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[Identitas Seniman Tari Barong dan Keris terhadap Komodifikasi Tari Sakral di Batubulan ]]>
<![CDATA[Bagus Merta Dana]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1702
<![CDATA[Barong and Keris Dance is a sacred dance that can attract tourists; therefore, it is shown as a cultural tourist attraction. However, this condition raises questions about the central identity of a dancer who contributes to sacred dance performances and tourist attractions. Therefore, this research examined a dancer’s central identity and motivations. This research is qualitative research with a narrative approach. The data collected was from observation, interviews, and a literature study with three findings. Firstly, the dancer has two identities as pengayah and tourism actor, whereas pengayah is his central identity. Secondly, the existence of Barong dan Keris Dance encourages him to devote his dance skill to society and God. Lastly, in this condition, the existence of cultural commodification can support the preservation of a culture.]]>
<![CDATA[Ki Madhari: Tokoh Rurukan Adat Nabawadatala Desa Citengah ]]>
<![CDATA[Ridwan Simon]]>;
<![CDATA[Tati Narawati]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1722
<![CDATA[The purpose of writing this article is to reveal the role of a figure in building and developing the Nabawadatala Rurukan Adat which is a forum for absorbing the aspirations of the community through various activities to improve the image, values, and cultural order as the implementation of the Sumedang Puseur Sundanese Culture (SPBS) program. The tri tangtu pattern which is used as a foothold in building and developing local culture is still relevant to be applied. By using an ethnographic approach and descriptive qualitative methods, various interesting phenomena related to the cultural and natural charm of Citengah Village are revealed, with the involvement of Ki Madhari as one of the community leaders trying to build the usefulness value of the richness of art and culture, as well as the geographical grace of beautiful nature. the results show that good governance with a humanist approach from a character is able to image values and cultural benefits into something of aesthetic and economic value.]]>
<![CDATA[Ritual kematian dan duka selama pandemi COVID-19: Respons keluarga Bali ]]>
<![CDATA[I Wayan Suyadnya]]>;
<![CDATA[Luh Ayu Tirtayani]]>;
<![CDATA[Arief Setiawan]]>;
<![CDATA[Alies Poetri Lintangsari]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1773
<![CDATA[The unprecedented COVID-19 pandemic leaves great number of human deaths since its first emergence. The Balinese that praise death through rituals should make some adjustment as there are some religious and traditional activities restriction to mitigate the COVID-19 pandemic. Studies on human rituals have indicated lifelong changes, including in funeral rituals. This research addresses the meaning and adjustment of the death rituals employing various sources and perspectives. Benefiting the investigative study, this research explores the impacts of the COVID 19 pandemic to the adaptation of death rituals practices by the Balinese. The research was conducted in Tabanan in the period from May-September 2021. The qualitative research design with focus on observation, in-depth interviews, and visual documentation of family members who lost other family members due to COVID-19 was employed. Data analysis was performed through inductive thematic analysis for data interpretation. Research results indicated that the experience of the sudden loss of family members due to COVID-19 is worsened because of the absence of the proper funeral rituals. The absence of rituals eliminates the social connections and social functions as it serves function as the social-cultural support to accept death. Additionally, it also diminish the grieving period as well as reducing the role of the traditional social institutions (desa adat) as the social-cultural supporter. This paper offers the deeper elaboration on how the Pandemic Covid-19 has affected the Balinese in overcoming death both socially and culturally.]]>
<![CDATA[Daur Ulang Sampah Plastik Untuk Pengembangan Produk Souvenir Khusus Kota Surakarta ]]>
<![CDATA[Adam Wahida]]>;
<![CDATA[Figur Rahman Fuad]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1805
<![CDATA[This study aims to describe the development of souvenir products characteristic of the city of Surakarta using recycled plastic waste materials to support the Eco-Cultural City movement. Through this movement, the local government of Surakarta involves community participation to make Surakarta a cultural city with environmental insight that is creative economically, socially, and culturally. The programs that have been implemented include mobilizing the community by establishing a Waste Bank. Public awareness and participation in managing waste are integrated with the development of creative industries that are environmentally sound through the creative and innovative use of waste recycling into souvenir products typical of the city of Surakarta. This study uses development research methods with the following steps: 1) data collection, 2) initial product development, 3) initial product testing, and 4) major product improvement. The results of this study were: 1) identified the types of waste used as materials for making souvenir products, 2) the creation of various souvenir products with the basic idea of Canthik Rajamala form using recycled plastic waste materials. The conclusions of this study are: 1) plastic waste has great potential to be managed as materials for making souvenir products. 2) the resulting souvenir products have the characteristics of the city of Surakarta. Thus, the results of this study are expected to have an impact, including 1) growing public awareness in protecting the natural environment and local culture, 2) developing creative industries with character and environmental insight, 3) increasing the image of a cultural city that is creative and environmentally friendly.]]>
<![CDATA[Strategi Koping Masyarakat Jawa di Masa Pandemi COVID-19 ]]>
<![CDATA[Faruq Faruq]]>;
<![CDATA[Hanum Midya Syahrina]]>;
<![CDATA[Nureyzwan Sabani]]>;
<![CDATA[Siti Rahmawati]]>;
<![CDATA[Laksmy Dewi Sukmakarti]]>;
<![CDATA[Nanik Prihartanti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1881
<![CDATA[The COVID-19 pandemic or in Javanese terms "pageblug" has caused problems experienced by people in Indonesia, especially the Javanese. Problems that arise must be handled appropriately so as not to have a negative impact on people's daily lives, one effective way is with a coping strategy. This research uses qualitative methods to understand the meaning of social phenomena experienced by individuals or communities with the focus of the research on coping strategies for the Javanese society affected by the COVID-19 pandemic. The data collection technique in this research used an open ended-questions regarding coping strategies distributed through google form media. The subjects of this research amounted to 100 Javanese respondents who live in the residency of Surakarta (Surakarta City, Karanganyar Regency, Sragen Regency, Wonogiri Regency, Sukoharjo Regency, Klaten Regency, and Boyolali Regency) for at least 2 years, which are divided into 2 categories of adult respondents, 76 early-adult respondents and 24 middle-adult respondents. The data that has been obtained were analyzed using thematic analysis. The results of this research show that the coping strategies implemented by the Javanese society during the COVID-19 pandemic are: Never Give Up (Tangguh), Obey the Rules (Tumut), Be Patient, Grateful and Accept the Situation (Narimo ing pandum), Calm & Not Anxious, Maintain Health, and Live Frugally (Gemi nastiti). The implementation of coping strategies can be applied by the Indonesian society, especially the Javanese society in dealing with the pandemic.]]>
<![CDATA[Analisis Hermeneutika Maskot Osi dan Ji ]]>
<![CDATA[Paku Kusuma]]>;
<![CDATA[Dharsono Dharsono]]>;
<![CDATA[Martinus Dwi Marianto]]>;
<![CDATA[Guntur Guntur]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1889
<![CDATA[Osi and Ji are city mascots that were inaugurated at the end of 2016 by the city government of Malang in conjunction with the celebration of its 103rd anniversary. The mascots which are resulted from a contest were made by Papang Jakfar and won through several stage stages process including presentation from hundreds of participants. This brings its own fascination as the use of mascots as city icons has not been so popular in Indonesia due to the complex composition of its creation process, from its relationship with the culture, resources, community characteristic to infrastructure facilities of a city. This complexity is summed up in the form of a city mascot as a paradox. Form in hermeneutics is text and can be viewed polisemically, so interpretation becomes a central problem. Thus, hermeneutics aims to verstehen (comprehend) through the method of abduction, not just interpreting. Interpretation is always a reconstruction of the meaning of a text. Analysis with hermeneutics method becomes an immanent part in the mascot's profanity as a design product, mascot's form is an entity created from the results of thinking in design that is loaded with consideration and ability of a qualified individual. Osi and Ji mascots are specifically analyzed by applying Paul Ricouer's theory of Hermeneutics, in which hermeneutics can be brieflydefined as a theory or philosophy of interpretation of meaning that analyzes the various symbols in its form. The objective of the research is to analyze more deeply and interpret the existing circumstances or relationships, ongoing processes, ongoing effects or emerging phenomena, since the results of the Osi and Ji analysis generate to a new knowledge formed from various entities.]]>
<![CDATA[Filantropi Kemanusiaan Sebagai Praktik Seni untuk Survivalitas Para Pekerja Seni ]]>
<![CDATA[Suwarno Wisetrotomo]]>;
<![CDATA[Pradani Ratna Pramastuti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1906
<![CDATA[The outbreak of a novel corona virus or the COVID-19 pandemic has caused a global crisis that affects all aspects of life. The health, economy, social, political and cultural crisis trigger the domino effect that lead to a humanitarian crisis. Since the virus was identified in Wuhan, Hubei Province, China at the end of 2019, it continues to radically affect the world. Globalization, that used to be about speed, progress, celebration, intimacy, and a sense of community, has now turned into slowness, decline, as well as physical and social distance. Indonesian government immediately took action by issuing a series of regulations, such as lockdown, self-isolation, and “new normal” habit when working and socializing; two of which are washing hands and wearing masks. Numerous communities experience stagnation in social, economic, political, cultural and artistic life, as well as the possibility of a food crisis due to the decline of their purchasing power. This situation prompts an initiative and contribution from the community members, including artists, to lend a hand. Art workers contribute in making the basic ends of the communities in need meet by providing masks and food for low-income families as well as Personal Protective Equipment (PPE) for medical personnel, such as nurses and doctors. Furthermore, several projects were also initiated by artists, namely “Dapur Aksi Berbagi”, “Dapur Aksi Tetandur”, “Rengeng-rengeng Sirep Pageblug Maskumambang” by LAURA “Climen Puppet Show: The Collaboration of a Puppeteer and a Painter”, “Wrapped-Rice Art”, Didi Kempot Online Concert, and “Panen Apa Hari Ini”. These projects can be considered as humanitarian philanthropy, which from the perspective of contemporary art, is categorized as an art practice. This research uses the descriptive method. The researchers observe and record various philanthropic acts of these artists carefully in order to describe the events that take place. The researchers then answer why the projects can be categorized as art practices. This research will disclose the potential for a new discourse on the relationship between humanitarian philanthropy conducted by artists and art practices.]]>
<![CDATA[Tradisi Lisan dalam Melestarikan Lingkungan Alam di Kampung Adat Dukuh, Desa Ciroyom, Kecamatan Cikelet, Kabupaten Garut ]]>
<![CDATA[Nyai Kartika]]>;
<![CDATA[Reiza D. Dienaputra]]>;
<![CDATA[Susi Machdalena]]>;
<![CDATA[Awaludin Nugraha]]>;
<![CDATA[Nani Sriwardani]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1982
<![CDATA[Life in kampung adat is always interesting to study. Not only it has different culture than what is fostered by the community in general, kampung adat also has local wisdom that is ardently upheld by its community. One example is an oral tradition in Kampung Adat Dukuh, Ciroyom Village, Cikelet Subdistrict, Garut District, which is known as Uga Mandeling. The oral tradition contains local wisdom in preserving the natural environment. This study aims to further explore Uga Mandeling oral tradition and the extent to which it affects the life of the community. This study applied a historical method with four stages, namely heuristics, criticism, interpretation, and historiography, to analyze Uga Mandeling in Kampung Adat Dukuh. The results show that, in addition to maintaining the natural environment, Uga Mandeling also contains an appeal to lead a harmonious life with other communities as well as the government. This study is expected to contribute to the relevant literature, particularly related to Kampung Adat Dukuh.]]>
<![CDATA[Tari Baris Teruna Batu di Desa Pakraman Teruna Blahbatuh Gianyar: Kajian Aksiologi Hindu ]]>
<![CDATA[Ni Made Sukrawati]]>;
<![CDATA[Wayan Paramartha]]>;
<![CDATA[Ni Kadek Ayu Kristini Putri]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1993
<![CDATA[Balinese dance is an important part of Balinese life that has been passed down since ancient times. The art of dance is an expression of the human soul which is poured through beautiful rhythmic movements and through the creation of taste and intention that is observed by the dance stylist. Balinese dances are generally classified into 3 groups, namely, Wali (sacred performing arts), Bebali (performing arts for ceremonies), and Balih-balihan (dance arts for the entertainment of visitors). The same is true for the Baris Teruna Batu dance, which has the same sacred position in comparison to other wali dances that have an important contribution in every movement and rhythm of the dancer's body in giving thanks to Ida Sang Hyang Widhi (God). In this study, the method used was a qualitative method, using an interpretive qualitative descriptive analysis. Furthermore, in analyzing the research data, a series of stages were carried out so that the results were logical, objective and empirical. The series of steps are as follows: reducing data, displaying data, verifying data and interpreting research data. The essence of this study found several value studies, namely, aesthetic values, educational values, and sacralization values. There are still numerous studies that need to be conducted with regard to the various aspects of the aforementioned baris dance. The sacredness and so many meanings contained in it make the Baris Teruna Batu dance still exist and develop to this day.]]>
<![CDATA[Teologi Agama Buddha Dalam Prasasti Yé Té Mantra ]]>
<![CDATA[I Made Surada]]>;
<![CDATA[I Nyoman Rema]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.2006
<![CDATA[Prasasti Ye Te mantra adalah salah satu data autentik dalam mempelajari dan menemukan konsepsi teologi agama Buddha di Bali pada abad ke-8/9. Penelitian ini bertujuan untuk mengetahui konsepsi teologi dalam agama Buddha di Bali, yang dijabarkan dalam dua rumusan masalah yaitu tentang konsepsi Tathagata dan konsepsi ajaran dharma sebagai penghancu penderitaan. Penelitian ini adalah penelitian kualitatif, yang data-datanya dikumpulkan melalui observasi dan studi dokumen terhadap naskah prasasti dan naskah lontar yang relevan. Hasil penelitian ini berupa temuan prasasti Ye Te mantra yang terdiri atas lima hingga tujuh baris dan naskah lontar yang relevan, yang dianalisis menggunakan teori semiotika. Berdasarkan hasil analisis dapat diketahui bahwa Tathagata adalah panggilan untuk Siddhartha Gautama atau Bhatara Sri Sakyamuni, yang telah mencapai pencerahan sempurna dan terbebas dari jeratan mara. Tathagata menjelaskan bahwa manusia perlu mengusahakan kebahagiaan dengan cara belajar dharma untuk melepaskan diri dari mara tanpa ragu-ragu dengan batin yang tenang guna mencapai nirwana.]]>
