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INDONESIA
Jurnal Budaya Nusantara
ISSN : 23553367     EISSN : -     DOI : -
Core Subject : Humanities, Art,
Published as a journal that serves as a medium for dissemination of research results and scientific work, which aims to increase knowledge in science, knowledge, skills, and abilities in the fields of education, arts, culture and design aspects of navigation, visual, theater, literature, sound and the sounds that are in the treasury of cultural heritage.
Arjuna Subject : -
Articles 56 Documents
DEKONSTRUKSI KESAKRALAN DUNIA PEWAYANGAN : Sebagai Peninggalan Adiluhung melalui Manyura Nurhadi, Taufik
Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG
Publisher : LPIK Universitas PGRI Adi Buana Surabaya

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Abstract

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.
PHILOSOPHICAL, ETHICAL, AND AESTHETIC: Values in Shadow Puppet Theatre (Wayang) Performance Dwijonagoro, Soetarno
Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG
Publisher : LPIK Universitas PGRI Adi Buana Surabaya

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Abstract

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.
Estetika Wayang Hadiprayitno, Kasidi
Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG
Publisher : LPIK Universitas PGRI Adi Buana Surabaya

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Abstract

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.
Pelestarian Dan Ekspansi Pasar Batik Tulis Gedhog Tuban Di Era Globalisasi ., Karsam
Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG
Publisher : LPIK Universitas PGRI Adi Buana Surabaya

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Abstract

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.
CADIK SAMUDRA BOROBUDUR : Jenius Lokal Nusantara Tabrani, Primadi
Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG
Publisher : LPIK Universitas PGRI Adi Buana Surabaya

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Abstract

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.
Batik Klasik: Aspek, Fungsi, Fiosofis dan Estetika Batik dalam Pandangan Budaya Nusantara ., Dharsono
Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG
Publisher : LPIK Universitas PGRI Adi Buana Surabaya

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Abstract

Batik is a painting or drawing on mori cloth created by using a tool called "canting ". People painting or drawing or writing on mori cloth with canting is called by membatik. It produces various forms and motifs of Batik and has special properties possessed by batik itself. The emergence of printed batik although it’s not as soft as handiwork batik, is enough to maintain the contained value of traditional batik. The Subsequent developments, batik is no longer used to accelerate the process, but accelerate the depiction of patterns and coloring, so the result of fabric batik is really similar to batik . This batik cloth is called " printing batik " . The dynamics of the Batik develop- ment divert the attention of Batik consumers. People turn to Batik motif textiles while Indonesian bourgeoisie was clothed in handiwork batik for the purposes of official events and formal parties. This dynamics will bring batik ( handiwork Batik) exclusively to the throne . Batik becomes a source of exaltation later on, then it will be a role model (philosophy) and a source of inspiration for the manufacture and further development of batik. Batik in a view of the archipelago culture alongside of its beautifulness (aesthetics), It’s also a guidance (teaching) painted on motives / classic batik pattern. That’s why that batik is a masterpiece heritage of the nations in the world from Indonesia, and It is now recognized widely as intangible and tangible heritage.
TRANSFORMASI VISUALISASI GAMBAR ILUSTRASI : pada Naskah Jawa Periode 1800-1920, Sebagai Refleksi Gejala Sosial-Budaya Masyarakat Jawa Adisasmito, Nuning Damayanti
Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG
Publisher : LPIK Universitas PGRI Adi Buana Surabaya

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Abstract

The tradition of writing and drawing illustrations found in old manuscripts in various ethnic In- donesia, especially on Java community. Most Old Javanese manuscript contains illustrations that unique and local characteristics of Javanese art. Illustration of the ancient Javanese manuscripts are well documented and have a varied range of visual form, unique in styling, how to draw, the theme, as well as a visual object. Visual image is an illustration concept frameworks Java community, as well as a reflection of social life - Javanese culture Colonial period.   Illustration on Java Script period 1800-1920 as an aesthetic concept attainment the expression symbol of the Java community. The illustrations in old Javanese manuscripts in 1800-1920 showed a correlation sustainability of such visual language in the era of the past to the present and into the characteristics of Java illustration style, which is the development over time. Illustration of the old Javanese manuscript in the year 1800-1920 has changed and developed its visual state as the interaction between the animism in the Pre-Hinduism era, cultural of Hinduism-Budhism, Islamic and Colonialism paradigms.   Of  all these characteristics into the connecting thread is narrative, symbolic and simplification form of the nature (stylized), two-dimensional shapes and stylized concepts wayang.   Keywords: illustration, illustration tradition, colonialism 1800-1920, Java script, stylized
BUDAYA NUSANTARA MELALUI DAMAR KURUNG : Analisis Bahasa Rupa ismoerdjahwati, ika
Jurnal Budaya Nusantara Vol 1 No 1 (2014): BUDAYA ADILUHUNG
Publisher : LPIK Universitas PGRI Adi Buana Surabaya

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Abstract

Culture is a culture of   Nusantara Indonesian , which owns various cultures scattered throughout the islands , is highly variable and shifting orientation into the craft industry . In contemporary culture, the culture industry has experienced ‘ globalization. So some of  the work of  cultural products,which could not be untouched by globalization, becoming increasingly marginalized and not recognized, even then becoming more and more lost. Prior to all of  that , then comes the initiativeto conduct a study of  the works of  cultural products fared thus , among others , lanterns Damarkurung of  Gresik, by Masmundari (late) . Research using qualitative research paradigm constructivist.Through this research is expected to gain an understanding of the images contained on the rounded wall paper lanterns, its origin, its artists, and its supporting environment. The conclusionis, the pictures turned out to have the intent and purpose, as well as the old concept of  how the reading of  the temples in East Java, which is used to guide how to draw and how to tell the images that surround the lantern.
INFO INFO YANG MENDEBARKAN: Punden Berundak, Toba Purba, Banjir Besar, Wawasan Nusantara, Gunung Padang Tabrani, Primadi
Jurnal Budaya Nusantara Vol 1 No 2 (2014): BUDAYA ADI LUHUNG
Publisher : LPIK Universitas PGRI Adi Buana Surabaya

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Abstract

This article is not yet a real research; it is more as a deep reflection. But those deep reflections are worth to be researched thoroughly by experts from many fields of  study integratingly. Thinking of  people in land-continent with many countries as Europe is different then thinking of  people in one country as Indonesia, a maritime-continent. In land-continents thinking, sea is to separte, in maritime-continent Indonesia with its islands, sea is to unite, wawasan Nusantara as old as prehistory. Each countryin a land-continent are eager to differentiate and defend to other countries by ethnic, language, religion, ideology, while in Indonsia as a maritime-continent, we is one country, several parts are slightly different but we are “one”: “Bhinneka Tunggal Ika”. In land-continent countries, a city with walls fortification, a country with great walls fortification are usual. While it is not so in Maritime-continent Indonesia, as is Trowulan the capital of  the great empire Majapahit.  Our school books says that the population of  Indonesia comes from Asia, 5000 BC and 2000BC, while it is known that the migration of  homosapiens has reach West Nusantara about 60 – 80.000 BC, and experienced the ancient Toba Mountain great explosion and the three great floods.The west theory said that Indonesia is a country between two continents and two aceans, where culture, etnic, nation, religion, etc, criss cross ofer it. So Indonesia ’has nothing’. No local genius. Nusantara people cruises the Pacific and Indian ocean before Christ, the Atlantic in the first century. What about ”Atlantis” and ”Eden in the East” situated in Sundaland, that alter the world culture, history & development? Has all this a connection with the mistery of  Gunung Padang? Keywords: Land-continent thinking, Maritime-continent thinking, Wawasan Nusantara, BhinnekaTunggal Ika, Gunung Padang.
DASAR HUMANISME LOKAL INDONESIA Sumardjo, Jakob
Jurnal Budaya Nusantara Vol 1 No 2 (2014): BUDAYA ADI LUHUNG
Publisher : LPIK Universitas PGRI Adi Buana Surabaya

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Abstract

Pre-modern humans Indonesia is very respectful of  nature which is a pair of  human life. If  youcut down a tree, picking rice, take honey, slaughtering animals, it is always preceded by a smallritual apology. To understand the local culture, it cannot be used the measures of  modernity thatrejects the things metaphysical and supernatural things. Inevitably we have to be willing to leaveour modern rationality to understand other types of  rationality that develops in the local culture of Indonesia. The realities for local cultures include things that are visible (empiricism) and invisible(hidden). Human being is in the nature both of  them. The Local human pay attention more on thesupernatural than empirical, when the empirical is not able to solve their problems, at least there isa guarantee from supernatural power in solving the empirical ones. To realize the highest humangoal, people should become a perfect human being, and then every local knows the virtues of  each.On the other hand, in fact, humans do not have any freedom which lies precisely in compliancein framed structures. When running what is in accordance with the concept structuralism, thenhumans really feel free, carefree, contented and happy, whatever happens, and surrender to the willof  god. The main human always close and remember the Lord. He was gone just as a mere tool.For further explanation, in this study, it will discuss about National Unity, Concept of  Almighty,Concept of  Plurality, Relationships among the one with the Human life, the Almighty Patterns, andthe Concept of  Freedom.Keywords: local human, supernatural, local culture.