E-Jurnal ISBI Bandung (Institut Seni Budaya Indonesia)
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1925 research outputs found
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Makna Simbolik dalam Kawih-Kawih Ngangkring Cariu Desa Sukadana Kabupaten Ciamis
Full text linkNgangkring adalah seni yang masih terjaga hingga sekarang di Dusun Cariu Desa Sukadana Kecamatan Sukadana Kabupaten Ciamis. Ngangkring termasuk dalam seni tetabuhan dengan alat utamanya lisung dan halu. Lirik Ngangkring berbahasa Sunda buhun dan memiliki nilai filosofis yang sangat tinggi. Nilai-nilai filosofis tersebut dapat diketahui dari makna simbolik di dalamnya. Berdasarkan latar belakang tersebut membuat penulis tertarik untuk mengkaji mengenai apa itu seni Ngangkring di Dusun Cariu, bagaimana makna simbolik pada syair kawihkawih dalam seni Ngangkring, dan apa nilai-nilai yang berguna untuk kehidupan. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dengan pendekatan etnografi dan penyajian data menggunakan metode deskriptif. Nilai yang terkandung dalam kawih-kawih Ngangkring yaitu nilai religi, peduli alam, bekerja keras, tatakrama, tidak berharap kepada manusia, bersikap tenang, bersikap dewasa, jangan rakus, jika menginginkan sesuatu maka harus berusaha keras, dan berbakti kepada orang tua
ANALISIS PERKEMBANGAN BENTUK SAJIAN UPACARA ADAT MAPAG PANGANTEN SANGGAR SENI NYI POHACI KABUPATEN SUBANG
Full text linkUpacara Adat Mapag Panganten telah menjadi kebiasaan dalam peristiwa perkawinan di masyarakat Sunda, khususnya di Kabupaten Subang. Artikel ini bertujuan untuk mengetahui aspek-aspek yang berkembang dalam Upacara Adat Mapag Panganten khususnya di Sanggar Seni Nyi Pohaci. Pengetahuan tentang perkembangan dan perubahan yang terjadi pada Upacara Adat Mapag Panganten Sunda yang belum terpublikasi secara rinci, menjadi landasan dasar dalam penulisan artikel ini. Penelitian ini menggunakan metode kualitatif dengan pendekatan deskriptif analisis, dengan tujuan untuk memaparkan perkembangan bentuk sajian dalam Upacara Adat Mapag Panganten. Teknik pengumpulan data dilakukan melalui kajian pustaka, dokumentasi visual. Hasil penelitian menunjukkan adanya perkembangan dan perubahan pada pementasan Upacara Adat Mapag Panganten Sunda khususnya di Sanggar Seni Nyi Pohaci yang terlihat pada bentuk sajiannya. Dengan adanya perkembangan tersebut, Upacara Adat Mapag Panganten Sunda saat ini lebih diminati oleh masyarakat yakni dengan adanya unsur inovasi di dalamnya
Mooi Indie Image Style in Salon Photography Works
Full text linkThe application of the Mooi Indie image style in salon photography depicts the natural beauty and traditional life of the archipelago inherited from the colonial era. The image depicts the view of Western nations who consider the Malay region to be exotic and pure as an orientalist discourse. The urgency of this study lies in the need to document and preserve cultural heritage through photography media. The aim is to understand how Mooi Indie elements are applied in contemporary salon photography and have an impact on the appreciation of local culture. The methodology used includes visual analysis of salon photography works. The results of the study show that works with the Mooi Indie image style display a \u27beautiful\u27 utopian impression in aesthetic composition, dramatic lighting, and subjects that represent the beauty of nature and tradition. The implication is that the application of this style in salon photography enriches visual aesthetics while contributing to the preservation and promotion of local culture, encouraging public appreciation of Indonesian cultural heritage
Pancamain Tourism Rides Based on Traditional Toys for Media to Introducing Pancasila Values
Full text linkThe purpose of this community service is to realize an Independent Village by improving the ability of the community is a global and national commitment in an effort to improve the welfare of the community to achieve a better and more sustainable life in the goals of sustainable development. Increasing the diversification of tourism products in the Kampung Bolang Ranca Group, through Knowledge in the implementation of the management of traditional Pancamain game tourism rides, by 80%, Increasing the skills of the Service Training Workshop through the use of Pancamain as a medium for Pancasila value education tourism rides by 80%, Increasing marketing skills to schools through the approach of learning media rides both inside and outside schools (general) 80%. The training implementation method is carried out in three stages, namely 1) Socialization of partner needs material; 2) Training and mentoring for diversification of traditional game rides; and 3) skills training in the form of improving partner capabilities in service and the ability to become more communicative instructors. The impact of the training results can be seen through the formation of divisions in managing village tourism in the Bolang cobra group, the ability in service with the availability of rides with the availability of supporting products for tourist rides, and marketing capabilities by building social media contacts and schools in Tanjungsiang and Cisalak Subang districts
Representasi Karya Instalasi Nia Gautama “The Raped Love” Dalam Seni Rupa Kontemporer
Full text linkThis study examines the installation artwork “The Raped Love” by Nia Gautama, which addresses issues of women, trauma, and recovery. With a background in contemporary art as a medium for conveying social messages, this research employs a qualitative method with Roland Barthes’ semiotic approach to analyze signs and symbols within the artwork. The research questions encompass how Nia Gautama represents women’s issues, the meanings of symbols and visual elements in this work, as well as the exploration of themes of female identity, courage, and resilience. The research aims to analyze the visual and narrative aspects of the artwork, understand the symbolism in the context of women’s representation and feminism, and explore themes of female identity, courage, and trauma recovery. The findings indicate that “The Raped Love” effectively utilizes symbolism to convey the complexity of women’s experiences and offers a new discourse on courage and recovery.Penelitian ini mengkaji karya instalasi “The Raped Love” oleh Nia Gautama, yang membahas isu perempuan, trauma, dan pemulihan. Dengan latar belakang pada seni rupa kontemporer sebagai media penyampaian pesan sosial, penelitian ini menggunakan metode kualitatif dengan pendekatan semiotika Roland Barthes untuk menganalisis tanda dan simbol dalam karya tersebut. Rumusan masalah mencakup bagaimana Nia Gautama merepresentasikan isu perempuan, makna simbol-simbol dan elemen visual dalam karya ini, serta eksplorasi tema identitas perempuan, keberanian, dan ketahanan. Tujuan penelitian adalah menganalisis visual dan naratif karya, memahami makna simbol dalam konteks representasi perempuan dan feminisme, serta mengeksplorasi tema identitas perempuan, keberanian, dan pemulihan dari trauma. Hasil penelitian menunjukkan bahwa“The Raped Love” secara efektif menggunakan simbolisme untuk menyampaikan kompleksitas pengalaman perempuan dan menawarkan wacana baru tentang keberanian dan pemulihan
Sub Urban : Perubahan Lingkungan Sebagai Inspirasi Pada Karya Seni Lukis
Full text linkSub urban is an interaction zone between villages and cities on the outskirts of the city around the main urban center. This Sub urban area is a source of inspiration for the author in creating this work of art, because the increasing number of land clearing for commercial, industrial and residential buildings in Indonesia, especially in areas near the author’s residence, is also an inspiration for this painting. This painting is a form of the author’s concerns and hopes for the sub urban environment so that development can run in balance with environmental conservation. This painting consists of 3 canvases which are presented as one triptych canvas. Overall, it presents the sub urban environment with its elements, and also indirectly in the three canvases depicts changes in the sub urban environment. This painting uses the technique of broken color impressionism. Impressionism has the value of transition, change, momentaryness which is in line with the concept of this painting. Small streaks of color, side by side, pile up on the canvas that blend optically when viewed from afar. The colors used are also bright and contrasting colors. This work offers a new contribution in the context of contemporary painting by combining the classic style of Impressionism with modern themes about the changing sub urban environment.Sub urban adalah wilayah zona interaksi antar desa dan kota di pinggir kota yang berada di sekitar pusat perkotaan utama. Sub urban ini menjadi sumber inspirasi bagi penulis dalam melatarbelakangi penciptaan karya seni lukis ini, karena semakin banyaknya pembukaan lahan menjadi bangunan-bangunan komersil, industrial, dan perumahan di Indonesia terutama di daerah-daerah dekat penulis tinggal juga menjadi inspirasi untuk lukisan ini. Karya lukis ini sebagai bentuk keresahan dan harapan penulis terhadap lingkungan suburban agar pembangunan bisa berjalan seimbang dengan konservasi lingkungan. Karya lukis ini berjumlah 3 buah kanvas yang penyajiannya dijadikan satu kanvas triptych. Secara keseluruhan menghadirkan lingkungan sub urban dengan unsur-unsur di dalamnya, dan juga secara tidak langsung di ketiga kanvas menggambarkan perubahan pada lingkungan sub urban. Karya lukis ini menggunakan teknik broken color impressionism, aliran impresionisme ini mempunyai nilai transisi, perubahan, kesesaatan yang sejalan dengan konsep lukisan ini. Goresan-goresan warna kecil, berdampingan, bertumpuk di atas kanvas yang tercampur secara optikal saat dilihat dari jauh. Warna-warna yang digunakan juga merupakan warna-warna yang cerah dan kontras. Karya ini menawarkan kontribusi baru dalam konteks seni lukis kontemporer dengan memadukan gaya klasik Impresionisme dengan tema modern tentang perubahan lingkungan sub-urban
ANALISIS SEMIOTIKA REPRESENTASI KECURANGAN PEMILU DALAM FILM DOKUMENTER DIRTY VOTE
Full text linkThis research uses a descriptive study with a qualitative approach. Data was obtained by watching the film repeatedly and selecting scenes that represent the forms of election fraud design 2024. The theory used for analysis is Julia Kristeva\u27s semiotic theory. Although Julia Kristeva\u27s semiotic theory focuses on poetic language, the researcher tries to apply the theory to film media to explore the representation of election fraud. The results show that the representation of electoral fraud is shown through the genotext meaning of the film while the visuals shown to the audience are the phenotext. while the concept of abjection helps explain the audience\u27s emotional reaction to the images depicting electoral fraud. The film\u27s intertextuality connects it to the wider socio-political context, showing how fraud and power undermine the integrity of the democratic process. In conclusion, "Dirty Vote" succeeds in raising awareness and critical reflection on the importance of integrity in politics and elections
ELEMEN KOREOGRAFI TARI PENYAMBUTAN PRASNAYA PRAMI
Full text linkKarya Tari Prasnaya Prami merupakan tari penyambutan yang menggabungkan nuansa gerak tari Jawa dan Bali sebagai inovasi dalam pengembangan tari penyambutan di Bali. Perpaduan ini merefleksikan keharmonisan budaya serta memvisualisasikan simbol keramahan yang sejalan dengan nilai Pawongan dalam Tri Hita Karana. Secara etimologis, prasnaya berarti penghormatan dan prami merujuk pada sosok perempuan anggun dan penuh kasih, yang menjadi dasar artistik dalam membangun karakter tarian. Karya ini merupakan bagian dari Program P2SD Berdampak ISI Bali 2025 dan telah didiseminasikan pada Bali Nata Bhuwana Nasional 2025 di Yogyakarta. Penulisan ini menggunakan konsep pemikiran Y. Sumandiyo Hadi mengenai elemen koreografi dengan pendekatan kualitatif melalui observasi, wawancara, dan dokumentasi. Hasilnya berupa pencatatan struktur koreografi yang mencakup (1) Jumlah penari, jenis kelamin, dan postur tubuh, (2) Ruang tari, (3) Iringan/musik tari, (4) Gerak tari, (5) Judul tari, (6) Tema tari, (7) Tipe/jenis/sifat tari, (8) Mode/cara penyajian, (9) Rias dan kostum tari, (10) Tata cahaya, dan (11) Properti tari.
ABSTRACT
CHOREOGRAPHIC ELEMENTS OF THE PRASNAYA PRAMI WELCOMING DANCE, DECEMBER 2025. Prasnaya Prami is a welcoming dance that integrates movement nuances from Javanese and Balinese dance traditions as an innovative contribution to the development of welcoming dances in Bali. This fusion reflects intercultural harmony and embodies the symbolism of hospitality aligned with the Pawongan values in the Tri Hita Karana philosophy. Etymologically, prasnaya means “honor,” while prami refers to a graceful and gentle woman, forming the artistic foundation of the dance’s character. Created as part of the 2025 P2SD Berdampak Program of ISI Bali, the work was presented at the 2025 Bali Nata Bhuwana National event in Yogyakarta. This writing employs Y. Sumandiyo Hadi’s conceptual framework on choreographic elements using a qualitative approach through observation, interviews, and documentation. The findings present a detailed mapping of the choreography, including (1) number, gender, and posture of dancers, (2) dance space, (3) musical accompaniment, (4) movement vocabulary, (5) title, (6) theme, (7) type/character of dance, (8) mode of presentation, (9) makeup and costume, (10) lighting design, and (11) properties used.
Keywords: Choreographic Elements; Prasnaya Prami
RITUAL BALIMAU MINANGKABAU: TRADISI PENYUCIAN DIRI DAN TRANSFORMASI SOSIAL
Full text linkAbstrak: Artikel ini membahas ritual Balimau sebagai tradisi penyucian diri masyarakat Minangkabau menjelang Ramadan. Permasalahan penelitian mencakup asal-usul, makna, dan transformasi sosial dalam pelaksanaannya. Kajian ini berlandaskan pada teori fungsionalisme budaya dan simbolisme Clifford Geertz, dengan metode studi dokumentasi terhadap literatur budaya dan jurnal ilmiah. Hasil analisis menunjukkan bahwa ritual Balimau memiliki dimensi religius dan sosial yang penting, namun mengalami pergeseran makna akibat modernisasi dan komersialisasi. Diskusi menyoroti perlunya pelestarian nilai-nilai adat dan keagamaan dalam praktik budaya lokal. Penelitian ini memberikan kontribusi terhadap kajian budaya dan menawarkan rekomendasi pelestarian tradisi Balimau yang sesuai konteks zaman. Kata kunci: Balimau, Minangkabau, Tradisi, Modernisasi, Simbolisme Abstract: This article explores the Balimau ritual, a Minangkabau tradition of physical and spiritual purification before Ramadan. The research addresses issues of origin, meaning, and socio-cultural transformation of the ritual. Grounded in cultural functionalism and Clifford Geertz’s symbolic theory, this study uses document-based research through literature and cultural archives. Findings reveal that Balimau holds strong religious and social values but has shifted in meaning due to modernization and commercialization. The discussion emphasizes the importance of preserving both traditional and spiritual values in the face of cultural change. This study contributes to cultural discourse and offers recommendations for sustaining the Balimau tradition in a contemporary context. Keywords: Balimau, Minangkabau, tradition, modernization, symbolis
Autoethnographic Reflections on Da’wah Representation in Rindu Suara Adzan 2024
Full text linkThe Rindu Suara Adzan 2024 religious-comedy soap opera depicts quotidian socioeconomic realities infused with Islamic principles, including humor and elements of contemporary culture. This article offers an autoethnographic reflection on the author\u27s experience portraying "Mas Sugeng," utilizing Charles Sanders Peirce’s semiotic framework to analyze the visual and symbolic portrayal of da’wah. This study used a qualitative narrative approach to analyze four situations that illustrate the home, economic, and emotional aspects of masculinity within urban Indonesian society. The findings indicate that da’wah in religious meditation and television dramas functions not by verbal preaching but through nuanced emotional connection, humor, and approachable moral exemplars. The analysis illustrates how Sugeng’s gestures, objects, and silences represent inclusive Islamic messages, so converting entertainment into a participatory modality of popular da’wah. This study enhances comprehension of media Islamization, emotional piety, and cultural communication in postmodern Indonesia, positioning autoethnography as both a method and a performance within visual culture research