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.
Articles
14 Documents
Search results for
, issue
"Vol 39 No 3 (2024)"
:
14 Documents
clear
<![CDATA[A Behavioral Approach Design for Supporting Sitting Facilities at The Lounge Area Of Minangkabau International Airport (BIM) ]]>
<![CDATA[Alghifary, Faiz]]>;
<![CDATA[Hanom, Imtihan]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v39i3.2634
<![CDATA[Minangkabau International Airport (BIM) located in West Sumatera is used as the main air transportation mode to travel outside the province. When waiting for flights, passengers will be in the airport lounge. However, the airport lounge still doesn’t have supporting facilities to maximize activities while in the lounge area. This research uses descriptive qualitative methods with direct observation, distributing questionnaires, and literature study as a sources. An environment can be said to be good if it can meet the needs of humans in it. Therefore, a supporting facility was created to maximize passengers' activities while in the airport lounge. This supporting facility also has a high level of mobility so that it can meet the needs of airport passengers who have high mobility in the form of a multifunctional partition. In addition, this facility uses cultural elements in the form of one typical Minangkabau motif, namely "Itiak Pulang Patang" which is transformed into a new design but still maintains the essence of the original form. This motif represents the accordance with the nature, behavior, and habits of the Minangkabau people who tend to migrate. The motif implements the purposes really well in designing supporting facility at BIM Keyword : behavioral approach; BIM Airport; design; minangkabau; supporting facilities.]]>
<![CDATA[Actualization And Inheritance Of Pabitte Passapu Art In Tanah Towa Village, South Sulawesi ]]>
<![CDATA[Samidi]]>;
<![CDATA[Husain, Sarkawi B.]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v39i3.2694
<![CDATA[The preservation of the traditional art of Pabitte Passapu faces challenges when there are changes in the community supporting the art, so that the inheritance of art to the younger generation is hampered. This condition disrupts the stability of the arts in the Kajang indigenous community. Therefore, the problem in this article is the efforts made by the Kajang indigenous community in maintaining the art of Pabitte Passapu so that the value and meaning of the art remain a source of learning. The objectives of this article are first, to explain that the Kajang indigenous people maintain local values in the midst of societal changes; second, to analyze the performance and meaning of the Pabitte Passapu dance as a source of learning local values; and third, to analyze the ability of the indigenous people to pass on the intellectual property contained in the Pabitte Passapu art. This research uses qualitative research methods. Data were collected through observation, in-depth interviews, oral history interviews, and documentation. Qualitative data analysis uses historical and socio-cultural approaches, especially dance sociology. The results showed that the preservation of the art of Pabitte Passapu can be done through the strategy of strengthening the space for the actualization of art, innovating the inheritance of art through learning and training.]]>
<![CDATA[Enhancing Understanding and Application of Fundamental Visual Elements and Visual Principles Through Collaborative Learning: Insights from the Experiences of Design Students ]]>
<![CDATA[Adhitama, Gregorius Prasetyo]]>;
<![CDATA[Bhumi, Yogie Candra]]>;
<![CDATA[Rahma , Miranti Sari]]>;
<![CDATA[Agriyadi , Yuki]]>;
<![CDATA[Simarmata, Andriano]]>;
<![CDATA[Alfin, Eljihadi]]>;
<![CDATA[Widasati , Arsaika]]>;
<![CDATA[Hatmojo Danurdoro , Dwi]]>;
<![CDATA[Saphiranti , Dona]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v39i3.2702
<![CDATA[Recent scholarly discussions have robustly endorsed collaborative learning in educational settings but also highlight a significant gap in understanding its effects, particularly in the design disciplines of Indonesian higher education. This research aims to address this gap by investigating the impact of collaborative learning, specifically structured to incorporate fundamental visual elements and principles (FVEVP), on students' comprehension and application in three-dimensional design—an essential area of design education. The study integrates an immersive design workshop with questionnaire surveys to evaluate student perceptions of the pedagogical strategy's effectiveness, advantages, and challenges. The findings demonstrate significant benefits of collaborative learning, including advanced learning processes, enhanced innovative thinking, elevated student confidence, and improved project efficiency, all attained cost-effectively. These benefits contribute to greater student satisfaction and superior educational results. Nonetheless, the study also highlights challenges, such as the unequal distribution of workloads and extended decision-making times, which emphasize the need for structured management strategies to bolster the educational effectiveness of collaborative learning. By providing critical insights into the intricate effects of collaborative learning in design education, the study offers valuable contributions to refining educational practices and directing future research.]]>
<![CDATA[Creation of Contemporary Batik with Brush Stroke Motifs Using Layering Technique ]]>
<![CDATA[Sekar Fardhani, Ahda Yunia]]>;
<![CDATA[Katresna, Alaika Sugih]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v39i3.2745
<![CDATA[One of Indonesia's growing creative sectors is the Batik industry. The development of the batik industry not only benefits artisans or small and medium-sized enterprises (SMEs) but serves as a creative industry supporting the national economy. This has prompted the government to implement policies to ensure the growth of the batik industry, including promoting innovation and creativity. The author sees opportunities to create contemporary batik in line with these government policies. The term "contemporary" is defined as modern and current. Contemporary batik is characterized by motifs and styles that are not bound by specific rules, making it tailored to consumer preferences. One example of contemporary batik creation, the basis for this research, is brushstroke batik. Brushstroke batik refers to batik motifs created using a brush to apply wax during the batik process, resulting in distinctive patterns. Based on the researcher's observations at a brushstroke batik production house, the coloring process involves basic techniques such as dipping and brushing. However, there is a trend towards using a variety of colors in one batik design. The research identifies the potential to develop designs by focusing on the composition of brushstroke motifs as the main element and exploring various color combinations. This development aims to give novelty in the scientific realm of contemporary textile design, especially in batik innovation towards a modern direction. The development will be carried out using visual composition and coloring layering techniques. This research employs a qualitative method, utilizing literature review, observation, characteristic study, and experimentation for data collection.]]>
<![CDATA[Inai Cultural Dialectics: Indigenous Knowledge of Natural Dyes among the Iban Dayak as a Response to the Phenomenon of Fast Fashion ]]>
<![CDATA[Darmawan, Diaz Restu]]>;
<![CDATA[Novianti, Nadia]]>;
<![CDATA[Praptantya, Donatianus BSE.]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v39i3.2746
<![CDATA[Basic human needs, including clothing, have become commodities in the hands of industrial players, leading to a culture of consumption and negatively impacting the environment. The fast fashion industry presents numerous challenges requiring human-based solutions to reduce ecological damage. One solution is reintroducing past clothing practices and prioritizing environmentally friendly materials and techniques. Using natural materials with minimal environmental impact in clothing production is becoming more popular. One ecologically friendly material is natural dye, a traditional practice of the Dayak Iban community in Kapuas Hulu Regency, West Kalimantan. This article employs qualitative methods and literature studies to describe the natural dyeing process in the Dayak Iban community, emphasizing the continuation of tradition. The experience of researchers who have lived with indigenous communities in Menua Sadap village can provide valuable objective observation and interview data. In the Dayak Iban tradition, the makers of naturally dyed cloth are predominantly adult women, referred to as Inai. This article describes the local knowledge of the Inai regarding natural dyeing and how this process can solve the environmental damage caused by fast fashion. The indigenous peoples are highly concerned about their climate and environmental conditions as their livelihoods depend on the natural resources where they live. This was then strengthened by customary law so that environmental damage in Menua Sadap occurred less quickly than in urban areas, which often happens.]]>
<![CDATA[Creation of Learning Videos on Balinese Folk Song Arrangements for Junior High School Art and Culture Teachers in Buleleng Regency and Denpasar City ]]>
<![CDATA[Ni Luh Sustiawati]]>;
<![CDATA[Ni Wayan Ardini]]>;
<![CDATA[I Komang Darmayuda]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v39i3.2772
<![CDATA[The purpose of this research is to comprehend the learning of group vocal arrangements including their forms and stages for the environment of arts and culture teachers at junior high school in Buleleng Regency and Denpasar City through making related learning videos. The research method used is qualitative and quantitative, with data collection techniques through interviews, observation, document study, discography, and questionnaire. The theory used is the theory of analysis of the form and structure of the song and the theory of function. Primary data sources were obtained from interviews, observations, and discography (VCD). Secondary data was obtained from books, journals, and internet materials. The results showed that by providing material for Balinese folk songs arrangement in group vocals at the level of junior high school teachers in Buleleng Regency and Denpasar City through a video learning process, students' interest in learning music arrangement increased and allowed them to practice directly conveying the results of the arrangement in group vowel form.]]>
<![CDATA[Unraveling Aesthetics Tapestry: Mapping the Artistic Styles of Young Contemporary Artist in Bandung ]]>
<![CDATA[Agung, Lingga]]>;
<![CDATA[Bastari, Rendy Pandita]]>;
<![CDATA[Gumilar, Ganjar]]>;
<![CDATA[Lionardi, Angelia]]>;
<![CDATA[Siswanto, Riky Azharyandi]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v39i3.2785
<![CDATA[Bandung thrives as a city deeply entrenched in its artistic progression, boasting a vibrant array of art institutions, galleries, collectives, and accolades in the axis of Indonesian contemporary art. Despite this flourishing landscape, the divergence of contemporary art from conventional aesthetics poses challenges in garnering public appreciation. Since the early 2000s, Bandung’s contemporary art scene has witnessed a proliferation of innovative expressions influenced by recent aesthetic philosophies, notably postmodernism, and characterized by diverse aesthetic idioms. However, despite these progressive strides, a notable gap persists between contemporary art in Bandung and its local community. This study utilizes qualitative methodologies, including Focus Group Discussions (FGD) and visual analysis, to probe the aesthetic nuances within Bandung’s contemporary art milieu. FGD sessions delve into aesthetic dialogues, institutional dynamics, and community perceptions, while visual analysis deciphers cultural symbols within socio-political contexts. The findings illuminate prevalent themes of parody, pastiche, kitsch, and cultural fusion, indicative of a profound exploration of Indonesian identity amidst the currents of globalization. Bandung young contemporary artists adeptly interweave traditional values with contemporary themes, infusing their works with tradition, religion, and locality elements. While defying rigid categorization, these creations unveil intriguing intersections deserving further scholarly inquiry. This research underscores Bandung’s contemporary art scene as a complex and diverse tapestry shaped by historical, political, and social dynamics. It emphasizes the importance of discursive meaning and social processes within the artistic medium, shedding light on the intricate interplay between artistic innovation and socio-cultural contexts within Bandung’s vibrant art landscape.]]>
<![CDATA[Analysis of Promotional Content on Marketplace Tokopedia and Bukalapak to Improve the Culture of Online Shopping ]]>
<![CDATA[Tjahjawulan, Indah]]>;
<![CDATA[Syahnureza, Teuku]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v39i3.2787
<![CDATA[The online marketplace is one of the most prominent players in the e-commerce business in Indonesia. Marketplace sites act as third parties in online transactions by providing places to sell, logistics, and payment facilities. The widespread use of digital platforms in Indonesian society has contributed to the growth of online marketplaces. From early observations of promotional designs on various online marketplaces, they show similarities in the concept of promise, which is content that conveys different moments that need to be celebrated by shopping online with repeated messages and high airing frequency. Then the question arises, why is there a similarity? So it needs to be explored further; what is the content of promotional design on various marketplaces in Indonesia? The promotional content is considered an effective way to encourage consumers to continue shopping, so marketplaces in Indonesia widely use it. The research focused on two leading marketplaces in Indonesia, Tokopedia and Bukalapak, using content analysis methods and comparative studies with digital data collection through Google's search engine facility to find the promotional patterns of the two marketplaces. The results showed similarities in promotional content, including messages, visualizations, and frequency intensity, proving that there is a semblance of content in promotional designs built to improve online shopping culture.]]>
<![CDATA[Balinese People’s Happiness in Socio-Economic and Cultural Perspectives ]]>
<![CDATA[Prastyadewi, Made Ika]]>;
<![CDATA[Gde Bayu Surya Parwita]]>;
<![CDATA[Gede Antok Setiawan Jodi]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v39i3.2790
<![CDATA[Happiness becomes a benchmark of how people assess their lives, not only in terms of economic but also social and cultural. This research analyzes how Balinese people perceive happiness in terms of social, economic, and artistic. Quantitative and qualitative approaches were combined in the study. Denpasar City was chosen as the research location considering that Denpasar City is the capital of Bali Province, which acts as the centre of government and economy but still has traditional cultural values that its people closely carry. Data collection using questionnaires was distributed to 100 respondents. Data was analyzed descriptively, and correlation analysis was used to see how much economic, social, and cultural influences on people's happiness in Denpasar City. Information from in-depth interviews was analyzed using word clouds to see how people perceive happiness. The results show that happiness is viewed in terms of economy, income, life, culture, and satisfaction. Both economic, cultural, and social are still variables that influence happiness. The interview results also show that compared to those with high incomes, people feel happier when they gather with family and the surrounding community while doing various religious activities closely related to Balinese culture.]]>
<![CDATA[The Acceptance of Wayang Kamasan Porcelain Ceramics at Petitenget Temple Bali ]]>
<![CDATA[Rai, Sunarini]]>;
<![CDATA[I Wayan, Mudra]]>;
<![CDATA[Anak Agung Ayu Oka, Saraswati]]>;
<![CDATA[I Ketut, Muka]]>;
<![CDATA[I Wayan, Karja]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v39i3.2795
<![CDATA[Temples, integral to Hindu Dharma worship, are quintessential features of Balinese architectural tradition. Among these, Petitenget Temple stands out with its distinctive interior, adorned with ceramic plates embellishing the pelinggih (shrine). This study focuses on Petitenget Temple, where porcelain ceramic plates featuring the Wayang Kamasan motif are utilized within the Tri Angga framework, representing a novel exploration. Research related to the study of the use of porcelain ceramics as ornaments in old buildings in Bali. Previous research has been carried out but has not been studied in depth on the use of Wayang Kamasan motifs on pelinggih with the Tri Angga concept in particular. This research aims to reveal the form, meaning, and aesthetic value of porcelain ceramics with wayang kamasan motifs as ornaments on pelinggih. Using qualitative methods with a descriptive approach, data collection involved observation, in-depth interviews, and documentation, and data reduction flow. Meanwhile, the data source sampling technique uses purposive sampling. The findings obtained through analysis of the Wayang Kamasan motif applied to porcelain ceramic plates at Petitenget Temple, Kerobokan Badung, are the harmony of Wayang motif porcelain ceramics, as a prototype or reference for preserving the use of Wayang Kamasan motif porcelain ceramics in sacred buildings and other functions, and temple visitors can enjoy the form, meaning, and aesthetics displayed by the porcelain ceramics with Wayang Kamasan motifs installed. From this research, it can be concluded that Wayang Kamasan porcelain ceramics are accepted by the community, temple owners, or Petitenget Temple owners.]]>
