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MUDRA Jurnal Seni Budaya
Published by Institut Seni Indonesia Bali
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 6 Documents
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Search results for , issue "vol 41 no 3 (2026)" : 6 Documents clear
Exploring the Potential of the Ringkel Motif: The Creativity of Nafa Batik in Sampang's Creative Economy Yekti Herlina; Sufiana
Mudra Jurnal Seni Budaya Vol 41 No 3 (2026)
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v41i3.3194

Abstract

Purpose: This study aims to analyze the creativity of the ringkel batik motifs produced by Nafa Batik in Sampang, Madura. While possessing strong local wisdom, these motifs have not been widely explored in terms of their visual and creative potential. This research addresses the stagnation in motif development by analyzing the creative process to meet contemporary visual preferences and support the creative economy. Methodology: This research employs a descriptive qualitative approach, analyzing the creative process of the ringkel motif using the concepts of sensitivity, fluency, originality, and the ability to rearrange (collection) as proposed by Soedarso (1990). Data were collected through interviews, observation, and documentation. Findings: The creativity of the ringkel motif exhibits unique visual characteristics that distinguish it from others, such as jukok, besa, bunga, and tos atos. The jukok and bunga motifs demonstrate the most prominent visual creativity, whereas the other two motifs require further creative and aesthetic refinement. Implications: The development of creative ringkel batik motifs serves as a valuable visual reference and raises awareness of the importance of creativity in aesthetic and commercial competitiveness. Batik artisans are increasingly motivated to develop and actively enhance their design representations.
Cultural Integration in Architecture and Interior Elements of The Grand Mosque of Syekh Quro Karawang Tita Cardiah; Rangga Firmansyah; Mentari Sucia; Desy Dwi Putri
Mudra Jurnal Seni Budaya Vol 41 No 3 (2026)
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v41i3.3544

Abstract

Cultural integration plays a pivotal role in the adaptation of multicultural behavior, influenced of local elements and remnants of past religious buildings can play an active role in supporting the development of mosques as Islamic religious buildings. This study aims to explore how the integration of local cultural elements found in the Grand Mosque of Syekh Quro Karawang based on three cultural component, forms the scope and purpose of this research. The identification stage involves data collection through surveys, interviews, observations, and documentary identification. The data is explored by analysing and discussing it using qualitative descriptive methods covering the objects of mosque architectural elements, mosque interior elements, and ornaments/decorative patterns. The findings of this study indicate that the implementation of local culture in the architectural design and interior of mosques is intended to create harmony between traditional values, Islamic concepts, and contemporary needs as a manifestation of cultural works and the development of mosque architecture and interior elements as a representative of cultural interpretation of local identity and Islamic component in three level (physics, social, and beliefs). The implication of this study is the integration and implementation of local culture in line with the development of the mosque's function in the context of local culture.
Negotiating Tradition, Market Demand, and Spirituality in the Paintings of Jelekong Artist Iman Budiman Hilman Cahya Kusdiana; Nur Fitriyani Padjriah; Sopian Hadi; Nira Janifa Aulia; Raisha Rahmawati; Rafita Irvia Maraya
Mudra Jurnal Seni Budaya Vol 41 No 3 (2026)
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v41i3.3547

Abstract

The development of Jelekong painting can be understood through the ways in which artists negotiate inherited traditions, market demands, and personal artistic expression. This study examines the paintings of Iman Budiman to investigate how these three orientations are manifested through changes in colour, technique, materiality, and visual expression. Jelekong painting is conventionally characterised by established representational practices, including rural landscapes, bright colours, smooth brushwork, and sponge techniques. Using a qualitative approach based on observation, interviews, and documentation, this study identifies three coexisting modes of artistic practice in Budiman's work: traditional Jelekong painting, market-responsive textured painting, and personal-spiritual painting. The findings show that these modes do not constitute a linear chronological progression, but rather represent distinct orientations within the artist's practice. Traditional works retain established visual and technical characteristics as a cultural foundation; market-responsive works modify material and technical practices—such as using calcium carbonate and wood glue to produce thick textures—in response to consumer demand and production efficiency; and personal-spiritual works, particularly the series Suwung, provide a distinct space for personal and spiritual expression grounded in Javanese and Sundanese spiritual concepts. A Peircean semiotic analysis further examines the relationships among icons, indices, and symbols while distinguishing artist-stated meanings from researcher interpretations. Ultimately, this study demonstrates that contemporary Jelekong painting develops through selective retention, modification, and departure. This process highlights how Jelekong painting accommodates socio-economic adaptation and individual artistic exploration without abandoning its cultural grounding.
From Sahur Wake-Up Practice to Cultural Performance: The Transformation of Bagarakan Pengantin Sahur in Indragiri Hilir Deni Afriadi; Iik Idayanti; Jefrizal; Yulia Nelfita; M. Mukrizal
Mudra Jurnal Seni Budaya Vol 41 No 3 (2026)
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v41i3.3662

Abstract

This study examines the transformation of Bagarakan Pengantin Sahur in Indragiri Hilir, Riau, from a practical Ramadan activity for waking residents for sahur into a distinctive cultural performance. Rather than treating transformation simply as the preservation of tradition through modernization, the study investigates how changes in performance, costume, sound, technology, and community interpretation have reshaped the practice over time. Using a qualitative descriptive approach, the study drew on non-participant observation in Pulau Palas and Sungai Luar during Ramadan, in-depth interviews with cultural practitioners, senior performers, community organizers, and traditional musicians, and photographic and documentary sources. The data were analyzed thematically and cross-checked through source and method triangulation. The findings show that the earliest remembered form of Bagarakan relied on young men, vocal calls, and improvised percussion to wake villagers. During the later development of the practice, Mamanda-related costumes and character conventions became associated with the procession, including royal costumes and male performers portraying a king and queen, contributing to the later emergence of the recognizable Pengantin Sahur figures. Subsequent adoption of megaphones, recorded music, bridal costumes, and later large amplified sound systems and popular music further transformed its sonic, visual, and entertainment character. Contemporary changes reveal competing interpretations concerning gendered performer roles, amplified music during Ramadan, and appropriate forms of cultural continuity. The findings contribute to understanding living cultural performance by showing that Bagarakan Pengantin Sahur persists not through unchanged cultural continuity, but through ongoing negotiation among inherited practice, artistic performance, technological change, and shifting social and religious expectations.
The Socio-Cultural Basis of Sendang Lamongan Batik: An Integrated Cultural-Historical Analysis Angga Fajar Ramadhan; Syakir Syakir; Djuli Djatiprambudi; Muhammad Ibnan Syarif
Mudra Jurnal Seni Budaya Vol 41 No 3 (2026)
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v41i3.3668

Abstract

This study investigates the socio-cultural foundations underlying the emergence and development of Sendang Lamongan Batik across centuries. Employing a qualitative method with an anthropological-historical approach, the study integrates Fernand Braudel's concept of long-term history (longue duree) and Marvin Harris's cultural materialism into a unified analytical framework. Data were collected through direct observation, in-depth interviews with two village heads, three artisans, three entrepreneurs, and two batik traders, and archival documentation. Triangulation of informants, methods, and timeframes was conducted to ensure data credibility. Data analysis followed the stages of reduction, presentation, and conclusion drawing. The findings reveal that the emergence and development of Sendang Lamongan Batik resulted from the dialectical interaction among three interlocking basis: ecological-material, socio-structural, and cultural-ideological. This study proposes cultural-historical materialism as an integrated analytical framework for tracing cultural phenomena back to their material roots and long-term historical origins.
The Survival of the Dukuh Indigenous Community Amidst the Modern Crisis: Paradoxical Aesthetics as a Form of Cultural Resilience Iip Sarip Hidayana; Sophia Septiani; Rufus Goang Swaradesy
Mudra Jurnal Seni Budaya Vol 41 No 3 (2026)
Publisher : Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v41i3.3780

Abstract

This research explores the cultural resilience of the Dukuh Indigenous Community in Garut during modern crises, focusing on the philosophical values of weweling (ancestral advice) written in Pegon script. The study investigates how paradoxical aesthetics serve as a moral compass to guide the community toward simplicity, spiritual balance, and environmental harmony against materialistic pressures. This research uses an interpretative qualitative approach with an embedded design strategy that integrates three main methods: (1) participatory field observation, (2) in-depth literature study, and (3) text analysis based on Jakob Sumardjo's paradoxical aesthetics to examine the Sundanese text "Nu sugih bakal prihatin..." within its cultural context. The results show that weweling functions as a mechanism of resilience for the Dukuh Indigenous Community, allowing them to adapt to contemporary changes without losing the essence of their ancestral values. The study identifies that the paradoxical nature of these teachings effectively counters modernity by prioritizing spiritual and environmental sustainability over material accumulation. This study offers an important contribution to understanding the strategies of indigenous communities for cultural survival in an ever-changing world. It provides alternative insights into sustainable development models centered on local wisdom rather than globalized industrial norms. By documenting these localized philosophical systems, the research highlights the enduring relevance of traditional scripts and oral traditions in maintaining social stability during modern crises.

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