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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Jangkang Baris Dance in Sidatapa Village Study on The Meaning And Potential as Tourist Attraction
Ida Ayu Trisnawati;
Dedi Gusman
Mudra Jurnal Seni Budaya Vol 38 No 3 (2023)
Publisher : Institut Seni Indonesia Denpasar
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DOI: 10.31091/mudra.v38i3.2370
This study aims to determine the meaning and potential as a tourist attraction for the Baris Jangkang Dance in Sidatapa village. This dance is very distinctive with the Balinese Aga culture which is different from Balinese culture in general. This research is qualitative in nature starting with determining the location in Sidatapa village. Collecting data using in-depth interviews, observation, and document studies. The results were analyzed using interactive analysis. The results showed that the Baris Jangkang Dance in Sidatapa village was popularly known as the Jangkang dance or war dance. This dance is used as a representation of the warrior spirit of the Sidatapa community in dealing with enemies who disturb the peace of the village. Baris Jangkang dance dancers are divided into two types of dancers, namely truna dancers (never dance) and surudan dancers (already dancing). Its position is divided into prabangsa (leader) and prawira (troop). The first potential could be watching dance and drum practice. The second is by watching live during the show. Third, selling various documentations of the Baris Jangka dance in various forms, such as VCDs, photos, clothes and as souvenirs for Sidatapa.
Character Education in Panca Sani Pependetan Dance Creation
Ni Wayan Iriani;
Ni Wayan Mudiasih
Mudra Jurnal Seni Budaya Vol 38 No 3 (2023)
Publisher : Institut Seni Indonesia Denpasar
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DOI: 10.31091/mudra.v38i3.2452
The pependetan dance "Panca Sani" is a creative dance whose movements are based on a developed traditional dance. This dance describes the reception and expression of gratitude to the gods who descend into the natural world. The idea for this work was inspired by the Wayang Istri dance at the Pangrebongan Kesiman temple. Wayang Istri dance is a ngerebong traditional dance of the Kesiman people held at the Agung Petikan Pengarebongan Kesiman Temple, Denpasar. This ceremonial dance is held every 6 months and falls on Buda Cemeng Langkir Day. The movements and costumes are presented very simply by bringing a property of a rectangular shape made of cow/buffalo leather. The method of creating the "Panca Sani" Pependetan dance refers to I Wayan Dibia's concept in the Panca Sthiti Ngawi Sani creation methodology through five stages of the art creation process, as follows: inspiration/ngawirasa, exploration/ngawacak, conception/ngarencana, execution/ngawangun and the production/ngebah stage. 5 female dancers dance this Pependetan creative dance to express the characters in the dance: majesty, nobility, sincerity which is presented through the graceful beauty of the movements, and the costumes. The dance accompaniment uses a set of Gong Gede gamelan. Pependetan dance is a character education effort with the community to foster a conducive mood and moral formation for each individual involved in the world of education. Growing individuals as moral persons according to what is desired is the core of character education. The results of this work are expected to preserve the teaching and development of pependetan to form a positive attitude for the formation of good character.