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
8 Documents
Search results for
, issue
"Vol 40 No 1 (2025)"
:
8 Documents
clear
<![CDATA[Emergence of Female Pembarong in Reyog Art: Gender Stereotypes and Cultural Tightness in The Javanese Perspective ]]>
<![CDATA[Sari, Ulfi Andrian]]>;
<![CDATA[Yasri, Hayyun Lathifaty]]>;
<![CDATA[Nulinnaja, Ratna]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 1 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v40i1.2853
<![CDATA[The presence of female pembarong (performers) in Java is interesting as a form of defying gender stereotypes. The female performers portray those who try to fight stereotypes and gender norms in a patriarchal society. Based on this phenomenon, this study aims to 1) explain the stereotypical experience of reyog Ponorogo female performers from the perspective of Javanese culture, 2) explain the experience of cultural tenacity of reyog Ponorogo female performers from the perspective of Javanese culture. The research was conducted in two places in Ponorogo. Sawoo Village in Sawoo Subdistrict, Ponorogo Regency which is the location of the Sardulo Nareswari reyog community and Plunturan Village in Pulung Subdistrict, Ponorogo Regency which is the location of the Putri Onggopati reyog community. This research uses a qualitative method. Data collection techniques used included interviews with female performers, observation of videos of female performers' performances from YouTube, Facebook, and Instagram, interview transcripts, triangulation of sources, and data visualization. Furthermore, the data was analyzed using an interactive model: data collection, data condensation, data display, and conclusions drawing. The labeling of the research results shows that: 1) Stereotypical views towards female performers have begun to diminish. Society began to accept their existence in reyog performance art. 2) The loosening of cultural constraints within Javanese tradition, with positive conditions that do not put aside their role as women, wives, and homemakers. These conditions provide freedom and creative opportunities for female performers.]]>
<![CDATA[Transmission of Hadroh Kuntulan Banyuwangi Art through Community-Based Art Education ]]>
<![CDATA[Arini, Sri Hermawati Dwi]]>;
<![CDATA[Supriadi, Didin]]>;
<![CDATA[Turnip, Yehezkiel Petrus]]>;
<![CDATA[Srimoko, Gandung Joko]]>;
<![CDATA[Saryanto]]>;
<![CDATA[Tarwiyah, Tuti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 1 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v40i1.2859
<![CDATA[This research explores cultural strategies through education, specifically focusing on Community-Based Art Education (CBAE) in Banyuwangi. In order to achieve the stated objective, a qualitative descriptive method was adopted to examine the Kuntulan art form, particularly Hadroh Kuntulan. The art form consisted of playing Hadroh music accompanied by sholawat singing and pencak silat movements that have evolved into dance. This investigation was conducted in Banje Hamlet, Bubuk Village, Rogodjampi District, Banyuwangi Regency, East Java, at Islamic Junior High School 8 & Art Studio Gholet Dhulur. The location was selected primarily due to the presence of the Using tribe, which, unlike more well-known groups such as the Baduy and Sasak tribes, remains relatively unknown. Typically, cultural transmission through Community-Based Art Education (CBAE) is facilitated by integrating educational institutions. Within the context of the present exploration, this studio played a central role. In Indonesia, art education is usually incorporated into a school's intracurricular and extracurricular curriculum. These institutions typically form school-age music groups comprising students from various schools. Within this construct, schools and social institutions function as program planners, students as learners, and the broader community as a source of cultural knowledge. The results obtained from this study show that the integration of cultural arts into the school curriculum through partnerships with social institutions plays a crucial role in preserving cultural heritage. It also emphasized that the resilience of these cultural traditions is sustained through the active support and inclusiveness of the community.]]>
<![CDATA[The Village Landscape of Ubud, Bali: Between Cultural Heritage, Tourism, and Sustainability ]]>
<![CDATA[Djaja Bharuna S, Anak Agung Gde]]>;
<![CDATA[Anak Agung Ngurah Aritama]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 1 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v40i1.2867
<![CDATA[The unitary region of Ubud, Bali, is well-known for its unique physical and cultural landscape. Like other communities in South Bali, Ubud is a legacy of a traditional village known as desa pekraman . In terms of village environmental management, empirically inherited sociocultural norms are well-preserved. The central crossroad of the catus patha pattern is thought to serve both a religious and mystical purpose, in addition to functioning as a regional hub. The village-level implementation of the concept of the three causes of virtue ( tri hita karana ) and the religious concept of the nine land value hierarchies ( sanga mandala ) in residential units are ongoing examples of local wisdom in response to the development of tourism culture and the demands of international tourist destinations. The growth of tourism in Ubud, on the other hand, has transformed traditional patterns and integrated new cultures into the traditional ones. This transformation raises questions about the long-term viability of Ubud's traditional practices in the context new tourism economy. To what extent can Bali's culture survive as a tourist attraction? Through observation and literature studies, the landscape and environment of Ubud Village, as well as the development of environmental forms that occur due to the embodiment of the concept of local wisdom and the efforts made, will be described in anticipation of the development of cultural tourism areas. The significance of the village landscape and its application to the village environment are all explained in this essay. The article then examines Ubud Village's current condition of development.]]>
<![CDATA[Aesthetics of Jaran Ukir Decorating Tempel Technique of Kasongan Village Pottery ]]>
<![CDATA[Suharson, Arif]]>;
<![CDATA[Fitriani, Dyah Retno]]>;
<![CDATA[Ridho, Awang]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 1 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v40i1.2946
<![CDATA[This research aims to create a new creation carved with the characteristic of tempel technique decoration, which is the strength of the local genius of Kasongan Village pottery that meets the quality standards of raw materials and modern design. Other regions do not own the tempel technique decoration that characterizes Kasongan Village pottery. However, its existence is starting to recede, with poor regeneration, and is no longer to the needs of the times. Direct hand-building pottery products with tempel technique decorations are complicated, difficult, and old-fashioned. The younger generation prefers to make printed pottery products that are considered more practical to be created with fabricated paint finishing according to global tastes while ignoring the local identity of Kasongan Village pottery characteristics. This research uses aesthetic methods with a practice-based research approach carried out with the stages of literature research, empiric study, visual research, and practice. The aesthetics of the new Kasongan carving, with the application of the tempel decoration technique, impact the preservation of sustainable local artistic creations. Creating a new carving with the tempel technique decoration in Kasongan Village is expected to be an educational tool for learning about the character of the nation's next generation from an environmental and cultural perspective. Carving with tempel technique decoration is an entity that must be maintained, preserved, and developed according to the global community's needs.]]>
<![CDATA[The Discourse of Resistance Against Patriarchal Culture in Short Stories by Three Balinese Women Writers ]]>
<![CDATA[Prameswari, Ni Putu Laksmi Mutiara]]>;
<![CDATA[Banda, Maria Matildis]]>;
<![CDATA[Putra, I Nyoman Darma]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 1 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v40i1.3034
<![CDATA[This research aims to examine the discourse on Balinese women's resistance against patriarchal culture as reflected in short stories by three Balinese women writers. Short stories by Oka Rusmini, Kadek Sonia Piscayanti, and Devy Gita were analyzed using Sara Mills' theory of feminist critical discourse analysis and Hélène Cixous' feminine writing. This research uses qualitative methods with data collection techniques in the form of literature study. The female characters in these short stories are both positioned as objects and subjects who fight against sexual harassment, domestic burdens, and pseudo identity. However, the writer's position expresses women's rebellion who cut off her legs, decided to become a prostitute, and planned her death. The reader's position then has implications for women's independence as outlined in the short story as women who are independent in the domestic, economic and traditional fields; support the family; and take care of herself and her children after divorce. The objective of this research is to provide inspiring ideas to voice and fight for injustice due to patriarchal culture experienced by Balinese women in particular and Indonesia in general. In addition, this research is also hoped to be a comparison in depicting the insights of women writers' struggles in various different cultural narratives, especially from the perspective of the global south.]]>
<![CDATA[Manifestation of Circular Economy in Repurposable Green Furniture Design, A Project-Based Learning by Interior Design Student ]]>
<![CDATA[Triatmodjo, Suastiwi]]>;
<![CDATA[Nurcahyo, Mahdi]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 1 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v40i1.3045
<![CDATA[This article reveals the embodiment of circular economy in interior design students' design of reused green furniture. The circular economy is becoming important, mainly in dealing with the problem of inorganic waste. The main focus is how the circular economy concept can be taught through actual practice, where students collaborate with stakeholders, namely TPS3R and the green industry, to design environmentally friendly and sustainable furniture. This applied research uses the double-diamond method from the UK Design Council to guide the design process, including Discovery, Definition, Development, and Delivery, emphasizing the first diamond for field research and the second diamond for design development. This method has enabled students to understand and practically apply circular economy principles. The applied research was conducted over 16 weeks for field research and studio work on campus. Although all the research results are not yet satisfactory, they show that this project-based learning approach effectively improves students' understanding of sustainability and innovation in furniture design. In addition, the collaboration with the green industry also enriched students' learning experiences and strengthened the link between education and industrial practice in sustainable design.]]>
<![CDATA[Cultural Dynamics in The Evolution of Ibhea Obhea Dance in Doyo Lama Village, Papua: from Sacred Ritual to Secular Performance ]]>
<![CDATA[Surya Peradantha, Ida Bagus Gede]]>;
<![CDATA[Luh Kompyang, Sri Wahyuni]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 1 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v40i1.3065
<![CDATA[For the Doyo Lama community, the Ibhea Obhea dance is a cultural asset. This dance is at risk of extinction due to life's changing circumstances and regeneration stagnation. Cooperative initiatives are essential for the preservation and advancement of this dance. This study seeks to comprehend the transformation of Ibhea Obhea Dance and examine its effects on the dance's structure, function, and significance. This research employs a qualitative method with a socio-artistic approach to analyse alterations in the text and context of the Ibhea Obhea dance. We gathered data by observing the dance form with the elders of Doyo Lama village, conducting interviews about the history and significance of the Ibhea Obhea dance, reconstructing the dance, and documenting the artistic features of the dance. In collaboration with the elders, we reconstructed the dance by developing new vocal texts, synchronizing vocals with movements, and documenting the process through recordings of the reconstituted Ibhea Obhea dance. We conducted validation by correlating the video records with the traditional elders. The findings indicated that the modifications in this dance encompass the structural and artistic components. The community was aware of and approved of these changes. The Ibhea Obhea dance has evolved from a mystical rite into a ceremonial welcome for guests. This alteration enhances the significance of dancing by incorporating elements of hospitality, humanism, and cultural preservation. This study elucidates the impact of alterations in the boatbuilding tradition on the evolution of dance within a wider social and cultural framework.]]>
<![CDATA[The Influence of Artificial Intelligence Image for Product Advertisements (Case Study of Using Model Photos in Levi's Advertisements) ]]>
<![CDATA[Widyo Harsanto, Prayanto]]>;
<![CDATA[Udayana, Anak Agung Gede Bagus]]>;
<![CDATA[Satuti, Kinanthi Raras]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 1 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.31091/mudra.v40i1.3102
<![CDATA[Initially, photographic works were a representation of reality that depicted facts and truth. However, with the presence of artificial intelligence imaging has shifted the concept underlying photography. Openly the company Levi Strauss & Co with its Levi's product uses photos of models generated by AI for its advertisements. The presence of artificial intelligence (AI) in the field of photography has become a dialectical discourse in society that can replace human work in various fields. This study aims to understand visual phenomena by describing and analyzing them to see the impact of Artificial Intelligence (AI) technology in the field of photography on Levi's advertisements. The focus of the research is the influence of technological advances on very significant changes in the world of advertising. Gillian Rose's Visual Methodology is used to present comprehensively, assisted by various literatures. Data collection is done by conducting observations, documentation, interviews, and questionnaires. The socio-technological approach is used to reveal the influence of technological developments on social issues and advertising photography phenomena as research objects. The results of the study show that artificial intelligence technology, namely, (1) produces more creative and innovative visual aesthetics for advertising; (2) supports more effective and efficient work; (3) there is social anxiety for some commercial photographers, designers and advertising models.]]>
