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All Journal E-Journal Of Cultural Studies Jurnal Pendidikan Seni Rupa Harmonia: Journal of Research and Education MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts PRABANGKARA Panggung Gelar : Jurnal Seni Budaya Journal of Social Science ARTISTIC : International Journal of Creation and Innovation International Journal of Social Science calaccitra: jurnal film dan televisi International Journal of Multidisciplinary Research and Literature (IJOMRAL) Journal of Aesthetics, Creativity and Art Management Bhumidevi : Journal Of Fashion Design Journal of Social Science Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Journal of Aesthetics, Design, and Art Management Hastagina: Jurnal Kriya dan Indsutri Kreatif Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni E-Amal: Jurnal Pengabdian Kepada Masyarakat Global Art Creativity Conference
I Ketut Muka
Institut Seni Indonesia Bali
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NAMAKALIU: METAFORA BURUNG KUAU RAJA DALAM PENCIPTAAN BUSANA DENGAN EDGY STYLE LOOK ANDROGYNY Agustin Dia Sapariadi, I Dewa Ayu Reika; Sudharsana, Tjok Istri Ratna Cora; Muka, I Ketut
BHUMIDEVI: Journal of Fashion Design Vol. 1 No. 2 (2021): Bhumidevi
Publisher : Pusa Penerbitan LP2MPP Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (971.044 KB) | DOI: 10.59997/bhumidevi.v1i2.730

Abstract

Indonesia merupakan salah satu negara yang memiliki keanekaragaman hayati tertinggi di dunia terutama pada jenis satwa dan tumbuhan. Khususnya keanekaragaman spesies fauna burung Kuau Raja yang penyebarannya terancam punah. Burung Kuau Raja yang mempunyai nama latin Argusianus argus ini merupakan satwa endemik asli Indonesia yang ditetapkan sebagai fauna identitas dari Provinsi Sumatra Barat. Burung Kuau Raja memiliki bulu sayap dan ekor yang panjang, berwarna coklat kemerahan dengan motif abstrak dan bulat menyerupai mata serangga (ocelli), sehingga mendapat julukan burung seratus mata. Dari keindahan burung Kuau Raja menjadi sumber ide pemantik penciptaan karya busana tugas akhir yang diwujudkan ke dalam busana dengan tingkat yang bertahap yaitu Ready To Wear, Ready To Wear Deluxe, dan Haute Couture. Ide pemantik burung Kuau Raja diimplementasikan dengan teori metafora dari beberapa kata kun ci yaitu Koloni, Soliter, Suara, Poligini, Cinta, Edgy style dan Androgyny style. Landasan penciptaan busana ini menggunakan metodelogi desain Tjok Ratna Cora, yaitu “FRANGIPANI, The Secret Steps of Art Fashion” yang terdiri atas sepuluh tahapan dalam proses perancangan desain fashion berdasarkan identitas budaya Bali, namun dalam penciptaan karya tugas akhir ini hanya menggunakan 8 metode yaitu Ide pemantik (design brief), riset dan sumber (research and sourching), pengembangan desain (design development), sample, prototype, and contruction, koleksi akhir (the final collection), promosi (promotion, sales and branding), produksi (production) dan bisnis (business). Hasil penciptaan ini diharapkan dapat menambah kepustakaan khususnya pada bidang mode mengenai metafora burung Kuau Raja yang diimplementasikan kedalam wujud busana edgy style dengan menggunakan branding “Hygge” dan strategi Bisnis Model Canvas (BMC).
Konsep Tetandingan Jaje Sarad Pulagembal Sebagai Seni Lukis Adi Udyana, I Made; Muka, I Ketut; Ruta, Made
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 1 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : Program Studi Seni Murni ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i1.1544

Abstract

Jaje Sarad Pulagembal is one of the complementary facilities for the ceremony that attracts the attention of many people, not only the Balinese Hindu community, but also the wider community. In addition to being quite large, it also looks beautiful because it is arranged very artistically. Jaje Sarad Pulagembal is usually displayed in the courtyard of the temple, but not many people know what the purpose and meaning of Jaje Sarad is. Jaje Sarad is usually made during the implementation of the Madyaning Utama piodalan and above, namely the piodalan that uses bebangkit and the ceremony that uses Pulagembal. The method of creation is a systematic way of creating works of art. The stages of creating a work of art that outlines the design of the process of creating a work of art in accordance with the stages of creation from inspiration (ideas), design, to embodiment. How to realize an idea into a painting, of course, is not necessarily done without preparation. Preparation in this process can be divided into 5 stages of creation: (1) preparation, (2) elaboration, (3) synthesis, (4) concept realization, (5) completion or evaluation. In the title chosen, namely "Jaje Sarad Pulagembal's Counter-Concept as Painting", the concept is meant to be defined by various theoretical concepts that include ideas, designs, and the formation of art in general. Here it refers to the basic nature of art, namely composition, form, and color. Sarad is a Hindu religious ceremony in Bali which is mostly made of snacks made from rice flour with visualization of symbols of the contents of the universe. Pulagembal is a collection of several Bantenese that accompany several kojong fruit containing several types of sacred Banten snacks. Jaje Sarad Pulagembal is deemed appropriate to represent various images of life that is felt by the author, by forming new objects into jaje Sarad and not referring to the previous forms of jaje Sarad, the author can pour ideas and new forms into the painting. Not only a description of the author's life, but also raises environmental issues related to the ecology of the Balinese people.
Brand Image Linkage, Product Diversity and Store Atmosphere to Customer Loyalty in Fashion Shops in Bali Ribek, Pande Ketut; Purnawati, Ni Luh Gede Putu; Pendet, Ketut Muka; Yuliastuti, Ida Ayu Nyoman
Mudra Jurnal Seni Budaya Vol 39 No 1 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v39i1.2489

Abstract

Loyalty is created based on the experience of consumers buying and consuming products, the factors that influence the emergence of customer loyalty so that they can carry out the right strategy for the survival of the company. brand image, product variety, and store atmosphere. The purpose of this study was to analyze the effect of brand image, product variety, and store atmosphere on customer loyalty. The population of this study are consumers who come to shop at least 2 times. The sampling technique is purposive sampling, this method uses the census method with a total of 102 fashion shop owners. Samples in this study were 102 respondents, with multiple linear regression analysis. Results of this study brand image has a significant positive effect on customer loyalty, product variety has a significant positive effect on customer loyalty, store atmosphere has a significant positive effect on customer loyalty in fashion stores in Bali.
THE STORY OF YOUNG PHOTOGRAPHER IN “MESATYA – TELUSUR PUPUTAN BADUNG” DOCUMENTARY FILM Bumiarta, Made Rai Budaya; I Ketut, Muka; I Wayan, Suardana
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 7 No. 1 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lksn.v7i1.2804

Abstract

Documentary films are a medium for crafting a message and getting that message out to the broader community. The philosophical value of cultural roles and responsibilities can be presented through visual and verbal messages, and documentaries are one of the most accessible digital educational media. The presentation of the documentary Mesatya – Telusur Puputan Badung is a historical story that happened in 1906. It was inspired by the National Museum of Badung royal heritage collection, which the Dutch confiscated during the Military Expedition in 1906. This film depicts Bali with its beautiful nature and culture and the story of the bloody tragedy that ever happened to maintain self-respect and country. Focuses on sequences described in terms of the opening, central, and closing scenes, including the cultural and inspiring values presented in the film through visual and linguistic information. Also, most visuals of Mesatya – Telusur Puputan Badungdocumentary film represented a reconstruction photography technique. We can see that the story runs from the perspective of a young photographer who wants to find inspiration from the event. Audiences are invited to enjoy every shot and scene with a visual aesthetic full of meaning. We can see a detailed description of the meaning of the photographer's journey.
TOPENG RANGDA AS METAPHOR OF DEWI DURGA BY TJOKORDA OKA TUBLEN Artawan, Cokorda Alit; Mudra, I Wayan; Muka, I Ketut; Karja, I Wayan
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.570

Abstract

The Topeng Rangda created by Tjokorda Oka Tublen with a distinctive character as an interpretation of Durga has a magical impression. This research aims to deeply understand Rangda as a metaphor of Durga by Tjokorda Oka Tublen. The Topeng Rangda created by Tjokorda Oka Tublen's is sacred to the community and used as a role model by the Balinese people. Nevertheless, until now there has been no special study about it. This research uses a qualitative method. The data collection is done by purpose sampling with observation, interview, and literature study techniques, dissected with aesthetic theory and metaphor theory. The result of this study, Topeng Rangda as a metaphor is a mask with a scary face as the embodiment of Dewi Durga in white with buck teeth, bulging eyes with a magical, majestic and authoritative impression. The process of creating Tjokorda Oka Tublen's mask includes: newasen, nyawi, nyalonan, makalan, nadiang, nelesang, ngalusang, ngewarna, dan pasupati.
PRESERVATION OF INTANGIBLE CULTURAL HERITAGE THROUGH THE LAKE TOBA TRADITIONAL MUSIC FESTIVAL Bangun, Jabatin; Sudirga, I Komang; Remawa, Anak Agung Gede Rai; Muka, I Ketut
International Journal of Multidisciplinary Research and Literature Vol. 5 No. 2 (2026): INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY RESEARCH AND LITERATURE
Publisher : Yayasan Education and Social Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53067/ijomral.v5i2.405

Abstract

Intangible Cultural Heritage requires various new strategies and methods to address preservation challenges in the modern era. One effective approach is through festivals as a medium for introduction, collaboration, and regeneration of cultural works. This paper examines the 2021 Lake Toba Traditional Music Festival as a model of preservation based on creative participation. This festival involved twelve composers selected through an open selection process by a team of curators to create a musical work sourced from the traditions of four ethnic groups around Lake Toba: Batak Toba, Karo, Simalungun, and Pakpak. Each composer was required to conduct field research and interact directly with local musicians to understand the musical, social, and ecological contexts of the cultures they were adapting. This research uses participatory qualitative methods with data sources in the form of field observations, interviews, audiovisual documentation, and festival archives. The analysis is carried out using a musicological and ethnographic approach to examine the cross-cultural creative process. The results of the research show that this program produces a diversity of musical forms that combine instrumental, vocal, and traditional poetry elements, as well as revealing a dialogue between modernity and tradition. This festival is not only a performance event, but also a space for transcultural creation that strengthens the cultural identity and musical ecology of the Lake Toba region.
Busana Berkelanjutan Melalui Interpretasi Akulturasi Arsitektur Gedung Candra Naya Dengan Tekstil Pewarna Alami Kadek Gina Shamita Lavani; I Ketut Muka Pendet; Ni Luh Ayu Pradnyani Utami
BHUMIDEVI: Journal of Fashion Design Vol. 6 No. 1 (2026): Bhumidevi
Publisher : Pusa Penerbitan LP2MPP Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Penciptaan karya tugas akhir Bayang Langit Loka dilatarbelakangi oleh ketertarikan terhadap Gedung Candra Naya sebagai bangunan bersejarah yang merepresentasikan akulturasi budaya Tionghoa, Betawi, dan Eropa abad ke-19. Nilai arsitektural, filosofi, serta perubahan fungsi bangunan menjadi dasar perancangan busana bermakna dan berkesadaran lingkungan. Tujuan penciptaan ini adalah menghadirkan busana sebagai medium ekspresi nilai akulturasi budaya dan prinsip keberlanjutan melalui tekstil pewarna alami. Proses penciptaan meliputi eksplorasi ide, pengembangan konsep, eksperimen material, hingga perwujudan karya seni fesyen. Karya diwujudkan dalam kategori Ready-to-Wear, Deluxe, dan Semi Couture bergaya classic elegant dengan struktur siluet seimbang, material cotton twill 20’s suede dan cotton slub, serta motif botanical Cilpacastra.
Palembang jumputan textile as cultural heritage: a historical study and its development dynamics Mukhsin Patriansah; I Ketut Muka; Nyoman Dewi Pebryani; Tjok Istri Ratna C.S
Gelar: Jurnal Seni Budaya Vol. 24 No. 1 (2026)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v24i1.8230

Abstract

An analysis of its developmental dynamics over time. The research aims to trace the historical existence of jumputanfabric and investigate its development across different historical periods, ranging from the Srivijaya era and the Palembang Sultanate to the contemporary period. The novelty of this study lies in its effort to systematically explore the historical trajectory and developmental dynamics of Palembang jumputan fabric, thereby revealing not only its origins and evolution but also the transformation of its functions, motifs, techniques, and cultural meanings amid social changes in Palembang society. The theoretical contribution of this research is the strengthening of historical and cultural heritage studies through an analysis of the development of Palembang jumputan fabric as a cultural artifact that reflects historical values and the continuity of cultural identity in the face of changing times. This research employs a qualitative method with a historical approach through literature review, document analysis, interviews, and the interpretation of other relevant sources. The research was conducted at the Bumiayu Temple Site in Penukal Abab Lematang Ilir (PALI) Regency, South Sumatra, the Balaputradewa Museum, the Sultan Mahmud Badaruddin II Museum, and the Tuan Kentang Weaving Village in Palembang. Data analysis was carried out through the stages of data identification, data reduction, data analysis, and synthesis. The findings reveal that visual representations resembling jumputan fabric can be identified on the statues of deities and Shiva located at the Bumiayu Temple Site in PALI Regency, South Sumatra. Furthermore, the results demonstrate significant developmental dynamics of Palembang jumputan fabric in terms of technical innovation, motif forms and patterns, as well as its artistic, aesthetic, and functional values. The study concludes that Palembang jumputan fabric reflects an ongoing process of cultural negotiation between tradition and modernity while simultaneously serving as an important medium for preserving cultural identity in the midst of globalization.  
Penciptaan Keramik Kitchen Set Kolaborasi Dengan Ud. Tri Surya Keramik: Kreamik Kreasi Adi Gunawan I Made; Muka I Ketut; Rai Sunarini Ni Made
Hastagina : Jurnal Kriya Seni Vol 6 No 01 (2026): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LPPM ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v6i01.5667

Abstract

Balinese ceramic crafts are a cultural heritage rich in artistic and religious values, but face sustainability challenges due to the declining interest of the younger generation. This research aims to study the process of making ceramics with the electric wheel technique at UD. Tri Surya Keramik, Badung Regency, Bali, and develop ceramic products with local cultural nuances to meet tourism needs, especially kitchen sets and decorations. The methods used include active participation, observation, interviews, and literature study to understand the stages of production, starting from clay processing, forming, decorating, glazing, to firing. The learning process at UD. Tri Surya Keramik includes systematic stages such as clay processing through drying, pounding, sifting, and kneading to ensure a plastic texture, forming with electric wheel techniques to produce symmetrical shapes such as cylinders, vases, bowls, and plates, decorating with incised techniques, glazing with dip or spray techniques, and firing biscuits (800-900°C) and glaze (1,200-1,250°C). The aesthetics of decoration on ceramic products reflect Balinese culture through incised and cukil techniques that produce carved patterns with natural nuances, such as leaf motifs and curved lines, which add artistic value and local identity. The results showed that the learning process at UD. Tri Surya Keramik produces functional and decorative products, such as tableware and vases, with high quality that combine traditional Balinese aesthetics and modern market needs. The products exhibit symmetry, surface smoothness, and glaze color harmony, with great potential to improve competitiveness through design innovation. This research also provides insight into the importance of collaboration between industry and education to preserve and develop ceramic crafts, while encouraging the younger generation's interest in local ceramic art.
Co-Authors Adesastrawiguna, Iputu Adi Gunawan I Made Adi Udyana, I Made Agustin Dia Sapariadi, I Dewa Ayu Reika Alit Parwita Yana, I Made Anak Agung Ayu Oka, Saraswati Angga Maha Putra, I Komang Arba Wirawan, I Komang Ardika, I Gusti Ngurah Putu Arimbawa, I Gede Bangun, Jabatin Bimo Prasetyo Cokorda Alit Artawan Darmawan, James Dewa Putu Oka Prasiasa Diajeng Wardani Eka Putri Suryantari Gusti Ngurah Agung Dalem Diatmika I Gede Arya Sugiartha, I Gede Arya I Gede Mugi Raharja I Gusti Ayu Artayani . I Ketut Adi Sugita I Ketut Ardhana Ardhana, I Ketut Ardhana I Ketut Sida Arsa I Komang Sudirga I Made Berata I Made Jana I Made Mertanadi I Made Ruta I Made Suarpradana, K I Made Sujana I Made Suparta I Nengah Wirakesuma, I Nengah I Nyoman Laba I Nyoman Linggih I Nyoman Suarka I Nyoman Yudhi Satriawan I Nyoman, suardina I Wayan Adnyana I Wayan Mudra, I Wayan I Wayan Suardana I Wayan Suardana I Wayan Sudana I Wayan Sujana I Wayan Sujana Ida Ayu Nyoman Yuliastuti Jana, I Made Kadek Gina Shamita Lavani Karuni, Ni Kadek Kondra, I Wayan Made Rai Budaya Bumiarta Miyasa, I Nyoman Mukhsin Patriansah Ni Kadek Yuni Diantari Ni Luh Ayu Pradnyani Utami Ni Luh Gede Putu Purnawati Ni Made Ruastiti Nyoman Dewi Pebryani Pande Ketut Ribek Pande Putu Ogy Mega Sanjaya Putu, Tari mey jessica Rai Remawa, Anak Agung Gede Rai Sunarini Ni Made Ratna Cora Sudharsana, Tjok Istri Satrio Hutomo, Adam Soelistyowati Soelistyowati Suardana I Wayan, Suardana Sugiartini, Ni Nyoman Ari Totton, Mary Louise Wayan Karja Yogi Kertayasa, I kadek