Lately, people are often confused with the definition of kawih, tembang, and cianjuran. Quite often the term kawih is dichotomized by the term tembang, or the term tembang is equated with cianjuran. This mistake even applies to educational institutions, both in high schools and in universities. Likewise with the media. This study aims to describe the meaning of kawih, tembang, and cianjuran. The method used is descriptive qualitative through an epistemological approach, which examines the exposure of the meanings of the three terms from several sources, as well as comparing from other sources who also describe the three terms to obtain meaning that is considered ideal. The results obtained are, kawih is a vocal art owned by the Sundanese people and has been around for a long time, long before the sixteenth century. Kawih is also interpreted as all kinds of songs that exist in Sundanese society. Tembang is a type of kawih or song that uses lyrics from the dangding and only emerged and was known in Sundanese society around the XVIII century as an influence of Mataram; cianjuran is a part of Sundanese kawih originating from Cianjur Regency.Keywords: Kawih, Tembang, Tembang Sunda, Cianjuran, Tembang Sunda CianjuranABSTRAKAkhir-akhir ini masyarakat kerap dikelirukan dengan definisi kawih, tembang, dan cianjuran. Tak jarang istilah kawih didikotomikan dengan istilah tembang, atau istilah tembang disamakan artinya dengan cianjuran. Kekeliruan ini bahkan berlaku pada dunia pendidikan, baik di sekolah menengah maupun di perguruan tinggi. Demikian pula pada dunia pers. Penelitian ini bertujuan untuk mendeskripsikan makna dari kawih, tembang, dan cianjuran. Metode yang digunakan adalah deskriptif kualitatif melalui pendekatan epistimologi, yakni menelaah dari paparan makna ketiga istilah dari beberapa sumber, serta membandingkan dari sumber-sumber lain yang juga memaparkan ketiga istilah tadi untuk memperoleh makna yang dianggap ideal. Hasil yang diperoleh adalah, kedudukan kawih merupakan seni suara atau nyanyian yang dimiliki masyarakat Sunda, serta sudah ada sejak lama, jauh sebelum abad XVI. Kawih dimaknai pula sebagai segala jenis nyanyian yang ada pada masyarakat Sunda. Tembang adalah jenis kawih atau nyanyian yang menggunakan lirik dari dangding dan baru muncul serta dikenal di masyarakat Sunda sekitar abad XVIII sebagai pengaruh dari Mataram; sedangkan cianjuran merupakan bagian dari kawih Sunda yang berasal dari daerah Cianjur.Kata kunci: Kawih, Tembang, Tembang Sunda, Cianjuran, Tembang Sunda Cianjuran

Artikel ini memaparkan kegiatan upacara adat Mapag Sri dengan berfokus pada mitos dan representasi Dewi Sri dalam ritual sinoman pada upacara adat tersebut. Dengan menggunakan kajian semiotika penelitian ini membahas mitos dan makna dari ritual upacara adat Mapag Sri. Metode yang digunakan dalam penelitian ini adalah metode kualitatif yang menghasilkan data-data hasil wawancara dan observasi lapangan. Hasilnya didapatkan bahwa Dewi Sri yang direpresentasikan sebagai perempuan yang disimbolkan juga pada tanaman padi mengindikasikan bahwa upacara adat Mapag Sri merupakan penghormatan kepada perempuan dan kepada padi sebagai hasil panen. Upacara adat ini juga menunjukan hubungan antara perempuan dengan alam. Perempuan berperan signifikan dalam ritual upacara adat ini seperti yang terlihat pada kegiatan sinoman yang merupakan salah satu rangkaian pokok dari upacara adat Mapag Sri. Sinoman merupakan representasi dan analogi dari pola siklus kehidupan manusia, tempat awal dan akhir kehidupan manusia merupakan tempat yang sama yakni di akhirat. Upacara adat ini dilangsungkan setiap tahun untuk menyambut masa panen padi dapat diargumentasikan sebagai sebuah representasi dari kearifan lokal yang bersifat ekologi karena kegiatan ini berfokus pada partisipasi dan kedekatan masyarakat dengan alam, terutama dalam konteks ketahanan pangan dan kelestarian lingkungan. Kata kunci: upacara adat, Mapag Sri, sinoman, Dewi Sri, semiotika

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Indung means mother in Sundanese. Indung in Sundanese culture is found in Paribasa, Babasan, Carita Pantun, Waditra (Sundanese traditional musical instrument), traditional ceremonies, and others. The word indung, which is found in almost all elements of Sundanese culture and manifests in Sundanese artifacts, has an invisible meaning. The meaning of indung in the perspective of Sundanese culture that exists in today’s society has not been explored. The meaning of indung from a cultural perspective needs to be searched for. There have not been found artworks with the theme of indung from a Sundanese cultural perspective, so it is necessary to explore representations in artworks. This study employs the Art-based Research method, in which an investigation is carried out on the data, and the results are represented in artworks. Through questionnaires, interviews, and literature studies, the meaning of indung is extracted and then tabulated to be classified and analyzed. The results of data processing showed that indung has many meanings, the result of converging data from the literature, questionnaire and interview the whole there are 17 meanings, among which the nurse, angel, house, huge, source of life, earth, embrace, harmony, the center of life, and love. The results of data processing are represented in artworks. Artworks made based on the meaning of indung are limited to three titles, namely Sumber Kehidupan (Source of Life), Merangkul (Embracing), and Rumah yang Hangat (Warm Home). The visual exploration contained in the three titles is made using stylized forms with a decorative style, using elements of motifs and colors from West Javanese batik. The media and techniques used are found in written batik. The results of the visualization of the meaning of indung of the three artworks that are created can be concluded that the meaning of indung cannot be symbolized singly.

<p><em>Si Mamih is a Sundanese comic character created by the cartoonist Edyana Latief. This obese female cartoon character, identical with black spotted shirt and crested hair, may deliver a comical communication that brings smiles and laughs as the Sundanese people character’s assertion that are fond of humor. Evidently, in delivering her humor, Si Mamih does not always disobey the cooperative principle. There is obedience toward Grice’s theory performed by Si Mamih. This obedience can be observed in maxims of quality, quantity, relevance and manner. The obedience of Si Mamih toward the cooperative principle is intentionally performed by its cartoonist creator as a uniqueness of delivering creativity and imagination which bring smiles and laughs.</em></p>