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[Substituting The Synthetic For The Authentic: The Contribution of Rudolf Steiner’s Biodynamic Innovations in Advancing Yos Suprapto’s Traditional Knowledge of Local Agriculture ]]>
<![CDATA[M. Dwi Marianto]]>;
<![CDATA[Rob Goodfellow]]>;
<![CDATA[Hanggar Budi Prasetya]]>;
<![CDATA[Mita Purbasari Wahidiyat]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2364
<![CDATA[In 1970, Indonesian President Suharto’s New Order Government formally adopted an international system of agricultural production known as ‘The Green Revolution.’ This required Indonesian farmers to adopt so-called modern farming practices as part of the first five-year national development program, which incorporated an emphasis on ‘Swasembada Pangan,’ or food production self-sufficiency. Chemical-based fertilizers, fungicides, herbicides and pesticides have been in continuous and widespread use in conventional farming in Indonesia ever since. Concurrently, international peer-reviewed scientific research has reported the detrimental effects of their widespread use on complex ecosystems, in particular, on pollinating insect populations such as bees. This situation greatly concerns many people, including Yos Suprapto, an Indonesian artist who articulates his social engagement through non-conventional creative practice. Since 2009, Suprapto has pioneered rice planting using the biodynamic agriculture (BDA) system developed in 1924 by the Austrian educator and innovator Rudolf Steiner. Yos Suprapto argues that, as with art, farming also requires innovation and novelty as well as an intimate understanding of human systems. This includes, an appreciation of the shortcomings associated with the modern world, namely reliance on complex manufacturing processes, often located abroad, and increasingly vulnerable and disrupted international supply chain networks. Farming, then, is Yos Suprapto’s ‘canvas’ and the colors he ‘paints’ are his crops and his ability to not just see the world as it is but as it should be. This study uses productive hermeneutic and aesthetic engagement theories to better understand why Yos Suprapto has insisted on implementing organic farming techniques and how he has also taken advantage of local oral traditions, local materials, and indigenous locally-produced rice varieties to increase harvest yields without the use of synthetic fertilizers and, in doing so, support and advance not only traditional knowledge and time-honoured cultural practices, but also local human food security.]]>
<![CDATA[Literary Tourism: Maintaining Balinese Identity in 'Host-Guest' Interaction in Short Stories by Balinese Writers ]]>
<![CDATA[I Nyoman Darma Putra]]>;
<![CDATA[Sutanegara Pidada Ida Bagus Jelantik]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2471
<![CDATA[The development of tourism in Bali with strong socio-cultural influences has inspired Balinese writers to create literary works about the interaction between Balinese people (hosts) and tourists (guests), both in Indonesian and Balinese language. This study examines how Balinese authors maintain Balinese identity in host-guest interactions featured in short stories by Balinese writers. The main object of research is the anthology of Balinese short stories Mekel Paris (Madame Paris, 2012) by IBW Keniten because all short stories in this anthology contain stories of interactions between Balinese and foreigners. Data from the short stories and interviews with authors were analyzed qualitatively using a tourism literary approach, an approach that uses anthropological tourism theory of host-guest contact introduced by Valene Smith. The results showed that there are various forms of host-guest interaction expressed in the Mekel Paris anthology, namely harmonious, conflict, mutualistic, and transactional interactions. Although there are various forms of interaction, all of them have one goal, which is to convey the message so that the Balinese people are not carried away by foreign influences, but are firm in maintaining Balinese identity. In addition to enriching the discussion on how Balinese people maintain their identity, this article also contributes to the development of the study of tourism literature that is growing rapidly in Indonesia.]]>
<![CDATA[Symbolic Meaning Relationship between the Condong Character and the Putri in the Gambuh Batuan Dance Drama ]]>
<![CDATA[Ciclia Indraningsih Jeno]]>;
<![CDATA[Ni Made Arshiniwati]]>;
<![CDATA[Ida Ayu Trisnawati]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2038
<![CDATA[Gambuh is the oldest Balinese theatrical dance drama, with a rich repertoire of dance movements, music, dramaturgy, and costume design, making it the source of Balinese performing arts that emerged later. The main story is about the journey of Prince Panji to find his lover, Princess Candra Kirana. There are two important female characters, namely Condong (servant) and Putri (Princess), who have different social statuses but have a close relationship and play a key role at the beginning of the drama, making them the determinant of the success of the performance. The research aims to reinterpret the meanings contained in the Gambuh dance drama, especially the relationship between Condong and Putri, to offer a living interpretation of local wisdom, pass them on to the next generations, and contribute to building the character of the nation that has nobility and refinement of character. The research was conducted using a qualitative research method, including a literature review, participatory observation, and in-depth interviews in Batuan Village, Gianyar Regency, Bali. The research process begins with a formal description of the characters, dance movements, costumes, and antawacana (dialogue), then the symbolic meaning analysis is carried out using Aesthetic Theory and HG Gadamer and Paul Ricoeur's Hermeneutics approach. The results of the study show that the relationship between the two characters, Condong and Putri, carries the meanings of dedication, sincerity, ethics, and the strength of women - values that are local wisdom but very relevant to women today. The elements of Rwa Bhineda, which are two opposing forces, Trihita Karana, which is harmony with nature, God, and humans, and the Hindu concept of Satyam Sivam Shundaram, which embodies ethical and pure values wrapped in beauty in the Gambuh dance drama - are the essence of Gambuh that is relevant to the present day, making it universal, transcending time and distance.]]>
<![CDATA[Rice Straw Craft Preservation and Development in Nagano Prefecture, Japan ]]>
<![CDATA[Pandu Purwandaru]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2276
<![CDATA[The Japanese rice straw culture began in the Yayoi period approximately 2000 years ago. This culture can be found in almost all areas of Japan, including the Nagano Prefecture. One of the supporting elements of the rice straw culture development in this area is because it has been recognized as a potential rice farming area. Based on the historical evidence displayed in a number of museums, there are various traditional uses of rice straw for utility, ritual, and celebration needs. Unfortunately, the number of workshops and craftsmen is currently decreasing due to modernization. However, there are still several workshops that still exist and are actively producing rice straw crafts. Therefore, this research was conducted to understand various supporting aspects in the preservation and development program of rice straw crafts in Nagano Prefecture. From the mapping results in Otarimura and Azumino, it may be concluded that the character of the rice straw crafts produced those areas is through coiling and basket weaving methods. There are five elements that support the development of these crafts, namely human resources, production methods, design development, support from the government and private sector, and the market.]]>
<![CDATA[Ornamental Art of Kalasan Temple in The Perspective of Art Philosophy ]]>
<![CDATA[Niken Wirasanti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2337
<![CDATA[The beauty of Kalasan Temple façade can be seen from its variety of decorations known as the pearls of Central Java art in the 8th century AD. The artwork manifests in the aesthetics and artistic value of Kala-Makara, leaf tendrils (purnakalasa), paper paste, apsara-apsari figures. The purpose of this writing is to gain knowledge and insight about the decorative artistic expressions carved on the temples. The method used is qualitative research observing its form, content and meaning. The analysis uses contextual analysis, which is to look at the relationship between ornaments and their context by basing on the motion of lines, the shape of art objects, and rhythmic compositions. The discussion will use aesthetic theory, artistic value and symbol theory to be able to explain the form of beauty in the decorative art of Kalasan Temple. The result shows that the selection of ornamental art ornaments is combined with the right proportions, symmetry in the arrangement and precise processing to produce artistic expression in achieving transcendent ideas.]]>
<![CDATA[Reflections on the Governance of Calon Arang Performance: Between Contestation, Commodification, and Religion ]]>
<![CDATA[Komang Indra Wirawan]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i1.2431
<![CDATA[Calon Arang performing arts have been developing very well recently. It is proved by the held of many Calon Arang performances and the hectic news coverage and related social media uploads. In addition to the audience being enthusiastic about the show, the artists also continue to innovate and be creative in presenting interesting performances. However, the existing Calon Arang art is a sacred performance that has undergone many commodifications and deviations. Furthermore, there was a lot of chaos and even death. Therefore, a management system for the Calon Arang performing arts is needed that is in accordance with tattwa (philosophy), susila (ethics), and upakara (rituals), but at the same time, it provides sufficient space for artists to express their creativity, and can still present interesting shows to the public. This research was organized in qualitative descriptive method to formulate what factors need to be used as the basis for the management of Calon Arang performance. The research result shows that the preparation of Calon Arang performance management guidelines was not an easy thing because there were conflicts in mapping out the parameters to be used as the basis for managing the Calon Arang Show, both from an aesthetic and religious point of view. However, it is hoped that with the cooperation of various parties, initial principles can be formulated on how to manage the Calon Arang show.]]>
<![CDATA[Balinese Karawitan Arts as a Media for Character Education and Preservation of Balinese Cultural Arts ]]>
<![CDATA[Ni Wayan Masyuni Sujayanthi]]>;
<![CDATA[Ni Putu Hartini]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 4 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i4.2490
<![CDATA[The negative impact of Covid-19 on children's character development calls for activities to restore social interaction that affects attitudes and behavior through Balinese Karawitan Art. The aim of such activities is to improve concentration and social interaction skills by applying the value of moral education in participating in Balinese Karawitan Arts activities. The implementation of character education values provides a correlation to children's growth and development using the mirror of effect theory, which refers to a person's character being influenced by his environment. The method used is a descriptive method by describing the phenomenon of the impact of Covid-19 as it affects the social interaction of children. Data collection was carried out by observation and interviews, the results of the research show that participating in Balinese Karawitan Arts activities at Sanggar Kertha Jaya brought positive changes to children's growth and development because, in addition to mastering Balinese gamelan techniques, the activities indirectly provided character education in an effort to instill the values of attitude and intelligence in thinking and appreciation. Recommendations: create activities that are able to increase social interaction while still implementing health protocols, especially in the arts that can shape the character of the nation's young generation.]]>
<![CDATA[Uses Of Natural Dyes To Develop Tiga Negeri Batik ]]>
<![CDATA[Theresia Widyastuti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i1.2504
<![CDATA[Tiga Negeri batik began to be made in the late 18th century on the north coast of Java island but its dyeing process was made in three cities, namely Lasem, Pekalongan, and Surakarta. The term three refers not only to the number of colors but also to the combination of three cultures behind the style, namely Java, China, and Europe. This field research using qualitative methods aims to explore the possibility of developing Tiga Negeri batik through the use of natural coloring from plants. Data were collected through observation and interviews with batik artisans in Lasem, Pekalongan and Surakarta, as well as batik artisans who are also natural dye activists and who are members of the Indonesian Natural Dyers Association living in Kediri and Jombang. The result is that Tiga Negeri batik with environmentally friendly natural dyes can be achieved despite still having to use a small amount of artificial dyes, especially for the red color. This effort to return to natural dyes is mainly because this type of batik attracts the attention of international consumers in particular, and domestic consumers in general.]]>
<![CDATA[Local Wisdom of The Mentawai Tribe Community on Siberut Island in The Vicinity of Maritime Tourism Area ]]>
<![CDATA[Munandar, Anis]]>;
<![CDATA[Noer, Melinda]]>;
<![CDATA[Erwin]]>;
<![CDATA[Syahni, Rahmat]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i1.2507
<![CDATA[The tourism sector plays a role in the economic development of Indonesia and serves as one of the sources of Regional Original Income. Generally, countries with potential coastal natural resources utilize maritime tourism as a tool to support their development, including in the Mentawai Islands Regency, West Sumatra Province. The tourism sector represents one of the economic development potentials in the Mentawai Islands Regency. Maritime tourism involves recreational activities conducted in marine or coastal areas, including beaches, islands, and oceanic regions, encompassing the surface, depths, and seabed. One of the potentials of maritime tourism destinations is the local wisdom specific to each region. Areas that adopt a community-based approach to the development of maritime tourism utilize social and cultural potentials as tools for its advancement. Therefore, this study focuses on the local wisdom of the Mentawai ethnic community on Siberut Island within the maritime tourism region. The research aims to identify, describe, and explain the local wisdom still applied in the daily lives of the indigenous Mentawai community on Siberut Island as a basis for the development of maritime tourism. The theory of local wisdom is used to analyze the forms of local wisdom. The research design falls under the non-experimental research design. Based on its nature, qualitative data is utilized in the study. From the discussion, it can be concluded that the South Siberut and Southwest Siberut sub-districts exhibit various forms of local wisdom. The forms of local wisdom include knowledge, technology, religious beliefs, culture, customs, and creative products of the community.]]>
<![CDATA[Paul Ricoeur's Hermeneutic Analysis on User Interface Design for Augmented Reality Baleganjur Applications ]]>
<![CDATA[I Komang Try Adi Stanaya]]>;
<![CDATA[I Made Gede Arimbawa]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i1.2410
<![CDATA[Augmented reality technology or more popularly known as AR is a technology that implements interactive multimedia concepts. Augmented reality technology is a technology that combines the virtual world with the real world in real-time, through electronic devices such as cameras, sensors and software, augmented reality is able to display virtual objects in both 2D and 3D form in the real world. In this study, it focuses on analyzing the appearance of the interface design or the main menu application user interface by implementing augmented reality technology, with the name of the application, Augmented Reality Baleganjur. The user interface display on the main menu of the Baleganjur Augmented Reality application has design elements that can be translated with different meanings and understandings, depending on the user's point of view. This is the basis of this research, where the appearance of the user interface design on the main menu of the Baleganjur Augmented Reality application has design elements that can lead to different interpretations of meaning and understanding. The purpose of this study is of course to reveal the meaning and understanding of the design elements in the user interface design display of the Baleganjur Augmented Reality application, by conducting an in-depth analysis using Paul Ricoeur's Hermeneutics. As for the results of this study, it can be concluded that researchers as hermeneutics have an important role in interpreting and offering solutions, which can later be used as a reference for repairing or perfecting design elements in the application user interface, so that these design elements can convey meaning and understanding in a comprehensive and detailed manner to users.]]>
