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[Ki Madhari: Tokoh Rurukan Adat Nabawadatala Desa Citengah ]]>
<![CDATA[Ridwan Simon]]>;
<![CDATA[Tati Narawati]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1722
<![CDATA[The purpose of writing this article is to reveal the role of a figure in building and developing the Nabawadatala Rurukan Adat which is a forum for absorbing the aspirations of the community through various activities to improve the image, values, and cultural order as the implementation of the Sumedang Puseur Sundanese Culture (SPBS) program. The tri tangtu pattern which is used as a foothold in building and developing local culture is still relevant to be applied. By using an ethnographic approach and descriptive qualitative methods, various interesting phenomena related to the cultural and natural charm of Citengah Village are revealed, with the involvement of Ki Madhari as one of the community leaders trying to build the usefulness value of the richness of art and culture, as well as the geographical grace of beautiful nature. the results show that good governance with a humanist approach from a character is able to image values and cultural benefits into something of aesthetic and economic value.]]>
<![CDATA[Nekara Pejeng: Representasi Peninggalan Karya Seni Zaman Praaksara Bali ]]>
<![CDATA[Ida Bagus Brata]]>;
<![CDATA[I Komang Sudirga]]>;
<![CDATA[I Ketut Laba Sumarjiana]]>
<![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.v37i1.1750
<![CDATA[This paper was compiled based on the results of a study to identify and understand the Nekara Pejeng artifact as a representation of the heritage of Balinese pre-literacy. The conducted study belongs to qualitative research with settings according to the condition of the subject. This research was carried out through a literature review approach and data studies through computer networks, such as social media and the internet, combined with field studies by visiting Penataran Sasih Temple where nekara is kept as cultural objects, which was also the research locus. Primary data was obtained through direct observation by visiting the object of research in addition to conducting interviews with a number of informants who had been determined before the research activity began. Secondary data were obtained through literature review in order to collect expert opinions that have been stated in books, accompanied by writings in various journals, results of seminars and workshops, as well as social media. The secondary data here were complementary to the primary data. This is due to studies in the research carried out being closer or more comprehensive. This study aimed to provide a clearer picture of Nekara Pejeng as a work of art from the Balinese pre-literacy era so that the method used was more descriptive qualitative. Because of its qualitative nature, the researcher is the main instrument, supported by interview guidelines in the form of a list of questions to guide the interview with informants such as Gedong Arca Bedaulu Gianyar Museum officers, Pejeng Village Heads, Village Prajuru (staff), temple administrators, community leaders who were purposively selected. This study proved that the moon of Pejeng is a bronze drum (nekara) stored in Penataran Sasih Temple which is believed by the Balinese to have supernatural powers and is used by the community in ceremonies asking for rain. The characteristics of Nekara Pejeng are in the form of a drum/drum made of bronze, there is a waist pattern in the middle, equipped with two sides of the punch field, and one of the fields is open. The moon of Pejeng is the largest nekara discovery in Asia which can represent the advancement of technology and art in the Balinese pre-literacy era. The decoration on the nekara contains magical religious meanings, namely local wisdom in the form of beautiful works of art with high aesthetics as evidence of the creativity of Balinese people in art which began in the pre-literacy period, continues to grow, develop, and have dynamics to this day.]]>
<![CDATA[Pembelajaran Blanded Berbasis Aplikasi Edmodo: Studi Penerapan Pembelajaran Virtual Dalam Perkuliahan Tari Pendidikan ]]>
<![CDATA[Ria Sabaria]]>;
<![CDATA[Agus Budiman]]>
<![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.v37i1.1766
<![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[Ritual kematian dan duka selama pandemi COVID-19: Respons keluarga Bali ]]>
<![CDATA[I Wayan Suyadnya]]>;
<![CDATA[Luh Ayu Tirtayani]]>;
<![CDATA[Arief Setiawan]]>;
<![CDATA[Alies Poetri Lintangsari]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1773
<![CDATA[The unprecedented COVID-19 pandemic leaves great number of human deaths since its first emergence. The Balinese that praise death through rituals should make some adjustment as there are some religious and traditional activities restriction to mitigate the COVID-19 pandemic. Studies on human rituals have indicated lifelong changes, including in funeral rituals. This research addresses the meaning and adjustment of the death rituals employing various sources and perspectives. Benefiting the investigative study, this research explores the impacts of the COVID 19 pandemic to the adaptation of death rituals practices by the Balinese. The research was conducted in Tabanan in the period from May-September 2021. The qualitative research design with focus on observation, in-depth interviews, and visual documentation of family members who lost other family members due to COVID-19 was employed. Data analysis was performed through inductive thematic analysis for data interpretation. Research results indicated that the experience of the sudden loss of family members due to COVID-19 is worsened because of the absence of the proper funeral rituals. The absence of rituals eliminates the social connections and social functions as it serves function as the social-cultural support to accept death. Additionally, it also diminish the grieving period as well as reducing the role of the traditional social institutions (desa adat) as the social-cultural supporter. This paper offers the deeper elaboration on how the Pandemic Covid-19 has affected the Balinese in overcoming death both socially and culturally.]]>
<![CDATA[Daur Ulang Sampah Plastik Untuk Pengembangan Produk Souvenir Khusus Kota Surakarta ]]>
<![CDATA[Adam Wahida]]>;
<![CDATA[Figur Rahman Fuad]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1805
<![CDATA[This study aims to describe the development of souvenir products characteristic of the city of Surakarta using recycled plastic waste materials to support the Eco-Cultural City movement. Through this movement, the local government of Surakarta involves community participation to make Surakarta a cultural city with environmental insight that is creative economically, socially, and culturally. The programs that have been implemented include mobilizing the community by establishing a Waste Bank. Public awareness and participation in managing waste are integrated with the development of creative industries that are environmentally sound through the creative and innovative use of waste recycling into souvenir products typical of the city of Surakarta. This study uses development research methods with the following steps: 1) data collection, 2) initial product development, 3) initial product testing, and 4) major product improvement. The results of this study were: 1) identified the types of waste used as materials for making souvenir products, 2) the creation of various souvenir products with the basic idea of Canthik Rajamala form using recycled plastic waste materials. The conclusions of this study are: 1) plastic waste has great potential to be managed as materials for making souvenir products. 2) the resulting souvenir products have the characteristics of the city of Surakarta. Thus, the results of this study are expected to have an impact, including 1) growing public awareness in protecting the natural environment and local culture, 2) developing creative industries with character and environmental insight, 3) increasing the image of a cultural city that is creative and environmentally friendly.]]>
<![CDATA[Ragam Pola Tabuhan Instrumen Gambang Pada Musik Gambang Semarang ]]>
<![CDATA[Abdul Rachman]]>;
<![CDATA[Pramot Teangtrong]]>;
<![CDATA[Phakamas Jirajaruphat]]>;
<![CDATA[Udi Utomo]]>;
<![CDATA[Syahrul Syah Sinaga]]>;
<![CDATA[Ibnu Amar Muchsin]]>;
<![CDATA[Sabrina Firda Sokhiba]]>
<![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.v37i1.1820
<![CDATA[Gambang Semarang is one of the traditional Indonesian music that grows and develops in the cityof Semarang, Central Java. Gambang Semarang music has an instrument made of wood which is the hallmark of Gambang Semarang music itself, namely Gambang. The Gambang instrument has a variety of distinctive accompaniment patterns that can give nuance to themusic of Gambang Semarang. The purpose of this study was to identify and describe the various patterns of accompaniment of the Gambang instrument in Semarang's Gambang music. The research method used is qualitative with an ethnomusicological approach. Data collection techniques were carried out by means of observation, interviews, document studies, and Focused Group Discussion. Data analysis was carried out with the stages of data reduction, data classification, and conclusions. The results showed that theaccompaniment pattern of the Gambang instrument in Gambang Semarang music consisted of an accompaniment pattern of gembyang nglagu oktaf, and a garap cengkok ajeg pattern. Each accompaniment pattern of the Gambang instrument involves a series of tones according to its seleh. Due to the influence of the melody of the main song, the accompaniment pattern of gembyang nglagu octaf and the accompaniment pattern of garap cengkok ajeg has six selehs, namely seleh do, seleh re, seleh mi, seleh sol, and seleh la.]]>
<![CDATA[Aktivitas Sosial-Keagamaan Pada Seni Relief di Das Pakerisan Dan Petanu, Gianyar, Bali ]]>
<![CDATA[I Nengah Duija]]>;
<![CDATA[Rema I Nyoman]]>;
<![CDATA[I Wayan Yudhasatya Dharma]]>
<![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.v37i2.1825
<![CDATA[Gianyar has abundant archaeological remains from the prehistoric era, especially during the classical era. This can be seen from the cultural remains in the form of artifacts, eco-facts, sites, and others, reflecting the brilliant past of Gianyar civilization. This study aims to determine the socio-religious activities etched into the relief art in the Pakerisan and Petanu watersheds. The data was collected by observing relief artworks in the Pakerisan and Petanu watersheds, supported by relevant literature studies and in-depth interviews with key informants. This relief provides information on socio-religious life in ancient Bali, inspired by beliefs in ancestors, Buddhism and Shivaism accumulated in Shiva Siddhanta. This study resulted in findings in the form of socio-religious activities in the Pakerisan and Petanu watersheds. The socio-religious activities in question are mental development activities, exercising self-control, studying the nature of oneself and the universe, and using various worship media by choosing a location near a water source. This reflects the wisdom of the ancient Balinese era in maintaining harmony between various understandings, oneself, nature, and the Creator.]]>
<![CDATA[Pendirian Usaha Produksi Kriya Batik Tulis Dan Cap ]]>
<![CDATA[Mulyanto Mulyanto]]>
<![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.v37i2.1868
<![CDATA[Batik has become everyday clothing for the people of Indonesia, many batik businesses have sprung up in several regions in Indonesia. The purpose of this study is to describe the minimum standards of aspects needed to establish a batik craft business. These aspects include capital funds, materials, equipment, employees, human resource management, production management, financial management, and marketing management. This qualitative descriptive research was conducted in several batik craft businesses on the island of Java. Twenty key informants consisted of 10 batik entrepreneurs, 3 motive designers, 3 batik makers, 1 stamper, and 3 color workers. The research data was collected through interview techniques, focus group discussion, document observation and study, then analyzed using interactive models. To establish a batik business with an initial production process for one month, a fund of Rp.37,350,000.00 is needed, 5 batik makers, 1 color dealer, an area of 100m2 and a building of 64m2. To establish a combination of stamp and writing batik business with an initial production process for one month, funds amounting to Rp 113,900,000.00, 4 employees, land 100m2 and building 69m2 are needed. The establishment of a batik business is estimated to be the main point of return for 7 months.]]>
<![CDATA[Transformasi Amanat Lakon Ramayana dalam Seni Pertunjukan Wisata Indonesia –Thailand ]]>
<![CDATA[Robby Hidajat]]>;
<![CDATA[Surasak Jamnongsarn]]>;
<![CDATA[Muhammad Afaf Hasyimy]]>
<![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.v37i2.1880
<![CDATA[The background of this research is to answer the hesitance regarding the moral messages in tourism performance art. The moral messages in tourism performance art that plays Ramayana story is then analyzed. Ramayana story is presented in tourism performance art in Indonesia and Thailand. In the beginning, Ramayana story is functioned to be the guidance for the audiences to learn about moral ethics from the character, structure, and appearance of the presentation. Ramayana story is now presented mostly for tourism entertainment but Educative Mandate is still conserved in tourism performance art. The design of this research is qualitative descriptive with functional approach. Data collection method involves interview and observation. Key informants are dancer, musician, tourism performance organizer, and art teacher in art school that represent Indonesia and Thailand. Observation was conducted on the centers of tourism performance art in Yogyakarta and Denpasar, Indonesia and also in Bangkok, Thailand. Results of research showed that (1) Mandate of Romance refers to the romance life of the characters in Ramayana story; (2) Mandate of Woman Paragon considers woman as both strength and weakness of man; and (3) Mandate of Causal Law emphasizes that the wrong is lost and the right is won.]]>
<![CDATA[Strategi Koping Masyarakat Jawa di Masa Pandemi COVID-19 ]]>
<![CDATA[Faruq Faruq]]>;
<![CDATA[Hanum Midya Syahrina]]>;
<![CDATA[Nureyzwan Sabani]]>;
<![CDATA[Siti Rahmawati]]>;
<![CDATA[Laksmy Dewi Sukmakarti]]>;
<![CDATA[Nanik Prihartanti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1881
<![CDATA[The COVID-19 pandemic or in Javanese terms "pageblug" has caused problems experienced by people in Indonesia, especially the Javanese. Problems that arise must be handled appropriately so as not to have a negative impact on people's daily lives, one effective way is with a coping strategy. This research uses qualitative methods to understand the meaning of social phenomena experienced by individuals or communities with the focus of the research on coping strategies for the Javanese society affected by the COVID-19 pandemic. The data collection technique in this research used an open ended-questions regarding coping strategies distributed through google form media. The subjects of this research amounted to 100 Javanese respondents who live in the residency of Surakarta (Surakarta City, Karanganyar Regency, Sragen Regency, Wonogiri Regency, Sukoharjo Regency, Klaten Regency, and Boyolali Regency) for at least 2 years, which are divided into 2 categories of adult respondents, 76 early-adult respondents and 24 middle-adult respondents. The data that has been obtained were analyzed using thematic analysis. The results of this research show that the coping strategies implemented by the Javanese society during the COVID-19 pandemic are: Never Give Up (Tangguh), Obey the Rules (Tumut), Be Patient, Grateful and Accept the Situation (Narimo ing pandum), Calm & Not Anxious, Maintain Health, and Live Frugally (Gemi nastiti). The implementation of coping strategies can be applied by the Indonesian society, especially the Javanese society in dealing with the pandemic.]]>
