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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 4 (2024)" : 14 Documents clear
A Javanese Dance is A Representation of Rasa in Javanese Culture Indah Sulastuti, Katarina; Sunardi; Efrida; Mamik Widyastuti; Hadawiyah Endah Utami; Setya Widyawati; Budi Setyastuti; Nuryanto
Mudra Jurnal Seni Budaya Vol 39 No 4 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v39i4.2798

Abstract

This paper presents the concept of rasa in Javanese culture embodied in Javanese dance. The ethnographic approach in the Ethnochoreology discipline used as a step in data collection was in-depth interviews with actors (dancers, choreographers) in a society with a Javanese cultural scope. The observation step in the data collection effort was carried out using the involved observation model or participant observer, completed by data collection through literature and relevant documents. The theoretical perspective and concept used as the basis for thinking in discussing the case study of the Ela-ela dance in this paper is the concept of rasa, as put forward by Paul Stange. Namely, that rasa is a "tool" or "means" of perception, or a "function" of "whisper of heart or intuition", and rasa in Javanese dance as expressed by Katarina Indah Sulastuti, that rasa in Javanese dance is an element that is integrated with the senses in the body in a comprehensive manner which involves: the sensibility of heart vibrations, sharpness of intuition, imagination, bodily intelligence, and understanding of Javanese culture. Javanese dance, in the example of the case study, the Bedhaya Ela-ela dance is a representation of the rasa in Javanese culture, namely that the Bedhaya Ela-ela dance is a form of dance that substantially depicts the life of the Javanese people and the culture of rasa which involves issues of ethics, aesthetics, and religion in Javanese culture.
Dress to Impress: Exploring Clothing Mechanics and Gender Performance in Mobile Game Empress’s Choice Adelia, Silvy; Ayu, Hujuala; Ariyanti, Lisetyo; Kusumadewi, Kenya; Arista, Cicik; Xin, Wang
Mudra Jurnal Seni Budaya Vol 39 No 4 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v39i4.2832

Abstract

This study investigates how game mechanics influence gender performance through clothing choices in Empress's Choice. The game was first launched on mobile devices, chromebook, and tablets in June 2022. Players would be able to enjoy the game on a variety of platforms. This study employs content analysis to explore game mechanics and in-game elements, specifically focusing on how they affect the players' construction of their characters' gender. The analysis is limited to chapters featuring dressing-up and destiny event stages, where clothing choices are central to gameplay. Judith Butler's theory of performativity is a framework to examine whether the game reinforces traditional gender norms or encourages players to subvert them. The findings reveal that, despite the game's emphasis on player choices, the mechanics, especially those related to clothing and its associated features, still largely adhere to conventional gender expectations. The main character (player) is constructed to be female by repeatedly donning feminine clothes in mostly bright colors and elaborate accessories. All categories of clothing (type, color, and accessories) in the game have a particular bias towards traditional feminine elements. Therefore, during dress-up stages, players have limited choices in gender expression besides the feminine style dictated by the mechanics. However, the in-game actions, part of destiny events, show a contrasting experience. These events give players choices that impact the story without imposing specific gendered behaviors. This complexity indicates that limitations and opportunities to challenge gender norms exist in Empress's Choice through its game mechanics.
Artistic Negotiation of Emma and Lucy Annual Drama The Musical Jekyll & Hyde: A Performance Quadrilogue View Untung, Rachel Mediana; Kusumaningtyas, Purwanti
Mudra Jurnal Seni Budaya Vol 39 No 4 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v39i4.2890

Abstract

The main focus is on the artistic aspects of the two female characters, Emma Carew and Lucy Harris in the production of “The Musical Jekyll & Hyde” by the Annual Drama team of Faculty of Language and Arts, Satya Wacana Christian University Salatiga, in 2023. The study focused on the process and artistic decision making within the context of management, musicology, dramaturgy, and literary studies. The study highlights how Emma and Lucy, are constructed in feminism artistic analysis in contemporary drama. The characters represented female with their domestic and private roles. Observation, interviews, documentation, and library studies were conducted to gather the data. Using performance centered approach, the study thoroughly observed the artistic decision process of the three actors of performance quadrilogue, namely the source, producer, and performer. As a college theater, all the artistic decision was made by the students. The four artistic elements of theater production, comprising the verbal text, song, movement, and scenary, portrayed the story’s setting in the 1800s in England. Emma’s verbal text depicted the English women of the elite with their domestic orientation. On the contrary, Lucy portrayed liberal English women. The four artistic elements in a theater production, referred to Broadway theater of the same title. This study positioned artistic elements as its study object instead of drama as a media of English learning. These two domains are discussed to sharpen on the construction of the female figure in the artistic perspective of feminist analysis. Post-production studies are also conducted to examine how students gain experience of an artistic decision-making process in producing a performance. It was conducted through the management’s delegating mechanism in the chart of the structured organization.
Theology of Art in The Text of Adiparwa Saitya, Ida Bagus Subrahmaniam
Mudra Jurnal Seni Budaya Vol 39 No 4 (2024)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v39i4.3008

Abstract

Adiparwa is the initial part of the Mahabharata, which can be viewed as consisting of two distinct parts. The first part presents the framework of the Bharata epic, and the second part contains the genealogy of the Pandavas and Kauravas. Adiparwa not only narrates the origins of the Kuru Dynasty and the various early events leading to the great war in Kuruksetra but also contains many profound theological and aesthetic elements. This study uses the theory of literary reception, which is based on the notion that literary works have always received responses from their readers since their publication. A qualitative research method with a theological approach is used in this study. The theology in the text of Adiparwa includes the concepts Nirguna Brahman and Saguna Brahman, in line with His attributes for creating the universe, embodied in Sanghyang Siwa with Bhatari Parwati. The aesthetics in the text of Adiparwa are described in the terms satyam, siwam, and sundaram. Satyam in the text of Adiparwa can be seen in the story of four quails that survived the burning of the Khandawa forest. The essence of siwam in the text of Adiparwa is described in the concept of God as Nirguna Brahman and Saguna Brahman. The values of sundaram are reflected in the beauty of Tilottama. The influence of theology on aesthetics is evident in the rituals described in the text of Adiparwa through the mabebasan tradition, usually performed during the atma wedana ceremony, via the Astikacarita story using the palawakya reading technique.

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