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[The Representation Of Javanese Women In Damar Kurung Painting – Gresik ]]>
<![CDATA[Aniendya Christianna]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.376
<![CDATA[Damar Kurung is one of the typical cultural products of Gresik that has recorded Gresik’s civilization. Damar Kurung is a bamboo-framed paper lantern that has existed since Hindu-Buddhist times. This research is a qualitative research with a descriptive approach. The purpose of this research is to understand the meaning of the symbol in Damar Kurung’s decorative that are painted by Masmundari. At the same time to identify the gender roles of Javanese women. The results of this study are (1) Javanese women do not reject face makeup, because using makeup is a manifestation of women’s respect and acceptance in dealing with social norms; (2) Javanese women formulate their identity through a procession of traditional ceremonial preparations that are mostly carried out ‘behind’ (in the kitchen).Damar Kurung merupakan salah satu produk budaya khas Gresik yang telah merekam peradaban masyarakat Gresik. Damar Kurung adalah lampion kertas berangka bambu ini sudah ada sejak zaman Hindu-Budha. Penelitian ini adalah penelitian kualitatif dengan pendekatan deskriptif. Tujuan dari penelitian ini untuk memahami makna simbol di damar kurung yang dilukis oleh Masmundari. Sekaligus untuk mengidentifikasi peran gender perempuan Jawa. Hasil dari penelitian ini adalah (1) perempuan Jawa tidak menolak riasan wajah, karena menggunakan riasan adalah perwujudan penghormatan dan penerimaan perempuan dalam menghadapi norma sosial;(2) perempuan Jawa merumuskan identitasnya melalui prosesi persiapan upacara adat yang banyak dilakukan ‘dibelakang’ (di dapur).]]>
<![CDATA[Art Education Based on Joyful Learning Method and Information Communication Technology at Insan Mulia School of Nature Surabaya ]]>
<![CDATA[Idealita Ismanto]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.401
<![CDATA[This article discusses joyful learning method in Insan Mulia Surabaya School of Nature and describes ICT-based art education (Information and Communication Technology) at Insan Mulia School of Nature Surabaya. This research uses qualitative approach and descriptive research type. Data collection procedure is done by observation and interview method. Data analysis activities started from the data collection stage, the reduction phase, the data presentation stage, and the conclusion drawing stage. Data validation checks are performed with source triangulation, and method triangulation. The results of the study showed that: (1) Bina Insan Mulia’s school education has a learning model of joyful learning (2) ICT-based arts education (Information and Communication Technology) to make student learning activities more interesting and not monotonous.Artikel ini membahas tentang metode pedidikan joyful learning di Sekolah Alam Insan Mulia Surabaya dan mendeskripsikan pendidikan seni berbasis ICT (Information and Communication Technology) di Sekolah Alam Insan Mulia Surabaya. Penelitian ini menggunakan pendekatan kualitatif dan jenis penelitian deskriptif. Prosedur pengumpulan data dilakukan dengan metode observasi dan wawancara. Kegiatan analisis data dimulai dari tahap pengumpulan data, tahap reduksi, tahap penyajian data, serta tahap penarikan kesimpulan. Pengecekan keabsahan data dilakukan dengan triangulasi sumber, dan triangulasi metode. Hasil penelitian menunjukkan bahwa: (1) pendidikan sekolah alam Bina Insan Mulia memiliki model pembelajaran joyful learning (2) pendidikan seni berbasis ICT (Information and Communication Technology) membuat kegiatan belajar siswa lebih menarik dan tidak monoton.]]>
<![CDATA[The Visual Elements Strength in Visual Novel Game Development as the Main Appeal ]]>
<![CDATA[Dendi Pratama]]>;
<![CDATA[Winny Gunarti Widya Wardani]]>;
<![CDATA[Taufiq Akbar]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.455
<![CDATA[Currently, visual novel games can be downloaded easily via android-based smartphones or played on the computer. The ease of access is certainly needed to be supported by visual appeal, so that users are interested to play it continuously. In visual novel games, the visual elements that build the game consist of visual characters, visual narration, and visual styles. This study analyzes these three visual elements to know which elements have dominant visual strength and become the main appeal. The discussion of this study using mix method, that is qualitative and quantitative with visual perception and semiotic approach. Qualitatively, the analysis of the three elements of the game’s appeal shows the existence of visual signs that can build perception such as visual character, visual narration, and visual style. While quantitatively, the analysis shows that visual styles and visual characters have a more dominant visual strength as the main appeal. The results of this study are expected to be a reference for local game developers. The three visual elements that appeal to the visual novel games must match the needs of the market. Visual novel games that can attract attention and meet the needs of its users potentially become more competitive in the global market.Saat ini, permainan visual novel dapat diunduh dengan mudah melalui telepon pintar berbasis android atau dimainkan lewat komputer. Kemudahan akses tersebut tentunya perlu didukung oleh daya tarik visual, agar para pengguna tertarik untuk memainkannya secara terus-menerus. Dalam game visual novel, unsur-unsur visual yang membangun permainan di dalamnya terdiri dari karakter visual, narasi visual, dan gaya visual. Studi ini menganalisis ketiga unsur visual tersebut untuk mengetahui unsur-unsur yang memiliki kekuatan visual dominan dan menjadi daya tarik utama. Pembahasan studi ini menggunakan metode kombinasi, yaitu kualitatif dan kuantitatif dengan pendekatan persepsi visual dan semiotika. Secara kualitatif, analisis terhadap ketiga unsur daya tarik game tersebut menunjukkan adanya tanda-tanda visual yang dapat membangun persepsi, seperti karakter visual, narasi visual, dan gaya visual. Sedangkan secara kuantitatif, analisis menunjukkan bahwa gaya visual dan karakter visual memiliki kekuatan visual yang lebih dominan sebagai daya tarik utama. Hasil studi ini diharapkan dapat menjadi referensi bagi para pengembang game lokal, sehingga ketiga unsur visual yang menjadi kekuatan daya tarik game visual novel dapat disesuaikan dengan kebutuhan pasar. Game visual novel yang dapat menarik perhatian dan memenuhi kebutuhan para penggunanya berpotensi menjadi lebih kompetitif di pasar global.]]>
<![CDATA[Forms And Functions Of Sandstone Handicrafts In Singapadu Kaler Village In The Global Era ]]>
<![CDATA[I Ketut Muka]]>;
<![CDATA[Ni Made Rai Sunarini]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.500
<![CDATA[In this era, the forms and functions of sandstone handicrafts in Singapadu Kaler Village have undergone very rapid development and change. This is marked by the emergence of various types of sandstone handicrafts, which enrich the arts and culture of Bali in particular and Indonesia in general. Several forms of sandstone handicrafts produced by craftspeople in Singapadu Kaler Village are very popular and much in demand by consumers. Among these are garden lampshades, wall lights, ventilation decor, flower pots, fauna and flora bas-relief, statues of the Buddha, and other sculpture motifs. These forms have a different function, style and aesthetic impression than traditional sandstone handicrafts in other regions. Overall, the products were created as a result of the influence of globalization, which gave birth to a wide variety of forms and innovations. Hence, it is important to write about so that the forms and functions as well as the messages contained within them can be clearly revealed. A qualitative interpretive method was used to analyze this phenomenon with a cultural studies approach utilizing deconstructivist theory and postmodern aesthetic theory. This lead the authors to the general conclusion that these new forms and functions of sandstone handicrafts have given rise to positive and negative impacts, which have not only been accepted by the craftspeople, but also the broader community of Singapadu Village and consumer society. In addition, these handicrafts also contain important creative, economic, aesthetic, and cultural change functions. This brief article hopes to be useful as a medium for study by secondary and higher education institutions of art or the general public about the field of sandstone handicrafts growing in Singapadu Kaler Village. It also hopes to be a useful reference for writers and researchers in other regions, so that the repertoire of scientific knowledge on sandstone handicrafts in Indonesia can become more widely known.Dewasa ini bentuk dan fungsi kerajinan batu padas di Desa Singapadu Kaler mengalami perkembangan dan perubahan sangat pesat. Hal ini ditandai munculnya berbagai jenis kerajinan batu padas dengan fungsi yang berbeda sehingga memperkaya khasanah seni budaya Bali khususnya dan di Indonesia pada umumnya. Ada beberapa bentuk dan fungsi kerajinan batu padas yang sangat populer dan diminati para konsumen merupakan produksi perajin-perajin dari Desa Singapadu Kaler Gianyar. Bentuk kerajian batu padas tersebut memiliki fungsi, gaya dan kesan estetis yang berbeda dengan bentuk kerajinan batu padas tradisional didaerah lain. Secara keseluruhan kerajinan yang diciptakan tersebut pada dasarnya akibat dari pengaruh globalisasi, sehingga melahirkan bentuk dan fungsi kerajinan batu padas yang sangat variatif dan inovatif. Hal tersebut berdampak positif dan negatif tidak saja diterima oleh para pengrajin, namun lebih luas, pada masyarakat desa dan masyarakat konsumen. Selain itu, bentuk dan fungsi kerajinan batu padas di Desa Singapadu Kaler secara umum mengandung fungsi yang bereka macam dan sangat penting, antara lain: fungsi kreatipvitas, ekonomi, estetis, dan fungsi perubahan budaya. Metode yang dipakai untuk menganalisis permasalahan adalah kualitatif dengan pendekatan kajian budaya, memanfaatkan, teori dekonstruksi, dan teori estetika postmodern. Tulisan ini diharapkan dapat dipakai sebagai media pembelajaran baik oleh lembaga pendidikan seni tingkat menengah dan perguruan tinggi atau masyarakat umum, khususnya dalam bidang kerajinan batu padas yang berkembang di Desa Singapadu Kaler Gianyar. Di samping itu tulisan ini juga dapat dijadikan acuan oleh para penulis dan peneliti dalam melakukan penelitian ilmiah yang lain, agar khasanah ilmu pengetahuan seni kerajinan batu padas di Indonesia semakin diketahui dan berkembang dengan pesat. ]]>
<![CDATA[Balinese Puppet Style As An Idea Of Ceramic Art Creation ]]>
<![CDATA[I Wayan Mudra]]>;
<![CDATA[I Gede Mugi Raharja]]>;
<![CDATA[I Nyoman Wiwana]]>;
<![CDATA[I Wayan Sukarya]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.516
<![CDATA[Ceramic art products distributed in Indonesia are dominantly found as Chinese identity. This creation is aimed to create the art ceramics by Balinese style puppet ornaments. The creation method followed Gustami’s theory, namely exploration, improvisation, and embodiment. At the exploration stage, the data collection wasconducted through observation, interviews, and documentation. The design process was conducted in the improvisation stage, while the process of forming, burning, and finishing were conducted in the embodiment stage. The partners involved in this creation are UD Tri Surya Keramik and Bali Technology Center of Creative Ceramic Industry (BTIIK). The results of the creation show several works which have been created were inspired by the forms of potteries from Bali, Lombok, and Java which are marketed in Bali, namely sangku (rice bowl) and vase with various ornaments and sizes. This ceramic artwork was made using rotary technique and burned to a temperature of 1250oC. Balinese puppet style ornaments were applied using painting techniques.Produk Seni keramik yang dibuat dan dijual di Indonesia dominan ditemukan berindentitas Cina. Tujuan dari penelitian ini adalah untuk menciptakan produk seni keramik berornamen wayang style Bali. Metode penciptaan mengikuti teori Gustami, yaitu eksplorasi, improvisasi, dan perwujudan. Tahap eksplorasi, dilakukan pengumpulan data melalui observasi, wawancara, dan dokumentasi. Tahap improvisasi dilakukan proses desain dan pada tahap perwujudan dilakukan proses pembentukan, pembakaran dan finishing. Mitra yang dilibatkan dalam perwujudan adalah UD Tri Surya Keramik di Desa Kapal, Badung Bali dan Balai Teknologi Industri Kreatif Keramik (BTIKK) Bali. Hasil penciptaan menunjukkan beberapa karya seni keramik tercipta terinspirasi dari bentuk-bentuk gerabah Bali, Lombok, dan Jawa yang dipasarkan di Bali, seperti sangku dan guci. Karya seni keramik ini dibuat dengan teknik putar dan dibakar sampai mencapai suhu 1250oC. Karya seni keramik yang diciptakan berbentuk sangku dan guci dengan beberapa variasi ornamen dan ukuran. Wayang style Bali menjadi ornamen karya seni keramik ini, dibuat dengan teknik lukis. ]]>
<![CDATA[Plagiarism: A Threat To The Creative Industry Of Handmade Regional Batik Motifs In Indonesia ]]>
<![CDATA[I Nyoman Lodra]]>;
<![CDATA[I Nengah Mariasa]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.517
<![CDATA[Developments in the creative industry of handmade batik in Indonesia have helped culvating Small and Medium Enterprises (SMEs) in regions such as Klampar village in Pemekasan, Madura, East Java. Efforts to preserve the sustainability of these SMEs need to be balanced by protecting handmade batik motifs with copyright in order to save this intellectual wealth from plagiarism. This study focuses on: 1) efforts to ensure that plagiarism does not occur and does not threaten the creative industry in Indonesia; 2) benefits from the protection of handmade batik motifs for the creative industry in Indonesia. The research goal is to protect handmade batik motifs from plagiarism and discover the benefits of this protection on the creative industry in Indonesia. A descriptive qualitative research method is used with an empirical juridical approach. The data were obtained from SME administrators and public figures in the Madura community. The data was collected from observation, interviews, and documents, analyzed with a method of triangulation, and compiled systematically. The research findings show that the protection of the database of handmade batik motifs can be implemented through E-Copyright which also supports the sustainability of the creative industry of handmade batik in Indonesia.Perkembangan industri kreatif batik tulis di Indonesia mampu menumbuhkembangkan usaha kecil dan menengah (UKM) di daerah seperti halnya di Desa Klampar, Pemekasan, Madura Jawa Timur. Kebangkitan UKM tersebut seharusnya di imbangi dengan perlindungan Hak Kekayaan Intelektual atau disebut HKI bidang Hak Cipta sebagai upaya penyelamatan motif batik tulis dari plagiarisme (plagiator) namun hal itu tidak dilakukan. Penelitian ini penting dilakukan dengan fokus: 1) bagaimana upaya agar tidak terjadi plagiarisme dan tidak menjadi aacaman industri kreatif di Indonesia? 2) apa manfaat perlindungan motif batik tulis untuk industri kreatif di Indonesia?. Tujuan penelitian: memproteksi motif batik tulis agar tidak terjadi plagiarisme dan mengetahui manfaat perlindungan untuk industri kreatif di Indonesia. Metode penelitian deskritif kualitatif dengan pendekatan yuridis imperis. Sumber data diproleh dari pengelola UKM, tokoh masyarakar Madura. Data terkumpul melalui obsevasi, wawancara, dokumen kemudian di analisis dengan trianggulasi dan disusun secara sistimatis. Temuan penelitian: dapat perlindungan Hak Cipta pada database motif batik tulis dan penyelamatan industri kreatif batik tulis dari plagiarisme di Indonesia. ]]>
<![CDATA[Women Aesthetics in Pundi Bank Advertisement from Cultural Studies Perspective ]]>
<![CDATA[Anak Agung Gde Bagus Udayana]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.518
<![CDATA[Women aesthetics that are visualized in the billboard advertisement of Pundi Bank is a strategic activity to persuade consumer or society. This is intended to see the picture of female aesthetics and its significance in contemporary society through the billboard advertisement of Pundi Bank by identifying the signs contained. The method that is used in this study is semiotics. Semiotics is essentially a qualitative interpretative (interpretation) method that focuses on sign and text as a study object as well as on how researchers interpret and understand the code (decoding) of the sign and the text. This study gives the aesthetic female image presented in the ad message it appears to be of the election of the visual communication element, It’s like photographic illustration, text, and color. The elements are arranged in such a harmony with the use of asymmetrical balance, making it look more attractive with a protrusion on the photographic illustration. The meaning that is delivered by Pundi Bank from this advertisement is a reflection of women’s lifestyle reality in contemporary society. Furthermore, this advertisement is formed by many icons in which it can be interpreted as a symbol of contemporary woman. Besides that, Pundi Bank advertisement also has a construction of social reality which can be seen as denotative and connotative meaning.Estetika perempuan yang divisuliasasikan dalam iklan billboard bank Pundi merupakan kegiatan yang strategis untuk mampu mempersuasif masyarakat konsumen. Tujuannya agar gambaran tentang estetika perempuan dan makna perempuan dalam masyarakat kontemporer yang ditampilkan oleh bank Pundi melalui iklan billboardnya dengan cara mengidenfikasi tanda-tanda yang terdapat dalam iklan tersebut. Penelitian ini menggunakan metode semiotika. Metode semiotika pada dasarnya bersifat kualitatif interpretatif (interpretation), yaitu sebuah metode yang memfokuskan pada tanda dan teks sebagai objek kajiannya, serta bagaimana peneliti menafsirkan dan memahami kode (decoding) dibalik tanda dan teks tersebut. Hasil penelitian ini memberikan gambaran estetika perempuan dihadirkan dalam pesan iklan itu tampak dari pemilihan unsur-unsur komunikasi visualnya, seperti ilustrasi fotografi, teks, dan warnanya. Unsur-unsur tersebut ditata sedemikian rupa secara harmonis dengan menggunakan keseimbangan asimetris, menjadikannya nampak lebih menarik dengan penonjolan pada ilustrasi fotografinya. Makna yang diciptkan iklan bank Pundi merupakan cerminan realita gaya hidup perempuan pada masyarakat kontemporer. Iklan bank Pundi juga banyak terbentuk oleh ikon-ikon yang dapat dimaknai sebagai simbul perempuan kekinian. Iklan bank Pundi juga memiliki konstruksi realitas sosial yang dapat dimaknai sebagai makna Denotatif dan Konotatif.]]>
<![CDATA[Bajang Ratu Temple as Idea Resource for Batik Motif Creation ]]>
<![CDATA[Laksmi Kusuma Wardani]]>;
<![CDATA[Sriti Mayang Sari]]>;
<![CDATA[Ronald Hasudungan Irianto Sitinjak]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.519
<![CDATA[Indonesian batik is rich in decorative motifs that are developing vastly to meet the current needs of the market. Batik has become a resource for creativity that supports the commodity of creative industries. This research is an experimental study on batik creations conducted through three stages: exploration, design and implementation. Bajang Ratu temple in Mojokerto, East Java Province in Indonesia has been used as the idea resource for creating batik. The objective of this research is to create new motifs that can be used for clothing or fashion. From the experiments conducted, several compositions of batik motifs have been produced such as those with motifs of animals, plants and man-made objects. Through this research, it is hoped that the results of the batik creations may increase the development of small to medium creative business units in Mojokerto.Batik Indonesia memiliki kekayaan motif hias yang semakin berkembang dan tetap eksis menjawab kebutuhan masa kini. Batik menjadi sumber kreativitas yang mendukung perkembangan komoditas industri kreatif. Penelitian ini merupakan penelitian eksperimen penciptaan batik yang dilakukan secara ilmiah melalui tiga tahap, yakni eksplorasi, perancangan, dan perwujudan. Candi Bajang Ratu yang berada di Mojokerto, Jawa Timur Indonesia digunakan sebagai sumber gagasan penciptaann. Tujuan khusus yang ingin dicapai yakni terciptanya motif baru yang digunakan sebagai bahan kain sandang atau fesyen. Berdasarkan eksperimen yang telah dilakukan, dihasilkan karya batik dengan komposisi motif binatang, tumbuhan, dan benda buatan manusia. Hasil ciptaan diharapkan berpeluang untuk meningkatkan industri kreatif unit usaha kecil menengah masyarakat Mojokerto di Jawa Timur Indonesia. ]]>
<![CDATA[The Sundanese Comic Ririwa Nu Mawa Pati - An Intertext of Sundanese - Islam Cosmology ]]>
<![CDATA[Kankan Kasmana]]>;
<![CDATA[Setiawan Sabana]]>;
<![CDATA[Iwan Gunawan]]>;
<![CDATA[Hafiz Aziz Ahmad]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.520
<![CDATA[Ririwa nu Mawa Pati, the Sundanese strip comic with horror genre, published by “Mangleâ€, a Sundanese cultural magazine in West Java, 1922. The comic consist of material about belief in the supernatural being in the Sundanese society at that time. This research attempts to find expressions of Sundanese human death journey conception derived from oral literature of selected informants in the comics as an intertext in an effort to understand and interpret the comics in depth. This is a qualitative research, intertextual analysis is used to find representations of cultural texts embodied in selected comic elements. The results of the analysis reveal the existence of oral literature absorption (hypogram) in the form of core and development in the comic as transition work, present explicitly through storyline, comic element in the form of dialogue in word balloons, description panel, and visual scene of the characters. Comics become a representation of the view of the comic artist about the world around the visible (or tangible) and invisible (or intangible).Ririwa nu Mawa Pati, komik strip Sunda bergenre horor diterbitkan oleh majalah sastra dan budaya Sunda Mangle di Jawa Barat tahun 1992. Komik ini sarat materi mengenai kepercayaan akan mahluk halus di masyarakat Sunda saat itu. Penelitian berupaya menemukan ungkapan konsep fase perjalanan kematian manusia Sunda yang berasal dari sastra lisan informan terpilih yang ada dalam komik sebagai sebuah interteks sebagai upaya agar dapat memahami dan memaknai komik secara mendalam. Penelitian bersifat kualitatif, analisis intertekstual digunakan untuk menemukan representasi teks budaya yang mewujud dalam unsur komik terpilih. Hasil analisis mengungkapkan adanya serapan satra lisan (hypogram) baik berupa inti maupun pengembangan dalam komik ini sebagai karya transisi, hadir secara tersurat melalui alur cerita, unsur teraga komik berupa dialog balon kata, panel keterangan, serta visual adegan para tokohnya. Komik menjadi representasi kosmologi Sunda dan pandangan komikus mengenai dunia sekitarnya baik yang kasat mata maupun yang tak terlihat. Kosmologi Sunda tidak hanya dipandang sebagai pemisahan dunia, namun difahami pula sebagai fase perjalanan kehidupan dan kematian manusia Sunda. ]]>
<![CDATA[Archeological Site As The Idea Source In The Motif Development Of Batik Sragen ]]>
<![CDATA[Mulyanto Mulyanto]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.521
<![CDATA[Sragen Regency in Central Java Province, Indonesia, has an iconic archaeological site that centered in Sangiran area. This site has not been much explored as the idea source for the creation of motifs in batik craft production; whereas batik is one of the main products of Sragen Regency. This research aims to explore the usable elements of the archeological site that can be applied into the motif of batik. Participatory action research, focus group discussion, and creative development were used as research methodsas well as empowering batik craft industry. The research has beenconducted at Pilang Village, Sragen Regency, especially in Jalidin batik craftsman industry. The result of the research is the batik motif design that brings the concept of prehistoric elephant and bones. The concept is manifested in the elephant combined with bones motif and it is inserted in a machete (parang) pattern. Furthermore, the designed motif is then applied in short-sleeve shirt pattern and produced with several color variations, either using synthetic color or natural dyes. The designed motif is then generated into a batik sanggit in short-sleeves shirt mode.Kabupaten Sragen, Propinsi Jawa Tengah memiliki situs kepurbakalaan yang berpusat di daerah Sangiran. Situs kepurbakalaan tersebut belum banyak digali untuk dijadikan sebagai sumber ide bagi penciptaan motif-motif dalam produk kriya batik ataupun kriya tekstil bermotif batik. Padahal kriya batik dan kriya tekstil bermotif batik merupakan salah satu produk unggulan Kabupaten Sragen. Tujuan riset ini adalah untuk mengusulkan motif batik yang baru bertolak dari inspirasi situs purbakala sebagai upaya untuk memberdayakan usaha kerajinan batik di Kabupaten Sragen. Metode yang digunakan untuk mencapai tujuan tersebut yaitu kaji tindak partisipatif, metode diskusi kelompok terfokus, dan pengembangan kreativitas pengrajin. Riset dilakukan di Desa Pilang, Sragen khususnya di usaha kerajinan batik Jalidin. Hasil riset yaitu berupa desain motif batik yang berbentuk binatang gajah dan tulang. Kemudian bentuk gajah dan tulang tersebut disusun dalam pola parang dan dibuat pada pola kemeja lengan pendek. Motif tersebut kemudian diproduksi dengan berbagai variasi warna, baik menggunakan zat warna sintetis maupun zat warna alam. Kain batik motif gajah kemudian dibuat menjadi kemeja lengan pendek yang motif-motifnya sanggit di beberapa bagian sambungan jahitan.]]>
