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[Ekspresi Pragmatik Bedhaya Sukma Raras Sebagai Reaktualisasi Holistisitas Kehidupan Mikrokosmos-Makrokosmos Manusia ]]>
<![CDATA[Maryono Maryono]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 4 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i4.1884
<![CDATA[The Bedhaya Sukma Raras dance by Hadawiyah Endah Utami, presented at a gathering of choreographers, was inspired by the journey of human life as it moves towards death. The complementary forms of verbal and nonverbal components in Bedhaya Sukma Raras implicitly offer a concept encased in the aesthetic expression of the dance about human awareness of doing good throughout the transient life in this world, in order to welcome an afterlife that is immortal and full of joy. This research uses a qualitative methodology. The data collection strategies include a library study, interviews, a visual study of dance recordings, an audio study of music recordings, documentation and study of archives of verbal transcripts of literature about songs and vocabulary of dance movements. The results show that in principle human life must seek to preserve a balance between the world and the hereafter. This means that microcosmically, in fulfilling their daily needs, human beings must work hard, prioritize virtue, and pray for God’s guidance so that macrocosmically, in the afterlife their sins will be forgiven and they will enter the heaven of the Creator.]]>
<![CDATA[“Beralas Bumi Beratap Langit”: An Investigation of Creating Role and Space through Site-Specific ]]>
<![CDATA[ABDUR RIZKY AKBAR]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 4 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i4.1952
<![CDATA[This article is devoted to the analysis of theatre performances “Beralas Bumi Beratap Langit” which uses a site-specific method. Central to the site-specific approach is concern to the potential of unconventional spaces. The site-specific approach seeks to use the unique landscape properties of the site, locations selected based on their ability to amplify storytelling and form a clearer background for the actors in a theatrical production. This approach in theatre studies, especially with regard to actors and spaces, seems to offer breadth and bridges to the creating role and the flexibility which many representations come together, site-specific is then used as a method that helps in achieving character through learning and creating acting, from the Covid-19 pandemic intervention which changed at least most of the methods in learning acting and other creative processes. This article aims to investigate a site-specific approach that is personalized in the interest of providing insight or catalysts on the mode of acting and actors as subjects in theatrical performances. Using the ethnographic method, data were obtained on the creative process during the preparation of the show by the “Panggung Bercerita” theatre community. Practical investigation of a site-specific approach to the theatre stage method yields the following conclusions: 1) natural sets create an atmosphere of intimacy, 2) helps actors feel immersion into the world being played, and 3) provides rich and culturally relevant visualizations of the actor's image.]]>
<![CDATA[Estetika Busana Tari Melayu Jambi ]]>
<![CDATA[Fatonah -]]>;
<![CDATA[Mahdi Bahar]]>;
<![CDATA[Hartati M]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 4 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i4.2021
<![CDATA[This research aimed to know the concept of dress aesthetics and art of traditional and creative dance of Jambi Malay, and dress development of Jambi Malay dance could be seen from a dress of traditional dance, creative dance, and contemporary dance. The research result was expected to be one of Jambi Malay culture inventory in social science. The research method used is a descriptive qualitative research method with a symbolic interaction approach. The background of the people of Jambi city which is multicultural makes Jambi city rich in cultural diversity, one of which is dance. Dance dress is included as an important element in dance performance. Dance dress is a symbol of aesthetics and artistry in dance performances. The dress wisdom of Malay dance is not separated from aesthetic and artistic concepts based on concepts of custom and Islam. The concept is based on message of Jambi culture, “adat bersendikan syarak, syarak bersendikan kitabullah, syarak mengato adat memakai”. The research conclusion is that the ideal dress aesthetically according to Jambi Malay tradition after converting to Islam is a dress that covers the genitals. Artistically it is the dress that is lost when moving, with not too much design based on Islamic custom and law while color is usually natural color and adapted.]]>
<![CDATA[Commodification of Mobile Banking Interface Design for Elderly Users ]]>
<![CDATA[Ginanjar Hamid Wiryawan]]>;
<![CDATA[Achmad Syarief]]>;
<![CDATA[Wegig Murwonugroho]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 4 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i4.2035
<![CDATA[The design planning of the Mobile Banking Interface Design for Elderly Users aims to redesign the mobile banking application interface to be more effective and easier for elderly users. This research uses a mixed-method of explanatory sequential, which sequentially uses quantitative and qualitative modes. The quantitative model uses questionnaires and bodystorming simulations to obtain data on the needs and behavior of the elderly. The qualitative model is based on the User-Centered Design (UCD) design process. The research resulted in the following: (1) data on the needs of elderly users when using mobile banking applications (2) data on the behavior of elderly users to better understand the interface of the mobile banking application. Based on these data, a mobile banking interface was developed to suit the needs of elderly users, which includes a more simplified display, enlarged text size, enlarged button size and additional spacing, adjusted icon shape to the understanding of elderly users, and display layout arrangements that are very concerned for making the interaction process more comfortable. Evaluation of the interface design results on mobile banking applications for elderly users shows that the application is more acceptable, more understandable, and easier for elderly use.]]>
<![CDATA[Wayang Kulit Di Tangan Para Dalang Muda: Hilangnya Nilai Filosofi ]]>
<![CDATA[Suyanto -]]>;
<![CDATA[Aris Setiawan]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 4 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i4.2049
<![CDATA[This study aims to actualize philosophical values in shadow puppets performances for the puppeteer and the younger generation. The object of this research is a shadow puppets performance by young puppeteers in Surakarta and its surroundings. Recently, many young puppeteers have appeared arrogantly on stage, for example: standing up and trampling puppet with their feet, throwing puppet off the stage, cursing or saying rude things, exploiting sexual objects for jokes. Whether we realize it or not, one of the causes of this phenomenon is the gap in understanding the philosophical values of puppetry. Data collection methods in this study were the observation of performances and interviews, while to understand the meaning of symbols captured in shadow puppets performances, the method of understanding meaning was used. The notion of "understanding the meaning" in this context is how meaning can be captured from the puppeteers' expressions, either in the form of sabet (puppets movement), catur (puppeteer vocals), and music presented. The result of this research is an attempt to find the factors that influence the tendency of the young puppeteers to express freely. Finding the factors that influence the more youthful generation tends to like glamorous entertainment alone—actualizing philosophical values in shadow puppets according to the contemporary point of view. The ability of the puppeteers to present messages through shadow puppets performances should have direct implications for his personality, in addition to being a means of mass communication that can reach all levels of society (audience) in general.]]>
<![CDATA[Simbol-simbol Promosi Pariwisata dalam Film Romantis Remaja 'Dilan 1990' untuk Kota Bandung ]]>
<![CDATA[Ida Ayu Etsa Pracintya]]>;
<![CDATA[I Nyoman Darma Putra]]>;
<![CDATA[Putu Sucita Yanthy]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 4 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i4.2084
<![CDATA[Film induced tourism is one of the fastest growing sectors in the tourism industry because cinematographic history is able to persuade the audience to travel to places that are used as the setting places of several scenes in a film. This study aims to examine the message of tourism promotion in a teenager romantic film set in Bandung, West Java, entitled ‘Dilan 1990’ which was adapted from a novel by Pidi Baiq of the same title. The data were collected by observing the film using observation tables, as well as audience reviews obtained through internet searches as a reference in interpreting symbols and knowing the audience's reception of this film. The audience’s reviews were taken from various websites including the Internet Movie Database, TripAdvisor, and from several independent travel blogs articles. The analysis used a qualitative descriptive method using three theories, namely, the theory of semiotics, reception, and promotion. The analysis shows that symbols of tourism promotion in the content of the film ‘Dilan 1990’ included the beautiful and clean city of Bandung, Bandung’s natural scenery, and Bandung’s heritage iconic buildings. The positive images of Bandung city were aesthetically presented on the film through well-structured of plot story, scene, and acting, thus make the promotion of Bandung become indirectly powerful. This study also stresses that the ‘Dilan 1990’ not only provide a powerful form of promotion for Bandung city but also has inspired the local government to build new city parks namely ‘Taman Dilan 1’ and ‘Taman Dilan 2’ that boosted the images of Bandung as an attractive city to visit.]]>
<![CDATA[Sate Renteng Sebagai Daya Tarik Wisata Budaya di Desa Wisata Baha: Perspektif Kajian Budaya ]]>
<![CDATA[Dewa Putu Oka Prasiasa]]>;
<![CDATA[Dewa Ayu Diyah Sri Widari]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 4 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i4.2092
<![CDATA[In the Hindu community in Bali, it is known that there are various kinds of satay that are used for complete ceremonies. One of the many satays is sate renteng or jerimpen from the Baha Tourism Village which has a unique value. Therefore, this study examines sate renteng or jerimpen in order to find the aesthetic value as well as the form, function, and meaning of sate renteng or jerimpen in the cultural life of the Baha Tourism Village community. This study found that the form of sate renteng or jerimpen at upakara in the Baha Tourism Village was formed with a banana tree trunk, on top of which satay was placed consisting of satay lembat, satay katik 3, satay katik 4, satay katik 5, satay katik 7, pipid, apit surang, kepuh stump, squeeze, penyeneng, chakra, umbul-umbul, pajeng, garuda, and kekuwung. As a complement to the offerings, you can get tumpeng 7, slashes, jerimpen jaja and gebogan. The function of sate renteng or jerimpen is as a means to ask for or get happiness and success, to be kept away from all dangers, and to always be successful in life. While the meanings contained in the making of sate renteng or jerimpen are the meaning of Tattwa Education (philosophy), Moral Education (ethics), and Ceremonial Education (ritual).]]>
<![CDATA[Ramayana Ballet Performance's Allure at Purawisata Yogyakarta ]]>
<![CDATA[Endang Caturwati]]>;
<![CDATA[Een Herdiani]]>;
<![CDATA[Suzen HR Lumban Tobing]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 4 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i4.2102
<![CDATA[Indonesia is known for its Wayang Orang performances, especially in the areas of Surakarta, Yogyakarta, Semarang, Jakarta, and Bali. Among the Wayang Orang performances, there was a group that switched to ballet performances, which later became known as the Ramaya Ballet Purawisata Yogyakarta. The purpose of this study is to dissect more deeply the Ramayana Ballet Performance and the extent of its influence on people's lives. Purawisata's Ramayana Ballet, shown in full every night from 20.00–21.30 WIB since 1976 until 2001, won the 'Guinness Book of Records' (MURI) for its consistency in performing cultural performances for 29 years continuously. Consistency in maintaining the noble values of culture continues until August 10, 2021, when Purawisata's Ramayana Ballet is 45 years old. The method used in this research is a qualitative, descriptive analysis method that explores and understands the meaning of a number of individuals or groups of arts being studied. The results of the study show that the innovation strategies offered to the audience are: (1) Special Package Ramayana Performances; (2) Ramayana Edukasi; and (3) Regular Ramayana, so the Ramayana Ballet show still exists today. Even at regular shows, tickets with seating for 600 people are always full.]]>
<![CDATA[Desain Berkelanjutan Sebagai Upaya Pengembangan Kemasan Anyaman Bambu Khas Bali ]]>
<![CDATA[Ni Luh Desi In Diana Sari]]>;
<![CDATA[Ni Ketut Pande Sarjani]]>;
<![CDATA[Gede Bayu Segara Putra]]>;
<![CDATA[I Kadek Surya Wijaya Putra]]>;
<![CDATA[Yogi Nur Ardiansyah]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 4 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i4.2112
<![CDATA[The Bali Provincial Government through PERGUB (Governor Regulation) Number 97 of 2018 has regulated the Limitation of Disposable Waste Generation. The implementation of these regulations has been implemented among Small and Medium Industries (IKM) that produce Balinese souvenirs. The IKM sector has begun to switch to using bamboo packaging, which is commonly used to package banten pejati (Balinese traditional offerings) sold in traditional markets. However, this condition causes the appearance of food packaging designs that package Balinese souvenirs to look uniform, lacking a touch of local Balinese culture that can be used as an identity for Bali's superior products branding to tourists. This creation aims to design bamboo packaging as Balinese souvenir packaging which has the concept of eco-friendly design. The research method was used to formulate the motif design concept and the method of creation to design the bamboo packaging design by adopting the woven bamboo technique at the bamboo craft center in Bali. The novelty of this bamboo packaging design can be seen in the motif design inspired by Geringsing Cemplong weaving motif which is formed with the woven bamboo technique. This motif has never existed before and is able to represent the identity of the local Balinese culture. The color material used as paint is a natural color material. Derived from mixing mango leaves and strobilanthes/indigo leaves through an environmentally friendly process to produce a green color. The creation of environmentally friendly bamboo packaging is expected to inspire woven-bamboo craftsmen to start switching to environmentally friendly products that are safe to use in food packaging.]]>
<![CDATA[Dadi Jeksa; Adaptation of Serat Jayengbaya to Dance Film ]]>
<![CDATA[Deny Tri Ardianto]]>;
<![CDATA[Bedjo Riyanto]]>;
<![CDATA[Sayid Mataram]]>;
<![CDATA[Mohd Asyiek Mat Desa]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 4 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i4.2113
<![CDATA[As a law enforcement officer, a prosecutor plays an important role in investigating a case or prosecuting a suspect. However, in recent years, several prosecutors were found involved in a number of corruption cases in Indonesia. This phenomenon is not a new one. In Serat Jayengbaya written by R.Ng. Ronggowarsito, especially in the song Dadi Jeksa, the behavior and life of prosecutors in the past are depicted as a profession full of intrigue and manipulation. This phenomenon inspired the making of a dance film adapted from Dadi Jeksa song. Using a Research and Development (RnD) approach, this film was designed to use movements based on contemporary dance as a means of its story telling. This film represents the culture and perspective of the Indonesian people in viewing legal issues. After the film was presented at various festivals and exhibitions, positive responses were obtained from various parties. The appreciation received mainly focused on the film’s creative storytelling and visualization in presenting a depiction of law enforcement dynamics in Indonesia.]]>
