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[Ideology on Children Formula Milk Television Commercials ]]>
<![CDATA[dewi, kumala]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i1.2558
<![CDATA[Television advertising for children's formula milk is also a text produced from a certain ideological point of view, in the sense that advertising not only functions as a marketing medium for dairy products but also conveys ideology that can influence the mindset and decisions of the audience. This study focuses on analyzing the ideology behind television commercials for children's formula milk. The research aims to find out and provide an explanation of ideology in television commercials for children's formula milk. The method in this research is qualitative, with a textual analysis approach. The primary data is in the form of recordings of ten advertisements for formula milk products aired by several Indonesian national television stations. Secondary data was obtained through observation, literature study, online data searches, and questionnaires on the public as television viewers/consumers/parents. The results of the study show that the ideology behind the ten television advertisements for children's formula milk includes the ideology of idealism and consumerism. ]]>
<![CDATA[Evaluating Intangible Cultural Heritage Policy of Balinese Handwoven Textiles ]]>
<![CDATA[Parameswara, Agung]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2582
<![CDATA[Several key factors drive contemporary concerns about the sustainability of intangible cultural heritage. Cultural policy has given meaning and importance to the cultural diversity of society. However, the efforts to preserve intangible cultural heritage by providing a way to community welfare are facing new challenges. The article aims to present an analysis of local cultural policy from Bali Governance to sustain the intangible heritage of handwoven textiles by increasing the economy demand. Using a focus group approach, qualitative data were collected and using Nvivo12 to analyze the data from 15 interviews of weavers and practices of Balinese handwoven textiles living in Bali. This approach is used as a means to represent the complex diversity of opinions among members of the weaving group in a dynamic interaction that is provided so that a diversity of views emerges from the participants and direct clarification of the issues that influence the diversity of arguments on the reality of the impact on policy. The result found that the cultural policy is increasing the sense of identity by using Balinese handwoven textiles and significantly has the direct impact for the demand of handwoven textiles. Furthermore, the research revealed that cultural policy plays important role in shaping and reviving the traditional practices by evaluating the challenges of cultural industries such as industrialization, regeneration knowledge, environmental sustainability by reducing chemical dyes, the welfare of women weavers, market access and strong representation between communities.]]>
<![CDATA[Developing Whiteboard Animation as an Educational Media for Electronic Waste Management in the Special Region of Yogyakarta (DIY) ]]>
<![CDATA[Arif Ranu Wicaksono]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2585
<![CDATA[The Electronic waste is included in the B3 (hazardous and toxic materials) waste category, requiring special handling. Based on statistical data from the Independent Waste Management Information System website managed by the Environment and Forestry Service (DLHK) of the Special Region of Yogyakarta, the daily electronic waste collected is around 78 kg. Of the 78kg of electronic waste, 48kg can be processed, consisting of 45kg of electronic waste and 30kg of used battery waste, leaving the remaining 3kg as residue. Yogyakarta City's electronic waste is expected to grow year after year, meaning that a solution is required. One of the solutions is to provide communicative and easy-to-understand educational media to the public, with a broad impact on the residents of Yogyakarta City, so that, electronic waste can be managed effectively in the future, with the hope of reducing the negative impact of environmental pollution on land, water sources, and air. Educational media about electronic waste is still limited, and residents of Yogyakarta City remain unaware of the issue, as evidenced by the fact that when disposing of electronic waste, they mix organic and inorganic waste. Researchers developed an animated video using the Whiteboard application as an educational media for electronic waste management in Yogyakarta. The Whiteboard animation video was developed using the ADDIE method (Analysis, Design, Development, Implementation, and Evaluation). It is expected that this media design will increase the awareness of Yogyakarta City residents of proper electronic waste management practices.]]>
<![CDATA[Nirmana Motion Graphic Video: Innovation in Learning Design Principles and Elements ]]>
<![CDATA[Deny Tri Ardianto]]>;
<![CDATA[Arif Ranu Wicaksono]]>;
<![CDATA[Sayid Mataram]]>;
<![CDATA[RahmanuWidayat]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i1.2586
<![CDATA[The use of technology in education has become increasingly important in facilitating effective learning. However, the lack of diversity and innovation in using technology to develop learning materials poses new challenges for educators. In response, this research aims to develop and test the feasibility of a motion graphic video called Nirmana, which includes learning materials on design elements and principles. The research and development (R&D) process applied the ADDIE model to develop the motion graphic video media. The media testing involved 101 design major students. The data collection used questionnaires, observations, interviews, and documentation, which were analyzed using qualitative and quantitative methods. The result of this research is a Nirmana motion graphic video with learning materials about the elements and principles of design. The media was field-tested based on student assessment using the mean results per aspect. The assessment criteria included clarity of information and instructions, media attractiveness, usability and accessibility of media, and material arrangement and use of illustrations. The results showed that the Nirmana motion graphic video media received good to excellent scores on all of these assessment criteria. Specifically, the clarity of information and instructions received a good score of 78.7%, the media attractiveness received an excellent score of 81.7%, the usability and accessibility of media received an excellent score of 89.6%, and the material arrangement and use of illustrations received an excellent score of 85.8%. These results indicate that the developed Nirmana motion graphic video media is suitable for use as a design learning media. Furthermore, this research suggests that using technology to develop relevant and innovative learning materials can positively impact student attitudes and interest in learning design.]]>
<![CDATA[Dramaturgical Design Based on The Legend of Dideng Puti Dayang Ayu from Rantau Pandan ]]>
<![CDATA[Irianto, Ikhsan Satria]]>;
<![CDATA[M., Hartati]]>;
<![CDATA[Riswani]]>;
<![CDATA[Gustyawan, Tofan]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2631
<![CDATA[Dideng is an oral art from Rantau Pandan Village whose existence is of concern due to the lack of regeneration. In fact, Dideng art has theatrical, musical and gestural power. The content of Dideng is the legend of Puti Dayang Ayu which has great dramatic potential. Designing a performance concept (dramaturgical design) based on the legend of Puti Dayang Ayu is an effort to revitalize and develop Jambi's dramatic arts. This research aims to find dramatic material to then reassemble into a dramaturgical plan based on the legend of Dideng Puti Dayang Ayu. This research uses a qualitative method with a case study approach. The data collection techniques used were interviews and observation. Data analysis was carried out using three analytical tools, namely data reduction, data presentation, and drawing conclusions. The results achieved from this research are 1). Dideng is a means of entertainment for the people of Rantau Pandan village which does not yet have a good regeneration of speakers. Therefore, creativity is needed to create Dideng in more attractive packaging. 2). The Dideng text was passed down orally so it does not have a standard story. Each speaker has their own version of the story. Therefore, the preparation of the story is adjusted to the dramatic needs of the story. 3). The writing of this play was motivated by the dramatic vision of "rationalization of legend". The main theme is broken promises and is structured in an aristolelian episodic plot.]]>
<![CDATA[Abdul Muluk Improvisation Techniques in the Warung Kajang Lako Program on TVRI Jambi ]]>
<![CDATA[Irianto, Ikhsan Satria]]>;
<![CDATA[Gunawan, Indra]]>;
<![CDATA[Handayani, Lusi]]>;
<![CDATA[Gustyawan, Tofan]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2632
<![CDATA[One of the characteristics of traditional Indonesian theater, including Abdul Muluk Jambi, is that the performances rely on the improvisational abilities of the actors. Therefore, improvisation techniques are an essential element in traditional Indonesian theater acting, especially the Abdul Muluk Jambi theater. One of the theater groups that is intense in developing improvisation techniques based on Abdul Muluk's improvisations is Sanggar Pancarona Jambi. This research was conducted to find patterns of improvisational acting techniques in the Abdul Muluk performance by Sanggar Pancarona Jambi. The material object of this research is the performance of Abdul Muluk by Sanggar Pancarona which was broadcast on TVRI Jambi in the Warung Kajang Lako program. This event featured Abdul Muluk's appearance with a shortened duration. The selection of this object was based on the characteristics of the Abdul Muluk performance by Sanggar Pancarona which prioritizes the power of actor improvisation. To find patterns in Abdul Muluk's improvisation techniques, the research method used was a qualitative method with stages, observation, interviews and data analysis. The results achieved from this research are that Sanggar Pancarona Jambi uses improvisation techniques adopted from the Abdul Muluk Jambi theater. Abdul Muluk's improvisation technique which was applied at the Warung Kajang Lako TVRI Jambi event consisted of: Improvisation Rules, Building Agreement, Creating and Saying Topics, Creating Collective Imagination, Division of Tasks, Setting Timings, Starting from Introductions and Interacting with the Audience. The supporting element for Abdul Muluk's improvisation is music that is improvised in response to the actor's improvisation.]]>
<![CDATA[A Behavioral Approach Design for Supporting Sitting Facilities at The Lounge Area Of Minangkabau International Airport (BIM) ]]>
<![CDATA[Alghifary, Faiz]]>;
<![CDATA[Hanom, Imtihan]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i3.2634
<![CDATA[Minangkabau International Airport (BIM) located in West Sumatera is used as the main air transportation mode to travel outside the province. When waiting for flights, passengers will be in the airport lounge. However, the airport lounge still doesn’t have supporting facilities to maximize activities while in the lounge area. This research uses descriptive qualitative methods with direct observation, distributing questionnaires, and literature study as a sources. An environment can be said to be good if it can meet the needs of humans in it. Therefore, a supporting facility was created to maximize passengers' activities while in the airport lounge. This supporting facility also has a high level of mobility so that it can meet the needs of airport passengers who have high mobility in the form of a multifunctional partition. In addition, this facility uses cultural elements in the form of one typical Minangkabau motif, namely "Itiak Pulang Patang" which is transformed into a new design but still maintains the essence of the original form. This motif represents the accordance with the nature, behavior, and habits of the Minangkabau people who tend to migrate. The motif implements the purposes really well in designing supporting facility at BIM Keyword : behavioral approach; BIM Airport; design; minangkabau; supporting facilities.]]>
<![CDATA[A Portrait of Tri Kaya Parisudha in Cingkreman (Hofstede's Study of Cultural Dimensions) ]]>
<![CDATA[Eka Putri Suryantari]]>;
<![CDATA[Ni Luh Putu Wiagustini]]>;
<![CDATA[I Putu Sudana]]>;
<![CDATA[Ni Ketut Rasmini]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i1.2637
<![CDATA[Cultural practices in society are greatly influenced by the extent to which they are able to provide benefits to those who practice them. One of the cultural practices that is still found in the heritage region of the city of Denpasar is called cingkreman. This is a culture-based and family-based financial planning and savings system. Cingkreman is based on an agreement between individuals to join a cingkreman group (sekaa). The period of participation for one period corresponds to the cycle of the Galungan holidays, namely 210 days. The novelty of this research is to bring to the surface the cultural practices that exist in society so that efforts can be made to preserve the tradition of cingkreman. This is qualitative research with an interpretive paradigm that uses an ethnomethodological approach. The aim of this research is to find out how the concept of Tri Kaya Parisudha (moral teaching about personal behavior) is applied to cingkreman and how this practice continues to exist in the midst of society. The data were collected through interviews and focus group discussions (FGDs). The research results show that the Tri Kaya Parisudha concept is practiced in the cingkreman system. The behavior of the members and coordinators of a sekaa, as reflected in the themes resulting from the stages of Garfinkel's analysis, reflects kayika parisudha (good acts), wacika parisudha (good speech), and manacika parisudha (good thought). The foundation of behavior based on these three noble attitudes of Tri Kaya Parisudha is able to produce cultural values which cause the practice of cingkreman to provide benefits to its practitioners. The benefits felt by these actors mean that cingkreman will continue to be practiced, and this is one of the reasons why the carrying out of cingkreman persists amidst technological advances which are slowly eroding existing cultural practices in society. Hofstede's cultural dimensions that are found in the practice of cingkreman include uncertainty avoidance, collectivity, and femininity. The dimension of power differences is not found because, in the practice of cingkreman, there are no differences between the participants in the social strata. Everyone has the same right to join the cingkreman group.]]>
<![CDATA[Variety Of Bhenga And Manu Ornaments At The Sa'o Traditional House Of Gurusina Traditional Village ]]>
<![CDATA[Azizy, Irfan Maulana]]>;
<![CDATA[Wimansyah, Yogasmara Binsar Putra]]>;
<![CDATA[Sitinjak, Zhalzhabela Nur’aini]]>;
<![CDATA[Indrayana, I Made Heri]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2644
<![CDATA[East Nusa Tenggara (NTT) has a rich culture and diverse traditions. Several ethnic sub-groups, including the Ngada-Lio ethnic sub-group, mark this diversity. This ethnic sub-group inhabits the Ngada Regency area, where traditional villages are scattered at several points. Traditional villages are places to preserve a culture that has been passed down from generation to generation, one of which is weti carvings. These carvings have a variety of figures, including Bhénga and Manu. The depiction of these two figures is like a buffalo horn and a chicken. In some traditional houses in Indonesia, there are also similar figures, namely in the Tongkonan Toraja traditional house and the Karo Batak traditional house. This research is a qualitative descriptive research. The researcher chose this method to describe the figures of Bhéngaand Manu in detail and depth. This research began with observation and interviews, after which the research continued by analyzing the data using morphological, stylistic, and comparative analysis. The results of this study show that various ornamental figures of buffalo and chicken are depicted on the walls of the Sao traditional house because the two animals have a special closeness to the community. Besides that, the ornamental variety is carved on the wall of the traditional house as an addition to the aesthetic value of the traditional house.]]>
<![CDATA[Becoming an Active Subject: Women's Art Collective Eco-Artivism for Ecological Sustainability in Indonesia ]]>
<![CDATA[Ambar Alimatur Rosyidah]]>;
<![CDATA[Sahara Ulfa, Dhiya]]>;
<![CDATA[Hermin Indah Wahyuni]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2688
<![CDATA[This study explores the eco-artivism of women's art collectives for ecological sustainability by looking at actor-networks, eco-art as a non-human actor, and women's art collective negotiations. In Indonesia, eco-artivism is used to raise ecological awareness and strengthen socio-environmental protests in the ecological crisis. To explain the relationship of ecological sustainability in the artistic works of women's art collectives, we underline the connection between ecofeminism and Actor-Network Theory (ANT). We used a case study method with the Perempuan Pengkaji Seni (PPS) community, an art collective of female artists, workers, and researchers based in East Java, Indonesia. We find that the eco-artivism of women’s art collectives is an attempt to make women and nature become active subjects. These efforts can be seen in three resulting themes: the PPS network as a women's art collective, eco-art from the scars left by natural disasters to the impact of industrialization, and the negotiation of PPS as a women’s art collective for environmental sustainability.]]>
