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Mudra Jurnal Seni Budaya Institut Seni Indonesia Denpasar Jalan Nusa Indah Denpasar 80235
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MUDRA Jurnal Seni Budaya
Published by Institut Seni Indonesia Denpasar
ISSN : 08543461     EISSN : 25410407     DOI : https://doi.org/10.31091/mudra.v37i4.2084
Core Subject : Religion, Humanities, Education, Art, Social,
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences
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.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 14 Documents
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Search results for , issue "Vol 39 No 3 (2024)" : 14 Documents clear
Representation of Cross-Cultural Relations in the Bali Agung Theater at Taman Safari & Marine Park Bali : A Discourse in Balinese Tourism Performing Arts Gede, Yoga Kharisma Pradana; Surya Wijaya, Nyoman; Ketut Purnaya, I Gusti
Mudra Jurnal Seni Budaya Vol 39 No 3 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v39i3.2813

Abstract

This article aims to understand and explain the discourse on cross-cultural relations in the Bali Agung Theater at Taman Safari & Marine Park Bali. The Bali Agung Theater at Taman Safari & Marine Park Bali is an innovative Balinese performance art for tourism purposes at Taman Safari & Marine Park Bali. As a Balinese tourism performing art, there is a representation of cross-cultural relations in performance scenes featuring typical Chinese arts. The narrative discourse of the Bali Agung Theater was developed by actors based on the folklore of traditional Balinese society. The main problems: 1) What are the forms of cross-cultural relations in the Bali Agung Theater at Taman Safari & Marine Park Bali?; 2) What is the discourse on cross-cultural relations in the Bali Agung Theater at Taman Safari & Marine Park Bali?. The cross-cultural discourse analysis in the Bali Agung Theater at Taman Safari and Marine Park Bali was completed using qualitative methods. Primary data was collected through observations at the Taman Safari and interviews with actors at the Bali Agung Theater. Data achievements are complemented by secondary data collection from literature studies. All data were analyzed using knowledge-power relations theory and structuration theory. The research results show that: 1) Taman Safari & Marine Park Bali displays discourse on cross-cultural relations through Balinese cultural acculturation at the Bali Agung Theatre. Cultural acculturation can be seen in art in the form of props and dance movements; 2) The discourse on cross-cultural relations in the Bali Agung Theater consists of cultural heritage discourse, educational discourse, and violence discourse. This theatrical discourse centers on Kang Ching Wei, King, and Dewi Danu.
Deconstruction of Ecofeminist Ideology in Japanese Eco-friendly Beauty Products Advertisements Sari, Ida Ayu Laksmita; Mahardika, I Gusti Ayu Sugiartini
Mudra Jurnal Seni Budaya Vol 39 No 3 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v39i3.2860

Abstract

Nowadays, many advertisements for Japanese cosmetic products are appearing that show ecology issues. Ecology issues and the role of women shown in advertisements cause the meaning to develop and become a deconstruction of previous advertisements. Now, the ideology contained in an advertisement can contain ecology issues and women's involvement in it or is called ecofeminist ideology. This research seeks to the forms of deconstruction of ecofeminist ideology. This research is qualitative research using document study methods and netnography methods. Data was collected from eight advertisements, then analyzed using Derrida's deconstruction theory, Barthes' semiotics, and Vandana Shiva’s ecofeminism theory. The results of this research show the forms of deconstruction of ecofeminist ideology in advertising are (1) represented by the role of women and efforts to save the future of nature, (2) nature and women grow together, (3) women's beauty is natural beauty, (4) and the relationship of tsubaki cultivation, traditions and women farmers.
Elite Capture Phenomenon and Political Dialogic Space: Reflections on the Folklore of Asal Usul Raja Negeri Jambi in the Current Political Situation Zaman, Saefu; Prayoga, Reza Amarta; Sukma, Bayu Permana; Amanat, Tri
Mudra Jurnal Seni Budaya Vol 39 No 3 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v39i3.2871

Abstract

This research focuses on the process of political elite capture which is associated with the current political context and the dialogic space that occurs in the narrative text of the folklore Asal Usul Raja Negeri Jambi (AURNJ) [The Origins of the King of Jambi]. This study used a descriptive qualitative method. The data were obtained from the recording and documentation of Jambi folklore 2: Asal Usul Raja Negeri Jambi (AURNJ) by Kaslani (1997). The results of the analysis produce several conclusions. First, there are symptoms of the political phenomenon of elite capture of village elders in perpetuating their power in the election of the King of Jambi. Second, this phenomenon also fostered the practice of dynastic familism. In the belief of village elders, the king must be chosen from their lineage, meaning that people in their circle are worthy to be king. Third, the deadlock in finding a leader figure was experienced by village elitist elders in the political contestation of the election of the king. This stalemate then awakened the elite village elders to open equal participatory dialogue spaces. This is nothing but to open up opportunities for candidates for kingship outside their circle of power. Fourth, the paradox of elite capture political dynamics in AURNJ's story describes a situation similar to contemporary political phenomena, namely the thirst for power and building political dynasties for personal and group interests as a security strategy and perpetuation of the arena of exposure to power.
Dede Eri Supria's Creative Process of Painting Marginaled Urban People in the New Order Era Ramdani, Guruh; Tambunan, Shuri Mariasih Gietty; M, Yoesoef; Tommy, Christomy
Mudra Jurnal Seni Budaya Vol 39 No 3 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v39i3.2876

Abstract

This article aims to reveal the creative process of Dede Eri Supria (DES) in the context of the development of Indonesian painting, showing the structure, style and thematics that represent the impact of development policies and New Order cultural politics. The discussion of this creative process uses Gramsci's concept of hegemony, namely the dominant group's ideology, to perpetuate its power through its apparatus spread throughout civil society, most of which are intellectual groups. This ideological hegemony also occurred in Indonesian painting during the New Order era. This article uses a qualitative description method to reveal and discuss data obtained through interviews and literature studies. Based on these methods and concepts, the following results were obtained. First, DES's creativity was influenced by his social environment with exponents of the New Fine Arts Movement (GSRB), which resulted in his critical views on social and cultural problems and ideological problems in the creative environment of ASRI students and GSRB activists. Second, the DES creative process is a creative reaction to express "freedom" in work to fight the dominant ideology that dominates art. Third, through a creative space free from dominant art ideologies, DES and GSRB exponents display their works at the TIM GSRB Exhibition. Fourth, the social, cultural and political development conditions during the New Order era impacted the socio-economic lives of marginalized urbanites, becoming one of the stimuli for the DES creative process. Fifth, DES in painting uses various visual references but does not copy them outright and creates a new reality in the space of his canvas so that his paintings represent a new type of art that is original and represents the spirit of his time, namely the hyperrealism style.

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