{"id":372,"date":"2022-04-07T07:17:05","date_gmt":"2022-04-07T07:17:05","guid":{"rendered":"https:\/\/pasca.uns.ac.id\/s2kajianbudaya\/?page_id=372"},"modified":"2022-12-08T09:49:24","modified_gmt":"2022-12-08T09:49:24","slug":"proceedings-iccusass2021","status":"publish","type":"page","link":"https:\/\/pasca.uns.ac.id\/s2kajianbudaya\/proceedings-iccusass2021\/","title":{"rendered":"Proceedings of The International Conference of Cultural Studies, Arts, and Social Science (ICCUSASS) 2021"},"content":{"rendered":"<\/p>\n
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FULL PROCEEDING OF ICCUSASS 2021<\/strong><\/a><\/td>\ni-241<\/td>\n<\/tr>\n
 <\/td>\n\ufeff<\/td>\n<\/tr>\n
PENDAHULUAN<\/strong><\/a><\/td>\ni-vi<\/td>\n<\/tr>\n
 <\/td>\n\ufeff<\/td>\n<\/tr>\n
THE EXISTENCE OF BARUDAK KAULINAN CULTURE AS A SUNDANESE CULTURAL IDENTITY IN THE MIDDLE OF TODAY’S CULTURE<\/strong><\/a><\/td>\n1-7<\/td>\n<\/tr>\n
Adi Nurhadi, Siti Gomo Attas, Novi Anoergejekti<\/td>\n\ufeff<\/td>\n<\/tr>\n
SERAT WICARA KERAS AND SOCIAL POLITICAL BACKGROUND<\/strong><\/a><\/td>\n8-15<\/td>\n<\/tr>\n
Aloysius Indratmo, Prasetyo Adi Wisnu Wibowo<\/td>\n\ufeff<\/td>\n<\/tr>\n
LOCAL WISDOM VALUES OF LIMAS HOUSE FOR CIVILIZATION IN PALEMBANG CITY, SOUTH SUMATERA: REPRESENTATION IN PRESENT TIME<\/strong><\/a><\/td>\n16-20<\/td>\n<\/tr>\n
Andriamella Elfarissyah<\/td>\n\ufeff<\/td>\n<\/tr>\n
LITERACY ON ANCIENT MANUSCRIPTS AS PART OF THE SHAPING OF THE NATION’S CULTURE<\/strong><\/a><\/td>\n21-28<\/td>\n<\/tr>\n
Asep Yudha Wirajaya<\/td>\n\ufeff<\/td>\n<\/tr>\n
VARIASI BAHASA SUNDA DIALEK PAREAN DI KECAMATAN KANDANGHAUR KABUPATEN INDRAMAYU – INDONESIA BERDASARKAN PENDEKATAN SOSIODIALEKTOLOGI<\/strong><\/a><\/td>\n29-38<\/td>\n<\/tr>\n
Bagus Andryana Kusuma, Wakit Abdullah Rais, Prasetya Adi Wisnu Wibowo<\/td>\n<\/td>\n<\/tr>\n
THE EXISTENCE OF UMBUL DANCE AS A KARUHUN CULTURAL ART FROM SUMEDANG REGENCY<\/strong><\/a><\/td>\n39-44<\/td>\n<\/tr>\n
Epik Finilih*, Novi Anoegrajekti, and Siti Gomo Attas<\/td>\n\ufeff<\/td>\n<\/tr>\n
GAMBANG KROMONG SEBAGAI UPAYA PELESTARIAN BUDAYA BETAWI DALAM MENGURANGI KETERGANTUNGAN GADGET PADA KALANGAN REMAJA DI SANGGAR YAYASAN SETIA MUDA<\/strong><\/a><\/td>\n45-49<\/td>\n<\/tr>\n
Fahreza Prakasa, Novi Anoegrajekti, Siti Gomo Attas<\/td>\n\ufeff<\/td>\n<\/tr>\n
THE SONDOK PIYOGO DANCE IN KESULTANAN  PALEMBANG DARUSSALAM A SEMIOTIC AND HERMENEUTIC REVIEW<\/strong><\/a><\/td>\n50-59<\/td>\n<\/tr>\n
Indah Windra Dwie Agustiani, Novi Anoegrajekti, Siti Gomo Attas<\/td>\n<\/td>\n<\/tr>\n
PEMBENTUKAN KARAKTER RELIGIUS MASYARAKAT MELALUI KIRAB BUDAYA ANCAK AGUNG DI KABUPATEN SITUBONDO<\/strong><\/a><\/td>\n60-62<\/td>\n<\/tr>\n
Meri Septi Putri Dani*, Novi Anoegrajekti and Siti Gomo Attas<\/td>\n<\/td>\n<\/tr>\n
PERANCANGAN SOCIAL CAMPAIGN BRANTAS MICROPLASTIC<\/strong><\/a><\/td>\n63-75<\/td>\n<\/tr>\n
Moh Cholisatur Rizaq*, Muhammad Nur Cholis<\/td>\n\ufeff<\/td>\n<\/tr>\n
TRADISI PALANG PINTU : UJIAN CINTA CALON MEMPELAI PRIA BETAWI DALAM FILM PALANG PINTU KARYA QAUSAR HARTA YUDANA<\/strong><\/a><\/td>\n76-81<\/td>\n<\/tr>\n
Nadia Karima, Novi Anoegrajekti, Siti Gomo Attas<\/td>\n\ufeff<\/td>\n<\/tr>\n
KAJIAN MAKNA: ROTI BUAYA SEBAGAI SIMBOL SESERAHAN PERNIKAHAN ADAT BETAWI<\/strong><\/a><\/td>\n82-88<\/td>\n<\/tr>\n
Nia Septiany, Novi Anoegrajekti, Siti Gomo Attas<\/td>\n\ufeff<\/td>\n<\/tr>\n
EKSISTENSI TEDHAK SITEN: UPACARA TURUN TANAH PERTAMA BAGI BAYI<\/strong><\/a><\/td>\n89-93<\/td>\n<\/tr>\n
Novia Chyntia Dewi*, Novi Anoegrajekti, Siti Gomo Attas<\/td>\n<\/td>\n<\/tr>\n
PANTUN SEBAGAI TINDAK TUTUR DALAM PERSPEKTIF STEREOTIP GENDER<\/strong><\/a><\/td>\n94-99<\/td>\n<\/tr>\n
Nurhasanah Halim*, Novi Anoegrajekti, Siti Gomo Attas<\/td>\n<\/td>\n<\/tr>\n
PEMPEK PALEMBANG: THE IDENTITY OF PALEMBANG’S CULTURAL REPRESENTATION<\/strong><\/a><\/td>\n100-104<\/td>\n<\/tr>\n
Oktariyani<\/td>\n\ufeff<\/td>\n<\/tr>\n
EKSISTENSI SENI HADRAH ISHARI SEBAGAI SENI BERNUANSA ISLAM KHAS PASURUAN<\/strong><\/a><\/td>\n105-111<\/td>\n<\/tr>\n
Pradicta Nurhuda, Novi Anoegrajekti, Siti Gomo Attas<\/td>\n<\/td>\n<\/tr>\n
UPGRADERS AND DOWNGRADERS STRATEGIES IN SATGAS COVID-19 TALK SHOW<\/strong><\/a><\/td>\n112-118<\/td>\n<\/tr>\n
Purbo Kusumastuti*, Djatmika and Miftah Nugroho<\/td>\n\ufeff<\/td>\n<\/tr>\n
THE ROLE OF BAMBOO WOVEN CRAFTSWOMEN ON NATURE CONSERVATION PERAN PEREMPUAN PENGRAJIN ANYAMAN BAMBU DALAM KONSERVASI ALAM<\/strong><\/a><\/td>\n119-131<\/td>\n<\/tr>\n
Ratna Kumalasari*, Sri Kusumo Habsari and Prasetyo Adi Wisnu Wibowo<\/td>\n<\/td>\n<\/tr>\n
TEMA DAN MOTIF SARUNG TENUN BUTON (BIA WOLIO) DI PULAU BUTON<\/strong><\/a><\/td>\n132-138<\/td>\n<\/tr>\n
Ratna Said*, Novi Anoegrajekti and Sitti Gomo Atas<\/td>\n\ufeff<\/td>\n<\/tr>\n
EKSISTENSI KESENIAN TRADISI GAOK PADA MASA PANDEMI COVID-20<\/strong><\/a><\/td>\n139-144<\/td>\n<\/tr>\n
Rezky Alviniyanti Yosawati, Novi Anoegrajekti, Siti Gomo Attas<\/td>\n<\/td>\n<\/tr>\n
KESENIAN MUSIK DAMBUS SEBAGAI REPRESENTASI KEBUDAYAAN KHAS BANGKA BELITUNG<\/strong><\/a><\/td>\n145-148<\/td>\n<\/tr>\n
Saskia Noviyanti, Novi Anoegrajekti, Siti Gomo Attas<\/td>\n\ufeff<\/td>\n<\/tr>\n
MAKNA TRADISI BAKU PUKUL MANYAPU BAGI MASYARAKAT NEGERI MAMALA<\/strong><\/a><\/td>\n149-156<\/td>\n<\/tr>\n
Siti Syamsiah Renny Tounbama, Novi Anoegrajekti, Siti Gomo Attas<\/td>\n<\/td>\n<\/tr>\n
SIMBOLISASI KETAHANAN MASYARAKAT MELALUI KEARIFAN LOKAL DALAM AJARAN WETU TELU DI LOMBOK UTARA<\/strong><\/a><\/td>\n157-167<\/td>\n<\/tr>\n
Sri Lestari, Indah Wahyuningsih<\/td>\n\ufeff<\/td>\n<\/tr>\n
PEMAKNAAN TRADISI SARO-SARO DALAM PERNIKAHAN ADAT TERNATE<\/strong><\/a><\/td>\n168-174<\/td>\n<\/tr>\n
Sri Ubaydah Barmawi, Novi Anoegrajekti, Siti Gomo Attas<\/td>\n<\/td>\n<\/tr>\n
WIDOWS’ STRATEGY IN FULFILLING LIFE NECESSITIES THROUGH CIVIC SKILLS MASTERY<\/strong><\/a><\/td>\n175-182<\/td>\n<\/tr>\n
Sukron Mazid, Atsani Wulansari and Atika Dinna Hastanti<\/td>\n<\/td>\n<\/tr>\n
MEDIA BARU DAN TEATER DI MASA PANDEMI<\/strong><\/a><\/td>\n183-188<\/td>\n<\/tr>\n
Wulan Pusposari, Novi Anoegrajekti, Sitti Gomo Attas<\/td>\n<\/td>\n<\/tr>\n
REPRESENTATION OF FEMINISM IN CAMPURSARI SONGS<\/strong><\/a><\/td>\n189-194<\/td>\n<\/tr>\n
Wulan Yulian Anggini and Novi Anoegrajekti<\/td>\n\ufeff<\/td>\n<\/tr>\n
INTRODUCING RELIGIOUS RITUAL OF ISLAM \u201cTAHLILAN\u201d IN BANTEN SOCIETY MENGENAL TRADISI KEAGAAMAAN \u201cTAHLILAN\u201d MASYARAKAT BANTEN<\/strong><\/a><\/td>\n195-201<\/td>\n<\/tr>\n
Yuani Asilady, Novi Anoegrajekti, Siti Gomo Attas<\/td>\n\ufeff<\/td>\n<\/tr>\n
PROSES PERSIAPAN PEMENTASAN DARING LAKON PINANGAN<\/strong><\/a><\/td>\n202-210<\/td>\n<\/tr>\n
Zahra, Novi Anoegrajekti, Siti Gomo Attas<\/td>\n\ufeff<\/td>\n<\/tr>\n
URGENSI PEMASANGAN BANNER DAN PLAKAT SEBAGAI IDENTITAS UMKM TAHU DI DUKUH KRANGGAN ETAN, DESA WIROGUNAN, KECAMATAN KARTASURA, KABUPATEN SUKOHARJO, PROVINSI JAWA TENGAH<\/strong><\/a><\/td>\n211-214<\/td>\n<\/tr>\n
Prasetyo Adi Wisnu Wibowo<\/td>\n\ufeff<\/td>\n<\/tr>\n
SOSIALISASI PENCEGAHAN PENYEBARAN COVID-19 DI POJOK KIDUL, DESA BARAN, KECAMATAN NGUTER, SUKOHARJO<\/strong><\/a><\/td>\n215-220<\/td>\n<\/tr>\n
Prasetyo Adi Wisnu Wibowo, Amalia Tiara Putri, Safira Nury Safitri<\/td>\n<\/td>\n<\/tr>\n
MOTIF BATIK BOGOR BERBASIS TRADISI BUDAYA SEBAGAI BAHAN TEKS FAKTUAL PEMBELAJARAN BAHASA<\/strong><\/a><\/td>\n221-228<\/td>\n<\/tr>\n
Rina Rosdiana, Novi Anougrajekti<\/td>\n\ufeff<\/td>\n<\/tr>\n
RELEVANSI ETIKA JAWA TERHADAP KEHIDUPAN MASYARAKAT JAWA KONTEMPORER<\/strong><\/a><\/td>\n229-235<\/td>\n<\/tr>\n
Mibtadin, Yovita Devi<\/td>\n\ufeff<\/td>\n<\/tr>\n
EKSISTENSI SANGGAR MPOK MINEH DALAM UPAYA MELESTARIKAN PECAK SILAT SEBAGAI KEBUDAYAAN BETAWI<\/strong><\/a><\/td>\n236-241<\/td>\n<\/tr>\n
Lia Khairun Nisa, Novi Anoegrajekti, Siti Gomo Attas<\/td>\n\ufeff<\/td>\n<\/tr>\n
LEARNING IN THE PANDEMIC ERA AT THE VOCATIONAL SCHOOL LEVEL ON ONLINE BUSINESS AND MARKETING COMPETENCY SKILLS<\/a><\/strong><\/td>\n242-247<\/td>\n<\/tr>\n
Lukman Affandi<\/td>\n\ufeff<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"

FULL PROCEEDING OF ICCUSASS 2021 i-241   \ufeff PENDAHULUAN i-vi   \ufeff THE EXISTENCE OF BARUDAK KAULINAN CULTURE AS A SUNDANESE CULTURAL IDENTITY IN THE MIDDLE OF TODAY’S CULTURE 1-7 Adi Nurhadi, Siti Gomo Attas, Novi Anoergejekti \ufeff SERAT WICARA KERAS AND SOCIAL POLITICAL BACKGROUND 8-15 Aloysius Indratmo, Prasetyo Adi Wisnu Wibowo \ufeff LOCAL WISDOM Read More<\/a><\/p>\n","protected":false},"author":24,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"_links":{"self":[{"href":"https:\/\/pasca.uns.ac.id\/s2kajianbudaya\/wp-json\/wp\/v2\/pages\/372"}],"collection":[{"href":"https:\/\/pasca.uns.ac.id\/s2kajianbudaya\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pasca.uns.ac.id\/s2kajianbudaya\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pasca.uns.ac.id\/s2kajianbudaya\/wp-json\/wp\/v2\/users\/24"}],"replies":[{"embeddable":true,"href":"https:\/\/pasca.uns.ac.id\/s2kajianbudaya\/wp-json\/wp\/v2\/comments?post=372"}],"version-history":[{"count":12,"href":"https:\/\/pasca.uns.ac.id\/s2kajianbudaya\/wp-json\/wp\/v2\/pages\/372\/revisions"}],"predecessor-version":[{"id":637,"href":"https:\/\/pasca.uns.ac.id\/s2kajianbudaya\/wp-json\/wp\/v2\/pages\/372\/revisions\/637"}],"wp:attachment":[{"href":"https:\/\/pasca.uns.ac.id\/s2kajianbudaya\/wp-json\/wp\/v2\/media?parent=372"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}