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[Authenticity and Commodification of Creative Industry Products in The Tourism Sector, Bali ]]>
<![CDATA[Dewa Putu Oka Prasiasa]]>;
<![CDATA[Dewa Ayu Diyah Sri Widari]]>;
<![CDATA[Putu Herny Susanti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2285
<![CDATA[The creative industry places an emphasis on the creativity of a product, the understanding that the creator is known and has a copyright. In addition, the creative industry has links with the cultural industry, because its products are components of culture. When market tastes lead to post-industry, it is found that creative industry products consumed by tourism experience a change from homogeneous to heterogeneous with mass production. Changes in market tastes encourage the emergence of highly varied creative art products, as a result of the creative economy industry. The entry of the creative economy industry into the realm of culture, which then develops into the cultural industry, apart from growing the local and national economy, also has an impact on cultural components, especially from the aspects of authenticity and commodification. The areas affected include performing arts, tourism, entertainment, fashion, craft products, and culinary. In order to increase the competitiveness of Indonesian tourism, especially from the cultural pillar, the aspects of authenticity and commodification can increase its contribution to the local and national economy through the implementation of internationalization, traditionalization, and sacred versus profane.]]>
<![CDATA[Rendo Bangku Craft of Koto Gadang West Sumatra on Fashion Products ]]>
<![CDATA[Ranelis Ranelis]]>;
<![CDATA[Rahmad Washinton]]>;
<![CDATA[Kendall Malik]]>;
<![CDATA[Mira Utami]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i2.2291
<![CDATA[This article entitled “Rendo Bangku Craft of Koto Gadang West Sumatra on Fashion Products” aims to raise the potential of Koto Gadang’s rendo bangku patterns, as one of the excellent products of the Koto Gadang village community. Rendo bangku craft which was originally used to decorate the edges of women's shawls in Koto Gadang is now being innovated by placing Koto Gadang’s rendo (embroidery) on fashion products. The method used is experimental, by the means of exploration, design, manifestation, and evaluation. Exploration was carried out to find ideas or concepts related to the product of Koto Gadang local embroidery which was carried out using observation, literature study, and interviews. Designing is the step of an embodiment of ideas and concepts from exploration into the design of women’s wear, men’s wear, and accessories. Embodiment is the step to manifest the result of the pattern design of fashion products in a real form into working drawings, as well as into finished products including men's clothing.]]>
<![CDATA[Minang Folklore of Pencak Arts to Strengthen Mental Health in Indonesian Muslim Society ]]>
<![CDATA[Rustiyanti, Sri]]>;
<![CDATA[Listiani, Wanda]]>;
<![CDATA[Ema M.N, Anrilia]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i2.2342
<![CDATA[Pencak silat is one of Indonesia's cultural identities, recognized by UNESCO as an Intangible Cultural Heritage. Apart from being a martial arts defence, Pencak silat also contains the values of local wisdom textually and contextually. Pencak silat in Indonesia comes from 2 regions: Minangkabau (West Sumatra) and Cimande (West Java). This research discusses the study of martial arts as a medium of self-defence and traditional educational media in Minangkabau, West Sumatra. A Minangkabau youth must learn martial arts and learn to read the Quran in a mosque (surau) as a provision for a man who has grown up if he wanders to other areas. The Minangkabau community in ancient times had two important educational institutions, namely surau and sasaran silat. Location of Surau (masjid) and sasaran silat usually side by side. In surau, young people learn to read the Al-Quran and religious knowledge, while in sasaran silat, they learn martial arts and various arts. Islamic teachings during the Minangkabau community have succeeded for generations in supporting the philosophy of life: 'adat bersandi syara'- syara' bersandi kitabullah'. This philosophy has been ingrained since birth, strengthening the mental health of youth and coloured in the daily life of the Minangkabau people. In other words, the embodiment of Islamic culture folklore minang can be seen in the life of the Minangkabau people. This made Minangkabau martial arts develop and spread in various parts of Indonesia.]]>
<![CDATA[Gulo Puan Visual Brand: Medium Promotion of Gastronomic Tourism Destinations, Pampangan District, South Sumatra ]]>
<![CDATA[Sumbo Tinarbuko]]>;
<![CDATA[Risvi Pangestu]]>;
<![CDATA[I Wayan Nuriarta]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i2.2365
<![CDATA[Gulo Puan is a traditional food from the Pampangan sub-district, South Sumatra Province. Its existence has sunk into the ages. Gulo Puan does not yet have a visual brand that can represent her existence. The absence of a visual brand makes people less aware of the existence of this gastronomy. The purpose of this study is to present the Gulo Puan visual brand as a promotional medium for the gastronomic tourism destination "Guwan" Gulo Puan in the Pampangan sub-district. This study uses a qualitative method with a five-stage approach to design thinking according to Tim Brown's version: empathy, define, ideate, prototype, and test. The data collection process was carried out by interviews, observation, literacy, documentation, and questionnaires. The data obtained were then analyzed using the Triadik Sumbo Tinarbuko design concept approach. The results of this synthesis form the basis for designing the Gulo Puan visual brand. The results of the synthesis are also positioned as a solution for the Gulo Puan visual brand for visual communication problems found at the Gulo Puan production center, Pampangan sub-district, South Sumatra Province. The novelty of the results of this design puts forward the concept of Gulo Puan's visual branding as a promotional medium that represents the Gulo Puan gastronomic tourism destination in the Pampangan sub-district. The theory used in this study: visual branding for strategies to design visual branding, sociology theory of design to determine the needs of target audiences, theory of tourist destinations to design tourist destinations, and visual communication design theory is used to design the form of messages and the contents of verbal and visual messages. Conceptually, this research also contributes theoretical and practical knowledge to the development of visual communication design science.]]>
<![CDATA[Gandang Tambua Pariaman From Triplek Material an Organological Study Based on Coding ]]>
<![CDATA[Wimbrayardi Wimbrayardi]]>;
<![CDATA[Bambang Parmadi]]>;
<![CDATA[Irdhan Epria Darma Putra]]>;
<![CDATA[Wembrayarli Wembrayarli]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2366
<![CDATA[The process of making the Gandang Tamba traditional musical instrument in Padang Pariaman Regency. This study aims to describe the process of making the Gandang Tamba musical instrument. The approach used is a qualitative approach with a descriptive research type. This research was conducted with data collection techniques using observation, interview, and documentation techniques. Data analysis techniques are carried out by reducing, presenting data and verifying data. The aim is to find out the structure, process, manufacturing techniques, and playing techniques, of Gandang Tamba. This musical instrument is made of plywood and has a hole (resonator), and uses goat skin. The results of this study indicate that the parts and stages of the process of making traditional Gandang Tambua musical instruments include: cutting plywood for the body of Gandang Tambua, processing goat skin (membrane), cleaning rattan, making iron battens, and how to produce sound, tuning system on traditional Gandang musical instruments Tambua. The tools used in the process of making traditional Gandang Tambua musical instruments include: Cater knives (plywood cutters), Cutting Saws, Hammers (Penokok), Measuring tools (meters), Pencils, Sandpaper, Screwdriver, Scissors, Bamboo type gutters, and Tongs. The ingredients are; Wooden battens (circle 40), plywood, goat skin, iron lath, rope, nails, and wood glue. The process of making the Gandang Tambua musical instrument includes several stages, namely: 1) The process of making the body (plywood), to the finishing of fine and coarse sanding, 2) The processing of the skin, including the shearing of the skin using dry fuel ash and measuring the width of the diameter, 3) The installation process, includes the skin to the body of the Tambua drum, attaching iron battens and attaching strings as for tuning. The frequency and tension of each instrument membrane on the Gandang Tambua musical instrument, the membrane tension of 141090.66 N on the Gandang Tambua musical instrument produces good tension (tuning), because the vibrations of the membrane will fill the resonance space in the drum tube. While the membrane tension of 131841.38 N produces poor tuning, the vibration of the membrane does not meet the resonance chamber. attach the iron battens and attach the rope for tuning. The frequency and tension of each instrument membrane on the Gandang Tambua musical instrument, the membrane tension of 141090.66 N on the Gandang Tambua musical instrument produces good tension (tuning), because the vibrations of the membrane will fill the resonance space in the drum tube. While the membrane tension of 131841.38 N produces poor tuning, the vibration of the membrane does not meet the resonance chamber. attach the iron battens and attach the rope for tuning. The frequency and tension of each instrument membrane on the Gandang Tambua musical instrument, the membrane tension of 141090.66 N on the Gandang Tambua musical instrument produces good tension (tuning), because the vibrations of the membrane will fill the resonance space in the drum tube. While the membrane tension of 131841.38 N produces poor tuning, the vibration of the membrane does not meet the resonance chamber.]]>
<![CDATA[Processing Purple Sweet Potato Peel as Alternative Material of Textile and Fashion Products with Circular Economic Principles ]]>
<![CDATA[Yunita Fitra Andriana]]>;
<![CDATA[Rizka Ramayanti]]>;
<![CDATA[Nurul Aisyah Rachmawati]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2020
<![CDATA[The textile and fashion industries are the most polluting industry in the world. This is because the industries driven by the fashion trend which is rapidly change. During the production and distribution process, the fashion and textile industries produce waste that can damage the air, water and soil. Moreover, the industries use non-renewable materials, and the life span of their product is short, eventually it will end up on the landfill. The application of circular economic principles on the textile and fashion industry is a step in an effort to reduce the level of environmental pollution. In this study, the principles that applied are, using biomaterial, obtain it from local resources, producing less waste, and after use the material can be naturally decomposed. The method used in this research is a qualitative method with an experimental approach. Data collected through a several exploration stages, processing purple sweet potato peel into composite materials. Processing purple sweet potato peel in this study is to produce an alternative raw material for the industries, so that they can use a more environmentally friendly material. Using biomaterials also can adding value to the textile and fashion products, so it can foster awareness to the consumer, in aim to make a systemic social behavioral change. The output of this study is the design of fashion products made of composite materials from purple sweet potato peel which are carried out using digital simulation sketches. The design was made based on the consideration of the character and potential of the composite material from the results of a series of experimental processes, so that the product sketch made is an accessory product consisting of earrings with a relatively small size.]]>
<![CDATA[Developing Infographics as Wellness Education Media and Local Product Internationalization ]]>
<![CDATA[Jotika Purnama Yuda]]>;
<![CDATA[Desi Wulandari]]>;
<![CDATA[Yanuarria Kukuh Perwira]]>;
<![CDATA[Karlina Denistia]]>;
<![CDATA[Intan Mustika Sari]]>;
<![CDATA[Agus Dwi Priyanto]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2146
<![CDATA[Mental health and the concept of wellness have not been widely known by the Indonesian people, especially the millennial generation and Gen Z. Rumah Atsiri Indonesia (RAI) is an organization engaged in the creative industry sector that promotes wellness as their main theme. In its business, RAI strives to educate the public about the concept of wellness and introduce the benefits of essential oils as their product. To support these activities, attractive and effective means of communication and education are needed. Responding to this problem, the English for Creative Industry Research Group of the English Diploma 3 Study Program, Vocational School (SV), Universitas Sebelas Maret conducted a community service activity by developing infographics as educational media about the concept of wellness and essential oil products. The infographic was created using the ADDIE design method. Evaluation was done by distributing the developed infographics to get input from 129 respondents. The evaluation results show that the developed infographic media is effective and attractive in delivering educational content about wellness and essential oil product internationalization. Visual displays and dissemination media that are tailored to the target audience have succeeded in improving respondents' understanding of the concept of wellness and inspiring them to implement it, as well as to participate in sharing the created infographics.]]>
<![CDATA[Screenplay of Asal-Muasal Tanah Jawa: A Prototype of The Babad Tanah Jawi Script Content Saving Through Adaptation ]]>
<![CDATA[Irwan Sarbeni]]>;
<![CDATA[Dheka Agustiningsih]]>;
<![CDATA[Muhammad Tiffano Zetha El-Xavier]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2200
<![CDATA[Babad Tanah Jawi is one of the masterpieces of Javanese literature which contains kingdoms story in Java land which have been written in several versions. Javanese scholars deeply hopes that the constructive and forward-minded values contained in the Babad could be disseminated and studied by all levels of society, especially Java, in an easily understandable way and through a media that is close to society's daily, so that Javanese may recognize their original identity and avoid historical conflicts that come from non-primary sources. Therefore, Javanese scholars are very sorry when studies on the Babad always end up in formal writing that can only be accessed by a limited circle (academics). Responding to these problems, this research was carried on the behalf of studying the script text character of the Babad Tanah Jawi and adapt its Asal-muasal Tanah Jawa chapter content (The Origins of the Land of Java) to a screenplay (film script) as an act of salvaging the valuable content of the Babad script to a feature film. This research is presented qualitatively with ‘Adaptation’ method to compose the screenplay. The adaptation is an essential stage in filmmaking since a well-prepared film is largely determined by the quality of its creation guidelines (screenplay). This study resulted in fiction film screenplay. The screenplay is composed based on the hypogram script character of Asal-muasal Tanah Jawa which tends to present the story concisely so that the essence of the adaptation is emphasized on the clarity of the plot. To make each piece of the story in the Babad more logic and connected to each other, it is added some dramatical elements and events that are studied and concluded from external relevant sources of Asal-muasal Tanah Jawa.  ]]>
<![CDATA[“Greget†in The Surabaya Ngrema Dance Performance Representation of The Value of The Fighting Spirit of Arek Surabaya ]]>
<![CDATA[Wahyudiyanto]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2210
<![CDATA[In the Ngrema Surabayan dance performance there is an expression called Greget. Greget that the audience felt are in form of vibrations when the dancers make movements. Suspected Greget is a dancer's interpretation work to present certain figures as a reflection of dance themes. This research uses a descriptive approach by applying technical and kinesthetic analysis of motion. Ethnographic methods are used as data collectors and compile narratives to realize an understanding of Greget. The results of the study explained that the Greget in Surabayan Ngrema Dance was formed by the quality of technique and kinesthetic. The technique as the application of the basic guidelines for the implementation of the motion presents kinesthetic that is a sense of gallant, agile, and authoritative. Sense of movement is the implication of a deep appreciation of the value of heroism. The value of heroism as a dance theme is represented by dancers from the Cakraningrat figure the regent of Madura. An imaginary expression of the spirit of struggle in the Ngrema Surabayan dance embodies the legitimacy of the Surabaya City hero identity.]]>
<![CDATA[Local Culture Synchronization in Global Contemporary Fashion Style Breakthroughs ]]>
<![CDATA[Tiko Prabhata]]>;
<![CDATA[Ilham Ari Susanto]]>;
<![CDATA[Savira P.]]>;
<![CDATA[Wegig Murwonugroho]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2225
<![CDATA[Fashion now has become an inherent part of people’s lives, especially in urban settings. One’s fashion sense may be expressed in numerous ways, such as by donning unique clothing, wearing accessories that carry certain identities, or putting on symbols with special meanings or messages. Over the past few years, contemporary fashion design has returned to traditional design values in ethnic motifs, shapes, and even technologies used. Such a phenomenon is worth close observation, drawing interest in how traditional art creative concepts are processed into part of contemporary-styled fashion. To answer this question, this research employed the phenomenological method. From the analysis carried out, the following four appealing traditional values in contemporary design works were identified: 1) symbolization; 2) environmentally friendly materials; 3) traditional technologies; and 4) philosophies. These four values are the most frequently adapted by designers in creating contemporary fashion designs. Finally, we theorize about the ability of symbolic representations of a particular culture to be transferred to fashion over time, without losing the bond with the local tradition.]]>
