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[The Transformation Form of Begawai Dance in the Cooking Ceremony Phenomenon at Gawai Ceremony of Talang Mamak ]]>
<![CDATA[Rian Indrasanjaya]]>;
<![CDATA[Kasiyan]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 2 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i2.2906
<![CDATA[The Gawai Ceremony of the Talang Mamak tribe includes various communal practices that are considered mandatory by the community based on their traditional rules and beliefs. In the ceremony, the phenomenon of women’s cooking inspired a dance work entitled “Begawai.” Unfortunately, the creative process transformed cultural practices into dance, resulting in the loss of their original cultural identity. This study aims to describe 1) the Gawai ceremony of the Talang Mamak tribe, 2) the transformation of the phenomenon in the Gawai ceremony of the Talang Mamak tribe into the Begawai dance, and 3) the results of the creative process in the Begawai dance. This study uses a descriptive-qualitative methodology with a semiotic approach. The results showed that 1) the series of Gawai ceremonies consisted of Melekat Janji, Petang Mendaun, Menggantung Pauh-Pauh, Bunga Adat/dowry, Wedding Ceremony, Makan Beradat, Tiang Gelanggang, Mengadu Ayam, Acara Menyembang, and Ditegur Diajar. 2) In the Begawai dance, three transformation parts are identified: cockfighting, cooking, and traditional eating. 3) The creative process produced visuals: the cockfighting arena, cooking location, and the traditional dining atmosphere. The choreographer’s creative imagination inspired by cooking activities creates movements such as cutting, cleaning, scooping, stirring, and briding food. This research implies that the transformation experiences empirical gaps in cultural practices with a distinctive identity, so changing into a form of artistic activity in the creative process causes the loss of its cultural identity.]]>
<![CDATA[Kebaya janggan and Emotional Narrative: Sanggit Reinterpretation of Traditional Costume in Gadis Kretek ]]>
<![CDATA[Aji, Fajar]]>;
<![CDATA[Sugihartono, Ranang Agung]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 2 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i2.2924
<![CDATA[Film costumes shape and support the characters portrayed and play a crucial role in building cultural meanings and symbols for the characters and the film. Dasiyah’s costume in the original series Gadis Kretek is particularly intriguing for study due to its unique traditional kebaya, distinct from the other characters, and its distinctive use of form and color. This research aims to analyze the traditional kebaya worn by Dasiyah in the original series Gadis Kretek. This study employs a qualitative method with an intrinsic case study approach. Data were obtained from the original series Gadis Kretek and literature relevant to the research topic. Data collection was conducted through observation and literature review. Interpretative analysis utilizing the concept of sanggit is applied to examine the traditional kebaya worn by Dasiyah. The findings indicate that Kebaya janggan and the colors chosen can support and depict Dasiyah’s emotional state and the shifts in her emotions. The reinterpretation of Kebaya janggan through the sanggit concept demonstrates how traditional art values can be adapted with a modern touch, creating new meanings relevant to storytelling. The costume Dasiyah wore in Gadis Kretek also serves to reintroduce Kebaya janggan as one of Indonesia’s traditional kebayas to a broader audience, particularly the younger generation.]]>
<![CDATA[The Aesthetic Characteristics of Contemporary Art in Semarang Gallery, Sangkring Art Space and Kiniko Art Based on Practical Economic and Pure Aesthetic Values ]]>
<![CDATA[Mujiyono, Mujiyono]]>;
<![CDATA[Eko Haryanto]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 2 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i2.2970
<![CDATA[The gallery will select various forms of contemporary artworks based on a range of aesthetic criteria preferences ranging from concept, form, subject matter, relevance to social issues, symbolism, shocking materials, personal feelings, craftsmanship, innovation, current popularity, and others. The selection process for each exhibition dynamically considers these criteria, allowing the gallery to cater to market demands and introduce new aesthetic perspectives to advance Indonesian art. Therefore, this study aims to identify the parameters of aesthetic values used in collecting and exhibiting contemporary art in various galleries in Semarang and Yogyakarta, Indonesia. A descriptive qualitative method with a case study design explored art criticism, formalism, and deconstructivism. The sample population comprised contemporary art created by professional and emerging artists, which was exhibited between 2012 and 2022. Data were obtained from art samples, artists, appreciators, gallery owners, curators, and critics. Owners and curators were required to complete the questionnaire, followed by interviews, documentation, and observation. Conclusions were then drawn by examining the conceptual relationships in each choice of aesthetic value parameters selected by the gallery to identify aesthetic characteristics. The results showed preferences for contemporary reality, uniqueness attached to complex and complicated form processing, technical skills, and exploration of local idioms. Semarang Gallery presented art with unique dimensions beyond mainstream aesthetics. Intellectual ideas can be seen in Andy Dewantoro's 'Isolation', a work demonstrating a metalinguistic concept. The convention of landscape painting, typically characterized by vibrant colours, is challenged and interrogated through scenes rendered solely in black, white, and grey. The artistic mode of art at Semarang Gallery was also more innovative than that of Sangkring Art Space and Kiniko Art, which had several repetitions. Meanwhile, Sangkring Art Space and Kiniko Art focused more on the beauty of visualization than the criticality of visualization. The visual aesthetic in Nurhidayat's "Erotique, Toxique, Exotique" and Anton Afganial's "Uncertainty" present a visual aesthetic that emphasizes poetic functions. These paintings are complex, unified, and intense.]]>
<![CDATA[Recognizing the Character of Children with Special Needs Through Digital Motif Design Using the Visual Language Method ]]>
<![CDATA[Roos Nagara, Martien]]>;
<![CDATA[Perangin-Angin, Dede Ananta K]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 2 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i2.3081
<![CDATA[Every individual, including children with special needs, possesses creative potential that can be continually developed. This creativity is often expressed through visual media, such as images, which serve as a means of communication to convey messages, emotions, and thoughts. However, children with special needs often face unique challenges in expressing themselves, such as difficulties with verbal communication, limited motor skills, and cognitive barriers. Therefore, an inclusive and adaptive approach is essential to ensure that these children can fully express their creativity. One promising method for fostering creativity is the use of digital technology, such as Adobe Photoshop, to create digital motif designs. Through digital motif design, children with special needs can not only express themselves visually but also explore various shapes, colors, and compositions without limitations. This research aims to analyze digital motif works created by children with special needs using a visual language approach. The focus is on the objects depicted (wimba) and how they are arranged within a field (tata ungkap). Through this research, we hope to identify the personality traits of children with special needs through the interpretation of their digital motif designs. This analysis may also support the classroom learning process, provide stimulation, and enhance motivation. As a result, children’s communication, emotional expression, and abilities can be further explored. The findings of this research indicate that the use of digital media facilitate creative expression in a more inclusive and adaptive way. Thus, the artworks produced by children with special needs are not only unique and interesting but also reflect their ability to adapt and innovate despite challenges.]]>
<![CDATA[The Traditional Dance Inheritance System of the Saibatin Indigenous People in Keratuan Darah Putih as a Source of Cultural Literacy ]]>
<![CDATA[Daryanti, Fitri]]>;
<![CDATA[Sinaga Margaretha, Risma]]>;
<![CDATA[Hani Saputri, Amelia]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 2 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i2.3138
<![CDATA[The inheritance of traditional dance within the Saibatin Traditional Lampung Community in Keratuan Darah Putih presents a significant challenge for the younger generation, as traditional dance is primarily performed during traditional marriage ceremonies. The central issue addressed in this article is the restricted inheritance system of traditional dances, which limits access to the younger generation. This research aims to analyze the inheritance system employed by the Saibatin indigenous people in the White Blood Region and their efforts to preserve traditional values amid a rapidly changing cultural landscape. Furthermore, this study explores how the values and meanings embedded in traditional dance serve as a source of cultural literacy for the Lampung community. This research adopts a qualitative approach with an ethnographic methodology. Data was collected through observation, in-depth interviews with traditional figures, dancers, and musicians, as well as field notes and documentation. Source triangulation was employed to ensure the credibility of the data. The data analysis followed the Miles and Huberman framework, which involved data collection, reduction, presentation, and conclusion. The findings indicate that the traditional dance inheritance system practiced by the Saibatin Indigenous people in Keratuan Darah Putih is primarily based on a vertical inheritance model grounded in the kinship system. This process occurs through the immediate family and the extended kinship network, supplemented by non-formal learning at the Intan studio.]]>
<![CDATA[Digital Pilgrimage: The Role of Online Platforms in Preserving and Promoting Kampung Dukuh’s Religious Heritage ]]>
<![CDATA[Lahpan, Neneng Yanti Khozanatu]]>;
<![CDATA[Putra, Bagas Dwipantara]]>;
<![CDATA[Hidayana, Iip Sarip]]>;
<![CDATA[Budiman, Arif]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 2 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i2.3155
<![CDATA[Kampung Adat Dukuh is a traditional village that maintains its ancestors’ traditions and cultural values, especially from Islamic teachings. This traditional village receives regular visits from pilgrims every Saturday. Continuous visits by outsiders to this area have given rise to various potential socio-cultural vulnerabilities among the indigenous community. Therefore, an effort is needed to manage the visits of these pilgrims as a potential for well-managed religious tourism that can control the boundaries that maintain the sustainability and comfort of the lives of indigenous people. One of them is developing a digital platform to promote the richness of the traditions and culture of Dukuh Village while maintaining its values by properly documenting them following the etiquette in Dukuh Village. This article aims to see the changes and potential for empowering Dukuh Village as a religious tourism destination and disseminating information about its cultural practices through digital platforms. By using qualitative methods and developing the PAR (Participatory Action Research) method combined with ethnographic work, this study pays attention to community involvement in this empowerment. The study results show that the young generation of Kampung Dukuh has a solid ability to adapt and learn by making the digital platform a space for expression and maintaining the values of the wisdom of Kampung Dukuh by presenting accurate information using an insider perspective.]]>
