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[Nilai Budaya Dalam Pembuatan Kuih-Muih Tradisional Etnik Brunei Di Sabah ]]>
<![CDATA[Surayah Hj Bungsu]]>;
<![CDATA[Humin Jusilin]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 36 No 3 (2021): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v36i3.1579
<![CDATA[Sabah memiliki lebih dari 35 etnis atau ras yang mendasari keragaman adat dan budaya, sehingga menciptakan keunikan dan kompleksitas identitas, budaya, filosofi dan pemikiran masing-masing etnis. Masyarakat Brunei dalam penelitian ini terkenal dengan kue tradisionalnya dalam berbagai rupa, bentuk dan rasa yang diwariskan secara turun temurun. Penelitian ini bertujuan untuk mengungkap nilai budaya etnis Brunei dalam pembuatan kue tradisional yang mencerminkan identitas etnis Brunei. Pengetahuan dan keterampilan lokal dari aspek pembuatan kue tradisional etnis Brunei merupakan bagian dari filosofi dan pemikiran kreatif yang secara tidak langsung menjadi identitas dan identitas budaya yang perlu dikaji. Lokasi penelitian ini melibatkan dua desa etnis Brunei yaitu di Kampung Lubuk dan Kampung Weston yang terletak di distrik Beaufort, Sabah. Data dalam penelitian ini dianalisis menggunakan pendekatan yang diperkenalkan oleh Edmund Burke Feldman (1967). Pendekatan ini menyarankan empat tingkat analisis yaitu: Tingkat Deskriptif, Analisis Formal, Interpretasi dan Evaluasi. Setiap elemen seperti teknik pembuatan, bahan dan tampilan kue tradisional akan dibahas sesuai dengan tingkat yang diusulkan untuk menjelaskan nilai adat dan budaya etnis Brunei di Distrik Beaufort. Studi lapangan kualitatif ini menggunakan data penelitian berupa wawancara, observasi dan keterlibatan partisipatif oleh peneliti. Informan dipilih berdasarkan keahlian dan pengalaman mereka dalam membuat kue tradisional serta pengetahuan mereka tentang adat istiadat dan upacara budaya etnis Brunei. Penelitian ini menemukan bahwa pembuatan kue tradisional etnis Brunei menampilkan nilai-nilai budaya yang menjadi identitas etnis Brunei yang perlu dilestarikan.]]>
<![CDATA[Perjalanan Pahlawan: 12 Tahapan dalam Narasi Film Animasi Boboiboy 2 ]]>
<![CDATA[Oscar Gordon Wong]]>;
<![CDATA[Imelda Ann Achin]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 36 No 3 (2021): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v36i3.1580
<![CDATA[2019 is a phenomenal year for the development of the Malaysian animated film industry as it has successfully produced two superheroes animated films in total. However, the animated film industry in Malaysia is still not competitive at the international level. This can be seen from the 17 animated films that have been produced from 1998 to 2019, only two superheroes animated films managed to get the attention of the audience. This is due to the lack of knowledge of the concept and function of the hero character in animated films. Therefore, the main objective of this paper aims to demonstrate how the Hero’s Journey narrative structure can be applied in BoBoiBoy Movie 2 (2019). This research method involves the use of video analysis tools namely Kinovea and Motion Picture Analysis Worksheet to explain on how the Hero’s Journey of this film conveys the storytelling. The results of this study found that each semicircle Hero’s narrative structure has an important meaning across from one half-circle to the other half-circle. As a result, it explains the concept of peace and chaos as well as stasis and changes in the narrative structure of superhero animated films. This paper will provide information to researchers on the importance and use of the Hero’s Journey approach to analyze superhero animated films.]]>
<![CDATA[Konsep Musik Kolosal Ngider Bhuwana Sebuah Transformasi Ritual Ngrebeg Kuningan di Kota Bangli ]]>
<![CDATA[I Ketut Garwa]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 36 No 3 (2021): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v36i3.1581
<![CDATA[Konsep Karya Musik Kolosal Ngider Bhuwana Sebuah Transformasi Ritual Ngrebeg Kuningan Di Kota Bangli, terinspirasi dari sebuah prosesi ritual Ngrebeg Kuningan. Prosesi ritual ini dilaksanakan di catus pata bertujuan untuk menetralisir alam semesta baik vertikal (niskala /gaib) maupun horizontal (sekala/nyata). Ada tiga ide garapan yang diwujudkan dari penciptaan karya ini antara lain: 1) Bagaimana proses penciptaan Karya Musik Kolosal Ngider Bhuwana sebagai transformasi ritual ngrebeg di Kota Bangli? 2) Bagaimana wujud Karya Musik Kolosal Ngider Bhuwana sebagai sebuah transformasi ritual ngrebeg di Kota Bangli? 3) Pesan-pesan apa yang dapat disampaikan melalui ide-ide kreatif ke dalam Karya Musik Kolosal Ngider Bhuwana?. Adapun konsep-konsep dalam perwujudan karya ini antara lain: 1) Wujud karya diimplementasikan melalui media ungkap gamelan, musikalitas teks karya, dan tata penyajiannya dalam bentuk karya kolosal eksperimental, 2) Penciptaan karya ini melalui proses interpretasi, transformasi dan restrukturisasi dari nada-nada pengider bhuwana khususnya Panca Dewata, nilai/neptu/urip arah mata angin: timur, selatan, barat, utara dan tengah dan Teologi Hindu Saguna Brahma. 3) Karya ini mempergunakan metodologi penciptaan seni Panca Sthiti Ngawe Sani yaitu lima tahapan penciptaan karya seni antara lain: tahap inspirasi/ngawirasa, eksplorasi/ngawacak, konsepsi/ngarencana, eksekusi /ngewangun dan produksi/ngebah.]]>
<![CDATA[Bukan Sekedar Pelipur Lara: Promosi Pariwisata dalam Dongeng “Nusantara Bertutur” Koran Kompas 2019 ]]>
<![CDATA[I Nyoman Darma Putra]]>;
<![CDATA[Eva Lailatur Riska]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i1.1600
<![CDATA[Literature and tourism have long had a close relationship, but researchers of the fields have paid little attention on them. This study aims to examine aspects of the tourism narrative in the Nusantara Bertutur(Fairy Tales of the Archipelago) published by Kompason its Sunday edition throughout the year of 2019. The data were selected purposively from all fairy tales published every Sunday. Of the 49 fairy tales published, 25 of them contain narratives about travelling, tourist attractions or activities. The data were analyzed with a tourism literary approach with an emphasis on the theme, setting, and tourism aspects narrated in fairy tales. The results of the study show that the fairy tales of Nusantara Bertutur are more than just entertainment, because they also contain paintings of natural beauty (sunrise, beautiful lakes, beaches, underwater nature, and rural nature); various kinds of Indonesian cuisine; and narratives about the traditions or rituals of the archipelago such as the Kasada Ceremony and Karo Holiday in Bromo (East Java), the Sigale-gale carnival on Lake Toba, and Jathilan in Magelang, Central Java. This article offers a new understanding that fairy tales are not only full of stories with ethical and moral messages or solace but also contain the promotion of tourist attractions and the introduction of various traditions and cultures of the archipelago to children.]]>
<![CDATA[Koreografi Episode Hitam Manusia Pandemi ]]>
<![CDATA[Hendro Martono]]>;
<![CDATA[Tamata Nona Armanda]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 36 No 3 (2021): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v36i3.1614
<![CDATA[Merebaknya pandemi virus Covid-19 yang mematikan mengancam kehidupan manusia seluruh dunia, rakyat kecil yang bekerja informal menghadapi pilihan sulit harus memilih antara bekerja demi kelangsungan hidup atau terinfeksi virus. Penelitian ini menjadikan mahasiswa Tari yang menjadi obyek penelitian dan sumber garapan tari, ada yang berkerja menjadi penari untuk acara pariwisata dan company gathering maupun menari untuk kepentingan kraton Yogyakarta . Selama ada pandemi semua kegiatan pariwisata lumpuh total, mahasiswa tidak mendapat pemasukan uang bila harus mengikuti anjuran pemerintah work from home. Mahasiswa yang biasanya mendapat penadapatan untuk menopang kebutuhan sehari hari, juga mengalami episode hitam, kebingungan tidak bisa mengungkapkan hasratnya sebagai penari, kecuali di sosial media. Isu kemanusiaan dalam menghadapi pandemi, dalam Bahasa Jawa Ora Obah Ora Mamah artinya tidak bekerja maka tidak bisa makan, menjadi tema koreografi. Gagasan tersebut diekspresikan ke media tari kontemporer menggunakan metode Proses Kreatif Koreografi Lingkungan dan pendekatan Intersubyektif. Didukung tata artistik yang membatasi ruang gerak penari berupa trap kayu, yang menjadi simbol terkungkung di ruang yang sempit. Musik tari diunduh dari Youtube yang dipilih sesuai dengan konsep Tik Tok di media sosial untuk menguatkan nuansa dramatik serta ekspresi tari. Perancangan tari terwujud dalam 2 bentuk koreografi tunggal lengkap dengan pendukung tata cahaya dan artistik yang direkam video dan foto berdurasi sekitar 6 menit untuk masing masing koreografi. Menggunakan TKT 5 Validasi prototipe/produk/karya seni skala studio.]]>
<![CDATA[Revitalisasi Tepung Tawar sebagai Perlindungan Budaya Lokal di Aceh Tamiang ]]>
<![CDATA[Joko Hariadi]]>;
<![CDATA[Muhammad Arif Fadhilah]]>;
<![CDATA[Azrul Rizki]]>;
<![CDATA[Indah Fajarini]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 2 (2022): Mei ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i2.1656
<![CDATA[This research aims to revitalize the tradition of Tepung Tawar as a form of strengthening and protecting local culture in Malay society in Aceh Tamiang Regency. This is a qualitative study that uses descriptive methodologies. Data is gathered using various methods, including interviews, documentation, and field observations. Data analysis is accomplished by presenting and condensing data from interviews and observations. The data is processed by describing the information gathered during the interview and observation procedure in the field. According to the findings of this study, 12 subdistricts in Aceh Tamiang continue to use Tepung Tawar in a variety of processes. 4 sub-districts conduct Tepung Tawar processions only on specific activities, namely Banda Mulia, Sekerak, Seruway, and Tamiang Hulu subdistricts. In the four sub-districts, the revitalization of the tradition of Tepung Tawar was carried out in coordination with the Chairman of MAA, indigenous elders, and community leaders. After conducting interviews and observations, it was discovered that the process of revitalizing the Tepung Tawar tradition is carried out in five ways, namely (1) procurement of competitions in the community about the tradition of Tepung Tawar, (2) training the village youth about the procession of Tepung Tawar, (3) strengthening the traditional institutions to pay attention to the procession of Tepung Tawar, and (4) strengthening the traditional institutions to pay attention to the procession of Tepung Tawar. The preservation and maintenance of local culture, Tepung Tawar, is necessary to prevent degradation soon.]]>
<![CDATA[Relevansi Makna Empat Drama Anak-Anak Berbasis Cerita Dongeng Nusantara Bagi Generasi Masa Kini ]]>
<![CDATA[Nur Sahid]]>;
<![CDATA[Junaedi -]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i1.1685
<![CDATA[The era of digitalization is an era that is able to indicate a change in the dynamics of scientific and technological progress that must be responded positively by us to make the best use of it in various daily activities, including in "teaching and learning" educational activities. The purpose of this study was to determine how far the influence of the Edmodo mobile application to improve student learning outcomes in educational dance lectures through a blended learning approach that combines two learning strategies, namely conventional learning and virtual learning through the Edmodo mobile application system. This experimental study used a research sample of 36 students in semester 5 who contracted educational dance courses. To reveal more in-depth data and information in this study, researchers used quantitative data with data collection techniques usingobservation, interviews, and literature studies. Data analysis was carried out quantitatively with the SPSS 17.0 program. The results of the study show that (Mobile-Application) Edomodo is an application that can be accessed via smartphones or other technological devices such as laptops and computers, which can be used as forums or teaching and learning facilities in educational dance lectures by lecturers and students. The edomodo mobile application is able to create a learning space that can not only bedone in conventional learning, but can be done virtually unlimited learning with classroom lectures which are usually carried out in the classroom simultaneously and face to face.]]>
<![CDATA[Identitas Seniman Tari Barong dan Keris terhadap Komodifikasi Tari Sakral di Batubulan ]]>
<![CDATA[Bagus Merta Dana]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1702
<![CDATA[Barong and Keris Dance is a sacred dance that can attract tourists; therefore, it is shown as a cultural tourist attraction. However, this condition raises questions about the central identity of a dancer who contributes to sacred dance performances and tourist attractions. Therefore, this research examined a dancer’s central identity and motivations. This research is qualitative research with a narrative approach. The data collected was from observation, interviews, and a literature study with three findings. Firstly, the dancer has two identities as pengayah and tourism actor, whereas pengayah is his central identity. Secondly, the existence of Barong dan Keris Dance encourages him to devote his dance skill to society and God. Lastly, in this condition, the existence of cultural commodification can support the preservation of a culture.]]>
<![CDATA[Banjuran, Gamelan Prosesi Zaman Bali Kuna ]]>
<![CDATA[Hendra Santosa]]>;
<![CDATA[Dyah Kustiyanti]]>;
<![CDATA[Ida Ayu Wayan Arya Satyani]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i1.1717
<![CDATA[This article is part of research entitled "The Evolution of the Balinese Gamelan", which is accompanied by an overview of the changes that occurred after the Gelgel era. This article aims to provide an overview of the Banjuran gamelan form as written in several ancient Balinese inscriptions. Balinese Karawitan experts often associate it with the Balaganjur gamelan, which is now developing in Bali. In order to obtain a comprehensive explanation, this articlewas compiled employing the historical method. The historiography stage in this study was conveyed through the delivery of critical-descriptive analysis. Although the Sukawana A I inscription actually states that Bali's historical era started from 804 AD, the close relationship between Bali and Central Java actually existed around the 7th century, which is proven through various archaeological findings. It certainly opens the suspicion that the Banjuran gamelan image is engraved in the Borobudur Temple’s reliefs. Many asymmetrical shapes of Balinese drums (kendang) are engraved in the reliefs. Furthermore, Balinese drums' shape is also engraved in the Tegawangi Temple’s reliefs in East Java. This form of the Banjuran gamelan is also strengthened by information and data from the Kakawin Nagarakretagama. Gamelan Banjuran is thought to be the forerunner of the development of the Balaganjur gamelan that is currently developing.]]>
<![CDATA[Aransemen Lg. Rangkaian Melati Karya R. Maladi Sebagai Materi Musikal Minus One Instrumen Keroncong ]]>
<![CDATA[Mei Artanto]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 2 (2022): Mei ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i2.1719
<![CDATA[The musical arrangement is a process of developing and setting the musical aspects of existing songs, namely Lg. Rangkaian Melati by R. Maladi became a way to improve musical material in minus one intrusion keroncong. Efforts to improve musical material minus one through musical arrangements at the same time want to question: 1) what musical aspects become exploratory material in arrangements and 2) how the arrangement process is carried out. The goal is to find out the technical procedures of musical processing arrangements Lg. Rangkaian Melati by R. Maladi for seven keroncong instruments and find out what musical aspects have the opportunity to be explored more deeply to present a musical experience that varies in minus one keroncong instrument. Qualitative research methods and Practice-Based Research (PBR) are used in this article as investigative procedures in uncovering aspects of knowledge of the practice process and the results of the Arrangement of Lg. Rangkaian Melati for keroncong instruments. The results of the analysis found in this article are 1) two musical aspects can be used as exploratory material in the arrangement of Lg. Rangkaian Melati, namely harmony (chord movement) and melody (for auxiliary members and fillers), and 2) the process of exploration of musical aspects and arrangement work can be done systematically and structured through a five-step method of musical arrangements accompanied by systematic musicology perspective.]]>
