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[Tattoos: Art, Symbol, and History in Dayak Salako ]]>
<![CDATA[Cornelius Kiki Hartanto]]>;
<![CDATA[Donatianus BSE. Praptantya]]>;
<![CDATA[Diaz Restu Darmawan]]>;
<![CDATA[Ita Lusia]]>;
<![CDATA[Devi Fridayanti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2293
<![CDATA[It is the product of qualitative research with a phenomenon approach that covers several stages of observation, deep interview, and documentation. This qualitative work is done in the large Sajingan district, Sambas. The research discussed the phenomenon of tattooing the Dayak Salako people. In the Dayak, tattoos get important attention inside, where the value and meaning behind the tattoo motif adorns the body of the Dayak. The tattoo on the dayak has a long history. Especially the traditional tattoo that is commonly known to the dayak people as the flower of eggplant, it is one of the tattoos in dayak Iban. In Dayak Salako's own well-known tattoos are a form of transcultural interaction with other hackers who have tattoos. Views have also been given to tattoos in which the study includes two types of tattoos found in the Dayak Salako, it has a traditional motif and contemporary tattoos. With the development and progress of knowledge technology regarding tattoos and tattoo meanings transferred to a new meaning to the use of tattoos among the Dayak Salako people. New tattoo motifs emerged that included artistic value, meaning, and viewpoint. The essence of the tattoos used by the dayak Salako people has become an interesting issue because of their many interfaces with the Dayak Iban and their tattoos add to their knowledge of the tattoo.]]>
<![CDATA[Jakarta Toba Batak Subject Position in Toba Batak Mangongkal Holi Discourse: Laclau Discourse Analysis ]]>
<![CDATA[Suzen Tobing]]>;
<![CDATA[Agus Aris Munandar]]>;
<![CDATA[Lily Tjahjandari]]>;
<![CDATA[Tommy Christomy]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2328
<![CDATA[A secondary burial practice known as Mangongkal Holi originated in the Toba Batak people. For hundreds of years, the Toba Batak tribe has incorporated this ceremony completely. Mangongkal Holi, unlike other Indonesian burial customs that have been successful in attracting tourists like the Ngaben and Rambu Solo celebrations, is going through an existential crisis, as evidenced by the somewhat less intense manner in which it is currently being practiced. The purpose of this study is to examine how the discourse around the Mangongkal Holi rite contributes to the development of Toba Batak cultural identity. In-depth interviews with Toba Batak tribal members served as the source of the research's data, along with a literature review. This study uses Ernesto Laclau's insight analysis as its analytical framework. According to the findings, the Mangongkal Holi ritual was articulated into four nodal points: reverence for ancestors, indifference to other religions, prestige, and unity. Based on the subject position analysis, the individuals from Jakarta Toba Batak demonstrate that there is a contingency of identity for Jakarta Toba Batak in the Mangongkal Holi discourse brought on by the individual's involvement with traditional institutions. The Mangongkal Holi rite seeks to promote clan harmony among those Jakarta Toba Batak people who have a close relationship with adat. It is no longer relevant to the social reality of Jakarta, which stresses efficiency in all aspects of life, such as time and money efficiency, for Jakarta Toba Batak people who are far from the Mangongkal Holi ceremony.]]>
<![CDATA[The Symbolic Interaction in Trumpets Playing During Worship Ceremony at Higher Than Ever Church ]]>
<![CDATA[Agus Cahyono]]>;
<![CDATA[Septian Cipto Nugroho]]>;
<![CDATA[Wadiyo Wadiyo]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2334
<![CDATA[The trumpet is an ancient instrument made of a sheep’s horn that is found in the Bible. In worship at the Higher Than Ever Church, the trumpet instrument is combined with modern musical instruments. Dealing with the background, the main focus of this study is related to symbolic interaction in the playing of Trumpet. The qualitative method using a research approach to the sociology of art approach was used in this research. The data obtained through observation, interviews, and documentation. Checking the validity of the data used source triangulation and data analysis used the contextualization of the synthesis model. The finding indicated that the symbolic interaction of playing the Trumpet started with Bible study activities, then it was conveyed to the congregation through the activity of Family Altar and other congregational activities, then after that the Trumpet instrument was played in the main worship ceremony. The conclusion has showed that symbolic interaction occurs between the Pastoral team and God through Bible study. Further, it is also between the Pastoral team and the leaders of the Family Altar, between the head of the Family Altar and church members, between the Trumpet players. Congregation and God when the worship ceremony is taking place.]]>
<![CDATA[Tari Baris Gede Télék at Pura Dalem Kedewatan Desa Adat Sanur: A Study of Form and Function ]]>
<![CDATA[Anak Agung Made Anom Wira Kusuma]]>;
<![CDATA[M. Jazuli]]>;
<![CDATA[Widodo -]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2351
<![CDATA[The people of Sanur Traditional Village preserve culture through a process of solidarity, meaning the process between the dance performance of Baris Gede Télék as a local art entity and the local community as its supporters who are faced with something sublimation. The sublimation in question is a process of adjusting society to the development of newer times, but not abandoning existing art. The focus of this research is the form and function of Baris Gede Télék dance. The purpose of this research is to increase understanding and awareness of Balinese art, especially in Baris Gede Télék dance in life, which will basically always exist and remain sustainable. The method used as the basis for the analysis stage is a qualitative method that is descriptive-analytical by identifying and describing a phenomenon that occurs in the field as it is. The sources presented in this paper are obtained from direct observation, then an interview was conducted with the relevant informant, and deepened by the study of documents obtained from a collection of archives, books, videos, and audio recordings related to Baris Télék dance. The collected data is then analyzed through the stages of data reduction, data presentation, and data verification before the data is concluded. With the application in the cultural inheritance space, the people of Sanur Traditional Village are expected to be able to be faced with a process of educating the self-awareness of the community as cultural supporters in the context of directing art, so as to form a character value that will have a major influence on the development of the local community.]]>
<![CDATA[Design Adaptations in the Bathrooms for the Elderly Living in the Suburbs ]]>
<![CDATA[Suastiwi Triatmodjo]]>;
<![CDATA[Riza Septriani Dewi]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2353
<![CDATA[The suitability of the bathroom design for the user, in this context, elderly people (elderly) is urgent. This urgency exists because a degenerative process has occurred, a decline in the quality of the elderly's body, and the elderly population continues to increase significantly. This study aims to find out the bathroom design approach model suitable for the elderly who live in the suburbs. By using practice-based research, this study has developed a conceptual bathroom design for the elderly who live in suburban areas and concludes that adaptive design is a suitable strategy to implement this design. In the future, this adaptive design strategy can also be applied to create various other spaces in homes for the elderly who live in the same or similar living environment.]]>
<![CDATA[Jangkang Baris Dance in Sidatapa Village Study on The Meaning And Potential as Tourist Attraction ]]>
<![CDATA[Ida Ayu Trisnawati]]>;
<![CDATA[Dedi Gusman]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2370
<![CDATA[This study aims to determine the meaning and potential as a tourist attraction for the Baris Jangkang Dance in Sidatapa village. This dance is very distinctive with the Balinese Aga culture which is different from Balinese culture in general. This research is qualitative in nature starting with determining the location in Sidatapa village. Collecting data using in-depth interviews, observation, and document studies. The results were analyzed using interactive analysis. The results showed that the Baris Jangkang Dance in Sidatapa village was popularly known as the Jangkang dance or war dance. This dance is used as a representation of the warrior spirit of the Sidatapa community in dealing with enemies who disturb the peace of the village. Baris Jangkang dance dancers are divided into two types of dancers, namely truna dancers (never dance) and surudan dancers (already dancing). Its position is divided into prabangsa (leader) and prawira (troop). The first potential could be watching dance and drum practice. The second is by watching live during the show. Third, selling various documentations of the Baris Jangka dance in various forms, such as VCDs, photos, clothes and as souvenirs for Sidatapa.]]>
<![CDATA[The Utilization of Colonial Heritage in Tourism Development ]]>
<![CDATA[Dewa Ayu Diyah Sri Widari]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2444
<![CDATA[The purpose of this study was to identify the utilization of colonial heritage as a tourist attraction in the development of tourism. The writing of this article uses a method of data collection through document studies. The use of colonial heritage in several countries raises different views. The understanding of inheritance in general is influenced by a variety of dynamics. The utilization of colonial heritage in the development of tourism in a country raises pros and cons among the local population. On the one hand, it has the view that the uniqueness of colonial heritage can be a tourist attraction aimed at obtaining income for the community and the country. In addition, colonial heritage can also be used as a regional or national identity. But other parties argue, colonial heritage can remind people of the past so that its use can cause unpleasant memories. The economic benefits arising from the development of the tourism sector are an important factor in building preservation decisions and acknowledging colonial heritage has an important role so much effort is made for conservation. Some colonial heritage still survives and reveals the country's history and the identity of its citizens, serving as administrative and business venues as well as tourist attractions.]]>
<![CDATA[Character Education in Panca Sani Pependetan Dance Creation ]]>
<![CDATA[Ni Wayan Iriani]]>;
<![CDATA[Ni Wayan Mudiasih]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 3 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i3.2452
<![CDATA[The pependetan dance "Panca Sani" is a creative dance whose movements are based on a developed traditional dance. This dance describes the reception and expression of gratitude to the gods who descend into the natural world. The idea for this work was inspired by the Wayang Istri dance at the Pangrebongan Kesiman temple. Wayang Istri dance is a ngerebong traditional dance of the Kesiman people held at the Agung Petikan Pengarebongan Kesiman Temple, Denpasar. This ceremonial dance is held every 6 months and falls on Buda Cemeng Langkir Day. The movements and costumes are presented very simply by bringing a property of a rectangular shape made of cow/buffalo leather. The method of creating the "Panca Sani" Pependetan dance refers to I Wayan Dibia's concept in the Panca Sthiti Ngawi Sani creation methodology through five stages of the art creation process, as follows: inspiration/ngawirasa, exploration/ngawacak, conception/ngarencana, execution/ngawangun and the production/ngebah stage. 5 female dancers dance this Pependetan creative dance to express the characters in the dance: majesty, nobility, sincerity which is presented through the graceful beauty of the movements, and the costumes. The dance accompaniment uses a set of Gong Gede gamelan. Pependetan dance is a character education effort with the community to foster a conducive mood and moral formation for each individual involved in the world of education. Growing individuals as moral persons according to what is desired is the core of character education. The results of this work are expected to preserve the teaching and development of pependetan to form a positive attitude for the formation of good character.]]>
<![CDATA[Influence of Various Factors on the Development of Karawo Traditional Textiles in Gorontalo Province, Indonesia ]]>
<![CDATA[Hasdiana]]>;
<![CDATA[I Wayan Sudana]]>;
<![CDATA[Masayuki Sakakibara]]>;
<![CDATA[Ni Kadek Karuni]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2350
<![CDATA[This study aims to clarify the influence of various factors on the development of traditional textiles, by examining the case of the development of traditional karawo textiles in Gorontalo Province, Indonesia from 1970 to 2020. This study employs a qualitative research method with a historical approach. Data were collected through historical documents, observation, interviews, and a literature review. Data were analyzed interactively with continuous comparisons during and after data collection. The results showed that the development of traditional karawo textiles from 1970 to 2020 can be further divided into three distinct periods: 1970–2000, 2000–2010, and 2010–2020. During each period, karawo textiles were influenced by various factors, both internal and external. The most influential internal factors were the emergence of craftspeople and designers as production bases and continuous innovation. The most influential external factors were the actions of government and commercial institutions. Government policies encouraged individuals and non-governmental organizations to contribute to the development of karawo textiles. Commercial institution influent the distribution and marketing of karawo textile products. The study also describes the types of factors and their impacts. The study concludes that to ensure the sustainable development of traditional textiles, therefore those internal and external factors must consistently contribute from time to time.]]>
<![CDATA[The Dancing Cross: Contextualizing Religious Symbol in Balinese Context ]]>
<![CDATA[Ni Made Diana Erfiani]]>;
<![CDATA[Nyoman Tri Sukarsih]]>;
<![CDATA[I Gusti Agung Sri Rwa Jayantini]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2439
<![CDATA[Religious symbol is the generic word for all kinds of religious signs of the divine. It includes myths and religious narratives, theological ideas, particular notions such as karma or sin which are defined in one or more symbol systems, religious acts such as liturgies or private meditations that move through and overlay various symbol systems, as well as architectural and artistic symbols with religious content, books, songs, devotional objects, and the like. Generally, it can be referred to a religious object and can bear a religious meaning. This study aims to identify the meaning of a contextualized religious symbol in the Bali Church which is known as ‘the dancing cross’. The theory applied in this study is semiotic theory which in this case is structural semiotics. The source of the data are texts that discuss about the cross symbol as well as the results of interviews with the creator of the dancing cross symbol, Nyoman Darsane. This study confirms that the dancing cross, which is widely used by Christians who are members of the Protestant Christian Church in Bali is considered as the product of regionalization or contextualization of the cross which is the crux of Christian life and worship. The shape of the dancing cross is transformed from the universal shape of the cross which is consisted of two bars leading to a T-shaped cross which base stem is longer than the other three arms but crooked at the bottom like a dancer who is in left agem position. The results of the analysis through the utilization of structural semiotics in terms of syntagmatic and paradigmatic relations revealed some important points namely the contrastive meaning of the cross before and after the time of Jesus Christ as the sign of shame which covers a curse, a stumbling block and foolishness and the sign to be glorified which covers salvation victory and obedience. Other important points to be revealed are the contextual shape of the cross that can be aligned as a dancer who is in left agem position and the contextual meaning of the cross which leads to the sign of obedience of God’s people or the disciples to carry or dance the cross in accordance with the example given by Jesus Christ.]]>
