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[Developing Infographics as Wellness Education Media and Local Product Internationalization ]]>
<![CDATA[Jotika Purnama Yuda]]>;
<![CDATA[Desi Wulandari]]>;
<![CDATA[Yanuarria Kukuh Perwira]]>;
<![CDATA[Karlina Denistia]]>;
<![CDATA[Intan Mustika Sari]]>;
<![CDATA[Agus Dwi Priyanto]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2146
<![CDATA[Mental health and the concept of wellness have not been widely known by the Indonesian people, especially the millennial generation and Gen Z. Rumah Atsiri Indonesia (RAI) is an organization engaged in the creative industry sector that promotes wellness as their main theme. In its business, RAI strives to educate the public about the concept of wellness and introduce the benefits of essential oils as their product. To support these activities, attractive and effective means of communication and education are needed. Responding to this problem, the English for Creative Industry Research Group of the English Diploma 3 Study Program, Vocational School (SV), Universitas Sebelas Maret conducted a community service activity by developing infographics as educational media about the concept of wellness and essential oil products. The infographic was created using the ADDIE design method. Evaluation was done by distributing the developed infographics to get input from 129 respondents. The evaluation results show that the developed infographic media is effective and attractive in delivering educational content about wellness and essential oil product internationalization. Visual displays and dissemination media that are tailored to the target audience have succeeded in improving respondents' understanding of the concept of wellness and inspiring them to implement it, as well as to participate in sharing the created infographics.]]>
<![CDATA[“Greget†in The Surabaya Ngrema Dance Performance Representation of The Value of The Fighting Spirit of Arek Surabaya ]]>
<![CDATA[Wahyudiyanto]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2210
<![CDATA[In the Ngrema Surabayan dance performance there is an expression called Greget. Greget that the audience felt are in form of vibrations when the dancers make movements. Suspected Greget is a dancer's interpretation work to present certain figures as a reflection of dance themes. This research uses a descriptive approach by applying technical and kinesthetic analysis of motion. Ethnographic methods are used as data collectors and compile narratives to realize an understanding of Greget. The results of the study explained that the Greget in Surabayan Ngrema Dance was formed by the quality of technique and kinesthetic. The technique as the application of the basic guidelines for the implementation of the motion presents kinesthetic that is a sense of gallant, agile, and authoritative. Sense of movement is the implication of a deep appreciation of the value of heroism. The value of heroism as a dance theme is represented by dancers from the Cakraningrat figure the regent of Madura. An imaginary expression of the spirit of struggle in the Ngrema Surabayan dance embodies the legitimacy of the Surabaya City hero identity.]]>
<![CDATA[The Utilization of Colonial Heritage in Tourism Development ]]>
<![CDATA[Dewa Ayu Diyah Sri Widari]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2444
<![CDATA[The purpose of this study was to identify the utilization of colonial heritage as a tourist attraction in the development of tourism. The writing of this article uses a method of data collection through document studies. The use of colonial heritage in several countries raises different views. The understanding of inheritance in general is influenced by a variety of dynamics. The utilization of colonial heritage in the development of tourism in a country raises pros and cons among the local population. On the one hand, it has the view that the uniqueness of colonial heritage can be a tourist attraction aimed at obtaining income for the community and the country. In addition, colonial heritage can also be used as a regional or national identity. But other parties argue, colonial heritage can remind people of the past so that its use can cause unpleasant memories. The economic benefits arising from the development of the tourism sector are an important factor in building preservation decisions and acknowledging colonial heritage has an important role so much effort is made for conservation. Some colonial heritage still survives and reveals the country's history and the identity of its citizens, serving as administrative and business venues as well as tourist attractions.]]>
<![CDATA[Influence of Various Factors on the Development of Karawo Traditional Textiles in Gorontalo Province, Indonesia ]]>
<![CDATA[Hasdiana]]>;
<![CDATA[I Wayan Sudana]]>;
<![CDATA[Masayuki Sakakibara]]>;
<![CDATA[Ni Kadek Karuni]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2350
<![CDATA[This study aims to clarify the influence of various factors on the development of traditional textiles, by examining the case of the development of traditional karawo textiles in Gorontalo Province, Indonesia from 1970 to 2020. This study employs a qualitative research method with a historical approach. Data were collected through historical documents, observation, interviews, and a literature review. Data were analyzed interactively with continuous comparisons during and after data collection. The results showed that the development of traditional karawo textiles from 1970 to 2020 can be further divided into three distinct periods: 1970–2000, 2000–2010, and 2010–2020. During each period, karawo textiles were influenced by various factors, both internal and external. The most influential internal factors were the emergence of craftspeople and designers as production bases and continuous innovation. The most influential external factors were the actions of government and commercial institutions. Government policies encouraged individuals and non-governmental organizations to contribute to the development of karawo textiles. Commercial institution influent the distribution and marketing of karawo textile products. The study also describes the types of factors and their impacts. The study concludes that to ensure the sustainable development of traditional textiles, therefore those internal and external factors must consistently contribute from time to time.]]>
<![CDATA[The Dancing Cross: Contextualizing Religious Symbol in Balinese Context ]]>
<![CDATA[Ni Made Diana Erfiani]]>;
<![CDATA[Nyoman Tri Sukarsih]]>;
<![CDATA[I Gusti Agung Sri Rwa Jayantini]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2439
<![CDATA[Religious symbol is the generic word for all kinds of religious signs of the divine. It includes myths and religious narratives, theological ideas, particular notions such as karma or sin which are defined in one or more symbol systems, religious acts such as liturgies or private meditations that move through and overlay various symbol systems, as well as architectural and artistic symbols with religious content, books, songs, devotional objects, and the like. Generally, it can be referred to a religious object and can bear a religious meaning. This study aims to identify the meaning of a contextualized religious symbol in the Bali Church which is known as ‘the dancing cross’. The theory applied in this study is semiotic theory which in this case is structural semiotics. The source of the data are texts that discuss about the cross symbol as well as the results of interviews with the creator of the dancing cross symbol, Nyoman Darsane. This study confirms that the dancing cross, which is widely used by Christians who are members of the Protestant Christian Church in Bali is considered as the product of regionalization or contextualization of the cross which is the crux of Christian life and worship. The shape of the dancing cross is transformed from the universal shape of the cross which is consisted of two bars leading to a T-shaped cross which base stem is longer than the other three arms but crooked at the bottom like a dancer who is in left agem position. The results of the analysis through the utilization of structural semiotics in terms of syntagmatic and paradigmatic relations revealed some important points namely the contrastive meaning of the cross before and after the time of Jesus Christ as the sign of shame which covers a curse, a stumbling block and foolishness and the sign to be glorified which covers salvation victory and obedience. Other important points to be revealed are the contextual shape of the cross that can be aligned as a dancer who is in left agem position and the contextual meaning of the cross which leads to the sign of obedience of God’s people or the disciples to carry or dance the cross in accordance with the example given by Jesus Christ.]]>
<![CDATA[Substituting The Synthetic For The Authentic: The Contribution of Rudolf Steiner’s Biodynamic Innovations in Advancing Yos Suprapto’s Traditional Knowledge of Local Agriculture ]]>
<![CDATA[M. Dwi Marianto]]>;
<![CDATA[Rob Goodfellow]]>;
<![CDATA[Hanggar Budi Prasetya]]>;
<![CDATA[Mita Purbasari Wahidiyat]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2364
<![CDATA[In 1970, Indonesian President Suharto’s New Order Government formally adopted an international system of agricultural production known as ‘The Green Revolution.’ This required Indonesian farmers to adopt so-called modern farming practices as part of the first five-year national development program, which incorporated an emphasis on ‘Swasembada Pangan,’ or food production self-sufficiency. Chemical-based fertilizers, fungicides, herbicides and pesticides have been in continuous and widespread use in conventional farming in Indonesia ever since. Concurrently, international peer-reviewed scientific research has reported the detrimental effects of their widespread use on complex ecosystems, in particular, on pollinating insect populations such as bees. This situation greatly concerns many people, including Yos Suprapto, an Indonesian artist who articulates his social engagement through non-conventional creative practice. Since 2009, Suprapto has pioneered rice planting using the biodynamic agriculture (BDA) system developed in 1924 by the Austrian educator and innovator Rudolf Steiner. Yos Suprapto argues that, as with art, farming also requires innovation and novelty as well as an intimate understanding of human systems. This includes, an appreciation of the shortcomings associated with the modern world, namely reliance on complex manufacturing processes, often located abroad, and increasingly vulnerable and disrupted international supply chain networks. Farming, then, is Yos Suprapto’s ‘canvas’ and the colors he ‘paints’ are his crops and his ability to not just see the world as it is but as it should be. This study uses productive hermeneutic and aesthetic engagement theories to better understand why Yos Suprapto has insisted on implementing organic farming techniques and how he has also taken advantage of local oral traditions, local materials, and indigenous locally-produced rice varieties to increase harvest yields without the use of synthetic fertilizers and, in doing so, support and advance not only traditional knowledge and time-honoured cultural practices, but also local human food security.]]>
<![CDATA[Literary Tourism: Maintaining Balinese Identity in 'Host-Guest' Interaction in Short Stories by Balinese Writers ]]>
<![CDATA[I Nyoman Darma Putra]]>;
<![CDATA[Sutanegara Pidada Ida Bagus Jelantik]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2471
<![CDATA[The development of tourism in Bali with strong socio-cultural influences has inspired Balinese writers to create literary works about the interaction between Balinese people (hosts) and tourists (guests), both in Indonesian and Balinese language. This study examines how Balinese authors maintain Balinese identity in host-guest interactions featured in short stories by Balinese writers. The main object of research is the anthology of Balinese short stories Mekel Paris (Madame Paris, 2012) by IBW Keniten because all short stories in this anthology contain stories of interactions between Balinese and foreigners. Data from the short stories and interviews with authors were analyzed qualitatively using a tourism literary approach, an approach that uses anthropological tourism theory of host-guest contact introduced by Valene Smith. The results showed that there are various forms of host-guest interaction expressed in the Mekel Paris anthology, namely harmonious, conflict, mutualistic, and transactional interactions. Although there are various forms of interaction, all of them have one goal, which is to convey the message so that the Balinese people are not carried away by foreign influences, but are firm in maintaining Balinese identity. In addition to enriching the discussion on how Balinese people maintain their identity, this article also contributes to the development of the study of tourism literature that is growing rapidly in Indonesia.]]>
<![CDATA[Symbolic Meaning Relationship between the Condong Character and the Putri in the Gambuh Batuan Dance Drama ]]>
<![CDATA[Ciclia Indraningsih Jeno]]>;
<![CDATA[Ni Made Arshiniwati]]>;
<![CDATA[Ida Ayu Trisnawati]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2038
<![CDATA[Gambuh is the oldest Balinese theatrical dance drama, with a rich repertoire of dance movements, music, dramaturgy, and costume design, making it the source of Balinese performing arts that emerged later. The main story is about the journey of Prince Panji to find his lover, Princess Candra Kirana. There are two important female characters, namely Condong (servant) and Putri (Princess), who have different social statuses but have a close relationship and play a key role at the beginning of the drama, making them the determinant of the success of the performance. The research aims to reinterpret the meanings contained in the Gambuh dance drama, especially the relationship between Condong and Putri, to offer a living interpretation of local wisdom, pass them on to the next generations, and contribute to building the character of the nation that has nobility and refinement of character. The research was conducted using a qualitative research method, including a literature review, participatory observation, and in-depth interviews in Batuan Village, Gianyar Regency, Bali. The research process begins with a formal description of the characters, dance movements, costumes, and antawacana (dialogue), then the symbolic meaning analysis is carried out using Aesthetic Theory and HG Gadamer and Paul Ricoeur's Hermeneutics approach. The results of the study show that the relationship between the two characters, Condong and Putri, carries the meanings of dedication, sincerity, ethics, and the strength of women - values that are local wisdom but very relevant to women today. The elements of Rwa Bhineda, which are two opposing forces, Trihita Karana, which is harmony with nature, God, and humans, and the Hindu concept of Satyam Sivam Shundaram, which embodies ethical and pure values wrapped in beauty in the Gambuh dance drama - are the essence of Gambuh that is relevant to the present day, making it universal, transcending time and distance.]]>
<![CDATA[Rice Straw Craft Preservation and Development in Nagano Prefecture, Japan ]]>
<![CDATA[Pandu Purwandaru]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2276
<![CDATA[The Japanese rice straw culture began in the Yayoi period approximately 2000 years ago. This culture can be found in almost all areas of Japan, including the Nagano Prefecture. One of the supporting elements of the rice straw culture development in this area is because it has been recognized as a potential rice farming area. Based on the historical evidence displayed in a number of museums, there are various traditional uses of rice straw for utility, ritual, and celebration needs. Unfortunately, the number of workshops and craftsmen is currently decreasing due to modernization. However, there are still several workshops that still exist and are actively producing rice straw crafts. Therefore, this research was conducted to understand various supporting aspects in the preservation and development program of rice straw crafts in Nagano Prefecture. From the mapping results in Otarimura and Azumino, it may be concluded that the character of the rice straw crafts produced those areas is through coiling and basket weaving methods. There are five elements that support the development of these crafts, namely human resources, production methods, design development, support from the government and private sector, and the market.]]>
<![CDATA[Ornamental Art of Kalasan Temple in The Perspective of Art Philosophy ]]>
<![CDATA[Niken Wirasanti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2337
<![CDATA[The beauty of Kalasan Temple façade can be seen from its variety of decorations known as the pearls of Central Java art in the 8th century AD. The artwork manifests in the aesthetics and artistic value of Kala-Makara, leaf tendrils (purnakalasa), paper paste, apsara-apsari figures. The purpose of this writing is to gain knowledge and insight about the decorative artistic expressions carved on the temples. The method used is qualitative research observing its form, content and meaning. The analysis uses contextual analysis, which is to look at the relationship between ornaments and their context by basing on the motion of lines, the shape of art objects, and rhythmic compositions. The discussion will use aesthetic theory, artistic value and symbol theory to be able to explain the form of beauty in the decorative art of Kalasan Temple. The result shows that the selection of ornamental art ornaments is combined with the right proportions, symmetry in the arrangement and precise processing to produce artistic expression in achieving transcendent ideas.]]>
