PANTUN: Jurnal Ilmiah Seni Budaya

The Triadic Concept of The Bahtera Collective Script in The Learning Program with Maestro in Semiotics Perspective

2025-11-21T10:17:15+07:00

The Learning with Maestro (BBM) Program, initiated by the Ministry of Culture of the Republic of Indonesia, seeks to enhance art appreciation and cultivate student character through engagement with six art maestros: Ki Purbo Asmoro (dalang), Nasirun (painting), Sundari Soekotjo (music), Iman Soleh (theater), Gus TF Sakai (literature), and Didik Nini Thowok (dance). The BBM Theater Arts Program took place at Celah Celah Langit (CCL) in Bandung, with participants from eight distinct regions: Kupang, Bali, Aceh, Jambi, West Java, Banten, Yogyakarta, and Makassar. The objective of the study is to analyze Charles Sanders Peirce's triadic idea as it pertains to the Bahtera text, emphasizing representamen, object, and interpretant. This research employs a descriptive qualitative methodology, utilizing data collection approaches such as observation, interviews, and document analysis. This study yielded five principal findings: the symbol of co-existence, plurality index, ecological icon, symbol of materiality, and symbol of transcendence. The study concludes that the Bahtera script functions as a communal semiosis capable of fostering social, ecological, and transcendent consciousness through symbolic dramatic signs. Interviews were systematically executed by devising research instruments comprising questions pertinent to the research subjects. The researchers interviewed a participant in the BBM program who was intimately engaged in the scriptwriting process. The interview is semi-structured, designed to obtain a comprehensive understanding of the script's development background and the creative dynamics between the participants and the theater maestro in interpreting the script's symbolism.

Faces Amid the Mountains: A Barthesian Reading of a Photograph in Sore

2025-08-01T10:07:38+07:00

In an era characterized by media saturation, cinematic visuals possess considerable ideological and emotional significance. This study analyzes the portrait of a Ladakhi woman in Sore (2025), directed by Yandy Laurens, to investigate how visual elements in mainstream cinema serve as cultural representations and evoke emotional responses. Employing Roland Barthes's semiotic notions of studium and punctum, the photograph is examined as a locus of dual significance: intellectually comprehensible via cultural norms and emotionally resonant through subtle, unarticulated nuances. Utilizing a qualitative descriptive methodology, the analysis focuses on Barthes’s semiotic framework as delineated in Camera Lucida (1980). Each visual component encompasses gesture, attire, look, color, and background, which are analyzed for their representational and emotional meaning. The theoretical foundation is grounded in Barthes's multiple semiotic layers and Stuart Hall's encoding/decoding paradigm, which emphasize that meaning is not fixed but is influenced by viewers through cultural and emotional settings. The findings underscore how studium elucidates the socio-cultural backdrop of Ladakh, gendered identity, and physical isolation, whereas punctum manifests in nuanced visual features, particularly the woman's partially obscured mouth, which elicit profound, personal responses. These characteristics show that the photograph is not just a decorative narrative, but also a place for international empathy and societal commentary. This research illustrates that visual components in movies can convey intricate cultural tales and emotional depth. Barthes posits that cinematic images function as affective texts that connect aesthetics and ethics, documentation and emotion, so cultivating critical awareness and empathic engagement with oppressed identities.

Autoethnographic Reflections on Da’wah Representation in Rindu Suara Adzan 2024

2025-11-04T14:31:57+07:00

The 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's 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.

The Diversity and Shared Culture of Lusheng in Guangxi: An Interethnic Symbol in Southwest China

2025-05-06T13:42:41+07:00

The lusheng, a traditional Chinese bamboo wind instrument, is predominantly located in southwestern China, where ethnic minorities reside. In Guangxi, this instrument has assumed several shapes. For instance, Sanjiang possesses a six-pipe lusheng, Rongshui features a fifteen-pipe variant, and Longlin showcases enormous examples measuring six meters in height. Collectively, these encompass over 10 distinct varieties, with heights varying from 30 cm to 6 meters. The lusheng has historically evolved beyond its musical purpose to serve as a spiritual emblem for the Dong, Miao, Yao, and other ethnic communities. During events like as the Miao New Year, Slope Meetings, and the Pan Wang Festival, its booming tones reverberate through communities, functioning as ceremonial fanfares and repositories of collective memory. The performance system demonstrates extensive dimensionality. Solo compositions such as "Golden Pheasant Dance" exhibit exceptional delicacy; unison renditions by several musicians produce profound reverberations; and the most visually striking is "lusheng caitang," where hundreds of performers encircle bronze drums in coordinated choreography. The Song Dynasty "tayao" custom is entirely preserved in the Dong ethnic "Duoye" dances of Sanjiang and the Miao "Slope Meeting" festivals of Rongshui. The lusheng contains a cultural code, with tunes that express courting, recount ethnic epics, and enable competitive "sound dueling." These bamboo pipes create a nonverbal linguistic system, enhancing the instrument's significance in three ways: as a ritual tool for spiritual contact, a living historical archive, and a medium for social engagement. In 2008, Dong Ethnic Lusheng Music was inscribed on China's National Intangible Cultural Heritage List, therefore affirming its distinctive status within the nation's cultural heritage storehouse.

Representation of Post-Islamism in Hip Hop Music Song Ebith Beat A Collaboration

2025-05-06T14:12:10+07:00

Hip-hop music serves as a distinctive platform for expressing identity, struggle, and social reform at the convergence of art, religion, and culture. In Indonesia, hip-hop has fostered forms that confront urban challenges while also incorporating spirituality and contemporary religious beliefs. It aims to elucidate how hip-hop music may articulate the ideology and values of Islamic teachings, while also analyzing the depiction of post-Islamism in the collaborative hip-hop track Ebith Beat A. The research methodology employs Charles Sanders Peirce's semiotic analysis. The study's results indicate that the lyrics of the hip-hop song by Ebith Beat A. Collaboration is rooted in Islamic doctrine, with its foundational principles derived from the Qur'an and sunnah (hadith). All of these elements constitute teachings found throughout Islam. The music ideology serves as a negotiation tool employed by Ebith to communicate Islamic teachings through hip-hop music, which stems from the street music subculture. This signifies the portrayal of Post-Islamism in hip-hop music in partnership with Ebith Beat A

Literacy Enhancement for Promoting the Cikareumbi Tomato War Festival as a Post-Pandemic Sundanese Cultural Tradition

2025-11-04T14:22:29+07:00

This study analyzes the role of digital literacy in revitalizing the Perang Tomat (Tomato War) tradition in Cikareumbi Village during the post-pandemic period. The program employed a Participatory Action Research (PAR) methodology, engaging artists, youth, and community elders in training on digital content related to cultural branding and creative media production. Participants were trained to create cultural content with smartphones, manage social media accounts, and reinterpret digital platforms as instruments for cultural representation. Empirical evidence indicates notable enhancements in the digital capacity of the community. The Instagram insights for the newly established “Mekar Budaya Lembang” account indicate 3,299 views and 128 interactions over the course of one month, with 61.3% of viewers classified as non-followers. Furthermore, 85% of participants demonstrated proficiency in content creation, 78% acquired skills for independent media management, and 60% grasped the principles of cultural branding. The findings indicate that digital literacy enables individuals to narrate stories within their communities and enhances the visibility of Perang Tomat beyond its local context. The study concludes that digital literacy serves as both a technical skill and a cultural strategy, enhancing community agency and promoting cultural sustainability. This model of community-based digital empowerment provides a replicable framework for the promotion of intangible heritage in digitally mediated contexts.

The Paradoxical Aesthetics of Kawih Wanda Anyaran by Mang Koko

2025-08-25T11:38:10+07:00

This research analyzes the aesthetics of Kawih Wanda Anyaran by Mang Koko via the lens of Paradox Aesthetics as articulated by Jakob Sumardjo. Paradox Aesthetics posits that the allure of Nusantara art emerges from the tension between two ostensibly contradictory aspects that finally converge into harmony. This research utilizes a qualitative method with an ethnomusicological approach to analyze the lyrical, musical, and social contextual elements of Kawih Wanda Anyaran. The results identify four principal types of paradox: tradition–modernity, simplicity–complexity, individuality–collectivity, and rationality–emotionality. These paradoxes form a unique artistic basis, as Mang Koko adeptly showcases musical innovation while being deeply rooted in Sundanese cultural traditions. Kawih Wanda Anyaran exemplifies the intricate interplay among the artist, the community, and the encompassing cultural milieu. These findings affirm that Mang Koko's compositions function as expressions of musical creativity and as embodiments of paradoxical aesthetics, which hold substantial importance for arts education, cultural preservation, and the progression of Sundanese karawitan studies in contemporary and future contexts. This study provides a conceptual contribution to comprehending how paradox aesthetics can function as a framework for interpreting traditional musical compositions and presents avenues for additional research on aesthetic alterations within Nusantara Arts.