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
496 Documents
<![CDATA[The Story of the War Gamelan Is A Story of Truth ]]>
<![CDATA[Hendra Santosa]]>;
<![CDATA[Nina Herlina Lubis]]>;
<![CDATA[Kunto Sofianto]]>;
<![CDATA[R.M. Mulyadi]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.46
<![CDATA[Stories about gamelan used in warfare are regarded as a character in a fairy tale, a story ofthe past apocryphal. The slogan of history that says no document no historical is an expression that history should not be based solely on “people said" or a story that is not necessarily true, he should be based on the facts of historical events occurred, so that the necessary documents to uncover the historical events. A historical narrative method is needed in the process of developing the method known as historical methods. The ancient manuscripts as a source of literary history, many stores historical events related to culture, especially with the musical arts. In this article will be discussed is the word Bheri and Mrdangga of two ancient manuscripts that ofwhich have been translated into Indonesian by previous researchers.Keyword: gamelan, war gamelan, story, mredangga, bheri]]>
<![CDATA[The Effect Of Sawdust Addition To Physical Body Of Kidul Clay Based Earthware Ceramic ]]>
<![CDATA[Komang Nelly Sundari]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.47
<![CDATA[The research on "The Effect of the addition of sawdust on the physical properties of ceramic body of Kidul clay-based Earthenware " has been performed with different percentages. The sawdust used is wood shavings waste ofbuilding materials. Based on the results ofehemical analysis, sawdust is known to have a tendency as a fuser, whereas Kidul clay contain enough clay substance / loam, feldspar and quartz minerals. This study aims to determine the physical properties of the composite body period, either in a state of pre-combustion and post-combustion as ceramics earthenware. The produced ceramic objects can be used as a container of crop water by permeation techniques. So what is sought is a composition with a value permeation / absorption ofwater / the greatest PA. To observe its physical properties, measures of laboratory scale study was conducted by testing the bricks and the scale of production through prototype test. The result is in accordance with the purpose that is the body mass of BG1 code that has been qualiï¬ed as Earthenware ceramics at a fuel temperature of l.l50oC with a value PA = 20.2% (SNI: 7275-2008, PA> 15% categorized as soft delicate earthenware or mayolika, while SII: 0803-83, PA> 20% is categorized as smooth soft earthenware with fuel temperature ofl000oC). However, further research still needs to be done with the addition ofan adjuvant sawdust with varied percentages in addition to testing with various forms ofdesign in order that in terms of aestheties and function the earthenware ceramic objects later become more meaningful.Key words: Kidul clay, sawdust, earthenware, water absorption, shrinkage amount]]>
<![CDATA[Aspects Of Art, The Mystical Story And Religiosity Of Rangda And Barong In Mamintar Ceremony In The Adat Village Of Serangan ]]>
<![CDATA[I Nyoman Yoga Segara]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.48
<![CDATA[This article is a summary of the result of research to review aspects of the art, mystical stories and religiousity ofBarong and Rangda in Mamintar ceremony at Indigenous Village of Serangan. To reveal these aspects deeply, a qualitative approach is used with an ethnographic design through active participation observation, interview and documentation method. Based on this methodology, the research explained that ï¬rst, Barong and Rangda for Serangan people has an arts aspect but religious. This religious art is needed to bind a sense of devotion to God. Second, aspects of religious art in the Barong and Rangda were born from a long process of sanctification, including the magical power that is built through various myths and mystical stories. Third, Barong and Rangda is the meeting of two different strengths into one or monodualistic of a samyoga to generate new energy. Mamintar ceremony is samyoga of monodualistic Barong and Rangda with the energy produced to neutralize the negative influences that come from the sea. Fourth, the presence of Barong and Rangda in Mamintar ceremony becomes legitimator to the reinforcement of social solidarity of the society that are under the threat, especially from the outside through a giantic project of beach reclamation, strengthening selfidentity as an island communities who still love the sea, and means of culture to be in harmony with the universe.Keywords: Religious-Art, Mystical Stories, Religiosity, Barong, Rangda, Mamintar Ceremony.]]>
<![CDATA[Wonderful Archipelago As The Result Of Culture Diaspora Through Carnavals In Indonesia ]]>
<![CDATA[Lois Denissa]]>;
<![CDATA[Yasraf Amir Piliang]]>;
<![CDATA[Pribadi Widodo]]>;
<![CDATA[Nuning Yanti Damayanti Adisasmito]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.49
<![CDATA[The Fashion Carnaval, which is a phenomenon in district city of Jember, has been held every July to August since 2003. The existence ofthis event has a positive impact for the peopleliving in Jember. It does not only encourage the creativity of young people, but also improves the social life, economy, culture, politics and tourism of Jember.Jember Fashion Carnaval is in the process of becoming an iconic event of Jember, We knew this event from cross-border communication, mass media and its routine roadshow in the country and abroad, as well as its achievements in various international beauty contests, The successful Jember Fashion Carnaval (JFC) has made the city of Jember more internationally recognized and this has a positive impact on other cities in Indonesia in a way that this motivates those cities to create something interesting about them. The other regions are motivated to discover their local potency and make it in such a way that it can become a similar successful fashion carnaval. Indonesian people have been familiar with such art festival that is held on the streets and a part of ritual. This kind of activity has been a strongly rooted tradition since many years ago until now.Changing an art event into a contemporary performing art in the form ofa fashion carnaval is not something contrary to the culture of Indonesian society. Both have visual similarity and use the streets as their venues. Their purpose is the only difference. The Jember Fashion Carnaval, that has successfully become the icon of the city, has encouraged what is known as Wonderful Archipelago, a carnaval culture diaspora phenomenon, which is easily absorbed, spread and becomes fruitful across the countryKey Words: Culture Diaspora, Jember Fashion Carnaval, Wonderful Archipelago]]>
<![CDATA[Characteristics On Culinary Packaging Design Of Ayam Betutu In Denpasar ]]>
<![CDATA[Ni Luh Desi In Diana Sari]]>;
<![CDATA[Ni Ketut Pande Sarjani]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.52
<![CDATA[The specific objective to be achieved in this research is to identify the characteristics of packaging design that is used to package a culinary ayam betutu in the city of Denpasar. Results of identification by the helpful to formulate criteria for packaging culinary design of/lyum Betutu, which can be used as a guide in creating innovative packaging design (Packaging Design Brief).This research is a qualitative descriptive study. Sources of data obtained through purposive sampling method performed by accidental sampling technique. Sampling is performed in the restaurant as a place selling Ayam Betutu which are spread throughout the city of Denpasar. Data collection techniques performed through observation, documentation and interview.The results achieved are the types of packaging used to pack a culinary of Ayam Betutu in the city of Denpasar. Collecting the results are determined based on the classiï¬cation of materials, visual appeal, the appeal of practical and packaging criteria.Keywords: Packaging design, Ayam Betutu, Denpasar, Bali typical souvenirs.]]>
<![CDATA[Semiotics Of Shape Of Block Notation As Icon Of Planetary Orbit ]]>
<![CDATA[Ketut Sumerjana]]>;
<![CDATA[Ary Nugraha Wijayanto]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.53
<![CDATA[Block notation has a speciï¬c shape; however, its existence and the function of its shape are not recognized and are made to be intangible by its function as a symbol of tapping sound. In general, the basic shape of the block notation looks like an ellipse and is similar to the planetary orbit. Therefore, this present study focuses on the ellipse-shaped block notation as the icon of the planetary orbit.The phenomenological qualitative method was employed to interpret the meaning of the basic shape of the block notation as the icon of planetary orbit. The data were collected through guided interview and library research. The data were analyzed using the semiotic process, meaning that in the ï¬rst phase the text was analyzed based on the shape structure and in the second phase the text was heuristically analyzed.The result of the study shows that the ellipse-shaped block notation is the planetary orbit whose function changes from the manifest function into the latent one, resulting from the function as the tapping sound value.Keywords: form, notation, icon, orbit, planet]]>
<![CDATA[Designing The Elderly Janger Dance Model In Tonja Village Denpasar ]]>
<![CDATA[Ni Made Ruastiti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.58
<![CDATA[The Elderly ./anger Dance (EJD) is a type of performing that particularly designed for elderly people, initially from its choreography, costume and makeup, or even its musical accompaniment. This performing is signiï¬cantly created as those elderly people are offered a performing art model that is not suitable to their physical condition.Several problems arose during its process of creation, choreography, and the tempo, costume makeup, duration and their condition while performing the dance. It results to their disinterest on art participation. Therefore, this research is aimed at solving the problem on the improper of the art-performing model for those elderly people. This research is conducted in Tonja village, Denpasar by considering the adequateness of number and art potential of this area.The designing ofthis performing model is carried out through applying the participatory-implemented method. It focuses on the cooperation between researchers and the related parties started from socialization-planned model, implementation model until the trial model.Based on the whole stages of designing model on EJD, it is produced outputs as follows: EJD Model, activities report, article, lesson module, and HKI. Through this dance creation, those elderly are passionate again to participate on art. Simultaneously, it will affect their health quality improvement through art activity.Keywords: Performing- model design, Choreography, Outlook/make up and costume, musical accompaniment, Elderly Janger Dance (EJD)]]>
<![CDATA[The Dynamic of Betawi in Colors ]]>
<![CDATA[Mita Purbasari]]>;
<![CDATA[M. Dwi Marianto]]>;
<![CDATA[M. Agus Burhan]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.59
<![CDATA[Color is no longer a small issue; it is one of the very important for artistic Workers. In daily life, using color is very common and rarely to be observed or pursued deeply, because color as a one ofthe design element was more digested and processed by feeling, not of thought, so often considered something unimportant. Color is a lot and often used for aesthetic and communication. Without realizing it, color gives special identity to certain things in time, place, and situation ofits own. Although widely used in daily life practically, color has symbolic and decorative characteristic in Indonesia, especially in Jakarta. These colors become characteristic in every performance ofculture and art in Jakarta (Betawi). Betawi have a unique typical codification color that reflects the characteristic ofBetawi‘s life, however by the presence ofmassive urbanization in Jakarta, then changed Betawi culture including codification of colors. This research ï¬nd out how Betawi gives the typical color naming and its relationship with the social cultural circumstance of the moment. And the result also expected to introduction of Betawi color in particular, and also to build a Betawi atmosphere for purposing related to interior, products, and environment.Key words: color naming, Betawi, culture]]>
<![CDATA[The Inovation In Teaching Balinese And Javanese Dances In English For Students Of Dance Departement ]]>
<![CDATA[Ni Ketut Dewi Yulianti]]>;
<![CDATA[Rinto Widyarto]]>;
<![CDATA[Ni Ketut Yuliasih]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 31 No 3 (2016): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v31i3.60
<![CDATA[Creating an innovation in teaching Balinese and Javanese dances in English for the students of Dance department who learn English is an interesting and effective Way. This innovation has given a significant result that the students of Dance department have been able to explain the basic Balinese and Javanese dances movements in English after translating the existence of Balinese and Javanese dances and all terms related to them from Indonesian into English.This idea becomes one of the efforts to strengthen the steps of Indonesian Institute of the Arts (ISI) Denpasar in the international level and in reaching the vision to be the centre of excellent. There are three main discussions in this paper, namely, the existence of Balinese dance, the exsistence of Javanese dance, and teaching method in teaching Balinese and Javanese dances.The existence of Balinese and Javanese dances and some terms and terminologies associated with Balinese and Javanese dances and other things that are still relevant are described in the result ofthis study. It is very signiï¬cant benefit in the teaching-learning process of English and of Balinese and Javanese dances as well This paper is a part of the result of competitive research grants funded by ISI Denpasar DIPA Number : DIPA-023-O4.1.673453/2015 dated November l4, 2015. The other result of this research has also been presented in the 6th International Seminar on Austronesia Languages and Literatures, Udayana University, Denpasar dated 28-29 Agustus 2015The method apllied is the translation research methods combined with dance research method, which is started with collecting the terms related to Balinese and Javanese dances , then translated into English. Furthermore, the translation results are tested in teaching dance to students majoring in Dance department and foreign students who studied at ISI Denpasar .Key words : innovation , teaching , Balinese and Javanese dances , dance department]]>
<![CDATA[Nilai-Nilai Pengetahuan Lokal Pembentuk Karakter Bangsa Dalam Sandiwara Cirebon, Jawa Barat ]]>
<![CDATA[Jaeni Bin Wastap]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 32 No 1 (2017): Februari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v32i1.65
<![CDATA[Penelitian tentang nilai-nilai seni pertunjukan teater rakyat sandiwara Cirebon, Jawa Barat, sebagai pengetahuan lokal pembentuk karakter bangsa, bertujuan untuk mengkonservasi, merevitalisasi, dan mengkonstruksi nilai-nilai pengetahuan lokal dan karakter bangsa dalam seni pertunjukan teater rakyat Jawa Barat. Metode yang digunakan dalam penelitian ini adalah paradigma kualitatif, melalui metode arsip-kreatif terhadap pertunjukan teater rakyat sandiwara Cirebon. Metode arsip kreatif mengutamakan dokumen pertunjukan sandiwara, yang disetiap adegan dipilih gambar dan dialognya. Melalui metodetersebut, penelitian ini berhasil mendapatkan nilai-nilai pengetahuan lokal dan karakter bangsa sebagai identitas budaya melalui pertunjukan sandiwara. Nilai-nilai tersebut terdapat pada lakon/cerita dalam pertunjukan teater rakyat Jawa Barat, seperti nilai moral, etika, jujur, tanggung jawab, dan cinta damai.]]>
