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[English Kraftivisme Rajut Kejut: Membangkitkan eksistensi diri di tengah pandemi Covid-19 melalui "Sesaji Nusantara" ]]>
<![CDATA[Sari Wulandari]]>;
<![CDATA[Guntur -]]>;
<![CDATA[M. Dwi Marianto]]>
<![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.v37i2.1959
<![CDATA[The Covid-19 pandemic has forced people to minimize their activities and choose essential things to do. Apart from maintaining personal and environmental hygiene, mental health is the priority. The RajutKejut Community is a group of female crocheters who yarn bombs with crochet works. RajutKejut received an invitation from the Jakarta Biennale 2021 to exhibit their work in a public space. Their work “Sesaji Nusantara”, presented a crochet installation in the form of flowers and crops arrangements, as an offering to God. Through crocheting in a quarantine atmosphere, a space for reflection and contemplation is formed. This is essential to consider that besides preserving quality intake, the body's immunity can also be increased by maintaining mental health and happiness. As a research question, how RajutKejut community through activity body by making communal crafts can create an understanding of themselves and their environment, which is an understanding that leads to the formation of mental health amid the Covid-19 pandemic. This study uses the phenomenological perception by Maurice Merleau-Ponty as an analysis method which is bodily experiences could help people to comprehend their world, particularly in the current pandemic situation. At the end of the discussion, this research shows that the pandemic conditions encourage people to look back at the past, realize their existence in present, and project themselves to plan their next steps. This can be realized by carrying out bodily activities consciously, which brings humans back to retrace their existence in the world as humans who have bodies that can 'make' to fulfill their needs, using their bodies, therefore that awareness of self and self-existence is awakened.]]>
<![CDATA[Strategi Desain Produk Menggunakan Konsep Nirmana Dwimatra: Implementasi dalam Proses Pembelajaran pada Mahasiswa Desain Produk FIK Telkom University ]]>
<![CDATA[Husen Hendriyana]]>;
<![CDATA[Martiyadi Nurhidayat]]>;
<![CDATA[Wuri Handayani]]>
<![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.v37i1.1969
<![CDATA[This article is the result of designed research, and the writing is based on the practice-led research paradigm. This research's case study and background are based on classroom action research, specifically in the practice of 2D visual design. This design-practice study aims to provide models of creativity that can enrich the creative processes of similar designs with processes that are different from the existing ones. This work is created using the applicative approach of the Elementary Drawing Form, also known as Nirmana. To achieve the specified goals, the practice design method was carried out in four stages: understand (object & subject), exploration and experiment, define (point of view), ideate, prototype, and feasibility test. This Nirmana-dwimatra-inspired product design incorporates design fundamentals and principles to produce a valuable and meaningful work of design. This study affords models of creative processes based on a practice-led research instrument and indicator with aesthetic, artistic, and skill as its foundation.]]>
<![CDATA[Tradisi Lisan dalam Melestarikan Lingkungan Alam di Kampung Adat Dukuh, Desa Ciroyom, Kecamatan Cikelet, Kabupaten Garut ]]>
<![CDATA[Nyai Kartika]]>;
<![CDATA[Reiza D. Dienaputra]]>;
<![CDATA[Susi Machdalena]]>;
<![CDATA[Awaludin Nugraha]]>;
<![CDATA[Nani Sriwardani]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1982
<![CDATA[Life in kampung adat is always interesting to study. Not only it has different culture than what is fostered by the community in general, kampung adat also has local wisdom that is ardently upheld by its community. One example is an oral tradition in Kampung Adat Dukuh, Ciroyom Village, Cikelet Subdistrict, Garut District, which is known as Uga Mandeling. The oral tradition contains local wisdom in preserving the natural environment. This study aims to further explore Uga Mandeling oral tradition and the extent to which it affects the life of the community. This study applied a historical method with four stages, namely heuristics, criticism, interpretation, and historiography, to analyze Uga Mandeling in Kampung Adat Dukuh. The results show that, in addition to maintaining the natural environment, Uga Mandeling also contains an appeal to lead a harmonious life with other communities as well as the government. This study is expected to contribute to the relevant literature, particularly related to Kampung Adat Dukuh.]]>
<![CDATA[Taksonomi Seni Tupping Sebagai Representasi Kehidupan Masyarakat Lampung Selatan ]]>
<![CDATA[I Wayan Mustika]]>
<![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.v37i2.1984
<![CDATA[Knowing that Performing mask art is getting rare in Indonesia, It is interesting to find out how the art survives and becomes the cultural icon of the regency, in this case, the Performing Tupping in Kesugihan Village, Kalianda, South Lampung. Performing Tupping (Mask) art in Kesugihan Village, Kalianda, South Lampung Regency is a very essential folk art that has been rearranged with character forms from several types. It is interesting to find the history and its taxonomy, from just a village performance until it becomes South Lampung’s cultural icon. This article attempted to describe the taxonomy of Tupping in Kesugihan village, Kalianda, as a cultural icon of South Lampung. The qualitative research was conducted to answer these research questions: 1. How was Tupping’s taxonomy at the beginning and what characteristic did it represent. 2. How is the taxonomy of the modern Tupping and what is behind them. The data were collected through observation, interview, and literary study. Tupping at the beginning was simpler, with only a few characters. They mostly depict ugly figures. Tupping can survive because It has been used since Radin Intan’s reign, especially by her knights for disguising to fight the Dutch. Later in their daily life, Tupping was used for worshipping the spirit and the ancestors and performed as entertainment for the villagers. Taxonomically, There are some types of Tupping with each respective character and what each philosophically means. it also evolves from time to time to catch up with modernization and globalization.]]>
<![CDATA[Seni Mural Sebagai Media Kritik Sosial: Perspektif Strukturalis-Konstruktivisme ]]>
<![CDATA[Dewa Putu Oka Prasiasa]]>
<![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.v37i2.1985
<![CDATA[The phenomenon of delivering messages through mural art occurs in the social life of the Indonesian people, and is used as a medium for social criticism in the public sphere. The purpose of this study is to find the meaning of social criticism that is carried out through the media of mural art and to find the shift in values that occurs in mural art. Based on the research objectives, this research is a qualitative research with a structuralist-constructivism approach from Pierre Bourdieu. Data were collected through observation and in-depth interviews with mural artists community. The theories used to understand, criticize, find meaning and find shifts in the value of mural art are the Habitus Theory and the Cultural Production Theory. This study found that social criticism conveyed through the media of mural art has an economic meaning, a meaning of community popularity, and a meaning of freedom. While the shift that occurred, this study found that mural art, which was originally an artist's expression as a monumental work, shifted to a commodified and contemporary work.]]>
<![CDATA[Tari Baris Teruna Batu di Desa Pakraman Teruna Blahbatuh Gianyar: Kajian Aksiologi Hindu ]]>
<![CDATA[Ni Made Sukrawati]]>;
<![CDATA[Wayan Paramartha]]>;
<![CDATA[Ni Kadek Ayu Kristini Putri]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.1993
<![CDATA[Balinese dance is an important part of Balinese life that has been passed down since ancient times. The art of dance is an expression of the human soul which is poured through beautiful rhythmic movements and through the creation of taste and intention that is observed by the dance stylist. Balinese dances are generally classified into 3 groups, namely, Wali (sacred performing arts), Bebali (performing arts for ceremonies), and Balih-balihan (dance arts for the entertainment of visitors). The same is true for the Baris Teruna Batu dance, which has the same sacred position in comparison to other wali dances that have an important contribution in every movement and rhythm of the dancer's body in giving thanks to Ida Sang Hyang Widhi (God). In this study, the method used was a qualitative method, using an interpretive qualitative descriptive analysis. Furthermore, in analyzing the research data, a series of stages were carried out so that the results were logical, objective and empirical. The series of steps are as follows: reducing data, displaying data, verifying data and interpreting research data. The essence of this study found several value studies, namely, aesthetic values, educational values, and sacralization values. There are still numerous studies that need to be conducted with regard to the various aspects of the aforementioned baris dance. The sacredness and so many meanings contained in it make the Baris Teruna Batu dance still exist and develop to this day.]]>
<![CDATA[Teologi Agama Buddha Dalam Prasasti Yé Té Mantra ]]>
<![CDATA[I Made Surada]]>;
<![CDATA[I Nyoman Rema]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.2006
<![CDATA[Prasasti Ye Te mantra adalah salah satu data autentik dalam mempelajari dan menemukan konsepsi teologi agama Buddha di Bali pada abad ke-8/9. Penelitian ini bertujuan untuk mengetahui konsepsi teologi dalam agama Buddha di Bali, yang dijabarkan dalam dua rumusan masalah yaitu tentang konsepsi Tathagata dan konsepsi ajaran dharma sebagai penghancu penderitaan. Penelitian ini adalah penelitian kualitatif, yang data-datanya dikumpulkan melalui observasi dan studi dokumen terhadap naskah prasasti dan naskah lontar yang relevan. Hasil penelitian ini berupa temuan prasasti Ye Te mantra yang terdiri atas lima hingga tujuh baris dan naskah lontar yang relevan, yang dianalisis menggunakan teori semiotika. Berdasarkan hasil analisis dapat diketahui bahwa Tathagata adalah panggilan untuk Siddhartha Gautama atau Bhatara Sri Sakyamuni, yang telah mencapai pencerahan sempurna dan terbebas dari jeratan mara. Tathagata menjelaskan bahwa manusia perlu mengusahakan kebahagiaan dengan cara belajar dharma untuk melepaskan diri dari mara tanpa ragu-ragu dengan batin yang tenang guna mencapai nirwana.]]>
<![CDATA[Ornamen Naga Dalam Konteks Kain Batik, Estetika, Budaya Jawa dan Tionghoa Di Indonesia ]]>
<![CDATA[Rahmanu Widayat]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.2017
<![CDATA[This paper was created to discuss an interesting issue, dragon ornament in batik cloth, the value of its aesthetics, and its context to Javanese and Tionghoa (Chinese) culture in Indonesia. This paper attempts to answer several questions including what is a dragon ornament, why is a dragon ornament applied to batik cloth, how is it aesthetic, and how is the relationship between Javanese and Tionghoa dragon ornaments in Indonesia. This issue is approached using interpretation perspective, both specifically in the context of batik cloth and its aesthetics, as well as in a broader context of Javanese and Tionghoa cultures. The interesting findings show that dragon ornaments on classical batik cloth in the form of Javanese dragons and Chinese dragons have their respective characteristics. Dragon ornament is applied to batik cloth due to its visual beauty and meaning as a protector and symbol of power that is identical to the king or emperor. The two Javanese and Chinese dragon ornaments not only adorn batik cloth, but are also applied for the benefit of architecture and other art works. Specific findings indicate that Chinese dragon ornaments are more developed than Javanese dragon ornaments, especially for contemporary batik fashion. Another finding is that the Parang motif combined with the Chinese dragon looks aèng or strange but is favoured by the public. This article suggests that batik producers develop Javanese dragon motifs for contemporary batik (preservation with new functions). For researchers, in studying dragon ornaments, the use of Western and Eastern aesthetic approaches will complement each other and result in more comprehensive findings. Another phenomenon that is intriguing for future research is the presence of batik producers and online shops that offer batik products with a variety of motifs and patterns. It is an interesting phenomenon to be studied in terms of design and marketing.]]>
<![CDATA[Aplikasi Desain Motif Tenun Songket Bali ]]>
<![CDATA[Nyoman Dewi Pebryani]]>;
<![CDATA[Tjok Istri Ratna, C.S.]]>;
<![CDATA[Putu Manik Prihatini]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 3 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i3.2025
<![CDATA[Songket weaving is an Indonesian cultural heritage that has been passed down from generation to generation. Every region in Indonesia has its own Songket weaving, depending on the region’s characteristics. Bali island is one well-known region in Indonesia for Songket weaving. In the past, Songket weaving in Bali was only made for caste members and the royal family. At that time, only people in the royal family were able to make Songket weaving. The songket weaving process in Bali was mainly performed using a weaving tool called cagcag. The songket weaving pattern (motif) was made using a sungkit technique—interlace between threads to create a motif. The making of the songket motif begins with arranging the thread according to the desired motif before the weaving process. Information about the motif was spread in Guun. In general, songket weaving in Bali island has tens to hundreds of Guun. The skills to break the desired motif into the Guun is quite a complicated process. Therefore, not many weavers master the process of making songket motifs. Most of the motif makers continue or imitate existing motifs. Currently, a motif maker who can make a motif from scratch is rare. In order to help break motifs into Guun, an in-depth understanding of the calculation of making songket motifs is required. Then, this understanding is transformed into an application that can help motif makers to visualize motifs into Guum. The design application will provide multiple benefits for the motif makers and serve as an effort of culture preservation by introducing a design application to make songket motifs for younger generations. Therefore, they are expected to contribute to making songket weaving motifs.]]>
<![CDATA[Ekspresi Pragmatik Bedhaya Sukma Raras Sebagai Reaktualisasi Holistisitas Kehidupan Mikrokosmos-Makrokosmos Manusia ]]>
<![CDATA[Maryono Maryono]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 37 No 4 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v37i4.1884
<![CDATA[The Bedhaya Sukma Raras dance by Hadawiyah Endah Utami, presented at a gathering of choreographers, was inspired by the journey of human life as it moves towards death. The complementary forms of verbal and nonverbal components in Bedhaya Sukma Raras implicitly offer a concept encased in the aesthetic expression of the dance about human awareness of doing good throughout the transient life in this world, in order to welcome an afterlife that is immortal and full of joy. This research uses a qualitative methodology. The data collection strategies include a library study, interviews, a visual study of dance recordings, an audio study of music recordings, documentation and study of archives of verbal transcripts of literature about songs and vocabulary of dance movements. The results show that in principle human life must seek to preserve a balance between the world and the hereafter. This means that microcosmically, in fulfilling their daily needs, human beings must work hard, prioritize virtue, and pray for God’s guidance so that macrocosmically, in the afterlife their sins will be forgiven and they will enter the heaven of the Creator.]]>
