Laesan is a traditional art that comes from the word “laesun” which means “suwung” or empty. In the show, it tells the story of a human being from the womb to return to the grave which is told through a dance accompanied by songs according to the session. This study aims to describe the relationship between humans and elements of communication and communicative actions in the cultural event of laesan performance. This research applied a qualitative descriptive approach with ethnographic studies of communication. The research data were in the form of fragments of speech and actions involved in laesan performing arts. The research method was ethnographic and participatory. The results show that laesan art communication has a communication system related to the sequence of GASKENPI components. The forms of messages in laesan art are mantras and song lyrics. The act of communication in laesan art is divided into two: (1) the act of communication between laesan players and the empty atmosphere of the universe, (2) the act of communication between laesan players and the audience. These two forms of communication have functions related to environmental preservation which include the songs entitled Ella Ello, Bandhan, Luruo Sintren, and Santrine Dodol Gambir.

The focus of this research is on variations in the use of the Javanese dialect of Rembang by rural communities. Research data in the form of written data and oral data. Case study in Tuyuhan Village, Pancur District, Rembang Regency. The objectives of this research are (1) to reveal vocabulary variations and (2) to describe variations in speech level usage. In collecting data, the researcher used the listening method and the speaking method. The results of the study include: (1) there are variations in vocabulary in 11 fields of meaning, namely greeting words/pronouns, animals, plants, clothes, body parts, kinship patterns, work, household equipment, diseases, activities/activities, and natural conditions. (2) there is an influence of Indonesian into Javanese, both Krama and Ngoko

This study proposes to describe morphological causative formation in Indonesian and Javanese to determine similar verbs by comparing both. The levels of causative formation patterns in the Rembang Javanese dialect and Indonesian include (1) analytical causative construction, (2) morphological causation, and (3) lexical causation. This study focuses on the morphological causative construction in both languages. This study is descriptive qualitative with a language typology approach. Sources of data came from oral and written data. The data analysis applied typology theory. The results point out that the morphological causative form in Indonesian is constructed with the suffix “-kan” only. Meanwhile, Rembang Javanese dialect is much greater; it can be formed with the prefix “n-“, infix “-en”, infix “-in”, the suffix “-I”, the suffix “-no”, and the suffix “–ke”. These affixes increase the number of valences (arguments).

This study aims to examine the philosophical issues in human life contained in the lexicon of laesan art songs. It used a qualitative descriptive approach with an ethnographic study of communication. The data was fragments of speech and actions involved in the laesan performance. The research method was ethnographic and participatory. The results point out that laesan portrays a philosophy of human life from birth to death. Moreover, humans are described as servants who must obey and rely all hopes only on God. Guidance for living in the world is reflected in the songs Ela-elo, Uculana Bandan, Kembang Gedhang, Lurua Laesan, and Lara Tangis. Ela-elo describes humans being born on earth because God's will created humans, Uculana Bandan depicts humans facing problems in the world, and Kembang Gedhang illustrates that humans only live temporarily in the world in the sense that all of them will meet their end one day. In addition, Lurua Laesan contains philosophy that humans must always try, not just give up, and Lara Tangis depicts the pain of humans when they are about to die.