Visual Adaptation of Batik Sunda Ornaments in Sundanese Cultural Expressions on Good Design

Landscape design of mountain highway tunnel portals in China

The use of the word “spectacle” in relation to practices of consumption has a specific intellectual genealogy that extends to the radical critiques of a group of French Marxists – the Situationists or the Situationist International – though the term has also come to denote a broader transformation of consumer culture into an expression of visual media. Deriving from Guy Debord's use of the term in the title of his 1967 anti‐capitalist screedThe Society of the Spectacle, to speak of spectacles of consumption is to invoke a critical reading of a fetishized relation to commodities that obscures real social relations, and passifies the spectator‐consumer in a synthetic world (Debord 1994). Spectacular consumption, in this sense, asks us to see only the appearance of commodities and not their deeper social character – a misrecognition which alienates us from our personal and social lives while presenting the world of goods as one possessing dynamism and livelihood. While the world of spectacle becomes increasingly vital, so the theory goes, one's own life becomes increasingly empty and thing‐like. Yet, in a more modest sense, to speak of consumption as spectacular is to refer to the preponderance of visual symbols, images, and aestheticized surfaces in the design and marketing of goods and services, with no specific claim concerning its wider cultural and political impact (Featherstone 1991). In what follows, the spectacular nature of consumption is discussed with reference to these two distinct meanings: as a general expression of visual culture, and as a uniquely fetishized relation to social life.

Sisindiran merupakan puisi lama yang dilestarikan dalam budaya Sunda. Sisindiran biasanya digunakan sebagai alat penyampai amanat di prosesi serah terima pengantin. Penelitian ini menggunakan pendekatan kualitatif deskriptif. Teknik pemerolehan data dilakukan dengan metode simak, dengan teknik sadap, simak bebas libat cakap. Analisis data menggunakan metode padan, yang mencakup teknik dasar dan lanjutan serta analisis kontekstual yang mengaitkan data dengan situasi sosial yang relevan. Penelitian ini menganalisis 19 sisindiran dalam konteks pernikahan Sunda dari segi struktur, makna, dan aspek sosiolinguistik. Secara struktur, semua sisindiran berbentuk pantun berima a-b-a-b dengan rima sempurna maupun tak sempurna dan sampiran yang umumnya tidak terkait langsung dengan isi. Secara semantik, sisindiran mengandung makna litotes, hiperbolis, humor, ejekan, hingga sindiran vulgar. Secara sosiolinguistik, sisindiran mencerminkan karakter masyarakat Sunda yang handap asor, someah ka semah, suka bercanda (ngabanyol), berbasa-basi (malapah gedang), hingga menggunakan humor jorang untuk mencairkan suasana. Sisindiran berfungsi sebagai ekspresi budaya yang mengandung nilai kesantunan dan keakraban dalam komunikasi. Keywords: sisindiran, pernikahan, adat Sunda AbstractSisindiran is a traditional form of poetry preserved in Sundanese culture. It is commonly used as a medium for conveying messages during the wedding handover ceremony. This study employs a descriptive qualitative approach. Data were collected through observation methods, including elicitation, non-participant observation, and recording techniques. Data were analyzed using the padan method, which includes both basic and advanced techniques, along with contextual analysis that links the data to relevant social situations. The study analyzes 19 sisindiran used in Sundanese wedding contexts from the perspectives of structure, meaning, and sociolinguistic aspects. Structurally, all sisindiran follow the a-b-a-b rhyme scheme, featuring both perfect and imperfect rhymes, with sampiran (opening lines) typically unrelated in meaning to the isi (main lines). Semantically, the sisindiran convey messages of litotes, hyperbole, humor, teasing, and even vulgar innuendo. Sociolinguistically, they reflect key Sundanese cultural traits such as handap asor (humility), someah ka semah (hospitality), fondness for humor (ngabanyol), polite small talk (malapah gedang), and the use of mildly vulgar humor (jorang) to lighten the mood. Thus, sisindiran serve as a cultural expression rich in politeness and warmth in communication. Keywords: sisindiran, wedding, Sundanese culture

Teenagers are the next generation that will have to bequeath culture to the next generation. Without sufficient understanding, the influence of incoming foreign cultures could replace the local culture. The era of digitalization and culture that also continues to develop should be harmonized. In the sphere of literacy, the era of digitalization brings influence and change to comics. Digital comics that elevate the stories and cultural traditions of a particular region is one example of a form of cultural rejuvenation. Like Metalu Kyoyuzuki's digital comics, 7 Wonders which tells the story of Jaka Tarub, has been liked 9.7 million times with a rating of 9.82 out of 10 since its first airing in July 2016 (cnnindonesia.com: 2020). Folklore itself is a cultural expression of a society through the language of speech that is directly related to various aspects of culture. Broadly speaking, the values in Sundanese culture are reflected through the daily life of the people who live the philosophy of living silih asah, silih asih and silih asuh. In addition, unlike Pantun Melayu, Sundanese pantun story is part of mythical folklore and is considered sacred because it contains a moral message; emotionally; and other life values. The data supporting this research were obtained through literature studies and interviews of resource persons to understand about Ciung Wanara culture and stories. While the determination and data of target audience segmentation is obtained through questionnaires and observations. The rejuvenation of the form and media that packaged the story was conveyed through a social campaign aimed at the late teenagers in Bandung. This campaign is a forum to remind, invite and encourage targets to pay more attention and understand the local culture through exciting new forms of media.

In songs, whether they are from popular or traditional genres, there is often a gender stereotype that reduces women's identities to physical attributes and domestic roles. "Mojang Priangan", as an expression of local culture from the Sundanese region, is a relevant subject of study in understanding how women are represented in songs. This study aims to examine the representation of Sundanese women in the lyrics of "Mojang Priangan" songs through a critical feminist approach. The music, composed by Iyar Wiyarsih, was selected for its high historical and cultural significance in representing the identity of Sundanese women. A descriptive, qualitative method was employed in this study, utilizing Norman Fairclough's critical discourse analysis model, which encompasses text analysis, discursive practices, and social practices. The primary instrument in this study was the researcher herself, who actively interpreted the data contextually and reflectively. Data were collected through literature review and documentation of song lyrics and relevant scientific references. The results of this study show that the lyrics of "Mojang Priangan" songs describe women who have physical and personality advantages as the feminine image of Sundanese culture. In Sundanese society, Sundanese women are always positioned in the role of guardians of values, symbols of family honor, and representatives of morality. Although the lyrics have undergone several changes, the main values are still maintained. The lyrics do not exploit women as sensual visual objects. However, they show their values and roles in maintaining dignity in a social context.