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[Authenticity and Commodification of Creative Industry Products in The Tourism Sector, Bali ]]>
<![CDATA[Dewa Putu Oka Prasiasa]]>;
<![CDATA[Dewa Ayu Diyah Sri Widari]]>;
<![CDATA[Putu Herny Susanti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2285
<![CDATA[The creative industry places an emphasis on the creativity of a product, the understanding that the creator is known and has a copyright. In addition, the creative industry has links with the cultural industry, because its products are components of culture. When market tastes lead to post-industry, it is found that creative industry products consumed by tourism experience a change from homogeneous to heterogeneous with mass production. Changes in market tastes encourage the emergence of highly varied creative art products, as a result of the creative economy industry. The entry of the creative economy industry into the realm of culture, which then develops into the cultural industry, apart from growing the local and national economy, also has an impact on cultural components, especially from the aspects of authenticity and commodification. The areas affected include performing arts, tourism, entertainment, fashion, craft products, and culinary. In order to increase the competitiveness of Indonesian tourism, especially from the cultural pillar, the aspects of authenticity and commodification can increase its contribution to the local and national economy through the implementation of internationalization, traditionalization, and sacred versus profane.]]>
<![CDATA[Gandang Tambua Pariaman From Triplek Material an Organological Study Based on Coding ]]>
<![CDATA[Wimbrayardi Wimbrayardi]]>;
<![CDATA[Bambang Parmadi]]>;
<![CDATA[Irdhan Epria Darma Putra]]>;
<![CDATA[Wembrayarli Wembrayarli]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2366
<![CDATA[The process of making the Gandang Tamba traditional musical instrument in Padang Pariaman Regency. This study aims to describe the process of making the Gandang Tamba musical instrument. The approach used is a qualitative approach with a descriptive research type. This research was conducted with data collection techniques using observation, interview, and documentation techniques. Data analysis techniques are carried out by reducing, presenting data and verifying data. The aim is to find out the structure, process, manufacturing techniques, and playing techniques, of Gandang Tamba. This musical instrument is made of plywood and has a hole (resonator), and uses goat skin. The results of this study indicate that the parts and stages of the process of making traditional Gandang Tambua musical instruments include: cutting plywood for the body of Gandang Tambua, processing goat skin (membrane), cleaning rattan, making iron battens, and how to produce sound, tuning system on traditional Gandang musical instruments Tambua. The tools used in the process of making traditional Gandang Tambua musical instruments include: Cater knives (plywood cutters), Cutting Saws, Hammers (Penokok), Measuring tools (meters), Pencils, Sandpaper, Screwdriver, Scissors, Bamboo type gutters, and Tongs. The ingredients are; Wooden battens (circle 40), plywood, goat skin, iron lath, rope, nails, and wood glue. The process of making the Gandang Tambua musical instrument includes several stages, namely: 1) The process of making the body (plywood), to the finishing of fine and coarse sanding, 2) The processing of the skin, including the shearing of the skin using dry fuel ash and measuring the width of the diameter, 3) The installation process, includes the skin to the body of the Tambua drum, attaching iron battens and attaching strings as for tuning. The frequency and tension of each instrument membrane on the Gandang Tambua musical instrument, the membrane tension of 141090.66 N on the Gandang Tambua musical instrument produces good tension (tuning), because the vibrations of the membrane will fill the resonance space in the drum tube. While the membrane tension of 131841.38 N produces poor tuning, the vibration of the membrane does not meet the resonance chamber. attach the iron battens and attach the rope for tuning. The frequency and tension of each instrument membrane on the Gandang Tambua musical instrument, the membrane tension of 141090.66 N on the Gandang Tambua musical instrument produces good tension (tuning), because the vibrations of the membrane will fill the resonance space in the drum tube. While the membrane tension of 131841.38 N produces poor tuning, the vibration of the membrane does not meet the resonance chamber. attach the iron battens and attach the rope for tuning. The frequency and tension of each instrument membrane on the Gandang Tambua musical instrument, the membrane tension of 141090.66 N on the Gandang Tambua musical instrument produces good tension (tuning), because the vibrations of the membrane will fill the resonance space in the drum tube. While the membrane tension of 131841.38 N produces poor tuning, the vibration of the membrane does not meet the resonance chamber.]]>
<![CDATA[Processing Purple Sweet Potato Peel as Alternative Material of Textile and Fashion Products with Circular Economic Principles ]]>
<![CDATA[Yunita Fitra Andriana]]>;
<![CDATA[Rizka Ramayanti]]>;
<![CDATA[Nurul Aisyah Rachmawati]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2020
<![CDATA[The textile and fashion industries are the most polluting industry in the world. This is because the industries driven by the fashion trend which is rapidly change. During the production and distribution process, the fashion and textile industries produce waste that can damage the air, water and soil. Moreover, the industries use non-renewable materials, and the life span of their product is short, eventually it will end up on the landfill. The application of circular economic principles on the textile and fashion industry is a step in an effort to reduce the level of environmental pollution. In this study, the principles that applied are, using biomaterial, obtain it from local resources, producing less waste, and after use the material can be naturally decomposed. The method used in this research is a qualitative method with an experimental approach. Data collected through a several exploration stages, processing purple sweet potato peel into composite materials. Processing purple sweet potato peel in this study is to produce an alternative raw material for the industries, so that they can use a more environmentally friendly material. Using biomaterials also can adding value to the textile and fashion products, so it can foster awareness to the consumer, in aim to make a systemic social behavioral change. The output of this study is the design of fashion products made of composite materials from purple sweet potato peel which are carried out using digital simulation sketches. The design was made based on the consideration of the character and potential of the composite material from the results of a series of experimental processes, so that the product sketch made is an accessory product consisting of earrings with a relatively small size.]]>
<![CDATA[Screenplay of Asal-Muasal Tanah Jawa: A Prototype of The Babad Tanah Jawi Script Content Saving Through Adaptation ]]>
<![CDATA[Irwan Sarbeni]]>;
<![CDATA[Dheka Agustiningsih]]>;
<![CDATA[Muhammad Tiffano Zetha El-Xavier]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2200
<![CDATA[Babad Tanah Jawi is one of the masterpieces of Javanese literature which contains kingdoms story in Java land which have been written in several versions. Javanese scholars deeply hopes that the constructive and forward-minded values contained in the Babad could be disseminated and studied by all levels of society, especially Java, in an easily understandable way and through a media that is close to society's daily, so that Javanese may recognize their original identity and avoid historical conflicts that come from non-primary sources. Therefore, Javanese scholars are very sorry when studies on the Babad always end up in formal writing that can only be accessed by a limited circle (academics). Responding to these problems, this research was carried on the behalf of studying the script text character of the Babad Tanah Jawi and adapt its Asal-muasal Tanah Jawa chapter content (The Origins of the Land of Java) to a screenplay (film script) as an act of salvaging the valuable content of the Babad script to a feature film. This research is presented qualitatively with ‘Adaptation’ method to compose the screenplay. The adaptation is an essential stage in filmmaking since a well-prepared film is largely determined by the quality of its creation guidelines (screenplay). This study resulted in fiction film screenplay. The screenplay is composed based on the hypogram script character of Asal-muasal Tanah Jawa which tends to present the story concisely so that the essence of the adaptation is emphasized on the clarity of the plot. To make each piece of the story in the Babad more logic and connected to each other, it is added some dramatical elements and events that are studied and concluded from external relevant sources of Asal-muasal Tanah Jawa.  ]]>
<![CDATA[Local Culture Synchronization in Global Contemporary Fashion Style Breakthroughs ]]>
<![CDATA[Tiko Prabhata]]>;
<![CDATA[Ilham Ari Susanto]]>;
<![CDATA[Savira P.]]>;
<![CDATA[Wegig Murwonugroho]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2225
<![CDATA[Fashion now has become an inherent part of people’s lives, especially in urban settings. One’s fashion sense may be expressed in numerous ways, such as by donning unique clothing, wearing accessories that carry certain identities, or putting on symbols with special meanings or messages. Over the past few years, contemporary fashion design has returned to traditional design values in ethnic motifs, shapes, and even technologies used. Such a phenomenon is worth close observation, drawing interest in how traditional art creative concepts are processed into part of contemporary-styled fashion. To answer this question, this research employed the phenomenological method. From the analysis carried out, the following four appealing traditional values in contemporary design works were identified: 1) symbolization; 2) environmentally friendly materials; 3) traditional technologies; and 4) philosophies. These four values are the most frequently adapted by designers in creating contemporary fashion designs. Finally, we theorize about the ability of symbolic representations of a particular culture to be transferred to fashion over time, without losing the bond with the local tradition.]]>
<![CDATA[Tattoos: Art, Symbol, and History in Dayak Salako ]]>
<![CDATA[Cornelius Kiki Hartanto]]>;
<![CDATA[Donatianus BSE. Praptantya]]>;
<![CDATA[Diaz Restu Darmawan]]>;
<![CDATA[Ita Lusia]]>;
<![CDATA[Devi Fridayanti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2293
<![CDATA[It is the product of qualitative research with a phenomenon approach that covers several stages of observation, deep interview, and documentation. This qualitative work is done in the large Sajingan district, Sambas. The research discussed the phenomenon of tattooing the Dayak Salako people. In the Dayak, tattoos get important attention inside, where the value and meaning behind the tattoo motif adorns the body of the Dayak. The tattoo on the dayak has a long history. Especially the traditional tattoo that is commonly known to the dayak people as the flower of eggplant, it is one of the tattoos in dayak Iban. In Dayak Salako's own well-known tattoos are a form of transcultural interaction with other hackers who have tattoos. Views have also been given to tattoos in which the study includes two types of tattoos found in the Dayak Salako, it has a traditional motif and contemporary tattoos. With the development and progress of knowledge technology regarding tattoos and tattoo meanings transferred to a new meaning to the use of tattoos among the Dayak Salako people. New tattoo motifs emerged that included artistic value, meaning, and viewpoint. The essence of the tattoos used by the dayak Salako people has become an interesting issue because of their many interfaces with the Dayak Iban and their tattoos add to their knowledge of the tattoo.]]>
<![CDATA[Jakarta Toba Batak Subject Position in Toba Batak Mangongkal Holi Discourse: Laclau Discourse Analysis ]]>
<![CDATA[Suzen Tobing]]>;
<![CDATA[Agus Aris Munandar]]>;
<![CDATA[Lily Tjahjandari]]>;
<![CDATA[Tommy Christomy]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2328
<![CDATA[A secondary burial practice known as Mangongkal Holi originated in the Toba Batak people. For hundreds of years, the Toba Batak tribe has incorporated this ceremony completely. Mangongkal Holi, unlike other Indonesian burial customs that have been successful in attracting tourists like the Ngaben and Rambu Solo celebrations, is going through an existential crisis, as evidenced by the somewhat less intense manner in which it is currently being practiced. The purpose of this study is to examine how the discourse around the Mangongkal Holi rite contributes to the development of Toba Batak cultural identity. In-depth interviews with Toba Batak tribal members served as the source of the research's data, along with a literature review. This study uses Ernesto Laclau's insight analysis as its analytical framework. According to the findings, the Mangongkal Holi ritual was articulated into four nodal points: reverence for ancestors, indifference to other religions, prestige, and unity. Based on the subject position analysis, the individuals from Jakarta Toba Batak demonstrate that there is a contingency of identity for Jakarta Toba Batak in the Mangongkal Holi discourse brought on by the individual's involvement with traditional institutions. The Mangongkal Holi rite seeks to promote clan harmony among those Jakarta Toba Batak people who have a close relationship with adat. It is no longer relevant to the social reality of Jakarta, which stresses efficiency in all aspects of life, such as time and money efficiency, for Jakarta Toba Batak people who are far from the Mangongkal Holi ceremony.]]>
<![CDATA[The Symbolic Interaction in Trumpets Playing During Worship Ceremony at Higher Than Ever Church ]]>
<![CDATA[Agus Cahyono]]>;
<![CDATA[Septian Cipto Nugroho]]>;
<![CDATA[Wadiyo Wadiyo]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2334
<![CDATA[The trumpet is an ancient instrument made of a sheep’s horn that is found in the Bible. In worship at the Higher Than Ever Church, the trumpet instrument is combined with modern musical instruments. Dealing with the background, the main focus of this study is related to symbolic interaction in the playing of Trumpet. The qualitative method using a research approach to the sociology of art approach was used in this research. The data obtained through observation, interviews, and documentation. Checking the validity of the data used source triangulation and data analysis used the contextualization of the synthesis model. The finding indicated that the symbolic interaction of playing the Trumpet started with Bible study activities, then it was conveyed to the congregation through the activity of Family Altar and other congregational activities, then after that the Trumpet instrument was played in the main worship ceremony. The conclusion has showed that symbolic interaction occurs between the Pastoral team and God through Bible study. Further, it is also between the Pastoral team and the leaders of the Family Altar, between the head of the Family Altar and church members, between the Trumpet players. Congregation and God when the worship ceremony is taking place.]]>
<![CDATA[Tari Baris Gede Télék at Pura Dalem Kedewatan Desa Adat Sanur: A Study of Form and Function ]]>
<![CDATA[Anak Agung Made Anom Wira Kusuma]]>;
<![CDATA[M. Jazuli]]>;
<![CDATA[Widodo -]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2351
<![CDATA[The people of Sanur Traditional Village preserve culture through a process of solidarity, meaning the process between the dance performance of Baris Gede Télék as a local art entity and the local community as its supporters who are faced with something sublimation. The sublimation in question is a process of adjusting society to the development of newer times, but not abandoning existing art. The focus of this research is the form and function of Baris Gede Télék dance. The purpose of this research is to increase understanding and awareness of Balinese art, especially in Baris Gede Télék dance in life, which will basically always exist and remain sustainable. The method used as the basis for the analysis stage is a qualitative method that is descriptive-analytical by identifying and describing a phenomenon that occurs in the field as it is. The sources presented in this paper are obtained from direct observation, then an interview was conducted with the relevant informant, and deepened by the study of documents obtained from a collection of archives, books, videos, and audio recordings related to Baris Télék dance. The collected data is then analyzed through the stages of data reduction, data presentation, and data verification before the data is concluded. With the application in the cultural inheritance space, the people of Sanur Traditional Village are expected to be able to be faced with a process of educating the self-awareness of the community as cultural supporters in the context of directing art, so as to form a character value that will have a major influence on the development of the local community.]]>
<![CDATA[Design Adaptations in the Bathrooms for the Elderly Living in the Suburbs ]]>
<![CDATA[Suastiwi Triatmodjo]]>;
<![CDATA[Riza Septriani Dewi]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2353
<![CDATA[The suitability of the bathroom design for the user, in this context, elderly people (elderly) is urgent. This urgency exists because a degenerative process has occurred, a decline in the quality of the elderly's body, and the elderly population continues to increase significantly. This study aims to find out the bathroom design approach model suitable for the elderly who live in the suburbs. By using practice-based research, this study has developed a conceptual bathroom design for the elderly who live in suburban areas and concludes that adaptive design is a suitable strategy to implement this design. In the future, this adaptive design strategy can also be applied to create various other spaces in homes for the elderly who live in the same or similar living environment.]]>
