MUDRA Jurnal Seni Budaya
AIMS The journal presents as a medium to share knowledge and understanding art, culture, and design in the area of regional, national, and international levels. In accordance with the meaning of the word “Mudra”, which is a spiritual gesture and energy indicator, it is hoped that the journal will be able to vibrate the breath of art knowledge to its audience, both academics, and professionals. The journal accommodates articles from research, creation, and study of art, culture, and design without limiting authors from a variety of disciplinary/interdisciplinary approaches such as art criticism, art anthropology, history, aesthetics, sociology, art education, and other contextual approaches. SCOPE MUDRA, as the Journal of art and culture, is dedicated as a scientific dialectic vehicle that accommodates quality original articles covering the development of knowledge about art, ideas, concepts, phenomena originating from the results of scientific research, creation, presentation of fine arts, performing arts and new media from researchers, artists, academics, and students covering areas of study: Performing Arts: dance, puppetry, ethnomusicology, music, theater,performing arts education, performing arts management Fine Arts: fine arts, sculpture, craft art, fine arts education,fine arts management, including new media arts Design: interior design, graphic communication design, fashion design,product design, accessories and/or jewelry design Recording Media : photography, film, television, documentary, video art, animation,game Culture : linguistic, architecture, verbal tradition, as well as other communal tradition The object of research is explored in a variety of topics that are unique, relevant, and contextual with environmental and sustainability aspects, local wisdom, humanity and safety factors. In addition to that, the topic of research needs to be original, creative, innovative, excellence, and competitive.
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<![CDATA[Kotekan in the Traditional Shona Mbira Music of Zimbabwe ]]>
<![CDATA[Lewis Peterman]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 25 No 3 (2010): Desember ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v25i3.1560
<![CDATA[This article documents musical interlocking as it is traditionally practiced among the Shona people of Zimbabwe. Its focus is on the music of the mbira dzavadzimu, a traditional musicial instrument that consists of 22-25 or more keys distributed over three manuals(keyboards) played with both thumbs and one index finger. Numerous musical examples,using notational symbols developed for this study, are used throughout to clarify all technicaldetails. Most of the notational symbols are the same or similar to those used by Paul Berliner in his classic study The Soul of Mbira (Berliner: 1978). Six complete traditional mbira dzavadzimu pieces are presented in easy-to-read notated form: “Nhemamusasa,” “Chakwi,” “Nhemamusasa Variation,” “Nyamaropa,” “Shumba,” and “Taireva.” Four different categories ofinterlocking procedures form the core of the article: 1) Interlocking in Solo Mbira Music; 2) Interlocking in Two-Part Mbira Music; 3) Interlocking in Three-Part Mbira Music; and 4) Interlocking in Multiple-Part Mbira Music. Three supporting categories are also presented: 1) Interlocking in Mbira “High-Line” Parts; 2) Interlocking in Accompanying Vocal Parts; and 3) Interlocking in Miscellaneous Accompanying Parts. Much of the data in this article was gathered by the author through his private instruction with the following distinguished Shona mbira players: Irene Chigamba, Tute Chigamba, Musekiwa Chingodza, Stella Chiweshe, Michael Kamunda, Forward Kwenda, Ephat Mujuru, and Luken Kwari Pasipamire.]]>
<![CDATA[Intercultural Balinese Painting from the Classic to the Modern ]]>
<![CDATA[I Wayan Setem]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 25 No 3 (2010): Desember ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v25i3.1561
<![CDATA[This article examines the representation mode painting like a change parallel to the profound transformation of the technical or theoretical knowledge, and also parallel to changes in the Balinese society values due to the physical evolution and the evolution of the system of values. In fact, within one century of painting it has been like moving from the classical, traditional, standard, homogeneous, local, and collectively turned into a painting that has been varied, heterogeneous, individual, and internationally with a modern twist. These waves of change occurred in the span of time through several stages, and most striking result from cash capitalistic economy and culture, especially tourism. In pre-colonial time the painting is a narrative religious functions until the time of breath commercialism modernist touches to always make innovations or changes. From the sacred space of temples and palaces to moving objects souvenirs, hotel interiors, fash- ion and even interior and exterior car. Developments of painting through innovation should not be inter- preted as a discontinuity (rapture) or discontinuity of the local context, but on the contrary, to appreciate again the classical values (pastiche), not by road of preserving it rigidly, but the process of reinterpretation and re-contextualization.]]>
<![CDATA[Formal Symbolization Within Spatial Imagination ]]>
<![CDATA[I Made Bendi Yudha]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 25 No 3 (2010): Desember ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v25i3.1562
<![CDATA[The Balinese people are known to be religious. In their daily life activities on the implementation of the religious ritual called panca yadnya (five kinds of sacred rituals), always equipped with the means upakara or offerings are laden offerings with a variety of shapes and images in the form of symbols which are religious magical. The art of offerings is the art of symbols in which concrete and abstract could create artistic as well as symbols of supernatural characters; ten characters, five characters which are applicable and have different functions. And sometimes contradictory according to the needs and intended use. From these observations arose the interpretation of a meaning that, in meeting the needs of human life, basically has two major potential attractions to each other and complementary, i.e. doing structuring/restructuring or order which is oriented on the arrangement of a better life. The deviation/dissension and, even, destruction or chaos that tends to reject the establishment. This is when management is not based on the concept of balance and harmony, it will affect the social fabric of society and is prone to conflict and discord. Hence, the joints destabilize the integrity of nation and state. The concept of the balance contained in the upakara or offering means in comparison to the meaning of life phenomena that occur in society today seems to have been neglected and even abandoned. This can be proven where there has been deviation measures both the nature and the human life, among others, the exploitation of natural resources, discrimination in law and human rights, gender, and abuse of authority in the field of public administration, and will impact the spread of ecological crisis and moral degradation, as well as heighten the level of community poverty. Based on the understanding of the symbols mentioned above, these can be used as an interactive experience as well as a source of inspiration, a creator of images to stimulate natural trigger for the emergence of a sense that if copyright in the form of creative ideas about the values of life. The utterance of his philosophical concepts are abstracted into a work of art by combining with a representative form abstractive application through lines, colors and textures which are varied, and through impasto technique so that they reflect the authen- ticity of works of art (authenticity of the art work), aesthetic, artistic and reflection of personal value of novelty.]]>
<![CDATA[Cartoon in Form, Function and Meaning Perspectives in Bog-Bog Bali Cartoon Magazine ]]>
<![CDATA[I Wayan Suandi]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 25 No 3 (2010): Desember ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v25i3.1563
<![CDATA[The existence of cartoons in a printing media is a supplement that can even show other side in delivering self mission as social condition indicator of society currenntly. In its development, a cartoon is not an illustration of this media only, but also more dedicated to an opinion and it can even be a promotion media from a product which would like to be presented in this printing media. Thus, the existence of cartoon, a media can improve its role by presenting a more complete menu within simple, humorous drawing language and can attract attention; even a cartoon can speak thousand words.]]>
<![CDATA[Ergonomics and Tri Hita Karana Conception in Balinese Traditional Houses ]]>
<![CDATA[I Nyoman Artayasa]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 25 No 3 (2010): Desember ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v25i3.1564
<![CDATA[Tri Hita Karana is the concept of three things that can lead to happiness, which consist of the relationship of human beings with God, amongst human beings, and the relationship of human beings with the environ- ment, which is embodied in the circulation, the design space forming element, the supporting build a space, design of facilities, utilities and decoration. The study of ergonomics on traditional residential houses in Bali focuses on task elements, organization and environment. The task examines how the facilities are created based on anthropometric and activity flow. The organization studies about traditional Balinese buildings layout in terms of organization of space, which resulted in a large scale, function space and circulation space. Environment review the two sides, firstly is physical environment, namely: the use of circulation, lighting and handling the existing season every year, and secondly is the social environment, namely: religion, beliefs, norms and others. There are similarities between Ergonomics and Tri Hita Karana, therefore this study intend to it. It is conducted by using qualitative descriptive analysis with the applica- tion of Tri Hita Karana concept on traditional Balinese buildings and also accompanied with ergonomic values based on te ape ape ape ape ape ape ape ape ape ape ape ape ape ape ape appose of this writing is to observe whether the ergonomics and Tri Hita Karana have similar views in the embodiment of traditional Balinese houses. In the end of the discussion we can conclude that the embodiment of traditional Balinese residential buildings has to be considered on the relationship of human beings with God and also the relationship of human being with the environment. It is also includes a consideration in ergonomics con- sists of: task, organization and environment; and it is found out that in the concept of Tri Hita Karana has similarities with the concept of ergonomics on traditional Balinese houses.]]>
<![CDATA[Model Service Life Skills Counselling (Life Skills Mentoring) Based Tri Hita Karana Citizens Group to Learn in the District Badung, Gianyar and Singaraja Bali Province ]]>
<![CDATA[A.A. Ngurah Adhiputra]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 25 No 3 (2010): Desember ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v25i3.1566
<![CDATA[The study has been intended to develop life skills counselling models based on the tri hita karana concept is needed because counselling services in most society tend to be academic and vocationally oriented. Therefore, models of life skills counselling are obligatory. Four steps were taken in the study. First, preliminary overviews of general life skills education program in the society. Second, developing ‘hypothetical’ life skills counselling models based on the tri hita karana and formulating an early life skills counselling services. Third, conducting a model validation though seminars, and trying -out models and data analyses. At this stage, the researcher conducted data analyses between pre-test and post-test implementations. Fourth, based on the data analyses, the researcher formulated a final model of the Tri hita karana-based counselling service and further socialized, disseminated, and strengthened the places of counselling activities the in society. In general, this research has achieved the targeted goals; to develop a tri hita karana-based models in life skills counseling work. The model can be applied by tutors, technical resource persons, counselors, organizers of fasilitators at the Province of Bali.]]>
<![CDATA[Tourist Performing Arts: Balinese Arts-Based Creative Industry ]]>
<![CDATA[Ni Made Ruastiti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 25 No 3 (2010): Desember ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v25i3.1567
<![CDATA[Creative industry is part of creative economy, which is the implementation of the attempts made to create sustainable development through creativity. Sustainable development refers to a competitive economic climate with renewable resources. Creative economy refers to the fourth stage evolution after agricultural economy, industrial economy and informational economy. As far as the performing arts performed for tourism are concerned, arts seem to develop sustainably. The performing arts such as Cak, Barong and Legong performed for tourism by the Balinese community is the implementation of the local people’s creative industry in developing their artistic life sustainably. They are packaged as the local traditional performing arts.]]>
<![CDATA[De-sacredizing of the Barong Dance Social Life in the Community Culture Bali ]]>
<![CDATA[I Gusti Ngurah Sudiana]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 25 No 3 (2010): Desember ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v25i3.1568
<![CDATA[This article is the result of a research work in the village of Batubulan in 1998. In Batubulan there are two kinds of sacred barong which are given the title of Queen Gde Sakti and non-sacred Barong Tetamon for tourists’ performance. The two barong have the same shapes but have different functions. The sacred Barong (Ratu Gde Sakti) serves to drive out or neutralize all the diseases that are unseen, while the barong tetamon’s goal is to earn money. The sacred barong is housed at a place considered holy and sacred, being sacred on a particular day. While barong tetamon performs every day in the local stage without considering the good day, whether sacred or not. Tourists can watch the barong tetamon dance every day by paying the appropriate admission price that has been fixed by the owner of the stage. As a result of staging the many symbols and others, the sacred barong dance functions have changed their meaning when performed in the form of Barong Tetamon. De-sacralization processes have happened on various forms, e.g. the making, ceremonies, plays, the staging, staging time, and others. These changes are related to degrading the sacredness where there have been changes to the social meaning of barong dance. Due to changes in the meaning of it, it will slowly bring the cultural change of the society into a cultural market, particularly that of religion.]]>
