built outrigger. There are still many mystery about the development of dugout canoeinto plank built outrigger. When and where does it appear? What about its dispersal so that outrigger canoe is every where in Austronesia? The ocean outrigger vessel as seen in the Borobudur relief, is a Nusantara local jenius. It is for voyages between islands, trading, passenger, war, even ocean liner. With this kind of ship Sriwijaya and Majapahit became great maritime kingdom, not only in South East Asia, but also in Asia and in the world as well.With this kind of ship, Nusantara are able to wander to the Pacific, the Indian and the Atlantic, all three Ocean in the world. At those times, Nusantara is the only people that are able to do that.]]>
<![CDATA[CADIK SAMUDRA BOROBUDUR : Jenius Lokal Nusantara ]]>
<![CDATA[Primadi Tabrani]]>
<![CDATA[ Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG ]]>
Publisher : <![CDATA[Universitas PGRI Adi Buana Surabaya ]]>
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DOI: 10.36456/b.nusantara.vol1.no1.a284
<![CDATA[Dugout canoe is from prehistory. It develops to become outrigger canoe: catamaran, one out- rigger and two outrigger. Then it is equipped with sails. After that came the plank built outrigger. There are still many mystery about the development of dugout canoeinto plank built outrigger. When and where does it appear? What about its dispersal so that outrigger canoe is every where in Austronesia? The ocean outrigger vessel as seen in the Borobudur relief, is a Nusantara local jenius. It is for voyages between islands, trading, passenger, war, even ocean liner. With this kind of ship Sriwijaya and Majapahit became great maritime kingdom, not only in South East Asia, but also in Asia and in the world as well.With this kind of ship, Nusantara are able to wander to the Pacific, the Indian and the Atlantic, all three Ocean in the world. At those times, Nusantara is the only people that are able to do that.]]>
