Technic and Mystics of Tukang Wangunan in Sundanese Traditional Houses in Indonesia (Case Study: Baduy Tribe Community-Banten)

The study of the pyramids has attracted attention for several centuries because of the construction itself and its positions. We try to understand their formal and geospatial position and implications. There are various hypotheses about the design of them, from the mystical sphere to mathematical analysis. In this research, we carried out a study of the orientation presented in various prehispanic buildings in Mexico, as a part of Mesoamerica; we selected the most important ceremonial places or pyramids and different cultures, including the last one called "Aguada Fenix" that may produce the first knowledge. Separately, we consider three similar cases, Iraq, Iran, and Egypt, as ancient initial constructions. The research shows that orientation prevails from the visualization of the sunset from the location selected by the Mesoamerican culture under a particular specific translational earth position. However, some cultures prioritized solstice sunrise-facing constructions. It does not necessarily imply that they knew explicitly about the cardinal points: the position of the sun may be sufficient. The Giza Pyramid case is analyzed under this perspective, proposing that the arrangement was carried out by following the line from sunrise to sunset through the drawing of lines from the same point, allowing the largest sunny area during the year.

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“…Mysticism in construction still accompanies relevant characteristics in the spatial placement of buildings and the interior design [15].…”

Section: Resultsmentioning

confidence: 99%

The Similarity in Orientation for Ancient Construction at Mesoamerica and Three World Cases

Herrera-Sánchez¹,

Suárez-Dominguez²,

Arvizu-Sánchez³

et al. 2021

cea

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“…This can be observed on the technique of building houses or traditional barn. In the inner Baduy community, the use of construction technology is prohibited, even the use of hammer and nails (Nuryanto et al, 2021). Houses are made of wood, palm fiber, bamboo, rattan, and leaves.…”

Section: Cultural Ecology Of Baduy Indigenous Communitymentioning

confidence: 99%

Cultural Ecology and Environmental Education: Lesson Learned from Baduy Indigenous Community

Waluya

Malihah

Ruhimat

et al. 2023

IJG

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This research investigated culturally-generated abilities and skills in the frame of human adaptation and environmental education. Under qualitative approach, this research implemented phenomenological research method that seek to understand the situation that occurs locally to certain group. Data collection was done through observation and interview with four key informants involving indigenous community leaders, community members, and formal education practitioner. Additional informants were taken from snowball sampling technique from whose accounts were elaborated until data saturation achieved. Validity and reliability of data were carried through member check and data triangulation. Data analysis process follow three sequential phases, namely data reduction, display, and drawing conclusion. Findings of research were grouped into three sections, namely a) cultural ecology of Baduy indigenous community; b) environmental education based on local wisdom of Baduy people; and c) pedagogical experience on local wisdom-based learning.

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“…Towards the end of the song, in the tenth stanza, due to the eruption of the Galunggung mountain, Mang Maman and Bi Warsih's house is covered in cold lava so that only the suhunan (roof) is visible. In accordance with the vertical division of the cosmology of Sundanese traditional houses, the roof is a symbol of the upper world, the divine quality, as the most sacred part of the house [29]. What Mang Maman and Bi Warsih experienced as human beings is the path of destiny desired by the Creator.…”

Section: ) Symbolism In the Lyrics Of The Song Guntur Galunggungmentioning

confidence: 99%

Guntur galunggung song: text and symbolic meaning review

Saiful,

Sukmayadi

2023

Dewa Ruci J. Pengkaj. dan Pencipta. Seni.

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Mang Koko's 'Guntur Galunggung' is one of the most evocative and innovative songs in Sundanese music, created in response to the 1982 eruption of Mount Galunggung. This song represents a collaborative effort between Sundanese writer Wahyu Wibisana and musical artist Mang Koko, showcasing uniqueness in its thematic background, musical arrangement, and lyrical meaning. The research employs descriptive analysis, focusing on data processing through content analysis of music manuscripts. Data collection methods include observation, interviews, and literature studies. This analysis provides an in-depth review of the innovative Sundanese musical work, 'Guntur Galunggung,' highlighting its musical complexity and interrelated symbolic meanings. The research results reveal the intricate structure of the song "Guntur Galunggung," comprising 12 stanzas of rumpaka, 12 stanzas of gending accompaniment, and distinct sections with varying musical elements, while symbolically depicting the life of a local couple, Mang Maman, and Bi Warsih, emphasizing themes of simplicity, gratitude, resilience, and adaptation in the face of challenges, culminating in their migration to Sumatra as a metaphorical journey of rising after a fall.

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Technic and Mystics of Tukang Wangunan in Sundanese Traditional Houses in Indonesia (Case Study: Baduy Tribe Community-Banten)

Cited by 7 publications

References 8 publications

The Similarity in Orientation for Ancient Construction at Mesoamerica and Three World Cases

The Similarity in Orientation for Ancient Construction at Mesoamerica and Three World Cases

Cultural Ecology and Environmental Education: Lesson Learned from Baduy Indigenous Community

Guntur galunggung song: text and symbolic meaning review

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