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 Estetika Lokal dan Nilai Ekonomi Lokal Dalam Pengelolaan Destinasi Pariwisata di Bali Utara ]]>
<![CDATA[Dewa Ayu Diyah Sri Widari]]>;
<![CDATA[Dewa Putu Oka Prasiasa]]>
<![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.v37i1.1883
<![CDATA[This study aims to find local aesthetic values and local economic values as a result of the interaction of local values and global values in the management of tourism destinations in North Bali. The method used is a literature review method based on qualitative descriptive analysis. The findings of this study are that the element of locality in the management of tourism destinations in North Bali is formed from the embodiment of aesthetic values and local economic values which are believed to be local wisdom of the community, and these two values are dominant. The values brought by tourists can have positive (tonic) and negative (toxic) implications, as well as being a driver of value change for local communities. The contribution of aesthetic value and local economic value to the values brought by tourists has not been optimal in managing tourism destinations in North Bali.]]>
<![CDATA[Transformasi Digital pada Budaya Tradisi Menenun Endek ]]>
<![CDATA[Nyoman Dewi Pebryani]]>;
<![CDATA[Tjok Istri Ratna C.S]]>;
<![CDATA[Anak Agung Rai Remawa]]>;
<![CDATA[I Made Radiawan]]>
<![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.v37i1.1886
<![CDATA[Endekis traditional textile produce in Bali using a single ikat weaving technique. In single ikat, the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern on one side of threads, either the warpor the weft. Specifically, for Endek, the weft is the threads to form the pattern. Producing patterns in Endekinvolves creativity and intricate calculation; therefore, not many people are able to master this expertise. Transforming the design process of Endekto a digital application provides easiness, as the user only needs to focus on creating the pattern design, while the digital application will calculate the number of threads and visualize the result. To understand the process of creating Endek, the researcher conducted research in the weaving place by interviewing and observing the weavers and pattern makers. The algorithm received from the fieldwork then is translated into programming language to create a digital application. This application is created with a simple user interface so that the user who is not familiar with technology still can practice the apps easily. This application contributes to the efficiency in production process where previously in the production process needs one to two days, while with this application, it can be shortened to one to two hours.]]>
<![CDATA[Analisis Hermeneutika Maskot Osi dan Ji ]]>
<![CDATA[Paku Kusuma]]>;
<![CDATA[Dharsono Dharsono]]>;
<![CDATA[Martinus Dwi Marianto]]>;
<![CDATA[Guntur Guntur]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1889
<![CDATA[Osi and Ji are city mascots that were inaugurated at the end of 2016 by the city government of Malang in conjunction with the celebration of its 103rd anniversary. The mascots which are resulted from a contest were made by Papang Jakfar and won through several stage stages process including presentation from hundreds of participants. This brings its own fascination as the use of mascots as city icons has not been so popular in Indonesia due to the complex composition of its creation process, from its relationship with the culture, resources, community characteristic to infrastructure facilities of a city. This complexity is summed up in the form of a city mascot as a paradox. Form in hermeneutics is text and can be viewed polisemically, so interpretation becomes a central problem. Thus, hermeneutics aims to verstehen (comprehend) through the method of abduction, not just interpreting. Interpretation is always a reconstruction of the meaning of a text. Analysis with hermeneutics method becomes an immanent part in the mascot's profanity as a design product, mascot's form is an entity created from the results of thinking in design that is loaded with consideration and ability of a qualified individual. Osi and Ji mascots are specifically analyzed by applying Paul Ricouer's theory of Hermeneutics, in which hermeneutics can be brieflydefined as a theory or philosophy of interpretation of meaning that analyzes the various symbols in its form. The objective of the research is to analyze more deeply and interpret the existing circumstances or relationships, ongoing processes, ongoing effects or emerging phenomena, since the results of the Osi and Ji analysis generate to a new knowledge formed from various entities.]]>
<![CDATA[Rekonstruksi Perabot Rumah Tangga Berdasarkan Relief Karmawibhangga Candi Borobudur ]]>
<![CDATA[Rahmanu Widayat]]>;
<![CDATA[Anung B. Studyanto]]>
<![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.v37i1.1893
<![CDATA[The development of modern household furniture is currently experiencing rapid expansion. On the other hand, the legacy of ancient household furniture still survives; it can be seen from household furniture in the 9th century through the two-dimensional Karmawibhangga reliefs of Borobudur Temple. To understand the three-dimensional shape from the relief, it is interesting to make a replica of this household furniture. The problem of this study is to understand the form of household furniture found in the reliefs of Borobudur Temple. The method used in this study is identification, reconstruction, and analyzation the value of its benefits. The result is several types of household furniture replicas. The benefits of this study are as a source of inspiration forthe development of modern home furniture designs and also to respect and develop the legacy from the ancestors.]]>
<![CDATA[Identifikasi Karakteristik Seni Lukis Flora Dan Fauna Pengosekan Pada Seni Kerajinan Batu Padas Di Desa Singapadu ]]>
<![CDATA[Ni Putu Laras Purnamasari]]>
<![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.v37i1.1894
<![CDATA[Pengosekan painting was once a favorite among tourists in theera of the 1980s. Pengosekan paintings are widely used as an aesthetic element of the interior of hotels, restaurants, office spaces, hospital rooms, and are exported abroad as souvenir products. Along with the heyday of Pengosekan painting, representations of this painting were found in several handicrafts. One of the handicraft arts that represents Pengosekan painting is the art of stone craft that has developed in Singapadu Village, Sukawati District, Gianyar Regency, Bali. There are similarities in terms of themes and the creation of solid stone craft objects with Pengosekan painting. This research specifically identifies the characteristics of the Pengosekan painting which is represented in the art of rock craft in Singapadu Village, as well as its influencing factors.This research is a qualitative research, using representation theory as analysis tools. The results showed that there was a representation of Pengosekan painting in the arts, which was seen in terms of the theme and character of the visual object. The representation that occurs is influenced by the artist's motivation to create innovation, as well as being influenced by the developing market at that time.]]>
<![CDATA[Pengaruh Kesenian Jathilan dan Joged Bumbung bagi Kehidupan Sosial Budaya Masyarakat: Studi Kasus pada Etnis Jawa dan Bali di Lampung, Indonesia ]]>
<![CDATA[I Wayan Mustika]]>;
<![CDATA[Putu Setyarini]]>
<![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.v37i1.1896
<![CDATA[The people of Lampung from the Balinese and Javanese tribes who inhabit the Seputih Banyak area of Central Lampung Regency have the arts of jathilanand joged bubungas part of their native arts. Both of these arts become the pride and can establish a close relationship in social life. To see the influence that exists in the arts of jathilanand joged bumbung, an ethnocoreological approach and a social system are used. Ethnochoreology is seen as capable of seeing, studying, and responding to various formsof regional dances from various tribes. Field and library methods are used to examine and examine the influence of these two arts in social relations. For this reason, the lives of the people of these two tribes are very tolerant in terms of art, social and culture. It is not surprising that this good social relationship until there are two folk arts of different types, origins, and cultures can be used as glue in social relations. Often in religious ceremonies, weddings, and national holidays this art appears. In the art performances, these two ethnic groups are always visited by both children, teenagers, and the elderly. Both jathilanand joged bubungperformances are in the form of an arena. The dancers are surrounded by spectators who can freely watch from anywhere. Jathilan art is generally performed in the afternoon until the evening, while joged bumbungis performed at night.]]>
<![CDATA[Filantropi Kemanusiaan Sebagai Praktik Seni untuk Survivalitas Para Pekerja Seni ]]>
<![CDATA[Suwarno Wisetrotomo]]>;
<![CDATA[Pradani Ratna Pramastuti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1906
<![CDATA[The outbreak of a novel corona virus or the COVID-19 pandemic has caused a global crisis that affects all aspects of life. The health, economy, social, political and cultural crisis trigger the domino effect that lead to a humanitarian crisis. Since the virus was identified in Wuhan, Hubei Province, China at the end of 2019, it continues to radically affect the world. Globalization, that used to be about speed, progress, celebration, intimacy, and a sense of community, has now turned into slowness, decline, as well as physical and social distance. Indonesian government immediately took action by issuing a series of regulations, such as lockdown, self-isolation, and “new normal” habit when working and socializing; two of which are washing hands and wearing masks. Numerous communities experience stagnation in social, economic, political, cultural and artistic life, as well as the possibility of a food crisis due to the decline of their purchasing power. This situation prompts an initiative and contribution from the community members, including artists, to lend a hand. Art workers contribute in making the basic ends of the communities in need meet by providing masks and food for low-income families as well as Personal Protective Equipment (PPE) for medical personnel, such as nurses and doctors. Furthermore, several projects were also initiated by artists, namely “Dapur Aksi Berbagi”, “Dapur Aksi Tetandur”, “Rengeng-rengeng Sirep Pageblug Maskumambang” by LAURA “Climen Puppet Show: The Collaboration of a Puppeteer and a Painter”, “Wrapped-Rice Art”, Didi Kempot Online Concert, and “Panen Apa Hari Ini”. These projects can be considered as humanitarian philanthropy, which from the perspective of contemporary art, is categorized as an art practice. This research uses the descriptive method. The researchers observe and record various philanthropic acts of these artists carefully in order to describe the events that take place. The researchers then answer why the projects can be categorized as art practices. This research will disclose the potential for a new discourse on the relationship between humanitarian philanthropy conducted by artists and art practices.]]>
<![CDATA[Stilistik-Estetik Epilog Kakawin Abad XX Karya Made Degung ]]>
<![CDATA[Anak Agung Gde Alit Geria]]>;
<![CDATA[I Made Bendi Yudha]]>
<![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.v37i2.1910
<![CDATA[Kakawin (manuscript), composed by Rakawi Made Degung from Sibetan Karangasem, received a positive response among lovers of classical Balinese literature, because it is full of Shiva-Buddhist philosophy which until now still lives side by side and harmoniously in Bali. This well-packaged, aesthetically pleasing Kakawin has an important position among the existing kakawin, because the content and unique presentation factor is the spirit of the times, namely the Shiva-Buddhist discourse that is typical of the Balinese model. This Kakawin was completed on Friday Paing Sinta, the 13th anniversary of the Saka year 1915 (1993 AD). The information implied in this kakawin epilogue is truly something unique that is rarely or never found in other kakawin. His Kakawin compositions, the writing of the number of years to the name of the pangawi (author) and its origin, are packaged in a unique way and explained in one last stanza of this kakawin. In addition to starting with the Manggala who worships the Goddess of Beauty (Saraswati) as the sacred God Brahma spouse, the Goddess of Knowledge, and the Soul of the script, at the end of his work, Pangawi begs before Him so that the world will be saved as well as its leader.]]>
<![CDATA[Evaluasi Subjektif Teknik Perekaman Stereo Pada Kendang Jawa ]]>
<![CDATA[Jack Arthur Simanjuntak]]>;
<![CDATA[Gelar Pandu Raharjo]]>
<![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.v37i2.1911
<![CDATA[Kendang Jawa is a traditional Javanese musical instrument which is used in a Javanese gamelan ensemble, often played for traditional events. Kendang Jawa has three separate parts dependant on its size, namely bem (largest), batangan (medium) and ketipung (small). Through advances in recording technology, the development and preservation of Nusantara's musical arts can continue to be encouraged. The quality of the recording is predominantly determined by the placement of the microphone in use. The lack of studies on the importance of microphone layouts and distancing in kendang Jawa recording is a problem that requires attention. The purpose of this study is to evaluate the participants' subjective assessment of stereo recording techniques on kendang Jawa. Qualitative methods were used to analyze the preferences of expert and non-expert participants. Recording of 16 audio samples were performed using four stereo recording techniques, namely XY 90º, AB, ORTF and Mid-Side with four variable distances at Studio Lokananta, Surakarta. The recording sample was tested subjectively on 40 participants. This study reveals that the preference of expert and non-expert participants is the XY 90º technique. As many as 73% of expert participants enjoyed the recording of kendang Jawa through the XY 90º technique at a distance of 1 meter. High sound clarity and balanced stereo images are several crucial factors in this technique. The result of this study contributes to the understanding that the aspect of the impression of space and time of low reverberation is one of the essential criteria in determining the sound quality of kendang Jawa recordings.]]>
<![CDATA[Peremajaan Wisata Budaya Melalui Wisata Gastronomi Kreatif di Ubud, Bali ]]>
<![CDATA[Ni Made Prasiwi Bestari]]>;
<![CDATA[Agung Suryawan Wiranatha]]>;
<![CDATA[I Gusti Ayu Oka Suryawardani]]>;
<![CDATA[I Nyoman Darma Putra]]>
<![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.v37i2.1938
<![CDATA[The Ubud area has long been developed and is known as a cultural tourism destination. This is not surprising because Ubud has many artistic and cultural attractions to offer for tourists. However, in the last two decades, Ubud is also known as a culinary tourism destination. In fact, the Gianyar Regency government and the Ministry of Tourism and Creative Economy have promoted Ubud as gastronomic tourism. This article analyzes the role of gastronomic tourism in supporting cultural tourism in Ubud. Does the new Ubud label as gastronomic tourism fade the image of Ubud as cultural tourism or does it increase its charm and attractiveness? This qualitative study collects data by interview, observation, and literature study. They were analyzed from the light of creative tourism. The article concludes that gastronomy tourism such as cooking class and food festival that has developed in Ubud is a form of creative tourism that help in rejuvenating the image of Ubud as cultural tourism. This happens because food and all the cooking processes as well as all the stories and values system of local wisdom attached to the local foods are part of the culture. This article contributes in providing an understanding of strengthening the image of Ubud tourist destinations as cultural tourism through creative tourism known as gastronomic tourism.]]>
