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[Bukan Sekedar Pelipur Lara: Promosi Pariwisata dalam Dongeng “Nusantara Bertutur” Koran Kompas 2019 ]]>
<![CDATA[I Nyoman Darma Putra]]>;
<![CDATA[Eva Lailatur Riska]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i1.1600
<![CDATA[Literature and tourism have long had a close relationship, but researchers of the fields have paid little attention on them. This study aims to examine aspects of the tourism narrative in the Nusantara Bertutur(Fairy Tales of the Archipelago) published by Kompason its Sunday edition throughout the year of 2019. The data were selected purposively from all fairy tales published every Sunday. Of the 49 fairy tales published, 25 of them contain narratives about travelling, tourist attractions or activities. The data were analyzed with a tourism literary approach with an emphasis on the theme, setting, and tourism aspects narrated in fairy tales. The results of the study show that the fairy tales of Nusantara Bertutur are more than just entertainment, because they also contain paintings of natural beauty (sunrise, beautiful lakes, beaches, underwater nature, and rural nature); various kinds of Indonesian cuisine; and narratives about the traditions or rituals of the archipelago such as the Kasada Ceremony and Karo Holiday in Bromo (East Java), the Sigale-gale carnival on Lake Toba, and Jathilan in Magelang, Central Java. This article offers a new understanding that fairy tales are not only full of stories with ethical and moral messages or solace but also contain the promotion of tourist attractions and the introduction of various traditions and cultures of the archipelago to children.]]>
<![CDATA[Relevansi Makna Empat Drama Anak-Anak Berbasis Cerita Dongeng Nusantara Bagi Generasi Masa Kini ]]>
<![CDATA[Nur Sahid]]>;
<![CDATA[Junaedi -]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i1.1685
<![CDATA[The era of digitalization is an era that is able to indicate a change in the dynamics of scientific and technological progress that must be responded positively by us to make the best use of it in various daily activities, including in "teaching and learning" educational activities. The purpose of this study was to determine how far the influence of the Edmodo mobile application to improve student learning outcomes in educational dance lectures through a blended learning approach that combines two learning strategies, namely conventional learning and virtual learning through the Edmodo mobile application system. This experimental study used a research sample of 36 students in semester 5 who contracted educational dance courses. To reveal more in-depth data and information in this study, researchers used quantitative data with data collection techniques usingobservation, interviews, and literature studies. Data analysis was carried out quantitatively with the SPSS 17.0 program. The results of the study show that (Mobile-Application) Edomodo is an application that can be accessed via smartphones or other technological devices such as laptops and computers, which can be used as forums or teaching and learning facilities in educational dance lectures by lecturers and students. The edomodo mobile application is able to create a learning space that can not only bedone in conventional learning, but can be done virtually unlimited learning with classroom lectures which are usually carried out in the classroom simultaneously and face to face.]]>
<![CDATA[Banjuran, Gamelan Prosesi Zaman Bali Kuna ]]>
<![CDATA[Hendra Santosa]]>;
<![CDATA[Dyah Kustiyanti]]>;
<![CDATA[Ida Ayu Wayan Arya Satyani]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i1.1717
<![CDATA[This article is part of research entitled "The Evolution of the Balinese Gamelan", which is accompanied by an overview of the changes that occurred after the Gelgel era. This article aims to provide an overview of the Banjuran gamelan form as written in several ancient Balinese inscriptions. Balinese Karawitan experts often associate it with the Balaganjur gamelan, which is now developing in Bali. In order to obtain a comprehensive explanation, this articlewas compiled employing the historical method. The historiography stage in this study was conveyed through the delivery of critical-descriptive analysis. Although the Sukawana A I inscription actually states that Bali's historical era started from 804 AD, the close relationship between Bali and Central Java actually existed around the 7th century, which is proven through various archaeological findings. It certainly opens the suspicion that the Banjuran gamelan image is engraved in the Borobudur Temple’s reliefs. Many asymmetrical shapes of Balinese drums (kendang) are engraved in the reliefs. Furthermore, Balinese drums' shape is also engraved in the Tegawangi Temple’s reliefs in East Java. This form of the Banjuran gamelan is also strengthened by information and data from the Kakawin Nagarakretagama. Gamelan Banjuran is thought to be the forerunner of the development of the Balaganjur gamelan that is currently developing.]]>
<![CDATA[Nekara Pejeng: Representasi Peninggalan Karya Seni Zaman Praaksara Bali ]]>
<![CDATA[Ida Bagus Brata]]>;
<![CDATA[I Komang Sudirga]]>;
<![CDATA[I Ketut Laba Sumarjiana]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i1.1750
<![CDATA[This paper was compiled based on the results of a study to identify and understand the Nekara Pejeng artifact as a representation of the heritage of Balinese pre-literacy. The conducted study belongs to qualitative research with settings according to the condition of the subject. This research was carried out through a literature review approach and data studies through computer networks, such as social media and the internet, combined with field studies by visiting Penataran Sasih Temple where nekara is kept as cultural objects, which was also the research locus. Primary data was obtained through direct observation by visiting the object of research in addition to conducting interviews with a number of informants who had been determined before the research activity began. Secondary data were obtained through literature review in order to collect expert opinions that have been stated in books, accompanied by writings in various journals, results of seminars and workshops, as well as social media. The secondary data here were complementary to the primary data. This is due to studies in the research carried out being closer or more comprehensive. This study aimed to provide a clearer picture of Nekara Pejeng as a work of art from the Balinese pre-literacy era so that the method used was more descriptive qualitative. Because of its qualitative nature, the researcher is the main instrument, supported by interview guidelines in the form of a list of questions to guide the interview with informants such as Gedong Arca Bedaulu Gianyar Museum officers, Pejeng Village Heads, Village Prajuru (staff), temple administrators, community leaders who were purposively selected. This study proved that the moon of Pejeng is a bronze drum (nekara) stored in Penataran Sasih Temple which is believed by the Balinese to have supernatural powers and is used by the community in ceremonies asking for rain. The characteristics of Nekara Pejeng are in the form of a drum/drum made of bronze, there is a waist pattern in the middle, equipped with two sides of the punch field, and one of the fields is open. The moon of Pejeng is the largest nekara discovery in Asia which can represent the advancement of technology and art in the Balinese pre-literacy era. The decoration on the nekara contains magical religious meanings, namely local wisdom in the form of beautiful works of art with high aesthetics as evidence of the creativity of Balinese people in art which began in the pre-literacy period, continues to grow, develop, and have dynamics to this day.]]>
<![CDATA[Pembelajaran Blanded Berbasis Aplikasi Edmodo: Studi Penerapan Pembelajaran Virtual Dalam Perkuliahan Tari Pendidikan ]]>
<![CDATA[Ria Sabaria]]>;
<![CDATA[Agus Budiman]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i1.1766
<![CDATA[The era of digitalization is an era that is able to indicate a change in the dynamics of scientific and technological progress that must be responded positively by us to make the best use of it in various daily activities, including in "teaching and learning" educational activities. The purpose of this study was to determine how far the influence of the Edmodo mobile application to improve student learning outcomes in educational dance lectures through a blended learning approach that combines two learning strategies, namely conventional learning and virtual learning through the Edmodo mobile application system. This experimental study used a research sample of 36 students in semester 5 who contracted educational dance courses. To reveal more in-depth data and information in this study, researchers used quantitative data with data collection techniques usingobservation, interviews, and literature studies. Data analysis was carried out quantitatively with the SPSS 17.0 program. The results of the study show that (Mobile-Application) Edomodo is an application that can be accessed via smartphones or other technological devices such as laptops and computers, which can be used as forums or teaching and learning facilities in educational dance lectures by lecturers and students. The edomodo mobile application is able to create a learning space that can not only bedone in conventional learning, but can be done virtually unlimited learning with classroom lectures which are usually carried out in the classroom simultaneously and face to face.]]>
<![CDATA[Ragam Pola Tabuhan Instrumen Gambang Pada Musik Gambang Semarang ]]>
<![CDATA[Abdul Rachman]]>;
<![CDATA[Pramot Teangtrong]]>;
<![CDATA[Phakamas Jirajaruphat]]>;
<![CDATA[Udi Utomo]]>;
<![CDATA[Syahrul Syah Sinaga]]>;
<![CDATA[Ibnu Amar Muchsin]]>;
<![CDATA[Sabrina Firda Sokhiba]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i1.1820
<![CDATA[Gambang Semarang is one of the traditional Indonesian music that grows and develops in the cityof Semarang, Central Java. Gambang Semarang music has an instrument made of wood which is the hallmark of Gambang Semarang music itself, namely Gambang. The Gambang instrument has a variety of distinctive accompaniment patterns that can give nuance to themusic of Gambang Semarang. The purpose of this study was to identify and describe the various patterns of accompaniment of the Gambang instrument in Semarang's Gambang music. The research method used is qualitative with an ethnomusicological approach. Data collection techniques were carried out by means of observation, interviews, document studies, and Focused Group Discussion. Data analysis was carried out with the stages of data reduction, data classification, and conclusions. The results showed that theaccompaniment pattern of the Gambang instrument in Gambang Semarang music consisted of an accompaniment pattern of gembyang nglagu oktaf, and a garap cengkok ajeg pattern. Each accompaniment pattern of the Gambang instrument involves a series of tones according to its seleh. Due to the influence of the melody of the main song, the accompaniment pattern of gembyang nglagu octaf and the accompaniment pattern of garap cengkok ajeg has six selehs, namely seleh do, seleh re, seleh mi, seleh sol, and seleh la.]]>
<![CDATA[Nilai Estetika Lokal dan Nilai Ekonomi Lokal Dalam Pengelolaan Destinasi Pariwisata di Bali Utara ]]>
<![CDATA[Dewa Ayu Diyah Sri Widari]]>;
<![CDATA[Dewa Putu Oka Prasiasa]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i1.1883
<![CDATA[This study aims to find local aesthetic values and local economic values as a result of the interaction of local values and global values in the management of tourism destinations in North Bali. The method used is a literature review method based on qualitative descriptive analysis. The findings of this study are that the element of locality in the management of tourism destinations in North Bali is formed from the embodiment of aesthetic values and local economic values which are believed to be local wisdom of the community, and these two values are dominant. The values brought by tourists can have positive (tonic) and negative (toxic) implications, as well as being a driver of value change for local communities. The contribution of aesthetic value and local economic value to the values brought by tourists has not been optimal in managing tourism destinations in North Bali.]]>
<![CDATA[Transformasi Digital pada Budaya Tradisi Menenun Endek ]]>
<![CDATA[Nyoman Dewi Pebryani]]>;
<![CDATA[Tjok Istri Ratna C.S]]>;
<![CDATA[Anak Agung Rai Remawa]]>;
<![CDATA[I Made Radiawan]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i1.1886
<![CDATA[Endekis traditional textile produce in Bali using a single ikat weaving technique. In single ikat, the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern on one side of threads, either the warpor the weft. Specifically, for Endek, the weft is the threads to form the pattern. Producing patterns in Endekinvolves creativity and intricate calculation; therefore, not many people are able to master this expertise. Transforming the design process of Endekto a digital application provides easiness, as the user only needs to focus on creating the pattern design, while the digital application will calculate the number of threads and visualize the result. To understand the process of creating Endek, the researcher conducted research in the weaving place by interviewing and observing the weavers and pattern makers. The algorithm received from the fieldwork then is translated into programming language to create a digital application. This application is created with a simple user interface so that the user who is not familiar with technology still can practice the apps easily. This application contributes to the efficiency in production process where previously in the production process needs one to two days, while with this application, it can be shortened to one to two hours.]]>
<![CDATA[Rekonstruksi Perabot Rumah Tangga Berdasarkan Relief Karmawibhangga Candi Borobudur ]]>
<![CDATA[Rahmanu Widayat]]>;
<![CDATA[Anung B. Studyanto]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i1.1893
<![CDATA[The development of modern household furniture is currently experiencing rapid expansion. On the other hand, the legacy of ancient household furniture still survives; it can be seen from household furniture in the 9th century through the two-dimensional Karmawibhangga reliefs of Borobudur Temple. To understand the three-dimensional shape from the relief, it is interesting to make a replica of this household furniture. The problem of this study is to understand the form of household furniture found in the reliefs of Borobudur Temple. The method used in this study is identification, reconstruction, and analyzation the value of its benefits. The result is several types of household furniture replicas. The benefits of this study are as a source of inspiration forthe development of modern home furniture designs and also to respect and develop the legacy from the ancestors.]]>
<![CDATA[Identifikasi Karakteristik Seni Lukis Flora Dan Fauna Pengosekan Pada Seni Kerajinan Batu Padas Di Desa Singapadu ]]>
<![CDATA[Ni Putu Laras Purnamasari]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i1.1894
<![CDATA[Pengosekan painting was once a favorite among tourists in theera of the 1980s. Pengosekan paintings are widely used as an aesthetic element of the interior of hotels, restaurants, office spaces, hospital rooms, and are exported abroad as souvenir products. Along with the heyday of Pengosekan painting, representations of this painting were found in several handicrafts. One of the handicraft arts that represents Pengosekan painting is the art of stone craft that has developed in Singapadu Village, Sukawati District, Gianyar Regency, Bali. There are similarities in terms of themes and the creation of solid stone craft objects with Pengosekan painting. This research specifically identifies the characteristics of the Pengosekan painting which is represented in the art of rock craft in Singapadu Village, as well as its influencing factors.This research is a qualitative research, using representation theory as analysis tools. The results showed that there was a representation of Pengosekan painting in the arts, which was seen in terms of the theme and character of the visual object. The representation that occurs is influenced by the artist's motivation to create innovation, as well as being influenced by the developing market at that time.]]>
