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[Aesthetic Characters of Flora and Fauna Painting Art Pengosekan on Visual Objects Wood Carving Craft Arts in Singakerta Village, Ubud ]]>
<![CDATA[Ni Putu Laras, Purnamasari]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2777
<![CDATA[Along with the heyday of Pengosekan flora and fauna painting in the 1990s, the aesthetic character of painting was attached to the art of wood crafts in Singakerta Village, Ubud. This aesthetic character can be seen from the visual style of creating flora and fauna objects as well as the finishing of wood carving crafts, which reveal images of typical Pengosekan flora and fauna paintings. This research specifically identifies the background and supporting factors for the visual language representation of Pengosekan flora and fauna painting objects in the art of wood carving that developed in Singakerta Village, Ubud. This research is qualitative research, using aesthetic theory and representation theory as analytical tools. The results of the research show that the aesthetic character of Pengosekan flora and fauna paintings is represented in wood carving craft products, in terms of theme, color, shape and visible lines. The representation that occurs is influenced by creativity in order to follow market trends that were developing at that time, as well as the economic motivation of the craftsmen to improve their welfare. The imagery of Pengosekan flora and fauna painting, which is attached to the art of wood carving, has indirectly helped the dynamic existence of this painting art. The representation of the art of painting in crafts is a dynamic that occurs in the development of the art of painting. The practice of indirect representation also shows something that is very important and positive in maintaining the existence of the art of painting itself, even though the visualization is slightly different because it is caused by several factors.]]>
<![CDATA[Unraveling Aesthetics Tapestry: Mapping the Artistic Styles of Young Contemporary Artist in Bandung ]]>
<![CDATA[Agung, Lingga]]>;
<![CDATA[Bastari, Rendy Pandita]]>;
<![CDATA[Gumilar, Ganjar]]>;
<![CDATA[Lionardi, Angelia]]>;
<![CDATA[Siswanto, Riky Azharyandi]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i3.2785
<![CDATA[Bandung thrives as a city deeply entrenched in its artistic progression, boasting a vibrant array of art institutions, galleries, collectives, and accolades in the axis of Indonesian contemporary art. Despite this flourishing landscape, the divergence of contemporary art from conventional aesthetics poses challenges in garnering public appreciation. Since the early 2000s, Bandung’s contemporary art scene has witnessed a proliferation of innovative expressions influenced by recent aesthetic philosophies, notably postmodernism, and characterized by diverse aesthetic idioms. However, despite these progressive strides, a notable gap persists between contemporary art in Bandung and its local community. This study utilizes qualitative methodologies, including Focus Group Discussions (FGD) and visual analysis, to probe the aesthetic nuances within Bandung’s contemporary art milieu. FGD sessions delve into aesthetic dialogues, institutional dynamics, and community perceptions, while visual analysis deciphers cultural symbols within socio-political contexts. The findings illuminate prevalent themes of parody, pastiche, kitsch, and cultural fusion, indicative of a profound exploration of Indonesian identity amidst the currents of globalization. Bandung young contemporary artists adeptly interweave traditional values with contemporary themes, infusing their works with tradition, religion, and locality elements. While defying rigid categorization, these creations unveil intriguing intersections deserving further scholarly inquiry. This research underscores Bandung’s contemporary art scene as a complex and diverse tapestry shaped by historical, political, and social dynamics. It emphasizes the importance of discursive meaning and social processes within the artistic medium, shedding light on the intricate interplay between artistic innovation and socio-cultural contexts within Bandung’s vibrant art landscape.]]>
<![CDATA[Analysis of Promotional Content on Marketplace Tokopedia and Bukalapak to Improve the Culture of Online Shopping ]]>
<![CDATA[Tjahjawulan, Indah]]>;
<![CDATA[Syahnureza, Teuku]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i3.2787
<![CDATA[The online marketplace is one of the most prominent players in the e-commerce business in Indonesia. Marketplace sites act as third parties in online transactions by providing places to sell, logistics, and payment facilities. The widespread use of digital platforms in Indonesian society has contributed to the growth of online marketplaces. From early observations of promotional designs on various online marketplaces, they show similarities in the concept of promise, which is content that conveys different moments that need to be celebrated by shopping online with repeated messages and high airing frequency. Then the question arises, why is there a similarity? So it needs to be explored further; what is the content of promotional design on various marketplaces in Indonesia? The promotional content is considered an effective way to encourage consumers to continue shopping, so marketplaces in Indonesia widely use it. The research focused on two leading marketplaces in Indonesia, Tokopedia and Bukalapak, using content analysis methods and comparative studies with digital data collection through Google's search engine facility to find the promotional patterns of the two marketplaces. The results showed similarities in promotional content, including messages, visualizations, and frequency intensity, proving that there is a semblance of content in promotional designs built to improve online shopping culture.]]>
<![CDATA[Balinese People’s Happiness in Socio-Economic and Cultural Perspectives ]]>
<![CDATA[Prastyadewi, Made Ika]]>;
<![CDATA[Gde Bayu Surya Parwita]]>;
<![CDATA[Gede Antok Setiawan Jodi]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i3.2790
<![CDATA[Happiness becomes a benchmark of how people assess their lives, not only in terms of economic but also social and cultural. This research analyzes how Balinese people perceive happiness in terms of social, economic, and artistic. Quantitative and qualitative approaches were combined in the study. Denpasar City was chosen as the research location considering that Denpasar City is the capital of Bali Province, which acts as the centre of government and economy but still has traditional cultural values that its people closely carry. Data collection using questionnaires was distributed to 100 respondents. Data was analyzed descriptively, and correlation analysis was used to see how much economic, social, and cultural influences on people's happiness in Denpasar City. Information from in-depth interviews was analyzed using word clouds to see how people perceive happiness. The results show that happiness is viewed in terms of economy, income, life, culture, and satisfaction. Both economic, cultural, and social are still variables that influence happiness. The interview results also show that compared to those with high incomes, people feel happier when they gather with family and the surrounding community while doing various religious activities closely related to Balinese culture.]]>
<![CDATA[The Acceptance of Wayang Kamasan Porcelain Ceramics at Petitenget Temple Bali ]]>
<![CDATA[Rai, Sunarini]]>;
<![CDATA[I Wayan, Mudra]]>;
<![CDATA[Anak Agung Ayu Oka, Saraswati]]>;
<![CDATA[I Ketut, Muka]]>;
<![CDATA[I Wayan, Karja]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i3.2795
<![CDATA[Temples, integral to Hindu Dharma worship, are quintessential features of Balinese architectural tradition. Among these, Petitenget Temple stands out with its distinctive interior, adorned with ceramic plates embellishing the pelinggih (shrine). This study focuses on Petitenget Temple, where porcelain ceramic plates featuring the Wayang Kamasan motif are utilized within the Tri Angga framework, representing a novel exploration. Research related to the study of the use of porcelain ceramics as ornaments in old buildings in Bali. Previous research has been carried out but has not been studied in depth on the use of Wayang Kamasan motifs on pelinggih with the Tri Angga concept in particular. This research aims to reveal the form, meaning, and aesthetic value of porcelain ceramics with wayang kamasan motifs as ornaments on pelinggih. Using qualitative methods with a descriptive approach, data collection involved observation, in-depth interviews, and documentation, and data reduction flow. Meanwhile, the data source sampling technique uses purposive sampling. The findings obtained through analysis of the Wayang Kamasan motif applied to porcelain ceramic plates at Petitenget Temple, Kerobokan Badung, are the harmony of Wayang motif porcelain ceramics, as a prototype or reference for preserving the use of Wayang Kamasan motif porcelain ceramics in sacred buildings and other functions, and temple visitors can enjoy the form, meaning, and aesthetics displayed by the porcelain ceramics with Wayang Kamasan motifs installed. From this research, it can be concluded that Wayang Kamasan porcelain ceramics are accepted by the community, temple owners, or Petitenget Temple owners.]]>
<![CDATA[Kiamat Dance: A Reflection of Local Wisdom in Kuripan Village, South Lampung, Indonesia ]]>
<![CDATA[I Wayan Mustika]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 2 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i2.2797
<![CDATA[The Kiamat Dance is the closing dance of the ruwah or traditional wedding of the White Blood Queendom (Keratuan Darah Putih) for seven days and seven nights, known as nuhot. The Kiamat Dance, with its history rooted in the traditions of the White Blood Queendom, holds significant cultural and social value. As the closing dance of the ruwah, this dance symbolizes the culmination of the wedding festivities and marks the beginning of a new chapter in the lives of the newlyweds. The presence of this dance in various events beyond weddings highlights its versatility and adaptability, reflecting its enduring appeal and relevance in contemporary society. Through its rich symbolism and intricate movements, the Kiamat Dance embodies the core values and beliefs of the White Blood Queendom, serving as a testament to the community's cultural heritage and identity. This research aimed to describe the history, development, and local wisdom in the Kiamat Dance from Kuripan Village, South Lampung. This research employed a qualitative approach to produce descriptive data. The underlying theory used in this study was the behavioristic theory. Data collection techniques involved field observation, interviews, and documentation. The results showed that the art of the Kiamat Dance is the closing dance of the ruwah, a series of events for seven days and seven nights at the wedding in the White Blood Queendom. The Kiamat Dance is present on the last night as a closing dance. This dance was originally only found in the wedding ceremony of descendants of the White Blood Queendom. Still, almost every event has this dance nowadays, both in welcoming special guests and celebrating holidays. The values in this dance include religious, social, aesthetic, and educational values.]]>
<![CDATA[Representation of Cross-Cultural Relations in the Bali Agung Theater at Taman Safari & Marine Park Bali : A Discourse in Balinese Tourism Performing Arts ]]>
<![CDATA[Gede, Yoga Kharisma Pradana]]>;
<![CDATA[Surya Wijaya, Nyoman]]>;
<![CDATA[Ketut Purnaya, I Gusti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i3.2813
<![CDATA[This article aims to understand and explain the discourse on cross-cultural relations in the Bali Agung Theater at Taman Safari & Marine Park Bali. The Bali Agung Theater at Taman Safari & Marine Park Bali is an innovative Balinese performance art for tourism purposes at Taman Safari & Marine Park Bali. As a Balinese tourism performing art, there is a representation of cross-cultural relations in performance scenes featuring typical Chinese arts. The narrative discourse of the Bali Agung Theater was developed by actors based on the folklore of traditional Balinese society. The main problems: 1) What are the forms of cross-cultural relations in the Bali Agung Theater at Taman Safari & Marine Park Bali?; 2) What is the discourse on cross-cultural relations in the Bali Agung Theater at Taman Safari & Marine Park Bali?. The cross-cultural discourse analysis in the Bali Agung Theater at Taman Safari and Marine Park Bali was completed using qualitative methods. Primary data was collected through observations at the Taman Safari and interviews with actors at the Bali Agung Theater. Data achievements are complemented by secondary data collection from literature studies. All data were analyzed using knowledge-power relations theory and structuration theory. The research results show that: 1) Taman Safari & Marine Park Bali displays discourse on cross-cultural relations through Balinese cultural acculturation at the Bali Agung Theatre. Cultural acculturation can be seen in art in the form of props and dance movements; 2) The discourse on cross-cultural relations in the Bali Agung Theater consists of cultural heritage discourse, educational discourse, and violence discourse. This theatrical discourse centers on Kang Ching Wei, King, and Dewi Danu.]]>
<![CDATA[The Shift Analysis on Woman Traditional Underwear Designs in Java and Bali from 1900 until 2000s ]]>
<![CDATA[Pangestuti, Annisa]]>;
<![CDATA[Tresnadi, Chandra]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2815
<![CDATA[Indonesia is a country that pays attention to Eastern tradition, namely in politeness value either in attitude or socialization. Politeness in fashion considers the importance of the value of politeness in clothing. The politeness limitation in fashion in Indonesia was from the navel to ankles by exploring historically to find out the fashion change, especially in traditional clothing in Indonesia in some periods. This research aimed to trace the chronology of fashion change in traditional women in Indonesia from 1900 until 2000 and to study the fashion change from 1900 until 2000. The research method was historical, with data in figure samples obtained from 1900 until 2000. This research resulted in the chronology of the transformation of fashion change in traditional women's underwear from 1900 until 2000. This research found that fashion shifted from Colonialism to the Reformation. The conventional cloth changed from the initial usage, namely kemben, to bustier. Kemben usage in 1860, camisole usage in 1925, and the old order in 1954 is bustier. The length level of fashion design experienced a decrease. In the colonial period, traditional undergarments covered the breast. Still, in the reformation era, some only lasted until the peak of the breast, initially only from the navel until the ankle, then changed from the breast to the ankle. Technological advances have impacted the freedom to access information included in fashion.]]>
<![CDATA[Folklore on Kayori: An Oral Tradition about Natural Disasters in Central Sulawesi ]]>
<![CDATA[Nole, Otniel Aurelius]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2841
<![CDATA[The characteristics of Indonesian society are firmly attached to the image of expressing language orally, which has been done since long ago and has survived until now. Folk beliefs and imagination are the main essences of cultured human life when creating stories. Although the current situation signifies a modern life, the researcher argued that folklore is an oral tradition still relevant to life’s context substantially and functionally, as on kayori from Central Sulawesi. This research aimed to revitalise kayori as folklore in Central Sulawesi, an oral tradition about natural disasters. The researcher generated knowledge in this research qualitatively as a method that included a literature review study. The researcher collected and used reference sources related to the variables of this study. The research showed that kayoriis a folklore that affirms oral tradition as an art to express the function of learning and remembering the messages in poems and sounds. The messages of kayori have implications for practical actions for the community regarding natural disaster mitigation related to disaster policy, ethics, religiosity, and ecological values. In the end, the verbal art of kayoriremained a part of the futuristic world because it provided knowledge on humanitarian and environmental aspects related to natural disasters in the contemporary era.]]>
<![CDATA[Deconstruction of Ecofeminist Ideology in Japanese Eco-friendly Beauty Products Advertisements ]]>
<![CDATA[Sari, Ida Ayu Laksmita]]>;
<![CDATA[Mahardika, I Gusti Ayu Sugiartini]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i3.2860
<![CDATA[Nowadays, many advertisements for Japanese cosmetic products are appearing that show ecology issues. Ecology issues and the role of women shown in advertisements cause the meaning to develop and become a deconstruction of previous advertisements. Now, the ideology contained in an advertisement can contain ecology issues and women's involvement in it or is called ecofeminist ideology. This research seeks to the forms of deconstruction of ecofeminist ideology. This research is qualitative research using document study methods and netnography methods. Data was collected from eight advertisements, then analyzed using Derrida's deconstruction theory, Barthes' semiotics, and Vandana Shiva’s ecofeminism theory. The results of this research show the forms of deconstruction of ecofeminist ideology in advertising are (1) represented by the role of women and efforts to save the future of nature, (2) nature and women grow together, (3) women's beauty is natural beauty, (4) and the relationship of tsubaki cultivation, traditions and women farmers.]]>
