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[A Review: The Transformation Of The Meaning Of Kebaya From National Clothing To A Media Of Self-Representation And Lifestyle ]]>
<![CDATA[Putu Diah Ari Kusumadewi]]>;
<![CDATA[Mohammad Adam Jerusalem]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i2.2005
<![CDATA[As a cultural product of the Indonesians, Kebaya has become a national dress that sticks with its philosophical principles and values. However, along with the times and the influence of popular culture, the kebaya changed its design lines. It caused a transformation of the meaning of the Indonesian national dress into a medium of self-representation and the lifestyle of modern women. This review aims to analyze the transformation of the meaning of kebaya as a medium of self-representation and lifestyle. The method used is a narrative review by analyzing several articles using the PRISMA method. The analysis results show that the kebaya, as Indonesia's national dress, has design characteristics, materials, and accessories that contain philosophical meanings that reflect the personality of Indonesian women. The design transformation of the traditional kebaya gave birth to a modern kebaya far from the standard of the conventional kebaya. Modern kebaya is interpreted as a symbol representing the wearer's self-image and social class. The modern kebaya, as a medium of self-image and social class, gives birth to a new lifestyle in society, namely a consumptive lifestyle, because someone will carry out consumption activities continuously without considering the use value of the item. Besides being able to complete references related to kebaya, the results of this review are also expected to be input for related parties to maintain the traditional kebaya standard and consider ethics in buying kebaya so as not to create a consumptive lifestyle.]]>
<![CDATA[Legong Keraton in the Perspective of Balinese Artists ]]>
<![CDATA[Ni Nyoman Sudewi]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i2.2018
<![CDATA[Legong Keraton, one of the most influential Balinese dance genres in the growth of dance in Bali, has existed since the end of the nineteenth century. This dance has undergone three eras in Balinese culture, starting from the reign of kings, Dutch colonialism, and post-independence of Indonesia. The objective of this study is to find out how Balinese artists construe the existence of Legong Keraton. As a performing art, Legong appears in multiple layers and requires a multidisciplinary approach. The ethnochoreological approach, considered as a multidisciplinary approach, was implemented to examine objects from various aspects to obtain a complete and comprehensive understanding. The author carried out this qualitative study in procedural systematic manner including literature review, informant determination and interview, field observation, data sorting, and analysis. The results of the study indicate that Legong Keraton acts as a milestone in changing form of Balinese dance as a source of inspiration for the creation of works of art as well as a means of education. Furthermore, as a learning material, Legong Keraton has unique form and transmission method. Balinese artists consider Legong Keraton as a traditional art carrying the identity of Balinese dance that make it deserve to be appreciated and preserved.]]>
<![CDATA[Pendap as a Bengkulu Culinary Treasure ]]>
<![CDATA[Nasfati Iktarastiwi]]>;
<![CDATA[Marwanti Marwanti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i2.2052
<![CDATA[Pendap is a fish-based food that is cooked for 8 hours. Currently, Pendap is one of the culinary heritages of the Bengkulu region. However, of the Pendap is still rarely studied. This study aims to determine Pendap as a culinary treasure typical of Bengkulu. This study uses a qualitative research design with research subjects are pendap producers and owners of typical Bengkulu restaurants, and data collection using observation, interviews, and documentation techniques. Data analysis used an interactive analysis model consisting of data collection and conclusion. The results show that Pendap has existed since 1 century ago and is passed down from generation to generation and is often presented in community events. Pendap has a uniqueness that can be seen from the cooking process which is carried out for 8 hours and has become part of Bengkulu cuisine. Pendap is successfully traded as a Bengkulu typical side dish because it can last for 2 days without preservatives and for 2 weeks if packaged using a vacuum. The results of this study are expected to increase the understanding of people who are involved in the Bengkulu traditional culinary world to pay more attention and know about local wisdom because there are still few studies that discuss the related topics.]]>
<![CDATA[The Landscape Perception as Pasemon Artistic in Wayang Kayon Figure ]]>
<![CDATA[Pandu Pramudita]]>;
<![CDATA[Sarwanto Sarwanto]]>;
<![CDATA[Soetarno Soetarno]]>;
<![CDATA[Dendi Pratama]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i2.2096
<![CDATA[Wayang Kayon filling is often understood as an ornament that is interpreted separately. The fillings are composed in such a way that they interact. The interaction between Wayang Kayon fillings forms landscape perception. This study aims to explain landscape perception in Wayang Kayon figures. The theory used to explain the landscapes depicted on Wayang Kayon figures is the perception theory. This research uses qualitative methods with an interpretive-iconographic approach. The Wayang Kayon filling is three composed layers of the structure, including pucukan, genukan, and lengkeh. The filling found on the pucukan Wayang Kayon is a tree of life form that is the landscape perception as mountain and forest. The filling of the genukan and lengkeh on the Wayang Kayon Blumbangan figure shows the ponds, animals, plants, and/or mythological creatures formation that are the landscape perception as an ecosystem around a water source. The filling of the genukan and lengkeh on the Wayang Kayon Gapuran figure shows the gate formation that is the landscape perception as a landscape of sacred buildings. Wayang Kayon filling is depicted through pasemon artistic concept so that it is understood as native art. This research is expected to be a guide for shadow puppet spectators to understand the Wayang Kayon figures filling and for shadow puppet artists to pay attention to the Wayang Kayon filling results creations so that the interaction between fillings still perceives the landscape.]]>
<![CDATA[The Economic Potential of Wood Carving Art and Its Marketing Strategy in Sumenep ]]>
<![CDATA[Mohammad Takdir]]>;
<![CDATA[Maksum Maksum]]>;
<![CDATA[Sinawar Sinawar]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i2.2142
<![CDATA[This study aims to reveal three main issues that are the focus of this research, namely (1) how is the potential of wood carving art in Karduluk village as an artistic and cultural heritage of the Sumenep Madura community, (2) how is the promotion strategy of wood carving by craftsmen, and (3) what is the role of the government area in promoting the wood carving art of Karduluk village as the center of the craft industry in Madura. This study uses qualitative research to explore the promotion strategy of Karduluk village carving as a cultural heritage of the Madurese community. Data collection techniques in the field use three techniques, namely observation, interviews, and documentation. Meanwhile, the analytical method used is deep analysis to process empirical data in the field. In conducting data analysis, the researcher carried out several stages: data reduction, presenting empirical material, and verifying. There are three main findings in this research. First, is the potential of the wood carving art in Karduluk village, namely the economic potential, the potential for carving tourism development, and the potential interest of foreign consumers. Second, promotion strategies for wood carving art are done by participating in art exhibitions, personal selling, online promotion, increasing the variety of wood carving art models, maintaining product quality standards, and mentally competing. Third, the role of the government in promoting the wood carving art of Karduluk village, namely holding an exhibition of wood carving art products, establishing Karduluk village as a carving village, providing marketing capital assistance, assisting in partnership, and facilitating business licensing.]]>
<![CDATA[Kebertahanan Kesenian Basing Komunitas Kajang Dalam Tantangan Global ]]>
<![CDATA[Samidi Samidi]]>;
<![CDATA[Sarkawi B. Husain]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i2.2199
<![CDATA[This article describes traditional arts dealing with global challenges. Globalization that makes it easy for everyone to express entertainment arts is a serious threat to Basing's traditional arts. The slowness of adaptation and regeneration further distances Basing's art from everyday life. The people of Kajang are trying to maintain it, but recently they have faced many obstacles. The mechanism that is still maintained is the relation of traditional art to the ritual of prayer for death. The purpose of this paper is to explain the relationship between traditioal art and rituals for the death and the constraints to inherit the art. This research used qualitative data that collected and analyzed based on village monograph, participant observations, and interviews. The observation is carried out during the Basing art performance at the death prayer ritual. The interviews were conducted on several people which proportionally representing social roles, including traditional community leaders, village government bureaucrats, teachers, youth art activists, village elders, and artists. The research found that restriction to the customary areas is only able to control people's behavior based on customary values and norms, but is not able to force residents to develop the Basing arts. However, the inheritance of arts faces obstacles because the people of Kajang are not able to carry out cadre of artists as successors and reinforcers of the existence of Basing art.]]>
<![CDATA[Bentang Budaya dan Orientasi Spasial di Bali Timur ]]>
<![CDATA[I Dewa Gede Agung Diasana Putra]]>;
<![CDATA[I Made Adhika]]>;
<![CDATA[Anak Agung Ngurah Aritama]]>;
<![CDATA[Anak Agung Gede Bagus Udayana]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i2.2217
<![CDATA[Covid-19 has tremendously impacted global daily life and the built environment, particularly in tourist places' pleasure. Modern architectural practices, such as planning tourist sites, must display new patterns while updating current ones to control contagious diseases efficiently. Polarity is a spiritual concept in Bali that focuses on the impact of nature and geography on traditional Balinese societies. The island's natural environment influences traditional Balinese beliefs and practices on the propriety of specific architectural types and space layouts. According to this theory, the universe was created by colliding two opposed poles. It makes some suggestions for improving the layout of rural villages. This architecture can be seen on the Indonesian island of Bali at several major tourist spots, most notably in the island's eastern area. Despite this, the Covid-19 pandemic underscored the significance of virus prevention in building design, particularly tourist-oriented hotels. Architects, designers, environmentalists, and others in the tourism industry face several challenges while creating and building environmentally sustainable tourist facilities. The study's goal was to see if the traditional architectural principles of eastern Bali could be leveraged to create a tourism facility template that would allow the hospitality industry to meet the demand for new, effective layouts and layout variants. As a result, the villages in eastern Bali that have preserved their old practices have contributed significantly to our understanding of what it means to be a modern human. Professionals can use historical knowledge to build resilient patterns and configurations even when confronted with modern threats, such as viral attacks on famous tourist locations. This study refuted several long-held ideas in light of the Covid -19 results.]]>
<![CDATA[Examining The Politeness Principles in The Oral Tradition of Jawab Dilaman Malay Society in Kemingking Village, Jambi Province ]]>
<![CDATA[Irma Suryani]]>;
<![CDATA[Julisah Izar]]>;
<![CDATA[Rengki Afria]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i2.2273
<![CDATA[Pragmatics is a branch of linguistics that examines the external meaning of an utterance that is interpreted by the listener. This study aimed to examine the Politeness Principles in the oral tradition of "jawab dilaman" of the Malay society in Kemingking Village, Jambi Province. Jawab dilaman is one of the oral tradition the Malay society when the groom came and want to sit beside the bride, this tradition uttered the seloko by the customary elder which consists of some proverbs, the proverbs contain some advice that interesting to analyze by using politeness principle. This study used the descriptive qualitative method. Data collection techniques used recording and interview techniques. The results obtained were seventeen maxims, including two data maxims of wisdom, two data maxims of generosity, four data maxims of praise, one data maxim of humility, one data maxim of sympathy and one maxim of agreement data. Based on the final result, the maxim that appears the most is the maxim of agreement the consensus maxim wants every speaker and interlocutor to maximize agreement between them and minimize disagreement in speech acts.]]>
<![CDATA[Rendo Bangku Craft of Koto Gadang West Sumatra on Fashion Products ]]>
<![CDATA[Ranelis Ranelis]]>;
<![CDATA[Rahmad Washinton]]>;
<![CDATA[Kendall Malik]]>;
<![CDATA[Mira Utami]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i2.2291
<![CDATA[This article entitled “Rendo Bangku Craft of Koto Gadang West Sumatra on Fashion Products” aims to raise the potential of Koto Gadang’s rendo bangku patterns, as one of the excellent products of the Koto Gadang village community. Rendo bangku craft which was originally used to decorate the edges of women's shawls in Koto Gadang is now being innovated by placing Koto Gadang’s rendo (embroidery) on fashion products. The method used is experimental, by the means of exploration, design, manifestation, and evaluation. Exploration was carried out to find ideas or concepts related to the product of Koto Gadang local embroidery which was carried out using observation, literature study, and interviews. Designing is the step of an embodiment of ideas and concepts from exploration into the design of women’s wear, men’s wear, and accessories. Embodiment is the step to manifest the result of the pattern design of fashion products in a real form into working drawings, as well as into finished products including men's clothing.]]>
<![CDATA[Minang Folklore of Pencak Arts to Strengthen Mental Health in Indonesian Muslim Society ]]>
<![CDATA[Rustiyanti, Sri]]>;
<![CDATA[Listiani, Wanda]]>;
<![CDATA[Ema M.N, Anrilia]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i2.2342
<![CDATA[Pencak silat is one of Indonesia's cultural identities, recognized by UNESCO as an Intangible Cultural Heritage. Apart from being a martial arts defence, Pencak silat also contains the values of local wisdom textually and contextually. Pencak silat in Indonesia comes from 2 regions: Minangkabau (West Sumatra) and Cimande (West Java). This research discusses the study of martial arts as a medium of self-defence and traditional educational media in Minangkabau, West Sumatra. A Minangkabau youth must learn martial arts and learn to read the Quran in a mosque (surau) as a provision for a man who has grown up if he wanders to other areas. The Minangkabau community in ancient times had two important educational institutions, namely surau and sasaran silat. Location of Surau (masjid) and sasaran silat usually side by side. In surau, young people learn to read the Al-Quran and religious knowledge, while in sasaran silat, they learn martial arts and various arts. Islamic teachings during the Minangkabau community have succeeded for generations in supporting the philosophy of life: 'adat bersandi syara'- syara' bersandi kitabullah'. This philosophy has been ingrained since birth, strengthening the mental health of youth and coloured in the daily life of the Minangkabau people. In other words, the embodiment of Islamic culture folklore minang can be seen in the life of the Minangkabau people. This made Minangkabau martial arts develop and spread in various parts of Indonesia.]]>
