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All Journal Jurnal Civics: Media Kajian Kewarganegaraan ILMU KELAUTAN: Indonesian Journal of Marine Sciences Prosiding KOMMIT Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa Gorga Jurnal Seni Rupa Pembelajaran Matematika Paedagogia Jurnal Pendidikan Matematika SoLuSi ( Tersohor Luas dan Berisi ) Atom Indonesia Journal Jurnal Radioisotop dan Radiofarmaka Jurnal Iptek Nuklir Ganendra Jurnal Pendidikan Teknik Mesin Jurnal Manajemen Pelayanan Kesehatan Gaung Informatika Journal of Education and Learning KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Abdimas Jurnal S2 Pendidikan Matematika YUSTISIA Jurnal Penelitian Hasil Hutan Jurnal Ilmu-Ilmu Perikanan dan Budidaya Perairan Jurnal Akuntabilitas Manajemen Pendidikan Seminar Nasional Teknik Kimia Kejuangan The Journal of Pure and Applied Chemistry Research Indonesian Journal of Pharmaceutical Science and Technology Journal of Mathematics and Mathematics Education BERITA BIOLOGI Sari Pediatri Catharsis The Journal of Educational Development Sekolah Dasar: Kajian Teori dan Praktik Pendidikan EDUHUMANIORA: Jurnal Pendidikan Dasar Proceeding of International Conference on Art, Language, and Culture Jurnal Pembelajaran Matematika Jurnal ASPIKOM Indonesian Journal of Chemistry Jurnal Perikanan Universitas Gadjah Mada Indonesian Aquaculture Journal Indonesian Fisheries Research Journal Jurnal Community Res Judicata Waskita: Jurnal Pendidikan Nilai dan Pembangunan Karakter Jurnal Jatiswara Jurnal Kesehatan Jurnal Salaka Sastra Indonesia
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Journal : KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE

Brebes Buroq: The Art Expression of Coastal Javanese Moslem Society

KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Vol 8, No 1 (2016): Komunitas, March 2016
Publisher : Universitas Negeri Semarang

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Abstract

The art of Buraq is a procession of puppet which has beautiful female face with winged-horse body and dance to the music of Genjring and tambourine. This traditional art is one of the dominant arts that becomes one cultural identity of the people in Brebes District, located in the west of the northern coast of Java island, Central Java Province. This study aims to study the aesthetic form, function and symbolic values of Buroq, as well as the system of relationship patterns among actors, Buroq puppets, and the audience. The result of the research shows that the rise of Buroq art stems from the Isra’-Mi’raj ‘ trip of Prophet Muhammad by using the vehicle named Buroq. It is narrated that Buraq is like a winged-horse with a beautiful woman face who can move with lightning speed as a vehicle in the Isra’-Mi’raj journey of the Prophet Muhammad. This story is the primary source of inspiration for local artists to express aesthetic-symbolic in accordance with the imagination they possess in the form of acculturation that combines elements of Javanese, Chinese, and Islamic cultural symbols. As Islamic-based traditional arts of community, Buroq with all the uniqueness of its physical form not only has functions and values in the grandeur of Islam which awakens and strengthens the cultural awareness among residents to act and behave in accordance with the teaching of Islam in coastal Javanese Islamic culture but also has the functionality and entertainment value for the multicultural community.

Brebes Buroq: The Art Expression of Coastal Javanese Moslem Society

KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Vol 8, No 1 (2016): Komunitas, March 2016
Publisher : Universitas Negeri Semarang

Show Abstract | Original Source | Check in Google Scholar

Abstract

The art of Buraq is a procession of puppet which has beautiful female face with winged-horse body and dance to the music of Genjring and tambourine. This traditional art is one of the dominant arts that becomes one cultural identity of the people in Brebes District, located in the west of the northern coast of Java island, Central Java Province. This study aims to study the aesthetic form, function and symbolic values of Buroq, as well as the system of relationship patterns among actors, Buroq puppets, and the audience. The result of the research shows that the rise of Buroq art stems from the Isra-Miraj trip of Prophet Muhammad by using the vehicle named Buroq. It is narrated that Buraq is like a winged-horse with a beautiful woman face who can move with lightning speed as a vehicle in the Isra-Miraj journey of the Prophet Muhammad. This story is the primary source of inspiration for local artists to express aesthetic-symbolic in accordance with the imagination they possess in the form of acculturation that combines elements of Javanese, Chinese, and Islamic cultural symbols. As Islamic-based traditional arts of community, Buroq with all the uniqueness of its physical form not only has functions and values in the grandeur of Islam which awakens and strengthens the cultural awareness among residents to act and behave in accordance with the teaching of Islam in coastal Javanese Islamic culture but also has the functionality and entertainment value for the multicultural community.

Aesthetic Adaptation as a Culture Strategy in Preserving the Local Creative Potentials

KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Vol 9, No 2 (2017): Komunitas, September 2017
Publisher : Universitas Negeri Semarang

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Abstract

This study aims to understand and explain the problems of aesthetic adaptation through the development of ceramic art design in Mayong Lor Village as a cultural strategy in facing market competition to maintain the local characteristics. The research data was through by participant observation technique, in-depth interview, and document data tracking. The results show the following: First, the type of ceramic products can be classified into four categories, namely: 1) celengan (piggy banks), (2) childrens toys/remitance (keg, jars, cups, glasses, plates, paso, teapots, earrings, angklo, kekep) , (3) glassware for household purposes, such as jugs, kendil, padasan, and cowek, (4) decorative items (vases, jars, pots, wuwungan tiles, pencil pot, souvenirs, and carving. Aesthetically, the expression on ceramic pottery of Mayong Lor Village is simple and non-complicated as well as prioritizes the aspect of physical function which is oriented to economic value. Second, the social and cultural environment of Mayong Lor society creates typical patterns of interaction and lifestyle (with the support of its natural resources) resulting in the process of skill transfer of ceramic pottery traditionally from generation to generation and produces a unique and simple ceramic product. Third, in the midst of the strong influence of modern industrial pressures, the craftsmen struggle in the process of creativity by performing an aesthetic adaptation to develop new design with new artistic and economical values as the embodiment of a cultural strategy to maintain the creative potential of their local arts.

Co-Authors A. Isnansetyo, A. A.E.T.H. Wahyuni Abdul Muthalib Abidin Abidin Agus Cahyono Agus Nursalim, Agus Agustiar, Devie Ahmad, Hariyatunnisa ALIM ISNANSETYO Ambariyanto , Andriansyah, Rico Andrianus Andrianus, Andrianus Anik Rahmawati, Anik Anshor, Arrini Shabrina Anung Pujiyanto Ardiyawan, Ardiyawan Arief Taslihan Arief, Ahmad Fikri Astri Charolina Azmi, Azmi Azmi, Ulya Zakaria Basri, Novysa Basuki, Umar Beniarso, Mundin Cahyana Amiruddin Darfioes Basir Daya Agung Sarwono Desrina Desrina Desty Ratna Permatasari, Desty Ratna Dian Indriani Dini Siswani Mulia Dini, Tria Ayu Drajad Sarwo Seto, Drajad Sarwo Duranta D. Kembaren, Duranta D. Dwiningtyas, Ratih Dyah Indriyani, Putri E. Sarmini Edi Irawan Eko Sugiarto, Eko Endang Sarmini Enny Lestari Erik, Mohamad Erni Martani Ervia Yudiati FAJAR SETIAWAN Fatimah Azzahrah Fatmawati, Harlinda Fauziyah, Fuzi Afiza Finny Fitry Yani Fitriani Fitriani H. Syakuri, H. Habib Adjie Hadi, Muhammad Tesar Hambali Hambali Hartono Hartono Henny Ekana Ch. Henny Ekana Chrisnawati Herlina Herlina Hotnida Junita Situmeang Imamudin, Kurniasih INDAH ISTIQOMAH Irfan D. Prijambada Islami, Hidayatul Iswidiarti, Sri JAKA WIDADA K. H. Nitimulyo, K. H. Kadarisman Kadarisman Kamiso H. N., Kamiso H. KAMISO HANDOYO NITIMULYO KH, Abdul Aziz Kundharu Saddhono Kurniasih Kurniasih LANGKAH SEMBIRING Lantip Diat Prasojo Lestari, Fajar Sumi Lili Sholichah, Lili Ma'sum, Aziz Malarsih Malarsih, Malarsih Manik, Astri Marita Mardi Mardi Mardiyana Mardiyana Maria Ulfahmi, Cut Gesti Mayang Pitaloka MIFTAKHUL JANNAH Mirwa, Tetty Muh. Ibnan Syarif, Muh. Ibnan Muhammad Murdjani Muhammad Zainuddin Muhammmad Murdjani, Muhammmad Mujiyono Mujiyono Murti, Fahriza Murwantoko Murwantoko Namastra Probosunu Nina Yuliana Ningsih, Maya Nirmalasari Idha Wijaya Noer Kasanah, Noer Nur Fadhilah Nur Rokhmat Nursyirwani Nursyirwani Pratiwinindya, Ratih Ayu Prayogo, Sugeng Putri Puspitasari R Sudradjat, R Rachmansyah Rachmansyah Raden Bagus Sugio Sumanta Ratna Puspita, Ratna REZA Adi ADI PRADANA Risca Damayanti, Risca Risnawati, Ririn Riyadi Riyadi Rukayah Rukayah S. Soenarjo Sabillah, Masayu Selly Sahli, Zamahsjari Salu, Vega Ricky SANTI NURBAITI Sebastian Margino Sesung, Rusdiyanto Setyaningrum, Ikha Sulis Setyobudi Setyobudi Shanie, Arsan Shatrie, Dikry N Shatrie, Dikry Novel Siti Amirah Budiastuti Sri Hartati Sri Iswidayati Sri Rejeki Sriyono Sriyono Subagiyo Subagiyo Suharno Suharno Suherman Suherman Sumarwati Sumarwati Sumaryanto Florentinus, Totok Sunarhadijoso Soenarjo Sunarto Sunarto Suparti Suparti Sutarman Sutarman Sutrisno sutrisno Suyono Suyono syakir syakir Syarif, Muh Ibnan Tanjung, Dailami Tjetjep Rohendi Rohidi, Tjetjep Rohendi Totok Sumaryanto Florentinus, Totok Sumaryanto Totok Sumaryanto, Totok Triani Widyaningrum Udi Utomo Umi Nur Sholikhah W. Asmara W.Y. Rahman Wadiyo Wadiyo, Wadiyo Wardani, Anestia Widya Widaningtyas H, Adoniati Meyria Wijaya, Dhimayu Ichtiara Wilis Ari Ari Setyati1,2, Wilis Ari Wilis Ari Setyati Windi Amelia, Windi Wira Rahman Wira Y. Rahman Wisnu Nurcahyo Wulandari, Tita Yudha Trinoegraha Adiputra Yulius Docang Casessar Yuniarti, Ivana