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Mudra Jurnal Seni Budaya Institut Seni Indonesia Denpasar Jalan Nusa Indah Denpasar 80235
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MUDRA Jurnal Seni Budaya
Published by Institut Seni Indonesia Denpasar
ISSN : 08543461     EISSN : 25410407     DOI : https://doi.org/10.31091/mudra.v37i4.2084
Core Subject : Religion, Humanities, Education, Art, Social,
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences
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.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 12 Documents
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Search results for , issue "Vol 32 No 3 (2017): September" : 12 Documents clear
Goyang Karawang: Exploration of Woman’s Body Between Rites and Fiesta Citra Aryandari; Gilang Muhamad Sidiq
Mudra Jurnal Seni Budaya Vol 32 No 3 (2017): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i3.142

Abstract

This study will discuss about Goyang Karawang, which always brings eroticism of woman's body in every show. Eroticism presented through swaying hips is inseparable from the history that surrounds. The changing Karawang district (32 miles of Jakarta, Indonesia) from agriculture to industrial making the culture in this area transformed. In agriculture period, which is almost the entire population of Karawang as a farmer known as Bajidoran, is used as a fertility rite to celebrate the harvest. Swaying hips of the dancers in Bajidoran later evolved into the cultural identity of the region and then known as Goyang Karawang. In 90's Goyang Karawang was also known as a dangdut song title that described the condition of the culture. Karawang has been turned into industrial city. Bajidoran was adapted to era and is popularly known as Goyang Karawang who peddles female’s body as commodity with many text weaving. Goyang Karawang: Exploring of Woman’s Body between Rites and Fiesta is a simple article about the cultural phenomena that occurred in Karawang. Goyang Karawang existence as a cultural text cannot be separated from the study of music, history, social, gender, etc., so in the process of research and writing would be in Cultural Studies for weaving the texts which are presented. Ethnography is selected as the method of data collection, considering that this method can describe with deep cultural events.Penelitian ini akan membahas mengenai Goyang Karawang yang selalu menghadirkan erotisme tubuh perempuan dalam setiap pertunjukannya. Erotisme yang dihadirkan melalui goyangan badan tidak terlepas dari sejarah yang melingkupi. Perubahan kota dari agraris menuju industri membuat kesenian yang ada di wilayah Karawang berubah bentuk. Pada masa agraris, masa dimana hampir seluruh penduduk Karawang bermata pencarian sebagai petani dikenal kesenian Bajidoran yang digunakan sebagai ritus kesuburan dalam merayakan masa panen. Goyang penari dalam Bajidoran kemudian berkembang seiring waktu dan menjadi identitas wilayah yang kemudian dipopulerkan lewat lagu Dangdut Goyang Karawang. Kini Karawang telah berubah menjadi kota Industri, sehingga Bajidoran beradaptasi dengan jaman dan kini populer dengan Goyang Karawang yang menjajakan tubuh perempuan sebagai komoditas dengan bermacam teks yang tejalin. Goyang Karawang: Penjelajahan Tubuh Perempuan diantara Ritus dan Fiesta merupakan tulisan sederhanamengenai fenomena budaya yang terjadi di Kota Karawang. Keberadaan Goyang Karawang sebagai sebuah teks budaya tidak dapat dipisahkan dari kajian musik, sejarah, gender, sosial sehingga dalam proses penelitan dan penulisan akan digunakan Cultural Studies dalam menenun teks-teks yanghadir. Metode etnografi dipilih sebagai metode dalam proses pencarian data, mengingat metode ini dapat menggambarkan peristiwa budaya dengan mendalam.
Aspect of Art And Meaning of Staging The Traditional Dolanan Game In Sanggar Kebo Iwa Badung I nyoman Subagia
Mudra Jurnal Seni Budaya Vol 32 No 3 (2017): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i3.147

Abstract

This article is a summary of the results of research to review aspects of the art, the meaning of staging traditional games studio Kebo Iwa dolanan in Badung. To reveal deeply these aspects, used a qualitative approach with the active participation of observation techniques, in-depth interviews and document study. Based on the methodology, the research explained that the first philosophical meaning, both philosophical meaning, the religious meaning of the third, the fourth meaning of aesthetics, the fifth meaning of education, sixth and seventh pelestraian meaning of togetherness. Dolanan performed by a group of children, where there is a beauty in conveying messages of religious teachings to the public through the medium of art. Because art as a symbol of truth (satyam), chastity (sivam) and beauty (sundaram).Artikel ini adalah ringkasan hasil penelitian yang mengulas aspek seni, makna pementasan permainan tradisional dolanan di Sanggar Kebo Iwa Badung. Untuk mengungkap secara mendalam aspek-aspek tersebut, digunakan pendekatan kualitatif dengan teknik observasi partisipasi aktif,wawancara mendalam dan studi dokumen. Berdasarkan metodelogi, hasil penelitian menjelaskan bahwa pertama makna filosofis, kedua makna religius, ketiga makna estetika, keempat makna pelestarian, kelima makna pendidikan, dan keenam kebersamaan. Dolanan yang dibawakan oleh sekelompok anak-anak, di mana terdapat suatu keindahan di dalam penyampaian pesan-pesan ajaran agama kepada masyarakat melalui media seni. Karena seni sebagai simbol kebenaran (satyam), kesucian (sivam) dan keindahan (sundaram).
Exploring Yeh Pulu Relief (An Iconography Approach) I Wayan Kun Adnyana; I Nengah Sudika Negara; Desi In Diana Sari; A.A Bagus Udayana
Mudra Jurnal Seni Budaya Vol 32 No 3 (2017): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i3.176

Abstract

Yeh Pulu relief, located in Bedulu Village, Gianyar Regency, is one of the important Balinese visual art work. It serves as a proof of the ultimate artistic achievement in the ancient Balinese kingdom era. It possesses some distinctive characteristics, such as a particular style of figuration, a specific theme, and unique sculptural characters. There are very few articles focusing on this topic. Therefore, there is a need to explore Yeh Pulu relief by conducting an in-depth research. Based on Panofsky’s iconography perspective, this research aims to analyze stylistic figurations of the relief, the theme, the sculptural characters and the meaning of the depiction. Panofsky’s iconography consists of three levels of analysis, i.e. pre-iconography, iconography and iconology. Employing his theory, the first stage of this analysis focuses on the physical characters on the relief; the second stage focuses on the concept of narration; and the third one deals with discourse around the subject of this study. The image of Yeh Pulu relief very clearly reveals the theme of heroism found in the everyday life by ordinary people. The result of this research is defined of the theme is reinforced by the figuration of the relief’s subjects that tends to be realistic (using the body proportion of a normal adult human) and is complemented by carvings of plant tendrils that are nearly naturalistic in style. The research participants are I Nengah Sudika Negara (data collector), Luh Desi in Diana Sari (layout designer), and Anak Agung Udayana (photographer).Relief Yeh Pulu, lokasi di Desa Bedulu, Kabupaten Gianyar merupakan salah satu karya seni rupa terpenting. Relief ini merupakan pencapaian artistik puncak di era kerajaan Bali Kuna. Selain itu juga memiliki karakter yang khas, seperti gaya figurasi yang khusus, memiliki tema spesifik, dan keunikan pahatan. Sangat sedikit tulisan yang fokus membahas tentang topik ini. Sehingga menjadi penting untuk mengeksplorasi Relief Yeh Pulu melalui riset yang mendalam. Penelitian ini bertujuan untuk menganalisa gaya figurasi, tema, karakter pahatan dan makna dari relief. Melalui pendekatan ikonografi Panofsky, analisis dilakukan melalui tiga tahapan, yakni praikonografi, ikonografi dan ikonologi. Analisis level pertama terfokus pada analisis karakter fisik dari relief; kedua, fokus pada konsep narasi; ketiga, terkait tentang diskursus yang melingkupi subjek kajian. Berdasar analisis tersebut, dapat ditegaskan bahwa relief Yeh Pulu mengungkap tema kepahlawanan dunia sehari-hari orang-orang biasa. Selain itu, dapat disimpulkan pula bahwa secara figurasi relief ini cenderung bersifat realistik (terlihat dari proporsi yang berukuran sama dengan ukuran tubuh manusia dewasa normal), begitu juga dengan pemahatan tentang tetumbuhan yang cenderung bergaya naturalistik. Anggota peneliti di antaranya: I Nengah Sudika Negara (pengumpul data), Luh Desi in Diana Sari (layout desain), dan Anak Agung Udayana (fotografer).
Understanding Visual Novel As Artwork of Visual Communication Design Dendi Pratama; Winny Gunarti; Taufiq Akbar
Mudra Jurnal Seni Budaya Vol 32 No 3 (2017): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i3.177

Abstract

Visual Novel is a kind of audiovisual game that offers visual strength through the narrative and visual characters. The developer community of Visual Novel (VN) Project Indonesia indicated a limited local game developer that produces Visual Novel of Indonesia. In addition, Indonesian Visual Novel production was also more influenced by the style of anime or manga from Japan. Actually, Visual Novel is part of the potential of  creative industries products. The study is to formulate the problem, how to understand Visual Novel as artwork of visual communication design, especially among students? This research is a case study conducted on visual communication design student at the University Indraprasta PGRI Jakarta. The results showed low levels of knowledge, understanding, and experience of  the Visual Novel game, which is below 50%. Qualitative and quantitative methods combined with structural semiotic approach is used to describe the elements of the design and the signs structure at the Visual Novel. This research can be a scientific reference for further introduce and encourage an understanding of Visual Novel as artwork of Visual Communication Design. In addition, the results may add to the knowledge of  society, and encourage the development of Visual Novel artwork that  reflect the culture of Indonesia.Visual Novel adalah sejenis permainan audiovisual yang menawarkan kekuatan visual melalui narasi dan karakter visual. Data dari komunitas pengembang Visual Novel (VN) Project Indonesia menunjukkan masih terbatasnya pengembang game lokal yang memproduksi Visual Novel Indonesia. Selain itu, produksi Visual Novel Indonesia juga lebih banyak dipengaruhi oleh gaya anime dan manga dari Jepang. Padahal Visual Novel adalah bagian dari produk industri kreatif yang potensial. Studi ini merumuskan masalah, bagaimana memahami Visual Novel sebagai karya seni desain komunikasi visual, khususnya di kalangan mahasiswa? Penelitian ini merupakan studi kasus yang dilakukan terhadap mahasiswa desain komunikasi visual di lingkungan Universitas Indraprasta PGRI Jakarta. Hasil penelitian menunjukkan masih rendahnya tingkat pengetahuan, pemahaman, dan pengalaman terhadap permainan Visual Novel, yaitu di bawah 50%. Metode kombinasi kualitatif dan kuantitatif dengan pendekatan semiotika struktural digunakan untuk menjabarkan elemen desain dan susunan tanda yang terdapat pada Visual Novel. Penelitian ini dapat menjadi referensi ilmiah untuk lebih mengenalkan dan mendorong pemahaman tentang Visual Novel sebagai karya seni Desain Komunikasi Visual. Selain itu, hasil penelitian dapat menambah pengetahuan masyarakat, dan mendorong pengembangan karya seni Visual Novel yang mencerminkan budaya Indonesia.
Balinese Arts And Culture As Tourism Commodity In Bali Tourism Promotion Videos Desak Putu Eka Pratiwi; Putu Nur Ayomi; Komang Dian Puspita Candra
Mudra Jurnal Seni Budaya Vol 32 No 3 (2017): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i3.178

Abstract

Tourism industry in Bali has increased significantly since 1970’s.  It is supported not only by its stunning nature of Bali but also its fascinating arts and culture. Bali has incredible arts, vibrant culture and unique traditions which have been very famous all over the world.  Many people especially foreigners want to see Balinese’s artistic artworks and experience their culture.   It motives them to travel to the island which also well known as the island of paradise.  Culture has a compelling role in tourism functioning as an internationally promoted commodity, a role that has often been the subject of disputes among academics. Some people consider that the changing of culture become tourist attractions will cause the loss of culture’s authenticity through modification.  Many scholars say that cultures that are performed as tourist attraction will lose its originality to adjust the tourist demand. This study aims at analyzing how Balinese arts and culture are packaged as tourism commodity in Bali tourism promotion videos which internationally published by Bali tourism board. The data were collected through observation method and note taking technique. The data were analyzed by using levels of product theory by Kotler and Armstrong (2008). The findings and discussions were presented through formal and informal methods. Our findings show that Bali tourism promotion videos consist of four dimensions: (1) essence of product, (2) real product, (3) processed real product and (4) additional product, as described in the discussion.Industri pariwisata di Bali terus meningkat sejak tahun 1970. Hal ini didukung tidak hanya oleh keindahan alam pulau Bali tetapi juga seni dan budaya Bali yang begitu memukau. Bali memiliki kekayaan seni yang menakjubkan, budaya yang dinamis dan berbagai tradisi unik yang begitu terkenal di seluruh dunia. Banyak orang, khusunya orang asing, yang ingin melihat karya seni Bali yang artistik dan mengalami sendiri budaya masyarakat Bali. Hal tersebut mendorong mereka untuk berwisata ke pulau Bali yang juga dikenal sebagai pulau surga. Budaya memiliki memiliki peran yang kuat dalam dunia pariwisata yang berfungsi sebagai alat promosi secara internasional, sebuah peran yang sering menjadi bahan perdebatan para ahli. Beberapa ahli berpikir bahwa dengan berubahnya fungsi budaya sebagai atraksi wisata dapat mengakibatkan hilangnya keaslian atau originalitasnya karena mengalami modifikasi untuk menyesuaikan dengan kebutuhan wisatawan. Penelitian ini bertujuan untuk menganalisis bagaimana seni dan budaya Bali dikemas sebagai komoditas pariwisata dalam video promosi pariwisata Bali yang telah dipublikasikan secara internasional oleh Dinas Pariwisata Bali. Data dikumpulkan dengan metode observasi dan kemudian dianalisis menggunakan teori dari Kotler and Armstrong (2008). Temuan dan pembahasan dipaparkan dengan metode formal dan informal. Seara umum temuan kami menunjukkan bahwa video pariwisata Bali terdiri dari empat dimensi, yaitu: (1) essence of product, (2) real product, (3) processed real product and (4) additional product, yang dijelaskan dalam sub bab pembahasan.
Reconstruction of Furniture Production as Potential and Reputable Intellectual Property Rights (IPR) Creative Design Model husen hendriyana
Mudra Jurnal Seni Budaya Vol 32 No 3 (2017): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i3.179

Abstract

Along with recent rapid development of science, technology, art and culture, through research institutions from the central to the local level, the government seriously activates enhancement and protection of the intellectual products of the nation. Such as protection of intellectual property rights against irresponsible plagiarism. This is due to that the appearance, process, or invention steps of the creative furniture designer in the society or in the academic environment have the potential and the opportunity to be registered as Intellectual Properties (IP) or gain Intellectual Property Rights (IPR). Besides aiming to lift up the state or institutions achievement and attainment of intellectual property rights internationally, the added value also can be developed in the direction of economic upgrade. Research on furniture products designs have been numerously carried out with various objects and cases, yet the diversity of the subject character and creative processes still have not well defined so they enrich the model of creative process design. This study aims to identify, classify and formulate a potential furniture design model of creative process and IPR standard, through methods PAR. The results of this study are (1) prototype of furniture design products, (2) the creative process model and the construction methods process of furniture design with a concept or a specific theme; (3) Registration of IPR; (4) Scientific manuscript.Seiring dengan perkembangan ilmu pengetahuan, teknologi, seni dan budaya yang marak dewasa ini, melalui lembaga penelitian dari tingkat pusat sampai ketingkat daerah, pemerintah semakin serius menggalangkan peningkatan dan perlindungan terhadap produk intelektual anak bangsa. Salah satu contoh di antaranya adalah perlindungan terhadap hak kekayaan intelektual dari perilaku plagiarism yang tidak bertanggung jawab. Hal ini tiada lain bahwa, bentuk, proses, maupun invention steps dari para pelaku kreatif desain mebel yang ada di masyarakat maupun di lingkungan akademik memiliki potensi dan peluang untuk didaftarkan sebagai Intellectual Properties (IP) atau Hak Kekayaan Intelektual (HKI). Selain bertujuan mendongkrak prestasi lembaga maupun Negara dalam perolehan HKI di kancah Internasional, juga pada nilai tambah dapat dikembangkan ke arah peningkatan ekonomi. Penelitian desain produk mebel telah banyak dilakukan orang dengan berbagai objek dan kasusnya, tetapi keragaman karakter dan proses kreatif yang ada belum banyak didefinisikan dengan baik untuk memperkaya model proses kreatif desain. Penelitian ini bertujuan untuk mengidentifikasi, mengklasifikasi dan merumuskan model proses kreatif desain mebel yang berpotensi dan bereputasi HKI dengan metode PAR. Hasil penelitian ini berupa (1) prototype produk desain mebel, (2) model proses kreatif dan metode proses perancangan desain mebel dengan konsep atau tema tertentu; (3) Pendaftaran HKI; (4) Naskah Ilmiah.
Commodification of Tektekan Calonarang At Baturiti Village, Kerambitan, Tabanan I Ketut Sariada
Mudra Jurnal Seni Budaya Vol 32 No 3 (2017): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i3.180

Abstract

Tektekan Calonarang is a Calonarang dance drama performed as a new tourism model which in its presentation is accompanied by Tektekan gamelan; a small traditional bamboo music from Baturiti village, Kerambitan, Tabanan. Balinese communities usually disagree to showcase a sacred culture for tourism, but in Baturiti village this is different. They actually support the commodification of TektekanCalonarang using sacred barong and rangda for tourism. This raises questions because it is contrast with the attitude of Balinese communities in general. This research is conducted in Baturiti village, Kerambitan, Tabanan using qualitative method. There are three main problems in this study, such as: (1) why do the community of Baturiti village, Kerambitan, Tabanancommodify Tektekan Calonarang which uses sacred barong and rangda for tourism?, (2) what is the form of the commodified Tektekan Calonarang;  (3) what are the implications for those conducting it, the community and the performance itself. The purpose of this research is to understand the commodification of Tektekan Calonarang in Baturiti village, Kerambitan, Tabanan which uses sacred barong and rangda for tourism. To explain the problems, Deconstruction theory, Social Practice theory, Aesthetic theory, and Knowledge Relation theory are used. The results of this research are (1) the community of Baturiti village, Kerambitan, Tabanan commodify Tektekan Calonarang using sacred barong and rangda is motivated by market ideology, development ideology, religious ideology, and conservation ideology; (2) the community of Baturiti village, Kerambitan, Tabanan commodify Tektekan Calonarang using sacred barong and rangda in the form of procession and Tektekan Calonarang performance; (3) the commodification of Tektekan Calonarang using sacred barong and rangda has the implications for the increase of income of the conductors, community (multi flyer effect), the continuance of the barong and rangda’s mystical strength, the increase of interest from the market/ tourism, and as a reinforcing social solidarity of the community. The findings of this research are that desecration did not happen even though sacred barong and rangda is commodified for tourism because in every performance the conductor/ community conduct a special purification ceremony for the barong and rangda according to their individual context.Tektekan Calonarang merupakan sebuah drama tari Calonarang untuk pariwisata model baru. Penyajiannya diiringi oleh gamelan tektekan, sebuah musik tradisional bambu berukuran kecil, khas Desa Baturiti, Kerambitan, Tabanan. Pada umumnya masyarakat Bali tidak setuju menampilkan unsur budaya yang bersifat sakral untuk pariwisata. Namun, berbeda halnya dengan masyarakat Desa Baturiti, Kerambitan, Tabanan. Mereka justru mendukung komodifikasi Tektekan Calonarang dengan menggunakan barong dan rangda sakral untuk pariwisata. Hal itu menimbulkan berbagai pertanyaan, karena bertentangan dengan sikap masyarakat Bali pada umumnya. Tujuan penelitian ini adalah untuk memahami komodifikasi Tektekan Calonarang Desa Baturiti, Kerambitan, Tabanan yang menggunakan barong dan rangda sakral untuk pariwisata. Penelitian yang berlokasi di Desa Baturiti, Kerambitan, Tabanan ini dilakukan dengan metode kualitatif. Permasalahan yang dikaji meliputi (1) mengapakah masyarakat di Desa Baturiti, Kerambitan, Tabanan mengomodifikasikan Tektekan Calonarang dengan menggunakan barong dan rangda sakral untuk pariwisata; (2) bagaimanakah bentuk komodifikasi Tektekan Calonarang tersebut; (3) apakah implikasinya bagi pelaku, masyarakat, dan pertunjukan itu sendiri. Untuk menjelaskan permasalahan tersebut digunakan teori dekonstruksi, teori praktik sosial, teori estetika, dan teori kuasa pengetahuan. Hasil penelitian menunjukkan bahwa (1) masyarakat Desa Baturiti, Kerambitan, Tabanan mengomodifikasikan Tektekan Calonarang dengan barong dan rangda sakral untuk pariwisata dilatari oleh ideologi pasar, ideologi pembangunan, ideologi religi, dan ideologi konservasi; (2) masyarakat Desa Baturiti, Kerambitan, Tabanan mengomodifikasikan Tektekan Calonarang dengan barong dan rangda sakral dalam bentuk prosesi dan pertunjukan Tektekan Calonarang; (3) komodifikasi Tektekan Calonarang dengan barong dan rangda sakral itu berimplikasi pada peningkatan pendapatan pelaku, masyarakat (multiplier effects), kelangsungan kekuatan magis barong dan rangda tersebut, peningkatan animo pasar/pariwisata, serta sebagai penguat solidaritas sosial masyarakat setempat. Temuan baru penelitian ini adalah tidak terjadi desakralisasi walaupun barong dan rangda sakral itu dikomodifikasikan untuk pariwisata. Hal itu disebabkan oleh pelaku/masyarakat setempat melakukan upacara penyucian khusus terhadap barong dan rangda tersebut sesuai dengan konteksnya masing-masing pada setiap penyajiannya.
Cosmology Design Products Wears To Pura In Bali I Nyoman Dana
Mudra Jurnal Seni Budaya Vol 32 No 3 (2017): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i3.181

Abstract

Bali is one of the areas in Indonesia that still upholds the customs and arts of traditional culture and is admired by the world community. Customary products to the temple are part of the struggle to keep local wisdom. Design cosmology is a transcendental dimension that has a very complex exploration. Life is deep, also full of uncertainty. Ideas, creativity, passion, and ideals, creativity, concepts that overlap, whether intangible or not. The style in the design is a reflection of the behavior and attitude of human life at a certain time, and in line with the dynamics of life, such as social dynamics, cultural development and value. Design can be a reflection of the times in each period. Designer style can be a product trend if he is able to meet the needs and tastes of society. If the design word would be made to satisfy the needs of the community or the person who would carry out a customary and cultural activity for example, then the draft concept should begin from who and when it will be used, it should be considered as a considerate consideration by a designer, so that what they are designed to be acceptable to users of the design.Bali adalah salah satu daerah di Indonesia yang masih menjunjung budaya adat dan budaya kesenian yang masih dikagumi oleh masyarakat dunia. Produk adat tradisional ke pura merupakan bagian dari perjuangan untuk menjaga kearifan lokal. Desain kosmologi adalah dimensi transendental yang memiliki eksplorasi yang sangat kompleks. Gaya dalam desain merupakan cerminan dari perilaku dan sikap budaya manusia pada waktu tertentu, sejalan dengan dinamika kehidupan, seperti dinamika sosial, perkembangan budaya dan nilai. Desain bisa menjadi cerminan zaman di setiap periode. Gaya perancang bisa menjadi tren jika ia mampu memenuhi kebutuhan dan selera konsumen. Anadai mengatakan, desain akan dibuat untuk memenuhi kebutuhan masyarakat atau orang yang akan melakukan kegiatan adat dan budaya, maka draf konsep harus dimulai dari siapa dan kapan akan digunakan disain, hal ini perlu dilakukan. Disajikan sebagai pertimbangan yang cukup matang oleh seorang desainer, Sehingga apa yang disain mereka dapat diterima oleh pengguna desain.
Overexploitation Of Sand Mining Leading To Imaginary Landscape: Research-Based Creation I Wayan Setem
Mudra Jurnal Seni Budaya Vol 32 No 3 (2017): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i3.182

Abstract

An art has something to do with form and content (shape and the meaning attached to it). When an artist intends to add philosophical value to his creation, he enters two aesthetic exploration spaces; they are the aesthetic concept and the artistic exploration. “The structure of the form shows “the face” of an art work which cannot be separated from how material should be processed, and the “aesthetic structure” treats every “aesthetic thing” as an entity which is caught as a combination of the quality of perception and the common sense processing which are drawn into the metaphysical, ethic, axiological, and epistemological (philosophical) dimensions. Similarly, the ideas which are related to the fine arts of which the subject matter is the overexploitation of the sand mining should be processed in the phases of concepts with aesthetic dimension before they are retransformed in the visual stage; therefore, the creative process and the idioms chosen become highly subjective. It is easy to explain every phase in the creation process, and the visual idioms chosen can be generalized, clarified, verified, and concluded in the level of objectivity. The theoretical conception of the visual value becomes multi interpretations and rich in meaning (positive), as the value of its articulation contains symbols and metaphors.Seni adalah bentuk dan isi (wujud dan makna yang melekat). Ketika pengkarya ingin memberikan bobot filsafati pada karyanya, maka pengkarya memasuki dua ruang penjelajahan estetika, yaitu konsep estetik dan eksplorasi artistik. ”Struktur bentuk” menunjukkan ”wajah” suatu karya seni dengan pengolahan material, sedangkan ”struktur estetik” meletakkan segala hal yang ”estetik” sebagai suatu entitas yang ditangkap dalam keterpaduan antara kwalitas persepsi dengan pengolahan akal budi yang ditarik kedalam dimensi-dimensi metafisik, etik, aksiologik, dan epistemologik (filsafati). Seperti ide-ide dalam seni rupa yang yang bertitik tolak (subject matter) overeksploitasi penambangan pasir, harus diolah dalam tataran konsep-konsep yang berdimensi estetik, kemudian ditransformasikan lagi dalam tataran visual, maka proses kreatif dan pilihan-pilihan idiom-idiom visualnya menjadi sangat subjektif. Tidaklah mudah dijelaskan setiap tahapan dalam proses kreasi dan pilihan idiom-idiom visual tersebut dapat digeneralisir, diklasifikasi, diverifikasi, dan disimpulkan dalam tataran obyektivitas. Pemahaman teoritik kegambaran visikal (nilai visual) menjadi multi interpretasi dan kaya makna (positif), karena nilai kebentukkannya mengandung simbol-simbol dan metafora-metafora.
Politics of Identity in the Indonesian Wayang Comics Seno Gumira Ajidarma
Mudra Jurnal Seni Budaya Vol 32 No 3 (2017): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i3.183

Abstract

As identity become more and more important in the life of a nation-state in the age of globalization, the ideological struggle to be original, like there is an original signifier of “Indonesia”, happen as long as the history of wayang comics itself, from 1955 until today. Theoretically come from a Sanskrit source literary epic of Ramayana and Mahabharata, the first evidence of intermediation are the reliefs of Ramayana at Prambanan Temple in the 9th century, as the year 856 AD marked the official use of the temple; and only in the year of 960 an anonymous writer finished the translation of Wirataparwa, part of Mahabharata from Sastra Parwa. Long before come to the comic form, these two epics were the sites of political interest on all of the intermediations, from the Old Javanese translations of the Indian’s Sanskrit, to the shadow play and dance-drama interpretations from the literary sources. The wayang comic itself born as a way out from political repression outside, when in the 1955 comics were hunted to be seized and burn. However, as the wayang comic genre going to be an ideological choice, which the best form, style, and genre to choose is still an ongoing contestation of identity politics to represent Indonesia. Wayang comic is the site of struggle of groups in society with the interest of identity politics with an idea of Indonesia, where the discourse of the sub-ordinated groups appear as a resistance to the discourse of dominant groups.Dengan semakin pentingnya identitas bagi kehidupan negara-bangsa, perjuangan ideologis untuk menjadi asli juga berlangsung sepanjang sejarah komik wayang, dari 1955 sampai hari ini. Terandaikan datang dari sumber susastra epik berbahasa Sanskerta, bukti pertama alihwahananya adalah relief Ramayana di Candi Prambanan pada abad ke-9; dan baru pada 960 terjemahan Wirataparwa, bagian Mahabharata, diselesaikan penulis anonim. Jauh sebelum berbentuk komik, kedua epik ini merupakan situs kepentingan politis segala alihwahana, dari terjemahan Jawa Kuna atas bahasa Sanskerta dari India, sampai kepada penafsiran bagi pementasan wayang kulit dan wayang orang dari sumber-sumber susastra. Komik wayang sendiri lahir sebagai jalan keluar dari tekanan politis, ketika pada 1955 komik dirazia dan dibakar. Betapapun, meski genre komik wayang lantas menjadi pilihan ideologis, bentuk, gaya, dan genre wayang yang mau dipilih masih berada dalam kontestasi politik identitas bagi representasi Indonesia. Komik wayang adalah situs perjuangan dari berbagai kelompok dengan kepentingan politik identitas bagi gagasan Indonesia.

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