Nusa Penida merupakan kecamatan di dareah pesisir di Kabupaten Klungkung Bali yang banyak dikunjungi wisatawan nasional maupun internasional dan terkenal dengan mata pencahariannya berupa budi daya rumput laut dan kerajinan kain rangrang. Penelitian ini bertujuan menciptakan sebuah tarian yang mengangkat potensi SDA rumput laut dan kerajinan kain rangrang di Desa Nusa Penida Kecamatan Klungkung Kabupaten Klungkung Bali sebagai upaya pengembangan atraksi wisata di desa tersebut. Teknik pengumpulan data dilakukan dengan observasi, wawancara dan dokumentasi. Metode penciptaan tari ini dilakukan melaui tahapan eksplorasi, improvisasi, dan pembentukan. Dalam proses penciptaannya melibatkan publik sebagai penilai untuk penyempurnaan karya yang dilakukan melalui FGD dan pementasan. Hasil penelitian menunjukkan tercipta sebuah tari pesisir yang berdurasi 8.14 menit, diberi judul Tari Gulma Penida. Tarian ini dibawakan oleh 4 orang penari laki-laki dan perempuan sebagai penggambaran petani rumput laut di Desa Nusa Penida. Pada tarian ini ditampilkan kisah keseharian petani rumput laut dalam melakoni aktifitasnya mulai dari bangun pagi, pergi kelaut, menanam, merawat, memanen, dan membawa pulang hasil panennya dan menikmati kegembiraan atas berkah yang dilimpahkan oleh Tuhan Yang Maha Kuasa. Kain rangrang dalam penciptaan tari ini digunakan sebagai kostum untuk menggambarkan potensi sumber daya yang ada di Nusa Penida.
Hajat Laut (sea celebration) as a tradition of Pangandaran coastal community has been changing as the changing of the people's social structure. Pangandaran, a regency which is famous of sea tourism object, still maintains the ritual of Hajat Laut containing local wisdom. This writing is aimed at analyzing how Hajat Laut as a primordial cultural heritage of nautical community adapts with the social economy development of the people. Mircea Eliade's view is applied to trace the old views containing local wisdom. Meanwhile, Thomas Kuhn's proposition bridges the discussion on paradigm dynamics toward the events of Hajat Laut. in addition to literature study, the data are obtained through observation based on characteristics of qualitative research. The result shows that Hajat Laut as the heritage of primordial society passes through an interpretation process from each of the generations. The anomaly existing in the process of paradigm debates place Hajat Laut in the presence and position adjusting to the live development need of Pangandaran society as a tourism city. At the same time, the economic, social, and religious needs are fulfilled by keep maintaining the local wisdom of the culture.
This study describes how the ngabubur ritual is represented into a documentary fi lm. The factual data of Ngabubur ritual is collected through ethnographic methods. In terms of methods, the fi lm was made through some stages: designing, researching, shooting, editing and fi nishing. Ngabubur is an annual ritual of Rancakalong society as a form of Sukur Bumi, an act of gratitude from agricultural products that have been enjoyed by the community. The Film narrative is based on the actual event structures. The meaning given to the fi lm is greatly infl uenced by the propriety and authenticity of its images. ABSTRAKRitual ngabubur direpresentasi ke dalam bentuk fi lm dokumenter. Data faktual ritual ngabubur dikumpulkan melalui metode etnografi . Secara metodis fi lm dibuat melalui tahap perumusan design, research, shooting, editing, dan fi nishing. Ngabubur merupakan ritual tahunan masyarakat Rancakalong sebagai bentuk sukur bumi, wujud syukur dari hasil bumi yang telah dinikmati oleh masyarakat. Naratif fi lm dibuat berdasarkan struktur peristiwanya. Pemaknaan fi lmnya sangat dipengaruhi oleh kebenaran citra dan keotentikan dalam penyajiannya.Kata kunci: fi lm dokumenter, ngabubur, etnografi , dan naratif
This study analyzes the ethics of anthropocentrism contained in the animated film Princess Mononoke. The destruction of nature contained in the film is done by the antagonists, namely Miss Eboshi, Jiko-Bou, and their followers. The research method used is Roland Barthes' semiotic analysis which looks at three stages of significance, namely denotation, connotation, and myth. The stage of film analysis begins with identifying the form of oppression in the form of the selected scene, then the data is analyzed through the interpretation of denotative and connotative meanings to find myths. The results of this study indicate that this film represents the exploitation and ethics of anthropocentrism towards nature and the Shintoism gods who protect nature so that it triggers conflict between humans and the gods. The exploitation occurs because the antagonists want to conquer nature and the gods for personal interests and ambitions to gain profit and wealth without thinking about the ethics and moral status of nature, animals and non-humans in the film Princess Mononoke.Keywords: Anthropocentrism; Exploitation of nature; Animated Film; Princess Mononoke.ABSTRAKPenelitian ini menganalisis etika antroposentrisme yang terdapat dalam film animasi Princess Mononoke. Kerusakan alam yang terdapat dalam film dilakukan oleh para tokoh antagonis yaitu Nona Eboshi, Jiko-Bou, dan para pengikut mereka. Metode penelitian yang digunakan analisis semiotika Roland Barthes yang melihat pada tiga tahapan signifikasi yaitu denotasi, konotasi, dan mitos. Tahapan analisis film dimulai dengan mengidentifikasi bentuk penindasan berupa scene yang telah dipilih, kemudian data tersebut dianalisismelalui interpretasi makna denotasi dan konotasi untuk menemukan mitos. Hasil penelitian ini menunjukkan bahwa film ini merepresentasikan terjadinya eksploitasi dan etika antroposentrisme terhadap alam dan dewa-dewa Shintoisme yang menjaga alam sehingga memicu konflik antara manusia dan para dewa. Eksploitasi tersebut terjadi karena para tokoh antagonis ingin menaklukan alam dan dewa-dewa untuk kepentingan dan ambisi pribadi untuk mendapatkan keuntungan dan kekayaan tanpa memikirkan etika dan status moral alam, hewan dan yang non-manusia dalam film Princess Mononoke. Kata Kunci: Antroposentrisme; Eksploitasi alam; Film Animacasi; Princess Mononoke.
This paper aims to show appreciation of maritime artworks. There is much global literature on art appreciation but only a few foci on maritime art appreciation. Filling the vacancy requires the study of how the community or public values maritime artworks in the context of the coastal community’s literacy. This article presents the results of maritime art appreciation through Focus Group Discussion (FGD). The participants included academicians, government officials, artists, creators, community, kiyai, and students. The maritime artworks appreciated were “Segara Garam’ and “Tasbih Pesisir” as natural and virtual artworks. Respondents’ insight, knowledge, and experience showed varied perceptions. Respondents with maritime culture backgrounds were quite expressive in expressing the importance of the coastal community’s local wisdom values, while respondents without maritime culture backgrounds paid more attention to artistic and aesthetic aspects instead of to meaning. Appreciation experience showed the importance of perception of maritime art in actualizing local genius. Maritime art appreciation was performed to improve people’s awareness of strengthening maritime culture literacy. Sociocultural differences influenced how they appreciated and produced maritime culture knowledge maritime culture. Respondents’ cognition and affective abilities show varied interpretations, perceptions, and definitions of art values.
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