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[Pengalaman Belajar Gamelan Soepra dalam Paradigma Pedagogi Reflektif ]]>
<![CDATA[Benidiktus Candra Pamungkas]]>;
<![CDATA[Udi Utomo]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 2 (2022): Mei ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i2.1414
<![CDATA[Gamelan Soepra is a Javanese Gamelan musical instrument that has a diatonic chromatic scale belonging to SMA Kolese Loyola Semarang. The diatonic gamelan which has various types of instruments can collaborate with modern musical instruments. This gives rise to new musical experiences, especially the experience of learning how to play gamelan for the younger generation. In the reflective pedagogy paradigm (RPP), experience is one of the main elements of learning. This study aims to understand the learning experience of Gamelan Soepra and how the students experience learning Gamelan Soepra. The methods used by the authors in collecting data were observation, interview, and document study. Gamelan Soepra learning provides a direct experience of what Gamelan Soepra is, how to play the gamelan and how to mathet, and how students can open themselves up and practice playing music in groups to produce harmonious music. Students are not only trained in musical competence, but they are also formed to be open, caring, have a conscience, and committed to their choices. This research is expected to be a reference for developing learning methods, especially music learning.]]>
<![CDATA[Revitalisasi Tepung Tawar sebagai Perlindungan Budaya Lokal di Aceh Tamiang ]]>
<![CDATA[Joko Hariadi]]>;
<![CDATA[Muhammad Arif Fadhilah]]>;
<![CDATA[Azrul Rizki]]>;
<![CDATA[Indah Fajarini]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 2 (2022): Mei ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i2.1656
<![CDATA[This research aims to revitalize the tradition of Tepung Tawar as a form of strengthening and protecting local culture in Malay society in Aceh Tamiang Regency. This is a qualitative study that uses descriptive methodologies. Data is gathered using various methods, including interviews, documentation, and field observations. Data analysis is accomplished by presenting and condensing data from interviews and observations. The data is processed by describing the information gathered during the interview and observation procedure in the field. According to the findings of this study, 12 subdistricts in Aceh Tamiang continue to use Tepung Tawar in a variety of processes. 4 sub-districts conduct Tepung Tawar processions only on specific activities, namely Banda Mulia, Sekerak, Seruway, and Tamiang Hulu subdistricts. In the four sub-districts, the revitalization of the tradition of Tepung Tawar was carried out in coordination with the Chairman of MAA, indigenous elders, and community leaders. After conducting interviews and observations, it was discovered that the process of revitalizing the Tepung Tawar tradition is carried out in five ways, namely (1) procurement of competitions in the community about the tradition of Tepung Tawar, (2) training the village youth about the procession of Tepung Tawar, (3) strengthening the traditional institutions to pay attention to the procession of Tepung Tawar, and (4) strengthening the traditional institutions to pay attention to the procession of Tepung Tawar. The preservation and maintenance of local culture, Tepung Tawar, is necessary to prevent degradation soon.]]>
<![CDATA[Aransemen Lg. Rangkaian Melati Karya R. Maladi Sebagai Materi Musikal Minus One Instrumen Keroncong ]]>
<![CDATA[Mei Artanto]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 2 (2022): Mei ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i2.1719
<![CDATA[The musical arrangement is a process of developing and setting the musical aspects of existing songs, namely Lg. Rangkaian Melati by R. Maladi became a way to improve musical material in minus one intrusion keroncong. Efforts to improve musical material minus one through musical arrangements at the same time want to question: 1) what musical aspects become exploratory material in arrangements and 2) how the arrangement process is carried out. The goal is to find out the technical procedures of musical processing arrangements Lg. Rangkaian Melati by R. Maladi for seven keroncong instruments and find out what musical aspects have the opportunity to be explored more deeply to present a musical experience that varies in minus one keroncong instrument. Qualitative research methods and Practice-Based Research (PBR) are used in this article as investigative procedures in uncovering aspects of knowledge of the practice process and the results of the Arrangement of Lg. Rangkaian Melati for keroncong instruments. The results of the analysis found in this article are 1) two musical aspects can be used as exploratory material in the arrangement of Lg. Rangkaian Melati, namely harmony (chord movement) and melody (for auxiliary members and fillers), and 2) the process of exploration of musical aspects and arrangement work can be done systematically and structured through a five-step method of musical arrangements accompanied by systematic musicology perspective.]]>
<![CDATA[Aktivitas Sosial-Keagamaan Pada Seni Relief di Das Pakerisan Dan Petanu, Gianyar, Bali ]]>
<![CDATA[I Nengah Duija]]>;
<![CDATA[Rema I Nyoman]]>;
<![CDATA[I Wayan Yudhasatya Dharma]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 2 (2022): Mei ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i2.1825
<![CDATA[Gianyar has abundant archaeological remains from the prehistoric era, especially during the classical era. This can be seen from the cultural remains in the form of artifacts, eco-facts, sites, and others, reflecting the brilliant past of Gianyar civilization. This study aims to determine the socio-religious activities etched into the relief art in the Pakerisan and Petanu watersheds. The data was collected by observing relief artworks in the Pakerisan and Petanu watersheds, supported by relevant literature studies and in-depth interviews with key informants. This relief provides information on socio-religious life in ancient Bali, inspired by beliefs in ancestors, Buddhism and Shivaism accumulated in Shiva Siddhanta. This study resulted in findings in the form of socio-religious activities in the Pakerisan and Petanu watersheds. The socio-religious activities in question are mental development activities, exercising self-control, studying the nature of oneself and the universe, and using various worship media by choosing a location near a water source. This reflects the wisdom of the ancient Balinese era in maintaining harmony between various understandings, oneself, nature, and the Creator.]]>
<![CDATA[Pendirian Usaha Produksi Kriya Batik Tulis Dan Cap ]]>
<![CDATA[Mulyanto Mulyanto]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 2 (2022): Mei ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i2.1868
<![CDATA[Batik has become everyday clothing for the people of Indonesia, many batik businesses have sprung up in several regions in Indonesia. The purpose of this study is to describe the minimum standards of aspects needed to establish a batik craft business. These aspects include capital funds, materials, equipment, employees, human resource management, production management, financial management, and marketing management. This qualitative descriptive research was conducted in several batik craft businesses on the island of Java. Twenty key informants consisted of 10 batik entrepreneurs, 3 motive designers, 3 batik makers, 1 stamper, and 3 color workers. The research data was collected through interview techniques, focus group discussion, document observation and study, then analyzed using interactive models. To establish a batik business with an initial production process for one month, a fund of Rp.37,350,000.00 is needed, 5 batik makers, 1 color dealer, an area of 100m2 and a building of 64m2. To establish a combination of stamp and writing batik business with an initial production process for one month, funds amounting to Rp 113,900,000.00, 4 employees, land 100m2 and building 69m2 are needed. The establishment of a batik business is estimated to be the main point of return for 7 months.]]>
<![CDATA[Transformasi Amanat Lakon Ramayana dalam Seni Pertunjukan Wisata Indonesia –Thailand ]]>
<![CDATA[Robby Hidajat]]>;
<![CDATA[Surasak Jamnongsarn]]>;
<![CDATA[Muhammad Afaf Hasyimy]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 2 (2022): Mei ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i2.1880
<![CDATA[The background of this research is to answer the hesitance regarding the moral messages in tourism performance art. The moral messages in tourism performance art that plays Ramayana story is then analyzed. Ramayana story is presented in tourism performance art in Indonesia and Thailand. In the beginning, Ramayana story is functioned to be the guidance for the audiences to learn about moral ethics from the character, structure, and appearance of the presentation. Ramayana story is now presented mostly for tourism entertainment but Educative Mandate is still conserved in tourism performance art. The design of this research is qualitative descriptive with functional approach. Data collection method involves interview and observation. Key informants are dancer, musician, tourism performance organizer, and art teacher in art school that represent Indonesia and Thailand. Observation was conducted on the centers of tourism performance art in Yogyakarta and Denpasar, Indonesia and also in Bangkok, Thailand. Results of research showed that (1) Mandate of Romance refers to the romance life of the characters in Ramayana story; (2) Mandate of Woman Paragon considers woman as both strength and weakness of man; and (3) Mandate of Causal Law emphasizes that the wrong is lost and the right is won.]]>
<![CDATA[Stilistik-Estetik Epilog Kakawin Abad XX Karya Made Degung ]]>
<![CDATA[Anak Agung Gde Alit Geria]]>;
<![CDATA[I Made Bendi Yudha]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 2 (2022): Mei ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i2.1910
<![CDATA[Kakawin (manuscript), composed by Rakawi Made Degung from Sibetan Karangasem, received a positive response among lovers of classical Balinese literature, because it is full of Shiva-Buddhist philosophy which until now still lives side by side and harmoniously in Bali. This well-packaged, aesthetically pleasing Kakawin has an important position among the existing kakawin, because the content and unique presentation factor is the spirit of the times, namely the Shiva-Buddhist discourse that is typical of the Balinese model. This Kakawin was completed on Friday Paing Sinta, the 13th anniversary of the Saka year 1915 (1993 AD). The information implied in this kakawin epilogue is truly something unique that is rarely or never found in other kakawin. His Kakawin compositions, the writing of the number of years to the name of the pangawi (author) and its origin, are packaged in a unique way and explained in one last stanza of this kakawin. In addition to starting with the Manggala who worships the Goddess of Beauty (Saraswati) as the sacred God Brahma spouse, the Goddess of Knowledge, and the Soul of the script, at the end of his work, Pangawi begs before Him so that the world will be saved as well as its leader.]]>
<![CDATA[Evaluasi Subjektif Teknik Perekaman Stereo Pada Kendang Jawa ]]>
<![CDATA[Jack Arthur Simanjuntak]]>;
<![CDATA[Gelar Pandu Raharjo]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 2 (2022): Mei ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i2.1911
<![CDATA[Kendang Jawa is a traditional Javanese musical instrument which is used in a Javanese gamelan ensemble, often played for traditional events. Kendang Jawa has three separate parts dependant on its size, namely bem (largest), batangan (medium) and ketipung (small). Through advances in recording technology, the development and preservation of Nusantara's musical arts can continue to be encouraged. The quality of the recording is predominantly determined by the placement of the microphone in use. The lack of studies on the importance of microphone layouts and distancing in kendang Jawa recording is a problem that requires attention. The purpose of this study is to evaluate the participants' subjective assessment of stereo recording techniques on kendang Jawa. Qualitative methods were used to analyze the preferences of expert and non-expert participants. Recording of 16 audio samples were performed using four stereo recording techniques, namely XY 90º, AB, ORTF and Mid-Side with four variable distances at Studio Lokananta, Surakarta. The recording sample was tested subjectively on 40 participants. This study reveals that the preference of expert and non-expert participants is the XY 90º technique. As many as 73% of expert participants enjoyed the recording of kendang Jawa through the XY 90º technique at a distance of 1 meter. High sound clarity and balanced stereo images are several crucial factors in this technique. The result of this study contributes to the understanding that the aspect of the impression of space and time of low reverberation is one of the essential criteria in determining the sound quality of kendang Jawa recordings.]]>
<![CDATA[Peremajaan Wisata Budaya Melalui Wisata Gastronomi Kreatif di Ubud, Bali ]]>
<![CDATA[Ni Made Prasiwi Bestari]]>;
<![CDATA[Agung Suryawan Wiranatha]]>;
<![CDATA[I Gusti Ayu Oka Suryawardani]]>;
<![CDATA[I Nyoman Darma Putra]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 2 (2022): Mei ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i2.1938
<![CDATA[The Ubud area has long been developed and is known as a cultural tourism destination. This is not surprising because Ubud has many artistic and cultural attractions to offer for tourists. However, in the last two decades, Ubud is also known as a culinary tourism destination. In fact, the Gianyar Regency government and the Ministry of Tourism and Creative Economy have promoted Ubud as gastronomic tourism. This article analyzes the role of gastronomic tourism in supporting cultural tourism in Ubud. Does the new Ubud label as gastronomic tourism fade the image of Ubud as cultural tourism or does it increase its charm and attractiveness? This qualitative study collects data by interview, observation, and literature study. They were analyzed from the light of creative tourism. The article concludes that gastronomy tourism such as cooking class and food festival that has developed in Ubud is a form of creative tourism that help in rejuvenating the image of Ubud as cultural tourism. This happens because food and all the cooking processes as well as all the stories and values system of local wisdom attached to the local foods are part of the culture. This article contributes in providing an understanding of strengthening the image of Ubud tourist destinations as cultural tourism through creative tourism known as gastronomic tourism.]]>
<![CDATA[English Kraftivisme Rajut Kejut: Membangkitkan eksistensi diri di tengah pandemi Covid-19 melalui "Sesaji Nusantara" ]]>
<![CDATA[Sari Wulandari]]>;
<![CDATA[Guntur -]]>;
<![CDATA[M. Dwi Marianto]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 2 (2022): Mei ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i2.1959
<![CDATA[The Covid-19 pandemic has forced people to minimize their activities and choose essential things to do. Apart from maintaining personal and environmental hygiene, mental health is the priority. The RajutKejut Community is a group of female crocheters who yarn bombs with crochet works. RajutKejut received an invitation from the Jakarta Biennale 2021 to exhibit their work in a public space. Their work “Sesaji Nusantara”, presented a crochet installation in the form of flowers and crops arrangements, as an offering to God. Through crocheting in a quarantine atmosphere, a space for reflection and contemplation is formed. This is essential to consider that besides preserving quality intake, the body's immunity can also be increased by maintaining mental health and happiness. As a research question, how RajutKejut community through activity body by making communal crafts can create an understanding of themselves and their environment, which is an understanding that leads to the formation of mental health amid the Covid-19 pandemic. This study uses the phenomenological perception by Maurice Merleau-Ponty as an analysis method which is bodily experiences could help people to comprehend their world, particularly in the current pandemic situation. At the end of the discussion, this research shows that the pandemic conditions encourage people to look back at the past, realize their existence in present, and project themselves to plan their next steps. This can be realized by carrying out bodily activities consciously, which brings humans back to retrace their existence in the world as humans who have bodies that can 'make' to fulfill their needs, using their bodies, therefore that awareness of self and self-existence is awakened.]]>
