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[Variety Of Bhenga And Manu Ornaments At The Sa'o Traditional House Of Gurusina Traditional Village ]]>
<![CDATA[Azizy, Irfan Maulana]]>;
<![CDATA[Wimansyah, Yogasmara Binsar Putra]]>;
<![CDATA[Sitinjak, Zhalzhabela Nur’aini]]>;
<![CDATA[Indrayana, I Made Heri]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2644
<![CDATA[East Nusa Tenggara (NTT) has a rich culture and diverse traditions. Several ethnic sub-groups, including the Ngada-Lio ethnic sub-group, mark this diversity. This ethnic sub-group inhabits the Ngada Regency area, where traditional villages are scattered at several points. Traditional villages are places to preserve a culture that has been passed down from generation to generation, one of which is weti carvings. These carvings have a variety of figures, including Bhénga and Manu. The depiction of these two figures is like a buffalo horn and a chicken. In some traditional houses in Indonesia, there are also similar figures, namely in the Tongkonan Toraja traditional house and the Karo Batak traditional house. This research is a qualitative descriptive research. The researcher chose this method to describe the figures of Bhéngaand Manu in detail and depth. This research began with observation and interviews, after which the research continued by analyzing the data using morphological, stylistic, and comparative analysis. The results of this study show that various ornamental figures of buffalo and chicken are depicted on the walls of the Sao traditional house because the two animals have a special closeness to the community. Besides that, the ornamental variety is carved on the wall of the traditional house as an addition to the aesthetic value of the traditional house.]]>
<![CDATA[Psychedelic: An Illustration that Reveals False Power in Rhythm 0 Performance Art ]]>
<![CDATA[Dewanto, Thomas Hanandry]]>;
<![CDATA[Bahruddin, Muhammad]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2723
<![CDATA[The performance art entitled Rhythm 0 by Marina Abramovic is controversial, raising various questions regarding its power and influence in the context of art. This research aims to illustrate the microphysical approach to power in the performing arts Rhythm 0, where power emerges from fear and shifts to the dominance of the ideology of power. A qualitative approach with visual analysis techniques was used in this research to explain the phenomenon of this performing arts from a very subjective view. This created illustration entitled "Psychedelic" reveals false powers in the form of intense hallucinations involving auditory, visual and feeling experiences in the Rhythm 0. The basic principles of art were used as the basis for creating this illustrative work. In this case, the use of gold leaf, peony flower elements and halos in the illustration also has a solid symbolic value, so semiotics is used as a basis for giving meaning to the symbols used. The results of this research show that the apparent power contained in the Rhythm 0 performing arts can be revealed through an illustration entitled "Psychedelic", which describes the context of the artwork in depth. This research contributes to understanding Rhythm 0's artwork and enriches knowledge about using psychedelic illustrations as a medium for artistic expression. This research also highlights how these illustrations can communicate complex themes in the performing arts, strengthening our understanding of power dynamics in arts contexts.]]>
<![CDATA[The Shift Analysis on Woman Traditional Underwear Designs in Java and Bali from 1900 until 2000s ]]>
<![CDATA[Pangestuti, Annisa]]>;
<![CDATA[Tresnadi, Chandra]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2815
<![CDATA[Indonesia is a country that pays attention to Eastern tradition, namely in politeness value either in attitude or socialization. Politeness in fashion considers the importance of the value of politeness in clothing. The politeness limitation in fashion in Indonesia was from the navel to ankles by exploring historically to find out the fashion change, especially in traditional clothing in Indonesia in some periods. This research aimed to trace the chronology of fashion change in traditional women in Indonesia from 1900 until 2000 and to study the fashion change from 1900 until 2000. The research method was historical, with data in figure samples obtained from 1900 until 2000. This research resulted in the chronology of the transformation of fashion change in traditional women's underwear from 1900 until 2000. This research found that fashion shifted from Colonialism to the Reformation. The conventional cloth changed from the initial usage, namely kemben, to bustier. Kemben usage in 1860, camisole usage in 1925, and the old order in 1954 is bustier. The length level of fashion design experienced a decrease. In the colonial period, traditional undergarments covered the breast. Still, in the reformation era, some only lasted until the peak of the breast, initially only from the navel until the ankle, then changed from the breast to the ankle. Technological advances have impacted the freedom to access information included in fashion.]]>
<![CDATA[Folklore on Kayori: An Oral Tradition about Natural Disasters in Central Sulawesi ]]>
<![CDATA[Nole, Otniel Aurelius]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2841
<![CDATA[The characteristics of Indonesian society are firmly attached to the image of expressing language orally, which has been done since long ago and has survived until now. Folk beliefs and imagination are the main essences of cultured human life when creating stories. Although the current situation signifies a modern life, the researcher argued that folklore is an oral tradition still relevant to life’s context substantially and functionally, as on kayori from Central Sulawesi. This research aimed to revitalise kayori as folklore in Central Sulawesi, an oral tradition about natural disasters. The researcher generated knowledge in this research qualitatively as a method that included a literature review study. The researcher collected and used reference sources related to the variables of this study. The research showed that kayoriis a folklore that affirms oral tradition as an art to express the function of learning and remembering the messages in poems and sounds. The messages of kayori have implications for practical actions for the community regarding natural disaster mitigation related to disaster policy, ethics, religiosity, and ecological values. In the end, the verbal art of kayoriremained a part of the futuristic world because it provided knowledge on humanitarian and environmental aspects related to natural disasters in the contemporary era.]]>
<![CDATA[Gandasari Gandawangi Dance: The Transformation of Legendary Form Into Tourism Arts in Jalawastu Brebes ]]>
<![CDATA[Turyati]]>;
<![CDATA[Widyaningrum, Septiana Yustika]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2878
<![CDATA[This article traces the transformation process of the legend of the characters Gandasari and Gandawangi into Gandasari Gandawangi Dance, created as a tourism performing art in Jalawastu Traditional Village, Brebes, Central Java. The legend narrates the story of a civil war among prominent figures embracing Islam in that region. From this narrative, a dance and music performance with an innovative tourism package highlighting Jalawastu Traditional Village's local wisdom was realized. The research methodology employed in this study is qualitative with an ethnographic approach. Data collection techniques encompassed interviews, documentary studies, and field observations. Observations were conducted to gather data, which was subsequently analyzed to formulate the transformation process and understand the significance of the Gandasari Gandawangi Dance. This article concludes that Gandasari Gandawangi Dance is adapted from the legend and further developed with creative dance movements, thereby serving as a tourism performing art that is expected to enhance the tourism potential of Jalawastu Traditional Village.]]>
<![CDATA[Effectiveness of VR Technology in the Design of the Bali Megarupa V Virtual Exhibition ]]>
<![CDATA[Sutanto, Shienny Megawati]]>;
<![CDATA[Wardaya, Marina]]>;
<![CDATA[Setia Budi, Hutomo]]>;
<![CDATA[I Wayan, Adnyana]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2904
<![CDATA[Virtual exhibitions offer a promising avenue for art appreciation in the digital age. However, limited research explores how these online spaces can foster emotional connections with art, a crucial aspect of the art experience. This study investigates the potential of immersive virtual reality (VR) to enhance engagement and emotional impact in virtual art exhibitions. Employing a multi-method approach combining literature review, user testing, and prototype development, the research identifies and evaluates design elements contributing to increased user engagement. This research employed a multi-method approach to understand how users engage with virtual art exhibitions. The study identified and evaluated the impact of specific design elements on user engagement by combining a literature review, user testing with a VR prototype, and subsequent analysis. The study focuses on critical elements like interactivity, personalization, storytelling, and multi-sensory experiences. User testing with 55 participants revealed the effectiveness of immersive design in fostering exploration, contemplation, and a sense of presence in the virtual space. This immersive design is the strategic integration of elements like interactivity, personalization, and storytelling within the VR environment. The research underscores the significance of immersive design, defined as the strategic integration of design elements to cultivate an emotional connection within a VR environment. This encompasses aspects like interactivity, personalization, and the incorporation of storytelling within the experience. Finally, the study offers practical recommendations for curators and designers to create virtual art experiences that resonate more deeply with audiences.]]>
<![CDATA[Contemporary Textile Design Creation Sourced from Visual Aesthetics of Kawung Motif Classical Batik ]]>
<![CDATA[Wahida, Adam]]>;
<![CDATA[M. Hendra Himawan]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.1807
<![CDATA[The development of contemporary art and design is a dynamic reflection of social values, technological advancements, cultural shifts, and evidence of the ever-changing nature of human expression. However, local identities are often not visible, and many works of art and design seem stereotypical with similar appearances. Based on these conditions, it is necessary to conduct research on art creation by exploring local cultural values as an identity. This article describes the process of creating contemporary textile designs sourced from the visual aesthetics of classic batik Kawung motifs, which are full of aesthetic value. The art creation method is carried out by collecting information about the visual aesthetics of classic batik Kawung motifs, exploring ideas based on visual aesthetics in Kawung batik motifs, developing creation ideas through design experiments, and realizing textile designs into fabric prototypes. The results of this study include (1) analysis of basic ornaments of geometry, repetition patterns, and symmetrical compositions in Kawung classic batik motifs, (2) the process of embodiment of contemporary textile design with the concept of transformation geometry through rotation, reflection to create rhythm and composition, as well as translation and dilatation to find the artistic value of shapes, (3) descriptions of the form of contemporary textile design works that have been produced. The study results show that classic batik's aesthetic value is a potential source of ideas for creating contemporary textile designs. Through a formalistic study of Kawung classic batik motifs, a method of making ornaments with transformative geometry techniques was found as a guideline and formulation for creating contemporary textile designs. Local values in the Kawung motif, such as the pattern of rotation, reflection, rhythm, and recomposition of geometric shapes, are still relevant and contextual with the development of the times. Thus, it is essential to use it as a source of inspiration for creating contemporary textile designs with a strong identity.]]>
<![CDATA[The Effect of Project Based Learning in Realizing Performing Arts on Entrepreneurial Motivation in Art Learning in Vocational School Students ]]>
<![CDATA[Anggraeni, Reni]]>;
<![CDATA[Juju Masunah]]>;
<![CDATA[Trianti Nugraheni]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2010
<![CDATA[The competence that must be possessed by Vocational School (VS) students is to be able to find business opportunities independently. Related to the subjects of art and culture, it is hoped that VS students have the motivation that can be carried out by the presence of performing arts in the form of performances that can be used as opportunities for entrepreneurship. Thus, VS students must have entrepreneurial motivation to have business opportunities in the arts and culture sector. One of the learning strategies that can be used is to use PBL. PBL can increase students' learning motivation and also facilitate students' problem-solving abilities. This study aimed to determine how the implementation of PBL in realizing performances and the influence of PBL on entrepreneurial motivation in art learning for VS students. The research method uses an experimental research method with a one-group pretest-posttest design. Participants in this study were 37 students in one of the VS in the Indramayu district, and the study was conducted using a systematic sampling technique. The research instrument used an entrepreneurial motivation questionnaire. Data analysis techniques using statistical descriptions and Paired-Sample T-Test. This study concludes that PBL affects VS students' entrepreneurial motivation in art learning. PBL can motivate students to reflect on what they learn in an actual project and provide opportunities for students to think and be creative when realizing a project in the arts and culture. Students can understand that in the performance, various job descriptions can be used for business opportunities or jobs in arts and culture to conduct further research with more participants so that the results of this study can be more generalized.]]>
<![CDATA[Contribution of Children's Literature in the Formation of Character of Elementary School Children ]]>
<![CDATA[Ni Putu, Eni Astuti]]>;
<![CDATA[Ni Made Rely Indah Sari]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2158
<![CDATA[This study aims to describe the contribution of children's literature in character education and the selection of children's literature according to the developmental stage of elementary school children. This study is a qualitative-descriptive study of the library research type. Data collection techniques are by searching for sources and constructing from books on children's literature and accredited journals, then analyzing critically and in-depth. Based on the results of data analysis, it can be explained that the contribution of children's literature to the emotional aspect is obtained from demonstrations of life as demonstrated by the characters in the story so that children will learn how to manage their emotions so as not to harm themselves and others. In the intellectual aspect, children's literature contains sequencing and plot logic to support children's use of their minds to think, understand and criticize the stories they get. In the aspect of imagination, literature in its stories can attract the child's entire self. With this, the child gains an extraordinary experience that is significantly correlated with creativity and will provoke the growth and development of creativity. In the social aspect, children's literature demonstrates character interactions so that it supports children in maximizing their development in their proximal development zone. In addition, from an educational aspect, children's literature is connected to aspects of exploration and discovery, language, beauty, multicultural insight, and children's reading habits that influence reading habits and literacy culture, which are very necessary in facing the progress of science and technology in this era.]]>
<![CDATA[Expression of Culture Diversity Through Creation of Zapin Nusantara Berlenggang Dance ]]>
<![CDATA[Robby, Robby Hidajat]]>;
<![CDATA[Iziq, Iziq Eafifi Ismail]]>;
<![CDATA[Afaf, Muhammad 'Afaf Hasyimy]]>;
<![CDATA[Surasak, Surasak Jamnongsarn]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2247
<![CDATA[This article elaborates on Nusantara diversity as a phenomenon that underlies the creation of the Zapin Nusantara Berlenggang dance. In many regions, the characteristic of Zapin dance has grown through evolution that involves the unity of various ethnicities, mainly ethnics living in the coastal area. Such unity is a strong pillar that supports the Republic of Indonesia. Although the political situation is fluctuating, there is still an effort to empower local potentials to maintain diversity in Indonesia. The exploration of the Nusantara theme in the creation of the Zapin dance is powerfully relevant to the objective of this research, which is to strengthen the unity of Indonesia through its pluralistic nature. The creation of Zapin dance with the Nusantara theme will be understood through the approach of creation process experience, which, thus, is the type of this research that is explorative qualitative descriptive. In other words, this research is developmental research that emphasizes exploring the creation process. The research data are collected through three procedures respectively: interviews with Zapin dance patrons in Palembang, Pekanbaru Riau, Gresik, and Malang; dance technique exploration conducted in Malang and Gresik; and a dance trial held at the Indonesia Art Institute of Denpasar. The focus of this research is on managing the technical and aesthetical experiences of the dancers to internalize the Nusantara theme into their minds. The research question, therefore, comprises (1) What is the function of Zapin Nusantara Berlenggang dance? Moreover, (2) How is the creation process of Zapin Nusantara Berlenggang dance?]]>
