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[Markers Of Post-conceptual Painting In Bandung Contemporary Arts (A Case Study On Errata-optika Exhibition ]]>
<![CDATA[Kiky Rizky Soetisna Putri]]>;
<![CDATA[Setiawan Sabana]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.41
<![CDATA[Painting in its development has undergone various criticisms both of the medium and its conceptual substance. Currently painting is widely regarded as mere representation strategy. This study tries to see and tracing the paradigm shift in the era of contemporary painting, conceptual expansion, particularly the use of optical devices in its creation. Case study in this research is an exhibition in 2007 entitled Errata-Optika that was believed to be an important milestone paradigm shift in contemporary painting. This study used qualitative methods to approach the criticism and the study ofliterature on the history of painting to contemporary era. Observation was carried out as a method of collecting data from the exhibition Errata-Optika. The exhibition featured seven artists and twenty-two paintings that used optical devices in its creation method.Keywords: Post-conceptual Painting, Contemporary Art, Bandung, Exhibition]]>
<![CDATA[Symbolic Meaning of the Ornamental Diversity of Cirebon Batik Pegajahan ]]>
<![CDATA[Komarudin Kudiya]]>;
<![CDATA[Setiawan Sabana]]>;
<![CDATA[Agus Sachari]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.42
<![CDATA[Cirebon Batik Pegajahan is the result ofthe creative process, feeling, intention, also long thought of people who have expertise in interpreting the condition of people‘s behavior of Cirebon (palace), which was then adapted into a form of art and culture of batik fabric through a process of creativity of the craftsmen. This Batik Pegajahan grows and develops within the community of (palace) Cirebon, including: Kasepuhan Palace, Kanoman, Kacirebonan, and Keprabonan.This study will explain the symbolic narrative contained in Pegajahan Cirebon batik decoration. The discussion is based on the systematic symbolic visual elements of the Pegajahan batik decoration which is based on the teachings ofthe Tarekat Syattariyah attitudes and behavior of (palace) Cirebon society, form of local wisdom that is reflected in the symbolic-aesthetic elements.The research used descriptive—analytic method and ethnography, in describing the symbolic narrative found in Batik Pegajahan Cirebon, The results are in the form ofvisual data complete with symbolic narratives in Batik Pegajahan Cirebon, which represents behavior of (palace) Cirebon people significantly; so it can be used as reference for further research in the reconstruction, reproducing, and formulating such ornaments as the basis for designing or guidance for the people of batik (palace) Cirebon in particular.Keywords: Symbolic Narratives, Decoration of Batik Pegajahan and Tarekat Syattariyah]]>
<![CDATA[Preservation and Development Strategies of Gorontalo’s Local Culture through Gorontalo Cultural Digital Repository Application ]]>
<![CDATA[Arip Mulyanto]]>;
<![CDATA[Mukhlisulfatih Latief]]>;
<![CDATA[Manda Rohandi]]>;
<![CDATA[S Supriyadi]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.43
<![CDATA[This study aims to implement a strategy of preservation and development of Gorontalo’s local culture through a web based application that can store and display the digitizing results of Gorontalo’s local culture called “Gorontalo cultural digital repository". The Gorontalo cultural digital repository provides information about the cultures in Gorontalo such as the mores, dances, historic sites and Gorontalo’s cultural artifacts in the form of video, images and text. The method used in this research is applied method withresearch procedures by: 1) Exploration, is to identify and analyze the data of local Gorontalo’s culture that covers Gorontalo’s mores, dances historic sites and Gorontalo’s cultural artifacts. 2) The development of Gorontalo cultural digital collection, which digitize the identification and analysis result of Gorontalo’s local culture. 3) Gorontalo Cultural Digital Repository application development. From the result of the research found: 1) Exploration the mores of Gorontalo consist of four important aspects, namely customarywelcoming guests, traditional coronation, marriage customs and funeral customs. There are more or less 20 historic sites located in Gorontalo. There are four dances that are usually performed in the customary celebration in Gorontalo.]]>
<![CDATA["Strands of Gumi Sasak Pearls" Harmony-based Tourism Products in Mataram City, West Nusa Tenggara ]]>
<![CDATA[Ida Ayu Trisnawati]]>;
<![CDATA[I Gusti Lanang Oka Ardika]]>;
<![CDATA[I Nyoman Kariasa]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.44
<![CDATA[This research is aimed at identifying the Sasak ethnic art, Balinese ethnic and art acculturation in Mataram. Results ofsubsequent identification is packaged in a DVD for the Performing Arts with the theme of strands of Gumi Sasak pearls. The story in the DVD is wrapped with the story of Dewi Rengganis that will bring the potential of art and ethnicity in Mataram so that it can become a World tourist destinationThe results showed that people's lives of Mataram city are quite harmonious eventhough composed of various ethnic groups such as Sasak as indigenous people, Balinese, Javanese, Malay and so forth that they are migrant population. Harmony is evident from the understanding of the city pluralism, then practiced in the tolerance life that create a harmonious life that becomes public capital to develop themselves. This harmonious situation is so interesting that it is realized in a collaborative art with the theme of strands of Gumi Sasak pearls that tells about the diversity of art and culture in the city of Mataram that lives in harmony. This story is wrapped in the story of Dewi Rengganis that becomes an original story of Sasak tribe. The result ofthis collaborative art is expected to be one ofthe selling points and at once an alternative tourism product that could help realize Mataram city to be one of the World‘s tourist destinations.Keywords: pluralism of arts, tourism potential, Mataram City]]>
<![CDATA[Art as a Cultural Politics and Diplomacy ]]>
<![CDATA[Dicky Rezadi Munaf]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.45
<![CDATA[As a creative activity, art cannot be merely understood as an individual expression, but a social stage, in which common aesthetic experiences are socially built. Being a social product, art is a medium of various socio-political interests, particularly the interests of a particular community or institution. By employing a participatory research method, this paper is aimed at understanding of how art is used by a particular state’s institution for two interrelated functions. Internally, art is used to create social cohesion and commonality, to enhance work‘s productivity and creativity in the institution. Externally, art is practiced as form of cultural diplomacy, to promote national political, economical and cultural interests in the context of international relation. The conclusion of the research is that the functions of art in the context of state‘s institution are as a form of esthetic experience, institutional and community building, cultural exchange and cultural diplomacy.Keywords: Art, Aesthetic, Institution, Cultural Diplomacy, National Security and Safety.]]>
<![CDATA[The Story of the War Gamelan Is A Story of Truth ]]>
<![CDATA[Hendra Santosa]]>;
<![CDATA[Nina Herlina Lubis]]>;
<![CDATA[Kunto Sofianto]]>;
<![CDATA[R.M. Mulyadi]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.46
<![CDATA[Stories about gamelan used in warfare are regarded as a character in a fairy tale, a story ofthe past apocryphal. The slogan of history that says no document no historical is an expression that history should not be based solely on “people said" or a story that is not necessarily true, he should be based on the facts of historical events occurred, so that the necessary documents to uncover the historical events. A historical narrative method is needed in the process of developing the method known as historical methods. The ancient manuscripts as a source of literary history, many stores historical events related to culture, especially with the musical arts. In this article will be discussed is the word Bheri and Mrdangga of two ancient manuscripts that ofwhich have been translated into Indonesian by previous researchers.Keyword: gamelan, war gamelan, story, mredangga, bheri]]>
<![CDATA[The Effect Of Sawdust Addition To Physical Body Of Kidul Clay Based Earthware Ceramic ]]>
<![CDATA[Komang Nelly Sundari]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.47
<![CDATA[The research on "The Effect of the addition of sawdust on the physical properties of ceramic body of Kidul clay-based Earthenware " has been performed with different percentages. The sawdust used is wood shavings waste ofbuilding materials. Based on the results ofehemical analysis, sawdust is known to have a tendency as a fuser, whereas Kidul clay contain enough clay substance / loam, feldspar and quartz minerals. This study aims to determine the physical properties of the composite body period, either in a state of pre-combustion and post-combustion as ceramics earthenware. The produced ceramic objects can be used as a container of crop water by permeation techniques. So what is sought is a composition with a value permeation / absorption ofwater / the greatest PA. To observe its physical properties, measures of laboratory scale study was conducted by testing the bricks and the scale of production through prototype test. The result is in accordance with the purpose that is the body mass of BG1 code that has been qualiï¬ed as Earthenware ceramics at a fuel temperature of l.l50oC with a value PA = 20.2% (SNI: 7275-2008, PA> 15% categorized as soft delicate earthenware or mayolika, while SII: 0803-83, PA> 20% is categorized as smooth soft earthenware with fuel temperature ofl000oC). However, further research still needs to be done with the addition ofan adjuvant sawdust with varied percentages in addition to testing with various forms ofdesign in order that in terms of aestheties and function the earthenware ceramic objects later become more meaningful.Key words: Kidul clay, sawdust, earthenware, water absorption, shrinkage amount]]>
<![CDATA[Aspects Of Art, The Mystical Story And Religiosity Of Rangda And Barong In Mamintar Ceremony In The Adat Village Of Serangan ]]>
<![CDATA[I Nyoman Yoga Segara]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.48
<![CDATA[This article is a summary of the result of research to review aspects of the art, mystical stories and religiousity ofBarong and Rangda in Mamintar ceremony at Indigenous Village of Serangan. To reveal these aspects deeply, a qualitative approach is used with an ethnographic design through active participation observation, interview and documentation method. Based on this methodology, the research explained that ï¬rst, Barong and Rangda for Serangan people has an arts aspect but religious. This religious art is needed to bind a sense of devotion to God. Second, aspects of religious art in the Barong and Rangda were born from a long process of sanctification, including the magical power that is built through various myths and mystical stories. Third, Barong and Rangda is the meeting of two different strengths into one or monodualistic of a samyoga to generate new energy. Mamintar ceremony is samyoga of monodualistic Barong and Rangda with the energy produced to neutralize the negative influences that come from the sea. Fourth, the presence of Barong and Rangda in Mamintar ceremony becomes legitimator to the reinforcement of social solidarity of the society that are under the threat, especially from the outside through a giantic project of beach reclamation, strengthening selfidentity as an island communities who still love the sea, and means of culture to be in harmony with the universe.Keywords: Religious-Art, Mystical Stories, Religiosity, Barong, Rangda, Mamintar Ceremony.]]>
<![CDATA[Wonderful Archipelago As The Result Of Culture Diaspora Through Carnavals In Indonesia ]]>
<![CDATA[Lois Denissa]]>;
<![CDATA[Yasraf Amir Piliang]]>;
<![CDATA[Pribadi Widodo]]>;
<![CDATA[Nuning Yanti Damayanti Adisasmito]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.49
<![CDATA[The Fashion Carnaval, which is a phenomenon in district city of Jember, has been held every July to August since 2003. The existence ofthis event has a positive impact for the peopleliving in Jember. It does not only encourage the creativity of young people, but also improves the social life, economy, culture, politics and tourism of Jember.Jember Fashion Carnaval is in the process of becoming an iconic event of Jember, We knew this event from cross-border communication, mass media and its routine roadshow in the country and abroad, as well as its achievements in various international beauty contests, The successful Jember Fashion Carnaval (JFC) has made the city of Jember more internationally recognized and this has a positive impact on other cities in Indonesia in a way that this motivates those cities to create something interesting about them. The other regions are motivated to discover their local potency and make it in such a way that it can become a similar successful fashion carnaval. Indonesian people have been familiar with such art festival that is held on the streets and a part of ritual. This kind of activity has been a strongly rooted tradition since many years ago until now.Changing an art event into a contemporary performing art in the form ofa fashion carnaval is not something contrary to the culture of Indonesian society. Both have visual similarity and use the streets as their venues. Their purpose is the only difference. The Jember Fashion Carnaval, that has successfully become the icon of the city, has encouraged what is known as Wonderful Archipelago, a carnaval culture diaspora phenomenon, which is easily absorbed, spread and becomes fruitful across the countryKey Words: Culture Diaspora, Jember Fashion Carnaval, Wonderful Archipelago]]>
<![CDATA[Characteristics On Culinary Packaging Design Of Ayam Betutu In Denpasar ]]>
<![CDATA[Ni Luh Desi In Diana Sari]]>;
<![CDATA[Ni Ketut Pande Sarjani]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.52
<![CDATA[The specific objective to be achieved in this research is to identify the characteristics of packaging design that is used to package a culinary ayam betutu in the city of Denpasar. Results of identification by the helpful to formulate criteria for packaging culinary design of/lyum Betutu, which can be used as a guide in creating innovative packaging design (Packaging Design Brief).This research is a qualitative descriptive study. Sources of data obtained through purposive sampling method performed by accidental sampling technique. Sampling is performed in the restaurant as a place selling Ayam Betutu which are spread throughout the city of Denpasar. Data collection techniques performed through observation, documentation and interview.The results achieved are the types of packaging used to pack a culinary of Ayam Betutu in the city of Denpasar. Collecting the results are determined based on the classiï¬cation of materials, visual appeal, the appeal of practical and packaging criteria.Keywords: Packaging design, Ayam Betutu, Denpasar, Bali typical souvenirs.]]>
