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[Gong Rénténg Transformation From Sacral to Profan ]]>
<![CDATA[Suhendi Afryanto]]>;
<![CDATA[Arthur Supardan Nalan]]>;
<![CDATA[Gustiyan Rachmadi]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i1.2520
<![CDATA[One type of gamelan art that is developing in West Java is Gong Rénténg which used to be often used in sacred ceremonial activities. The sacredness built into the art is inseparable from the belief system adopted by the community as its supporting community. Gong Rénténg's whereabouts then and now are experiencing dynamics of change which are quite important to study, especially his journey which was stopped for various reasons. Stagnant regeneration factors, changes in people's perspectives due to changes in belief systems, as well as the influx of imported arts that continue to intrude on traditional art life, are some of the main reasons this art has experienced ups and downs in its life. The research carried out has the style of cultural research involving key informants as triggers to explore the depth of the material. There are three models of cultural research as approaches taken by researchers, including; Life Story models, Grounded Theory, and Personal Narrative. While the research method used still uses qualitative research by taking locations in two different areas, namely: (1) Ciwaru Village, Cimalaka District, Sumedang Regency, and (2) Kedungsana Village, Plumbon District, Cirebon Regency. In Ciwaru village, the object of research is the art of Gong Rénténg Pusaka Langgeng, while in the village of Kedungsana it is the art of Gong Rénténg Ki Muntili. The results of the research conducted obtained the following information: (1) The Gong Rénténg Pusaka Langgeng art still adheres to adat in a standard way even though the next generation continues to decrease, and (2) The Gong Rénténg Ki Muntili art does two ways to keep it alive, namely ritual ceremonies as part of ancestral traditions are carried out as well as the process of inheritance with new interpretations.]]>
<![CDATA[Challenges of Strengthening Culture in the Development of Sustainable Tourism Villages in Bali ]]>
<![CDATA[Prasiasa, Dewa Putu Oka]]>;
<![CDATA[Ni Wayan Karmini]]>;
<![CDATA[Dewa Ayu Diyah Sri Widari]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i1.2554
<![CDATA[The development of a village into a sustainable tourism village is expected to be able to optimally meet cultural sustainability indicators. To realize cultural sustainability in the development of tourism villages in Bali, there are still challenges in strengthening culture such as the dynamics of authenticity and commodification, tourism political domination and hegemony, as well as strengthening traditional institutions. In order to increase the competitiveness of tourism, especially from the pillar of sustainable tourism villages, aspects of authenticity and commodification can increase their contribution to the local and national economy through the implementation of internationalization, traditionalization, and sacred versus profane; aspects of tourism political domination and hegemony through the implementation of policies related to the development of tourism villages; and aspects of strengthening traditional institutions through involving all levels of village society and community institutions in the village in relation to supporting the development of culture-based tourism villages, as well as revitalizing groups (sekaha-sekaha) that produce creative work to strengthen the development of tourism products in tourism villages and strengthen the image of a tourism village.]]>
<![CDATA[Nilai-nilai Pendidikan Karakter Tokoh Kresna dalam Pertunjukkan Wayang Kulit Lakon Kresna Duta Ki Sigit Manggolo Seputro ]]>
<![CDATA[Satoto, Angga Bimo]]>;
<![CDATA[Widayat, Afendy]]>;
<![CDATA[Hapsari, Diah Retno]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2195
<![CDATA[Current era of information and technology openness does not always have a positive impact on humans but there are also negative impacts, one of which is the moral decline in society, especially children and adolescents. One way to improve the morale of the nation's children is by reintroducing traditional arts which contain a lot of character education values in them, one of which is the wayang kulit performance. This study explores the values of character education in the character Kresna in the story Kresna Duta presented by Ki Sigit Manggolo Seputro. The data in this study were sourced from the transcription of the wayang kulit performance Kresna Duta by Ki Sigit Manggolo Seputro. The analysis technique used in this research is data analysis technique the Miles and Hubernam model.The results of this study reveal that there are 13 values of character education based on the perspective of the Ministry of Education of the Republic of Indonesia that exist in the figure of Kresna namely: 1) religious, 2) democratic, 3) friendly, 4) hard work, 5) honest, 6) independent, 7) love the motherland, 8) creative, 9) love peace, 10) responsibility, 11) appreciate achievement, 12) social care and 13) tolerance. Wayang kulit performance lakon Kresna Duta by Ki Sigit Manggolo Seputro can be a good alternative solution to increase the morale of the nation's youth, one of which is through the teachings of character education values.]]>
<![CDATA[MAKNA SIMBOLIK DAN NILAI TRI SILAS DALAM UPACARA ADAT BAKTI PURNAMASARI DI SUKABUMI ]]>
<![CDATA[Hapidzin, Rivaldi Indra]]>;
<![CDATA[masunah, Juju]]>;
<![CDATA[Narawati, Tati]]>;
<![CDATA[Sunaryo, Ayo]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2267
<![CDATA[The Bakti Purnamasari traditional ceremony serves as a vessel for the community to engage in spiritual practices that have been passed down through generations, based on references from the Pantun Pajajaran Bogor manuscripts. Additionally, this traditional ceremony serves as a social platform for communal activities. The Bakti Purnamasari Ceremony transcends beyond a mere series of religious rituals; it becomes a manifestation of cultural continuity and social involvement laden with values and meaning. In this context, the ceremony not only embodies spiritual values but also significantly contributes to the formation of community identity and the reinforcement of social solidarity. In the context of this article, the aim is to describe and analyze the research findings related to symbols, subsequently elaborating on their meanings and the trisilas value namely, silih asih,silih asah, and silih asuh embedded in the Bakti Purnamasari traditional ceremony in Sukabumi. The research methodology employed is descriptive analysis with a qualitative approach. Participants in the study were selected from cultural figures in the city of Sukabumi, deemed valuable sources of information due to their rich knowledge and experiences associated with the Bakti Purnamasari Ceremony. Data collection techniques included observation, interviews, and documentary studies, with data analysis using triangulation. The research results indicate that the symbols in the traditional ceremony are reflected through offerings with intended meanings expressing gratitude for the blessings received. The trisilas values in the Bakti Purnamasari ceremony portray sincere expressions of love and affection, mutual filling or synergy, and a sense of selfless care.]]>
<![CDATA[Eksistensi Sineas Perempuan dalam Ekosistem Perfilman di Bandung ]]>
<![CDATA[Rembulan, Dara Bunga]]>;
<![CDATA[Swaradesy, Rufus Goang]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2289
<![CDATA[The art of filmmaking is a creative process that involves collaboration from various parties and aspects. This also inspired women filmmakers to create their own works. Many women filmmakers have successfully addressed important issues through their films. The number of women filmmakers in Bandung is still relatively low. Based on data obtained from film communities in Bandung, women filmmakers account for only about one-third of the total number. However, women filmmakers have achieved various notable accomplishments on both national and international levels. This research was conducted to understand the presence of women filmmakers in Bandung within the scope of the national film. Data were obtained in collaboration with Bandung Film Commission (BFC). The informants were women filmmakers who are originally from Bandung and have made contributions to the national film industry. This paper represents a qualitative descriptive study. The research subjects were women filmmakers in Bandung, and the selection of informants was done using purposive sampling techniques. The results of the research indicate that the presence of women filmmakers does not happen instantly. There are internal and external factors that support the development of skills in filmmaking. The level of filmmaking activity in the region is crucial, making the presence of film communities in Bandung highly supportive of the emergence of women filmmakers on the national stage. The existence of women filmmakers is marked by their works, attitudes, and professions. To sustain the existence of women filmmakers, harmony between the realms of education, the professional world, and film associations is essential.]]>
<![CDATA[Brand Image Linkage, Product Diversity and Store Atmosphere to Customer Loyalty in Fashion Shops in Bali ]]>
<![CDATA[Ribek, Pande Ketut]]>;
<![CDATA[Purnawati, Ni Luh Gede Putu]]>;
<![CDATA[Pendet, Ketut Muka]]>;
<![CDATA[Yuliastuti, Ida Ayu Nyoman]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i1.2489
<![CDATA[Loyalty is created based on the experience of consumers buying and consuming products, the factors that influence the emergence of customer loyalty so that they can carry out the right strategy for the survival of the company. brand image, product variety, and store atmosphere. The purpose of this study was to analyze the effect of brand image, product variety, and store atmosphere on customer loyalty. The population of this study are consumers who come to shop at least 2 times. The sampling technique is purposive sampling, this method uses the census method with a total of 102 fashion shop owners. Samples in this study were 102 respondents, with multiple linear regression analysis. Results of this study brand image has a significant positive effect on customer loyalty, product variety has a significant positive effect on customer loyalty, store atmosphere has a significant positive effect on customer loyalty in fashion stores in Bali.]]>
<![CDATA[The Meaning of Symbolic Aesthetic of Basic Shapes in Sundanese Culture ]]>
<![CDATA[J. Jamaludin]]>;
<![CDATA[Anwar Subkiman]]>;
<![CDATA[Edwin Widia]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i1.2505
<![CDATA[This paper aims to examine the symbolic aesthetic concepts that exist in Sundanese society and culture in West Java, Indonesia. The symbolic meaning that exists or is applied to forms that are known in art and design. With the method of interpretation and using Sundanese as a source of research, several expressions and proverbs are found that use the basic shapes, namely squares, triangles and circles. The results of this study indicate that there are symbolic meanings of the three basic forms which indicate that in Sundanese culture there is awareness of the existence of these basic forms and give them symbolic meanings. These basic forms are generally sourced from objects found in nature. The meaning of this basic form refers to a certain function that is applied according to the character of the basic form in its implementation. This symbolic meaning generally refers to efforts to create cultural values towards perfection. The meaning of this basic shape can be used for the meaning of the basic shape used in designs with a local cultural approach, especially in areas where the culture grows and develops.]]>
<![CDATA[Life and Wisdom in Tembang Lir ilir and Kidung Rumekso ing Wengi: A Philosophical Analysis ]]>
<![CDATA[Bagaskara, Akbar]]>;
<![CDATA[Rokhani, Umilia]]>;
<![CDATA[Kustap]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2541
<![CDATA[The traditional Javanese songs created by Sunan Kalijaga, especially Lir ilir and Kidung Rumekso ing Wengi, have tremendous philosophical depth when associated with Javanese culture. Therefore, this research aims to explore and analyze the philosophical meaning contained in the two previous songs and find out how the spiritual messages in these songs are still relevant to the state of society in the modern era. This research uses Ferdinand de Saussure's semiotic analysis to find out the deeper meaning of the text, not forgetting to also use the cultural context approach, to minimize irrelevant interpretations. For data validation, this research uses the triangulation method, where the data comes from interviews, historical records, and direct observation. In practice, the point is to explore the messages contained in the two songs, which are all sourced from the lyrics of these songs and the opinions of experts. The results show that both songs contain philosophical teachings on how to achieve wisdom and peace in every episode of human life. They also teach about the importance of establishing a good relationship with God. In addition, this study also revealed that the spiritual messages in these two songs are still relevant as a reflection of the spiritual journey of everyone in the modern era.]]>
<![CDATA[Cultural Meaning on Traditional Equipment of The Healing Ritual Tradition of Anak DalamTribes in The Batin Sembilan Community, Muaro Jambi District: The Efforts to Preserve Local Wisdom ]]>
<![CDATA[Helty]]>;
<![CDATA[Izar, Julisah]]>;
<![CDATA[Wilyanti, Liza Septa]]>;
<![CDATA[Maisaroh, Siti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i1.2545
<![CDATA[This research aimed to inventory the cultural meaning of traditional ritual equipment and document the equipment used during the tradition of healing requests of Anak Dalam Tribes Batin Sembilan Muaro Jambi Regency as a form of effort to maintain local wisdom. Meanwhile, the research method in this research used a qualitative descriptive method with an ethnographic approach. Data collection techniques in this research used interviews and documentation, while data analysis techniques used data reduction techniques, data presentation and conclusions. The results of the research show various descriptions and documentation of the cultural meaning of the equipment used during the tradition of healing requests of Anak Dalam tribes in Batin Sembilan Muaro Jambi Regency as a form of effort to maintain local wisdom. The names of the tools used in this tradition include: Balai, sesaji, Balai Pengadap, Ancak Kembang, Dupo dan orang-orangan and these are large tools that are used in general while other tools used include: Bertih, Cace, Balai di atas balai, cengkraman, redap, bedak kramasan, nampan sirih tambang balai, kain andam, gambar koneng dan cawan.]]>
<![CDATA[Sintren as a Traditional Performing Art in Mirat Village ]]>
<![CDATA[Kartika, Nyai]]>;
<![CDATA[Reiza D. Dienaputra]]>;
<![CDATA[Susi Machdalena]]>;
<![CDATA[Awaludin Nugraha]]>;
<![CDATA[Agus S. Suryadimulya]]>;
<![CDATA[Susi Yuliawati]]>;
<![CDATA[Sriwardani, Nani]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2551
<![CDATA[Sintren art is a traditional art that developed in almost all coastal areas of the island of Java. In Majalengka, sintren art developed in Mirat Village, Leuwimunding District. Sintren as a traditional art grew among rural communities that were becoming modern so sintren then survived as a traditional performing art that had an influence on the social life of the community. This research was carried out using qualitative research methods which are believed to be a scalpel in research so as to help explain the research object factually. Data collection techniques were carried out by direct observation and interviewing sources. The results of this research show that sintren in Mirat Village is not only a traditional art that was initially performed in ceremonies or rituals, but also a traditional performing art that can be performed during circumcision celebrations, weddings, and welcoming guests who come to the village. There has been a shift in sintren performances, currently sintren can be performed anytime and anywhere depending on the enthusiasm and demand of the community, because currently the values contained in this sintren performing art are no longer closely tied to a ceremony or ritual alone. Sintren art absorbs the cultural values of the community so Sintren performing arts have become part of the culture of the Mirat community.]]>
