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[Jugong as Traditional Fishermen's Formal Aesthetics in Karangtalun Village, Cilacap ]]>
<![CDATA[Rochyat, Indra Gunara]]>;
<![CDATA[Noor, Firdaus]]>;
<![CDATA[Yusuf, Adisti Ananda]]>;
<![CDATA[Wiyono, Erina]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2691
<![CDATA[Jugong is a traditional fishing boat that holds great significance for the fishing community in Karangtalun Village, Cilacap. It is valued for its aesthetic qualities that are expressed through its unique characteristics. This paper explores the functional value of the jugong, the process of its creation by the fishermen, and the artistic expression involved in its design, with the ultimate goal of revealing the aesthetic value of the jugong in general. In order to approach, understand, and reveal the aesthetic values of the jugong, which comes from the village fishermen as cultural actors, this research uses the ethnoart perspective as a method. In order to reveal the functional values, we use functional aesthetic theory as an approach method. In addition, to understand how fishermen create jugong, we use mimetic style theory and the aesthetic theory of expression to reveal the fishermen's attitude and behavior during the process of jugong creation. The study results show that the aesthetic value of the jugong is reflected in the traditions that impose strict rules on the fishermen. The community also appreciates the sensitive attitude of the fishermen towards their cultural products by respecting their identity and pride, which includes their aesthetics.]]>
<![CDATA[Actualization And Inheritance Of Pabitte Passapu Art In Tanah Towa Village, South Sulawesi ]]>
<![CDATA[Samidi]]>;
<![CDATA[Husain, Sarkawi B.]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i3.2694
<![CDATA[The preservation of the traditional art of Pabitte Passapu faces challenges when there are changes in the community supporting the art, so that the inheritance of art to the younger generation is hampered. This condition disrupts the stability of the arts in the Kajang indigenous community. Therefore, the problem in this article is the efforts made by the Kajang indigenous community in maintaining the art of Pabitte Passapu so that the value and meaning of the art remain a source of learning. The objectives of this article are first, to explain that the Kajang indigenous people maintain local values in the midst of societal changes; second, to analyze the performance and meaning of the Pabitte Passapu dance as a source of learning local values; and third, to analyze the ability of the indigenous people to pass on the intellectual property contained in the Pabitte Passapu art. This research uses qualitative research methods. Data were collected through observation, in-depth interviews, oral history interviews, and documentation. Qualitative data analysis uses historical and socio-cultural approaches, especially dance sociology. The results showed that the preservation of the art of Pabitte Passapu can be done through the strategy of strengthening the space for the actualization of art, innovating the inheritance of art through learning and training.]]>
<![CDATA[A Language of Children with Disabilities in Digital Pattern Design ]]>
<![CDATA[Dede Ananta K Perangin-angin]]>;
<![CDATA[Martien Roos Nagara]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2696
<![CDATA[Visual Language of Children with Special Needs in Digital Motif Design. This article aims to understand the designs made by children with special needs in the form of digital motifs done on adobe photoshop softweat. Data collection is done through direct observation, literature study and practice. This problem is analyzed using qualitative methods with a design thinking approach whichincludes empathize which is the initial stage carried out personally to children with special needs to get the right action, define the selection of tools or software that can help realize visual works in the form of digital design, ideate the stage of producing ideas in theform of moodboards which are set as a reference for realizing digital motif designs, prototype the initial design of digital motifs that stilllook static and can be used as the main sample of the creative process so that it can measure the suitability of the designed designconcept, and test is the final stage of testing carried out as a process of understanding from children with special needs using Adobe Photoshop softwear so as to produce digital motifs that look dynamic and in accordance with the designed concept. The result of this research is the visualization of digital motifs that have character and characteristics through hand strokes and sense or art owned bychildren with special needs and add to the diversity of design work, especially in the field of fashion in making digital motifs as an effort to raise the value of art and creativity created by children with special needs.]]>
<![CDATA[The Resilience of Tortor Sirittak Hotang Simalungun Through The Development of Dance Learning Media ]]>
<![CDATA[Sitti Rahmah]]>;
<![CDATA[Yusnizar]]>;
<![CDATA[Raden]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i1.2699
<![CDATA[Resilience in this research is intended to maintain Tortor Sirittak Hotang Simalungun by developing dance learning media, which is utilized primarily in the Unimed FBS Dance Education Study Program. This research aims to add reference material for teaching as well as an effort to maintain the traditional art of Simalungun dance, which is feared to be drifting away with the times, where today's young generation does not know or is not interested in learning traditional dance art. Tortor Sirittak Hotang is a typical Simalungun dance depicting the Simalungun people's work activities as rattan farmers. This activity inspired the people of Simalungun to create a dance (Tortor) that tells how people live in search of rattan (spiritual hosting). Tortor Sirittak Hotang began to appear around the 1990s at the Rondang Bintang Party. Tortor Sirittak Hotang is not yet widely known to the younger generation of Simalungun, nor has it attracted their interest in learning more about it. This digital technology-based Simalungun dance learning media product results from research and development (R&D). Data collection through needs analysis, literacy studies, and documentation. Data analysis was obtained by distributing questionnaires to validate research products. This research indicates that the Simalungun dance media product, validated by material and media validators, is very suitable for use as a dance learning media for FBS Unimed Dance Education Study Program students.]]>
<![CDATA[Reconstruction of The North Nias Giri-Giri Dance: A Creative Process ]]>
<![CDATA[Tuti Rahayu]]>;
<![CDATA[Yusnizar Heniwaty]]>;
<![CDATA[Wiflihani]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i1.2700
<![CDATA[This research aims to find out the views of the people of Lahewa Village, North Nias Regency, regarding the Giri-giri dance which has been lost; the process of reconstructing the Giri-giri dance; the results of the reconstruction of the Giri-giri dance; and the creative process in its reconstruction. This research process resulted in a video and book on the Giri-giri dance from the local culture of North Nias. The method used in this research is qualitative in the form of descriptive analysis. The scope of the discussion includes the following: 1) What is the process of reconstructing the Giri-giri dance? 2) What is the shape of the reconstruction of the Giri-giri dance? 3) What factors support the reconstruction of the Giri-giri dance? Data analysis was carried out from each part found. Data was obtained from literature study, observation, and interviews. The research locations were carried out in the cities of Medan and Nias. The data that has been collected is analyzed using a qualitative paradigm using project-based research. The concept used in reconstructing the Giri-giri dance is structuring forms so that changes can be seen in the movement components, make-up and clothing, floor design, and dance props by providing innovative tourism art concepts, namely short, concise, engaging, and selling value. So, based on this concept, the Giri-giri dance can become a performing arts asset in North Nias Regency and Medan City.]]>
<![CDATA[Enhancing Understanding and Application of Fundamental Visual Elements and Visual Principles Through Collaborative Learning: Insights from the Experiences of Design Students ]]>
<![CDATA[Adhitama, Gregorius Prasetyo]]>;
<![CDATA[Bhumi, Yogie Candra]]>;
<![CDATA[Rahma , Miranti Sari]]>;
<![CDATA[Agriyadi , Yuki]]>;
<![CDATA[Simarmata, Andriano]]>;
<![CDATA[Alfin, Eljihadi]]>;
<![CDATA[Widasati , Arsaika]]>;
<![CDATA[Hatmojo Danurdoro , Dwi]]>;
<![CDATA[Saphiranti , Dona]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i3.2702
<![CDATA[Recent scholarly discussions have robustly endorsed collaborative learning in educational settings but also highlight a significant gap in understanding its effects, particularly in the design disciplines of Indonesian higher education. This research aims to address this gap by investigating the impact of collaborative learning, specifically structured to incorporate fundamental visual elements and principles (FVEVP), on students' comprehension and application in three-dimensional design—an essential area of design education. The study integrates an immersive design workshop with questionnaire surveys to evaluate student perceptions of the pedagogical strategy's effectiveness, advantages, and challenges. The findings demonstrate significant benefits of collaborative learning, including advanced learning processes, enhanced innovative thinking, elevated student confidence, and improved project efficiency, all attained cost-effectively. These benefits contribute to greater student satisfaction and superior educational results. Nonetheless, the study also highlights challenges, such as the unequal distribution of workloads and extended decision-making times, which emphasize the need for structured management strategies to bolster the educational effectiveness of collaborative learning. By providing critical insights into the intricate effects of collaborative learning in design education, the study offers valuable contributions to refining educational practices and directing future research.]]>
<![CDATA[Psychedelic: An Illustration that Reveals False Power in Rhythm 0 Performance Art ]]>
<![CDATA[Dewanto, Thomas Hanandry]]>;
<![CDATA[Bahruddin, Muhammad]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2723
<![CDATA[The performance art entitled Rhythm 0 by Marina Abramovic is controversial, raising various questions regarding its power and influence in the context of art. This research aims to illustrate the microphysical approach to power in the performing arts Rhythm 0, where power emerges from fear and shifts to the dominance of the ideology of power. A qualitative approach with visual analysis techniques was used in this research to explain the phenomenon of this performing arts from a very subjective view. This created illustration entitled "Psychedelic" reveals false powers in the form of intense hallucinations involving auditory, visual and feeling experiences in the Rhythm 0. The basic principles of art were used as the basis for creating this illustrative work. In this case, the use of gold leaf, peony flower elements and halos in the illustration also has a solid symbolic value, so semiotics is used as a basis for giving meaning to the symbols used. The results of this research show that the apparent power contained in the Rhythm 0 performing arts can be revealed through an illustration entitled "Psychedelic", which describes the context of the artwork in depth. This research contributes to understanding Rhythm 0's artwork and enriches knowledge about using psychedelic illustrations as a medium for artistic expression. This research also highlights how these illustrations can communicate complex themes in the performing arts, strengthening our understanding of power dynamics in arts contexts.]]>
<![CDATA[Creation of Contemporary Batik with Brush Stroke Motifs Using Layering Technique ]]>
<![CDATA[Sekar Fardhani, Ahda Yunia]]>;
<![CDATA[Katresna, Alaika Sugih]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i3.2745
<![CDATA[One of Indonesia's growing creative sectors is the Batik industry. The development of the batik industry not only benefits artisans or small and medium-sized enterprises (SMEs) but serves as a creative industry supporting the national economy. This has prompted the government to implement policies to ensure the growth of the batik industry, including promoting innovation and creativity. The author sees opportunities to create contemporary batik in line with these government policies. The term "contemporary" is defined as modern and current. Contemporary batik is characterized by motifs and styles that are not bound by specific rules, making it tailored to consumer preferences. One example of contemporary batik creation, the basis for this research, is brushstroke batik. Brushstroke batik refers to batik motifs created using a brush to apply wax during the batik process, resulting in distinctive patterns. Based on the researcher's observations at a brushstroke batik production house, the coloring process involves basic techniques such as dipping and brushing. However, there is a trend towards using a variety of colors in one batik design. The research identifies the potential to develop designs by focusing on the composition of brushstroke motifs as the main element and exploring various color combinations. This development aims to give novelty in the scientific realm of contemporary textile design, especially in batik innovation towards a modern direction. The development will be carried out using visual composition and coloring layering techniques. This research employs a qualitative method, utilizing literature review, observation, characteristic study, and experimentation for data collection.]]>
<![CDATA[Inai Cultural Dialectics: Indigenous Knowledge of Natural Dyes among the Iban Dayak as a Response to the Phenomenon of Fast Fashion ]]>
<![CDATA[Darmawan, Diaz Restu]]>;
<![CDATA[Novianti, Nadia]]>;
<![CDATA[Praptantya, Donatianus BSE.]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i3.2746
<![CDATA[Basic human needs, including clothing, have become commodities in the hands of industrial players, leading to a culture of consumption and negatively impacting the environment. The fast fashion industry presents numerous challenges requiring human-based solutions to reduce ecological damage. One solution is reintroducing past clothing practices and prioritizing environmentally friendly materials and techniques. Using natural materials with minimal environmental impact in clothing production is becoming more popular. One ecologically friendly material is natural dye, a traditional practice of the Dayak Iban community in Kapuas Hulu Regency, West Kalimantan. This article employs qualitative methods and literature studies to describe the natural dyeing process in the Dayak Iban community, emphasizing the continuation of tradition. The experience of researchers who have lived with indigenous communities in Menua Sadap village can provide valuable objective observation and interview data. In the Dayak Iban tradition, the makers of naturally dyed cloth are predominantly adult women, referred to as Inai. This article describes the local knowledge of the Inai regarding natural dyeing and how this process can solve the environmental damage caused by fast fashion. The indigenous peoples are highly concerned about their climate and environmental conditions as their livelihoods depend on the natural resources where they live. This was then strengthened by customary law so that environmental damage in Menua Sadap occurred less quickly than in urban areas, which often happens.]]>
<![CDATA[Creation of Learning Videos on Balinese Folk Song Arrangements for Junior High School Art and Culture Teachers in Buleleng Regency and Denpasar City ]]>
<![CDATA[Ni Luh Sustiawati]]>;
<![CDATA[Ni Wayan Ardini]]>;
<![CDATA[I Komang Darmayuda]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i3.2772
<![CDATA[The purpose of this research is to comprehend the learning of group vocal arrangements including their forms and stages for the environment of arts and culture teachers at junior high school in Buleleng Regency and Denpasar City through making related learning videos. The research method used is qualitative and quantitative, with data collection techniques through interviews, observation, document study, discography, and questionnaire. The theory used is the theory of analysis of the form and structure of the song and the theory of function. Primary data sources were obtained from interviews, observations, and discography (VCD). Secondary data was obtained from books, journals, and internet materials. The results showed that by providing material for Balinese folk songs arrangement in group vocals at the level of junior high school teachers in Buleleng Regency and Denpasar City through a video learning process, students' interest in learning music arrangement increased and allowed them to practice directly conveying the results of the arrangement in group vowel form.]]>
