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Pantun: Jurnal Ilmiah Seni Budaya

pantun
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Published by Institut Seni Budaya Indonesia Bandung

ISSN : 24077143 EISSN : 27157350 DOI : -

Core Subject : Humanities, Art,

Arts Humanities

Pantun merupakan jurnal ilmiah seni dan budaya, ilmu pengetahuan, dan disiplin ilmu yang berkaitan dengan kedua wilayah kajian tersebut. Pantun memiliki tanggung jawab untuk mengembangkan seni dan budaya lokal-tradisi, sekaligus perhatian terhadap dinamika seni dan budaya mutakhir (kontemporer) yang berlangsung di tengah-tengah tradisi kosmopolit.

Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)

Articles 111 Documents

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Bentuk dan Gerak Wayang Kaca dalam Pentas Wayang Tantri Sebuah Kreativitas Seni Modern Berbasis Kebudayaan Lokal I Dewa Ketut Wicaksandita
PANTUN Vol 3, No 1 (2018): Estetika Budaya Urban
Publisher : Pascasarjana ISBI Bandung

Wayang Tantri is one of Wayang arts which is still productive and creative in performing Wayang Kaca (glass wayang) in some scenes of their performance. The visual of the performance is the re?ection of light with the motif of forms and paterns of the traditional Balinese leather puppet(wayang kulit). The creation is conducted by I Wayan Wija by enriching the movements of wayang tetikesan adapted from Balinese leather puppet. The subject of the analysis is wayang kaca in the play of Wayang Tantri of I Wayan Wija’s Sang Aji Dharma Kepastu in Bali record. The aim of thispaper is to identify the form and movement of Wayang. The analysis is explored within local ideas in the form of the wayang. The data are collected through observation, interview, and document study to the video of the subject of the analysis which is more or less about 2 hours. The theory applied is Instrumental Aesthetics and Estetika Pedalangan. The result shows that wayang kaca is Dalang Wija’s thought on the manifestation of Dewa (God) which is re?ected in the form of light (dev) in the performance. The basic materials are created into various forms of Balinese wayang characterssuch as Barong, dewa-dewi, penari baris, etc. The tetikesan model applied in wayang kaca is adapted movements from traditional wayang comprising “gerak wantah” and “gerak maknawi.Keywords: Wayang Tantri, wayang Kaca, form, movement.

Kearifan Lokal ‘Orang Pulo’ dalam Tradisi Ngaplus Imah Prijana .; Dadang Sugiana
PANTUN Vol 1, No 2 (2016): Dialektika, Seni Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

The tradition of ngaplus imah of Pulo people has been conducted until the eighth generation todays. The Pulo people reside in Cangkuang Village of Leles District of Garut Regency, West Java. The Pulo people are able to maintain six houses of the ancestral heritage, no more and no less. The grounded research shows that the Pulo people admit the children right as heirs of the inheritance. The inheritance right for the Pulo is the right to inhabit not to own the heritage. The occupancy right is not a resolution in the form of structure, but an offerdable rights for girls not boys. They consider that if one of the parents dies then the right to occupy is given to the children. The research concludes that the implementation of Ngaplus Imah tradition has ups and downs. It is sometimes desirable, sometimes less desirable, sometimes complicated, sometimes smooth andsurviving through the local wisdom.Keywords: ngaplus imah, inheritance right, occupancy right, local wisdom

Unsur Akulturasi Budaya pada Rumah Tjong A Fie di Kota Medan Rudiansyah .; Gugun Gunardi; Widyo Nugrahanto
PANTUN Vol 2, No 1 (2017): Media Dalam Dinamika Seni
Publisher : Pascasarjana ISBI Bandung

That the Chinese began to immigrate to Indonesia, especially in Medan city was in the early 12nd century. In the meantime they also introduced their religion, art and culture to the local people. ‘The acculturation refl ected on Tjong A Fie’s Residence’ is selected as the title of the thesis with the purpose of assessing and understanding the acculturation that was discovered on the buildings with Chinese style in Medan City. This research was focused on the objects of Tjong A Fie’s residence.This research used John W. Berry’s acculturation theory; while the method that is used is the qualitative descriptive method.An acculturation is a prosess that happens when one group of people with some kind of culture confronts the elements of some other culture. From this comes into being the change of the original cultures, yet these two cultures have not lost the elements of their own cultures. The acculturation can be seen on part of Tjong A Fie’s residence like the gold color that was used dominatedly, the pictures on the cloth and the melaysian special window shapes. The elements of European culture can be seen on the strut, the decorative lamp, the table and the sculptures of the ceiling of Tjong A Fie’s residence. The elements of Chinese culture can be found on the strut of the front gate, the sculptures of lion, the sculptures on the wall, the entrance door as well as the shape of the curving roof that stands for the special structures of house in China.Keywords: acculturation, Chinese house, Tjong A Fie

Mitologi Lakon Wahyu Eka Bawana dalam Pandangan Masyarakat Sangiran Bimo Kuncoro; Sarwanto Sarwanto
PANTUN: Jurnal Ilmiah Seni Budaya Vol 1, No 1 (2016): Pra Modern, Modern, Post Modern
Publisher : Pascasarjana ISBI Bandung

Lakon Wahyu, which is a kind of Lakon Carangan, has been increasingly requested in the last two decades by penanggap wayang (those who summon wayang) in Sangiran region. The high request is predicted because of those who summon this Lakon hope for blessing. There is a belief for generations among Sangiran people that summoning Lakon Wahyu will make their life peaceful and prosperous. LakonWahyu Eka Bawana which tells about the trip of Puntadewa in ge!ing the divine revelation through meditation becomes the main choice of the Sangiran society. They believe that after summoning the Lakon, they will get good impact in their life. Keywords: mythology, lakon Carangan, belief, value, Wahyu Eka Bawana

Redesain Logo dan Media Promosi sebagai Citra Produk Kerajinan Ketanen Industri Kreatif – Kabupaten Gresik Faza Wahmuda; Moch Junaidi Hidayat
PANTUN Vol 3, No 2 (2018): Kreatif, Inovatif, dan Industri Kreatif
Publisher : Pascasarjana ISBI Bandung

Penelitian ini merupakan penelitian kualitatif melalui pendekatan teori Semiotika dari Peirce. Tujuan utama studi ini adalah menganalisis, merancang media promosi dan identitas visual dalam mengembangkan segmentasi pasar dan dikenal sebagai industri kerajinan daerah Desa Ketanen Gresik dalam dua tahun ini. Berdasarkan teri dam metoda yang digunakan, maka Hasil penelitiannya berupa redesain visual logo yang lebih modern, yang mampu mengikuti trend serta memiliki daya saing. Penentuan media promosi mempertimbangkan kemudahan konsumen untuk mengenal produk yang dihasilkan. Penerapan media kartu nama sebagai identitas produk, brosur sebagai pengenalan kualitas produk dan website sebagai penguat identitas produk. Pengumpulan data penelitian ini menggunakan metode observasi, studi pustaka, dan wawancara. Objek yang didapat adalah data-data dari hasil Seiring kemajuan jaman di era 4.0, khususnya sektor industri yang cukup pesat perkembangannya, yakni industri kerajinan tersebut belum mampu menembus pasar global. Dengan demikian memberikan peluang bagi para pelaku industri khususnya perajin dengan produk kerajinannya yang termasuk pada sub sektor industri kreatif yakni salah satunya adalah Desa Ketanen, Panceng, Gresik yakni daerah yang membangun industri kerajinan local. Aspek visual, logo masih belum menunjukkan kepribadian dan jiwa KIK. Dengan demikian diperlukan redesain logo yang memiliki kekuatan dalam hal penyampaian pesan, mengubah persepsi dan membangun pencitraan sebagai industri kerajinan tongkol jagung. Kata Kunci: redesain, logo, citra produk, media promosi, kerajinan

Kontinuitas Gorga Batak Toba Sofi Andriyanti
PANTUN Vol 1, No 2 (2016): Dialektika, Seni Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

This article is wri!en based on the result of research entitled “Gorga Batak Toba di Kabupaten Samosir: kontinuitas dan perubahan bentuk dan fungsi”, conducted in 2014 - 2015. The focus of this writing is on three main issues: the form and function of traditional gorga in Batak Toba houses before 1970s; the development of form and function of ‘new’gorga in the modern buildings that have been developed since 1970s to the present; and why there is continuity and changes on form and function of gorga. A qualitative method in narrative-descriptive with historical approachis used to fi nd out the continuity of gorga Batak Toba in Batak Toba society, and internal and external factors are analyzed to see the causes of the continuity. The data are collected through literature study, observation, and interview with researchers role as the key instrument. The result shows that the survival of gorga in Batak Toba society can be described simply, that is, from existing to nothing, and from nothing to rise again into being, but in the ‘new’ form.Keywords: gorga, continuity, Batak Toba people

Selisik Leluhur Lagu Anak Sunda Untuk Prestasi Belajar Siswa Hendy Yuliansyah
PANTUN Vol 2, No 2 (2017): Konservasi, Visualisasi, Tradisi, dan Mitos
Publisher : Pascasarjana ISBI Bandung

A song is one of the universal human products. As the work of art, a folk song is rarely appreciated by the public. However, it saves signifcance which can certainly be applied for the beneft of education. The research tries to disclose three children Sundanese songs, they are, ucang-ucang angge, cing caripit kajapit, and oray-orayan. The lyrics and the song embody the creativity that can help children learning. Although not directly related to religious teachings, this song becomes a good stimulus for the students to be consistent in learning.Keyword: Culture, Creativity, Song, Work of Art

Gamelan Sistem Sepuluh Nada dalam Satu Gembyang untuk Olah Kreativitas Karawitan Bali Hendra Santosa; Saptono .
PANTUN Vol 1, No 2 (2016): Dialektika, Seni Budaya Nusantara
Publisher : Pascasarjana ISBI Bandung

This article is part of the Competitive Grants study entitled “Prototipe Gamelan Sistem Sepuluh Nada dalam Satu Gembyang.” The concept of ten tones in one gembyang (oktav) has once been formulated by Raden Angga Mahyar Kusumadinata, Indonesian musicologist. In Balinese, gamelan scales with ten-tone system are wri!en in the Prakempa manuscript. This interesting musical concept has not been thoroughly investigated. The previous research has produced a prototype set of ten system gamelan tones in one gembyang whose try out uses the existing gending Bali.This research is expected to provide significant contribution in supporting the creativity of Karawitan artists.Balinese Karawitan Artists no longer need to carry a lot of gamelan to play all the Balinese gamelan since they are already represented in the gamelan of ten tones system in one gembyang.Keywords: gamelan, ten-tone, gembyang, prakempa

Makna Dibalik Pertunjukan Surak Ibra (Boboyongan) Garut Rudi Sirojudin Abas
PANTUN Vol 3, No 2 (2018): Kreatif, Inovatif, dan Industri Kreatif
Publisher : Pascasarjana ISBI Bandung

Penelitian ini dilakukan untuk menjelaskan makna dalam pertunjukan Surak Ibra (Boboyongan) di Desa Cinunuk Kecamatan Wanaraja Kabupaten Garut. Kajian ini menggunakan pendeka- tan ilmu antropologi dengan metode pene litian yang bert sifat kualitatif. Teori yang digunakan adalah teori strukturalisme Levi Strauss terutama untuk mencari makna dari pertunjukanSurak Ibra ini. Pertunjukan Surak Ibra (Boboyongan) merupakan seni peryunjukan helaran, yang didalamnya terdapat unsur-unsur berupa seni musik, tari dan rupa Hasil telaah menunjukan, bahwa pertu njukan Surak Ibra mempunyai makna di setiap unsur pertunjukannya, yaknisebagai alat pemersatu identitas masyarakat; Me ngandung pesan bahwa “cobaan kehidu- pan” harus dihadapi dengan perjuangan; Perjuangan gigih tanpa lelah, menghasil kan penyelesaian yang baik, dan menda patkan kepuasan. Kata kunci: Surak Ibra (boboyongan), strukturalisme, makna.

Kajian Warna dan Motif Kain Tenun Upcycle pada Produk CV. Tarum Bali Ni Luh Ayu Pradnyani Utami
PANTUN Vol 3, No 1 (2018): Estetika Budaya Urban
Publisher : Pascasarjana ISBI Bandung

Upcycle woven fabric is an innovation product applying upcycling concept produced by CV Tarum Bali. The eminence of this product is the using of natural dye which increases the selling value. This is interesting to be studied because of the uniqueness of color and motif of the product. The method applied in this study is qualitative. The samples are determined based on purposive sampling, while the data are collected from observation, interview, and documentation. The result shows that the natural dyes used for the upcycle are as follows: the leaves of mahogany tree for brown color; blackfrom the leaves of ketapang tree; yellow from the leaves of mango tree; red from the log of secang tree; indigo or blue from the leaves of tarum. The colors usually applied for upcycle woven fabric tend to be lightcolor which is not easily faded. The motif of the upcycle is usually the order of horizontal lines. The motif emerges from the crossing between lungsi yarn and rag strings. The motif arrangement of the upcycle is either the repetition of form, direction, sixe, or color which considers the composition, balance, and rythm. The motif of horizontal lines is compounded by the repetition of rythm and transition to reach formal balance. It results in motif design which is harmonious and united.Keywords: Color, motif, woven fabric, upcycle, CV Tarum Bali

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Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Arif Abadi

Contact Email arifabadi15071978@gmail.com

Phone +6289648003473

Journal Mail Official -

Editorial Address Jl. Buahbatu no. 212 Bandung 40265

Location Kota bandung, Jawa barat INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
Arif Abadi

Contact Email
arifabadi15071978@gmail.com

Phone
+6289648003473

Journal Mail Official
-

Editorial Address
Jl. Buahbatu no. 212 Bandung 40265

Location
Kota bandung,

Jawa barat

INDONESIA