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[Nilai-nilai Pendidikan Karakter Tokoh Kresna dalam Pertunjukkan Wayang Kulit Lakon Kresna Duta Ki Sigit Manggolo Seputro ]]>
<![CDATA[Satoto, Angga Bimo]]>;
<![CDATA[Widayat, Afendy]]>;
<![CDATA[Hapsari, Diah Retno]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2195
<![CDATA[Current era of information and technology openness does not always have a positive impact on humans but there are also negative impacts, one of which is the moral decline in society, especially children and adolescents. One way to improve the morale of the nation's children is by reintroducing traditional arts which contain a lot of character education values in them, one of which is the wayang kulit performance. This study explores the values of character education in the character Kresna in the story Kresna Duta presented by Ki Sigit Manggolo Seputro. The data in this study were sourced from the transcription of the wayang kulit performance Kresna Duta by Ki Sigit Manggolo Seputro. The analysis technique used in this research is data analysis technique the Miles and Hubernam model.The results of this study reveal that there are 13 values of character education based on the perspective of the Ministry of Education of the Republic of Indonesia that exist in the figure of Kresna namely: 1) religious, 2) democratic, 3) friendly, 4) hard work, 5) honest, 6) independent, 7) love the motherland, 8) creative, 9) love peace, 10) responsibility, 11) appreciate achievement, 12) social care and 13) tolerance. Wayang kulit performance lakon Kresna Duta by Ki Sigit Manggolo Seputro can be a good alternative solution to increase the morale of the nation's youth, one of which is through the teachings of character education values.]]>
<![CDATA[MAKNA SIMBOLIK DAN NILAI TRI SILAS DALAM UPACARA ADAT BAKTI PURNAMASARI DI SUKABUMI ]]>
<![CDATA[Hapidzin, Rivaldi Indra]]>;
<![CDATA[masunah, Juju]]>;
<![CDATA[Narawati, Tati]]>;
<![CDATA[Sunaryo, Ayo]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2267
<![CDATA[The Bakti Purnamasari traditional ceremony serves as a vessel for the community to engage in spiritual practices that have been passed down through generations, based on references from the Pantun Pajajaran Bogor manuscripts. Additionally, this traditional ceremony serves as a social platform for communal activities. The Bakti Purnamasari Ceremony transcends beyond a mere series of religious rituals; it becomes a manifestation of cultural continuity and social involvement laden with values and meaning. In this context, the ceremony not only embodies spiritual values but also significantly contributes to the formation of community identity and the reinforcement of social solidarity. In the context of this article, the aim is to describe and analyze the research findings related to symbols, subsequently elaborating on their meanings and the trisilas value namely, silih asih,silih asah, and silih asuh embedded in the Bakti Purnamasari traditional ceremony in Sukabumi. The research methodology employed is descriptive analysis with a qualitative approach. Participants in the study were selected from cultural figures in the city of Sukabumi, deemed valuable sources of information due to their rich knowledge and experiences associated with the Bakti Purnamasari Ceremony. Data collection techniques included observation, interviews, and documentary studies, with data analysis using triangulation. The research results indicate that the symbols in the traditional ceremony are reflected through offerings with intended meanings expressing gratitude for the blessings received. The trisilas values in the Bakti Purnamasari ceremony portray sincere expressions of love and affection, mutual filling or synergy, and a sense of selfless care.]]>
<![CDATA[Eksistensi Sineas Perempuan dalam Ekosistem Perfilman di Bandung ]]>
<![CDATA[Rembulan, Dara Bunga]]>;
<![CDATA[Swaradesy, Rufus Goang]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2289
<![CDATA[The art of filmmaking is a creative process that involves collaboration from various parties and aspects. This also inspired women filmmakers to create their own works. Many women filmmakers have successfully addressed important issues through their films. The number of women filmmakers in Bandung is still relatively low. Based on data obtained from film communities in Bandung, women filmmakers account for only about one-third of the total number. However, women filmmakers have achieved various notable accomplishments on both national and international levels. This research was conducted to understand the presence of women filmmakers in Bandung within the scope of the national film. Data were obtained in collaboration with Bandung Film Commission (BFC). The informants were women filmmakers who are originally from Bandung and have made contributions to the national film industry. This paper represents a qualitative descriptive study. The research subjects were women filmmakers in Bandung, and the selection of informants was done using purposive sampling techniques. The results of the research indicate that the presence of women filmmakers does not happen instantly. There are internal and external factors that support the development of skills in filmmaking. The level of filmmaking activity in the region is crucial, making the presence of film communities in Bandung highly supportive of the emergence of women filmmakers on the national stage. The existence of women filmmakers is marked by their works, attitudes, and professions. To sustain the existence of women filmmakers, harmony between the realms of education, the professional world, and film associations is essential.]]>
<![CDATA[Life and Wisdom in Tembang Lir ilir and Kidung Rumekso ing Wengi: A Philosophical Analysis ]]>
<![CDATA[Bagaskara, Akbar]]>;
<![CDATA[Rokhani, Umilia]]>;
<![CDATA[Kustap]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2541
<![CDATA[The traditional Javanese songs created by Sunan Kalijaga, especially Lir ilir and Kidung Rumekso ing Wengi, have tremendous philosophical depth when associated with Javanese culture. Therefore, this research aims to explore and analyze the philosophical meaning contained in the two previous songs and find out how the spiritual messages in these songs are still relevant to the state of society in the modern era. This research uses Ferdinand de Saussure's semiotic analysis to find out the deeper meaning of the text, not forgetting to also use the cultural context approach, to minimize irrelevant interpretations. For data validation, this research uses the triangulation method, where the data comes from interviews, historical records, and direct observation. In practice, the point is to explore the messages contained in the two songs, which are all sourced from the lyrics of these songs and the opinions of experts. The results show that both songs contain philosophical teachings on how to achieve wisdom and peace in every episode of human life. They also teach about the importance of establishing a good relationship with God. In addition, this study also revealed that the spiritual messages in these two songs are still relevant as a reflection of the spiritual journey of everyone in the modern era.]]>
<![CDATA[Sintren as a Traditional Performing Art in Mirat Village ]]>
<![CDATA[Kartika, Nyai]]>;
<![CDATA[Reiza D. Dienaputra]]>;
<![CDATA[Susi Machdalena]]>;
<![CDATA[Awaludin Nugraha]]>;
<![CDATA[Agus S. Suryadimulya]]>;
<![CDATA[Susi Yuliawati]]>;
<![CDATA[Sriwardani, Nani]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2551
<![CDATA[Sintren art is a traditional art that developed in almost all coastal areas of the island of Java. In Majalengka, sintren art developed in Mirat Village, Leuwimunding District. Sintren as a traditional art grew among rural communities that were becoming modern so sintren then survived as a traditional performing art that had an influence on the social life of the community. This research was carried out using qualitative research methods which are believed to be a scalpel in research so as to help explain the research object factually. Data collection techniques were carried out by direct observation and interviewing sources. The results of this research show that sintren in Mirat Village is not only a traditional art that was initially performed in ceremonies or rituals, but also a traditional performing art that can be performed during circumcision celebrations, weddings, and welcoming guests who come to the village. There has been a shift in sintren performances, currently sintren can be performed anytime and anywhere depending on the enthusiasm and demand of the community, because currently the values contained in this sintren performing art are no longer closely tied to a ceremony or ritual alone. Sintren art absorbs the cultural values of the community so Sintren performing arts have become part of the culture of the Mirat community.]]>
<![CDATA[Evaluating Intangible Cultural Heritage Policy of Balinese Handwoven Textiles ]]>
<![CDATA[Parameswara, Agung]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2582
<![CDATA[Several key factors drive contemporary concerns about the sustainability of intangible cultural heritage. Cultural policy has given meaning and importance to the cultural diversity of society. However, the efforts to preserve intangible cultural heritage by providing a way to community welfare are facing new challenges. The article aims to present an analysis of local cultural policy from Bali Governance to sustain the intangible heritage of handwoven textiles by increasing the economy demand. Using a focus group approach, qualitative data were collected and using Nvivo12 to analyze the data from 15 interviews of weavers and practices of Balinese handwoven textiles living in Bali. This approach is used as a means to represent the complex diversity of opinions among members of the weaving group in a dynamic interaction that is provided so that a diversity of views emerges from the participants and direct clarification of the issues that influence the diversity of arguments on the reality of the impact on policy. The result found that the cultural policy is increasing the sense of identity by using Balinese handwoven textiles and significantly has the direct impact for the demand of handwoven textiles. Furthermore, the research revealed that cultural policy plays important role in shaping and reviving the traditional practices by evaluating the challenges of cultural industries such as industrialization, regeneration knowledge, environmental sustainability by reducing chemical dyes, the welfare of women weavers, market access and strong representation between communities.]]>
<![CDATA[Developing Whiteboard Animation as an Educational Media for Electronic Waste Management in the Special Region of Yogyakarta (DIY) ]]>
<![CDATA[Arif Ranu Wicaksono]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2585
<![CDATA[The Electronic waste is included in the B3 (hazardous and toxic materials) waste category, requiring special handling. Based on statistical data from the Independent Waste Management Information System website managed by the Environment and Forestry Service (DLHK) of the Special Region of Yogyakarta, the daily electronic waste collected is around 78 kg. Of the 78kg of electronic waste, 48kg can be processed, consisting of 45kg of electronic waste and 30kg of used battery waste, leaving the remaining 3kg as residue. Yogyakarta City's electronic waste is expected to grow year after year, meaning that a solution is required. One of the solutions is to provide communicative and easy-to-understand educational media to the public, with a broad impact on the residents of Yogyakarta City, so that, electronic waste can be managed effectively in the future, with the hope of reducing the negative impact of environmental pollution on land, water sources, and air. Educational media about electronic waste is still limited, and residents of Yogyakarta City remain unaware of the issue, as evidenced by the fact that when disposing of electronic waste, they mix organic and inorganic waste. Researchers developed an animated video using the Whiteboard application as an educational media for electronic waste management in Yogyakarta. The Whiteboard animation video was developed using the ADDIE method (Analysis, Design, Development, Implementation, and Evaluation). It is expected that this media design will increase the awareness of Yogyakarta City residents of proper electronic waste management practices.]]>
<![CDATA[Dramaturgical Design Based on The Legend of Dideng Puti Dayang Ayu from Rantau Pandan ]]>
<![CDATA[Irianto, Ikhsan Satria]]>;
<![CDATA[M., Hartati]]>;
<![CDATA[Riswani]]>;
<![CDATA[Gustyawan, Tofan]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2631
<![CDATA[Dideng is an oral art from Rantau Pandan Village whose existence is of concern due to the lack of regeneration. In fact, Dideng art has theatrical, musical and gestural power. The content of Dideng is the legend of Puti Dayang Ayu which has great dramatic potential. Designing a performance concept (dramaturgical design) based on the legend of Puti Dayang Ayu is an effort to revitalize and develop Jambi's dramatic arts. This research aims to find dramatic material to then reassemble into a dramaturgical plan based on the legend of Dideng Puti Dayang Ayu. This research uses a qualitative method with a case study approach. The data collection techniques used were interviews and observation. Data analysis was carried out using three analytical tools, namely data reduction, data presentation, and drawing conclusions. The results achieved from this research are 1). Dideng is a means of entertainment for the people of Rantau Pandan village which does not yet have a good regeneration of speakers. Therefore, creativity is needed to create Dideng in more attractive packaging. 2). The Dideng text was passed down orally so it does not have a standard story. Each speaker has their own version of the story. Therefore, the preparation of the story is adjusted to the dramatic needs of the story. 3). The writing of this play was motivated by the dramatic vision of "rationalization of legend". The main theme is broken promises and is structured in an aristolelian episodic plot.]]>
<![CDATA[Abdul Muluk Improvisation Techniques in the Warung Kajang Lako Program on TVRI Jambi ]]>
<![CDATA[Irianto, Ikhsan Satria]]>;
<![CDATA[Gunawan, Indra]]>;
<![CDATA[Handayani, Lusi]]>;
<![CDATA[Gustyawan, Tofan]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2632
<![CDATA[One of the characteristics of traditional Indonesian theater, including Abdul Muluk Jambi, is that the performances rely on the improvisational abilities of the actors. Therefore, improvisation techniques are an essential element in traditional Indonesian theater acting, especially the Abdul Muluk Jambi theater. One of the theater groups that is intense in developing improvisation techniques based on Abdul Muluk's improvisations is Sanggar Pancarona Jambi. This research was conducted to find patterns of improvisational acting techniques in the Abdul Muluk performance by Sanggar Pancarona Jambi. The material object of this research is the performance of Abdul Muluk by Sanggar Pancarona which was broadcast on TVRI Jambi in the Warung Kajang Lako program. This event featured Abdul Muluk's appearance with a shortened duration. The selection of this object was based on the characteristics of the Abdul Muluk performance by Sanggar Pancarona which prioritizes the power of actor improvisation. To find patterns in Abdul Muluk's improvisation techniques, the research method used was a qualitative method with stages, observation, interviews and data analysis. The results achieved from this research are that Sanggar Pancarona Jambi uses improvisation techniques adopted from the Abdul Muluk Jambi theater. Abdul Muluk's improvisation technique which was applied at the Warung Kajang Lako TVRI Jambi event consisted of: Improvisation Rules, Building Agreement, Creating and Saying Topics, Creating Collective Imagination, Division of Tasks, Setting Timings, Starting from Introductions and Interacting with the Audience. The supporting element for Abdul Muluk's improvisation is music that is improvised in response to the actor's improvisation.]]>
<![CDATA[Becoming an Active Subject: Women's Art Collective Eco-Artivism for Ecological Sustainability in Indonesia ]]>
<![CDATA[Ambar Alimatur Rosyidah]]>;
<![CDATA[Sahara Ulfa, Dhiya]]>;
<![CDATA[Hermin Indah Wahyuni]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2688
<![CDATA[This study explores the eco-artivism of women's art collectives for ecological sustainability by looking at actor-networks, eco-art as a non-human actor, and women's art collective negotiations. In Indonesia, eco-artivism is used to raise ecological awareness and strengthen socio-environmental protests in the ecological crisis. To explain the relationship of ecological sustainability in the artistic works of women's art collectives, we underline the connection between ecofeminism and Actor-Network Theory (ANT). We used a case study method with the Perempuan Pengkaji Seni (PPS) community, an art collective of female artists, workers, and researchers based in East Java, Indonesia. We find that the eco-artivism of women’s art collectives is an attempt to make women and nature become active subjects. These efforts can be seen in three resulting themes: the PPS network as a women's art collective, eco-art from the scars left by natural disasters to the impact of industrialization, and the negotiation of PPS as a women’s art collective for environmental sustainability.]]>
