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[Elite Capture Phenomenon and Political Dialogic Space: Reflections on the Folklore of Asal Usul Raja Negeri Jambi in the Current Political Situation ]]>
<![CDATA[Zaman, Saefu]]>;
<![CDATA[Prayoga, Reza Amarta]]>;
<![CDATA[Sukma, Bayu Permana]]>;
<![CDATA[Amanat, Tri]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i3.2871
<![CDATA[This research focuses on the process of political elite capture which is associated with the current political context and the dialogic space that occurs in the narrative text of the folklore Asal Usul Raja Negeri Jambi (AURNJ) [The Origins of the King of Jambi]. This study used a descriptive qualitative method. The data were obtained from the recording and documentation of Jambi folklore 2: Asal Usul Raja Negeri Jambi (AURNJ) by Kaslani (1997). The results of the analysis produce several conclusions. First, there are symptoms of the political phenomenon of elite capture of village elders in perpetuating their power in the election of the King of Jambi. Second, this phenomenon also fostered the practice of dynastic familism. In the belief of village elders, the king must be chosen from their lineage, meaning that people in their circle are worthy to be king. Third, the deadlock in finding a leader figure was experienced by village elitist elders in the political contestation of the election of the king. This stalemate then awakened the elite village elders to open equal participatory dialogue spaces. This is nothing but to open up opportunities for candidates for kingship outside their circle of power. Fourth, the paradox of elite capture political dynamics in AURNJ's story describes a situation similar to contemporary political phenomena, namely the thirst for power and building political dynasties for personal and group interests as a security strategy and perpetuation of the arena of exposure to power.]]>
<![CDATA[Dede Eri Supria's Creative Process of Painting Marginaled Urban People in the New Order Era ]]>
<![CDATA[Ramdani, Guruh]]>;
<![CDATA[Tambunan, Shuri Mariasih Gietty]]>;
<![CDATA[M, Yoesoef]]>;
<![CDATA[Tommy, Christomy]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 3 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i3.2876
<![CDATA[This article aims to reveal the creative process of Dede Eri Supria (DES) in the context of the development of Indonesian painting, showing the structure, style and thematics that represent the impact of development policies and New Order cultural politics. The discussion of this creative process uses Gramsci's concept of hegemony, namely the dominant group's ideology, to perpetuate its power through its apparatus spread throughout civil society, most of which are intellectual groups. This ideological hegemony also occurred in Indonesian painting during the New Order era. This article uses a qualitative description method to reveal and discuss data obtained through interviews and literature studies. Based on these methods and concepts, the following results were obtained. First, DES's creativity was influenced by his social environment with exponents of the New Fine Arts Movement (GSRB), which resulted in his critical views on social and cultural problems and ideological problems in the creative environment of ASRI students and GSRB activists. Second, the DES creative process is a creative reaction to express "freedom" in work to fight the dominant ideology that dominates art. Third, through a creative space free from dominant art ideologies, DES and GSRB exponents display their works at the TIM GSRB Exhibition. Fourth, the social, cultural and political development conditions during the New Order era impacted the socio-economic lives of marginalized urbanites, becoming one of the stimuli for the DES creative process. Fifth, DES in painting uses various visual references but does not copy them outright and creates a new reality in the space of his canvas so that his paintings represent a new type of art that is original and represents the spirit of his time, namely the hyperrealism style.]]>
<![CDATA[Gandasari Gandawangi Dance: The Transformation of Legendary Form Into Tourism Arts in Jalawastu Brebes ]]>
<![CDATA[Turyati]]>;
<![CDATA[Widyaningrum, Septiana Yustika]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2878
<![CDATA[This article traces the transformation process of the legend of the characters Gandasari and Gandawangi into Gandasari Gandawangi Dance, created as a tourism performing art in Jalawastu Traditional Village, Brebes, Central Java. The legend narrates the story of a civil war among prominent figures embracing Islam in that region. From this narrative, a dance and music performance with an innovative tourism package highlighting Jalawastu Traditional Village's local wisdom was realized. The research methodology employed in this study is qualitative with an ethnographic approach. Data collection techniques encompassed interviews, documentary studies, and field observations. Observations were conducted to gather data, which was subsequently analyzed to formulate the transformation process and understand the significance of the Gandasari Gandawangi Dance. This article concludes that Gandasari Gandawangi Dance is adapted from the legend and further developed with creative dance movements, thereby serving as a tourism performing art that is expected to enhance the tourism potential of Jalawastu Traditional Village.]]>
<![CDATA[Effectiveness of VR Technology in the Design of the Bali Megarupa V Virtual Exhibition ]]>
<![CDATA[Sutanto, Shienny Megawati]]>;
<![CDATA[Wardaya, Marina]]>;
<![CDATA[Setia Budi, Hutomo]]>;
<![CDATA[I Wayan, Adnyana]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2904
<![CDATA[Virtual exhibitions offer a promising avenue for art appreciation in the digital age. However, limited research explores how these online spaces can foster emotional connections with art, a crucial aspect of the art experience. This study investigates the potential of immersive virtual reality (VR) to enhance engagement and emotional impact in virtual art exhibitions. Employing a multi-method approach combining literature review, user testing, and prototype development, the research identifies and evaluates design elements contributing to increased user engagement. This research employed a multi-method approach to understand how users engage with virtual art exhibitions. The study identified and evaluated the impact of specific design elements on user engagement by combining a literature review, user testing with a VR prototype, and subsequent analysis. The study focuses on critical elements like interactivity, personalization, storytelling, and multi-sensory experiences. User testing with 55 participants revealed the effectiveness of immersive design in fostering exploration, contemplation, and a sense of presence in the virtual space. This immersive design is the strategic integration of elements like interactivity, personalization, and storytelling within the VR environment. The research underscores the significance of immersive design, defined as the strategic integration of design elements to cultivate an emotional connection within a VR environment. This encompasses aspects like interactivity, personalization, and the incorporation of storytelling within the experience. Finally, the study offers practical recommendations for curators and designers to create virtual art experiences that resonate more deeply with audiences.]]>
<![CDATA[Contemporary Textile Design Creation Sourced from Visual Aesthetics of Kawung Motif Classical Batik ]]>
<![CDATA[Wahida, Adam]]>;
<![CDATA[M. Hendra Himawan]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.1807
<![CDATA[The development of contemporary art and design is a dynamic reflection of social values, technological advancements, cultural shifts, and evidence of the ever-changing nature of human expression. However, local identities are often not visible, and many works of art and design seem stereotypical with similar appearances. Based on these conditions, it is necessary to conduct research on art creation by exploring local cultural values as an identity. This article describes the process of creating contemporary textile designs sourced from the visual aesthetics of classic batik Kawung motifs, which are full of aesthetic value. The art creation method is carried out by collecting information about the visual aesthetics of classic batik Kawung motifs, exploring ideas based on visual aesthetics in Kawung batik motifs, developing creation ideas through design experiments, and realizing textile designs into fabric prototypes. The results of this study include (1) analysis of basic ornaments of geometry, repetition patterns, and symmetrical compositions in Kawung classic batik motifs, (2) the process of embodiment of contemporary textile design with the concept of transformation geometry through rotation, reflection to create rhythm and composition, as well as translation and dilatation to find the artistic value of shapes, (3) descriptions of the form of contemporary textile design works that have been produced. The study results show that classic batik's aesthetic value is a potential source of ideas for creating contemporary textile designs. Through a formalistic study of Kawung classic batik motifs, a method of making ornaments with transformative geometry techniques was found as a guideline and formulation for creating contemporary textile designs. Local values in the Kawung motif, such as the pattern of rotation, reflection, rhythm, and recomposition of geometric shapes, are still relevant and contextual with the development of the times. Thus, it is essential to use it as a source of inspiration for creating contemporary textile designs with a strong identity.]]>
<![CDATA[The Effect of Project Based Learning in Realizing Performing Arts on Entrepreneurial Motivation in Art Learning in Vocational School Students ]]>
<![CDATA[Anggraeni, Reni]]>;
<![CDATA[Juju Masunah]]>;
<![CDATA[Trianti Nugraheni]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2010
<![CDATA[The competence that must be possessed by Vocational School (VS) students is to be able to find business opportunities independently. Related to the subjects of art and culture, it is hoped that VS students have the motivation that can be carried out by the presence of performing arts in the form of performances that can be used as opportunities for entrepreneurship. Thus, VS students must have entrepreneurial motivation to have business opportunities in the arts and culture sector. One of the learning strategies that can be used is to use PBL. PBL can increase students' learning motivation and also facilitate students' problem-solving abilities. This study aimed to determine how the implementation of PBL in realizing performances and the influence of PBL on entrepreneurial motivation in art learning for VS students. The research method uses an experimental research method with a one-group pretest-posttest design. Participants in this study were 37 students in one of the VS in the Indramayu district, and the study was conducted using a systematic sampling technique. The research instrument used an entrepreneurial motivation questionnaire. Data analysis techniques using statistical descriptions and Paired-Sample T-Test. This study concludes that PBL affects VS students' entrepreneurial motivation in art learning. PBL can motivate students to reflect on what they learn in an actual project and provide opportunities for students to think and be creative when realizing a project in the arts and culture. Students can understand that in the performance, various job descriptions can be used for business opportunities or jobs in arts and culture to conduct further research with more participants so that the results of this study can be more generalized.]]>
<![CDATA[Contribution of Children's Literature in the Formation of Character of Elementary School Children ]]>
<![CDATA[Ni Putu, Eni Astuti]]>;
<![CDATA[Ni Made Rely Indah Sari]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2158
<![CDATA[This study aims to describe the contribution of children's literature in character education and the selection of children's literature according to the developmental stage of elementary school children. This study is a qualitative-descriptive study of the library research type. Data collection techniques are by searching for sources and constructing from books on children's literature and accredited journals, then analyzing critically and in-depth. Based on the results of data analysis, it can be explained that the contribution of children's literature to the emotional aspect is obtained from demonstrations of life as demonstrated by the characters in the story so that children will learn how to manage their emotions so as not to harm themselves and others. In the intellectual aspect, children's literature contains sequencing and plot logic to support children's use of their minds to think, understand and criticize the stories they get. In the aspect of imagination, literature in its stories can attract the child's entire self. With this, the child gains an extraordinary experience that is significantly correlated with creativity and will provoke the growth and development of creativity. In the social aspect, children's literature demonstrates character interactions so that it supports children in maximizing their development in their proximal development zone. In addition, from an educational aspect, children's literature is connected to aspects of exploration and discovery, language, beauty, multicultural insight, and children's reading habits that influence reading habits and literacy culture, which are very necessary in facing the progress of science and technology in this era.]]>
<![CDATA[Expression of Culture Diversity Through Creation of Zapin Nusantara Berlenggang Dance ]]>
<![CDATA[Robby, Robby Hidajat]]>;
<![CDATA[Iziq, Iziq Eafifi Ismail]]>;
<![CDATA[Afaf, Muhammad 'Afaf Hasyimy]]>;
<![CDATA[Surasak, Surasak Jamnongsarn]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2247
<![CDATA[This article elaborates on Nusantara diversity as a phenomenon that underlies the creation of the Zapin Nusantara Berlenggang dance. In many regions, the characteristic of Zapin dance has grown through evolution that involves the unity of various ethnicities, mainly ethnics living in the coastal area. Such unity is a strong pillar that supports the Republic of Indonesia. Although the political situation is fluctuating, there is still an effort to empower local potentials to maintain diversity in Indonesia. The exploration of the Nusantara theme in the creation of the Zapin dance is powerfully relevant to the objective of this research, which is to strengthen the unity of Indonesia through its pluralistic nature. The creation of Zapin dance with the Nusantara theme will be understood through the approach of creation process experience, which, thus, is the type of this research that is explorative qualitative descriptive. In other words, this research is developmental research that emphasizes exploring the creation process. The research data are collected through three procedures respectively: interviews with Zapin dance patrons in Palembang, Pekanbaru Riau, Gresik, and Malang; dance technique exploration conducted in Malang and Gresik; and a dance trial held at the Indonesia Art Institute of Denpasar. The focus of this research is on managing the technical and aesthetical experiences of the dancers to internalize the Nusantara theme into their minds. The research question, therefore, comprises (1) What is the function of Zapin Nusantara Berlenggang dance? Moreover, (2) How is the creation process of Zapin Nusantara Berlenggang dance?]]>
<![CDATA[A Javanese Dance is A Representation of Rasa in Javanese Culture ]]>
<![CDATA[Indah Sulastuti, Katarina]]>;
<![CDATA[Sunardi]]>;
<![CDATA[Efrida]]>;
<![CDATA[Mamik Widyastuti]]>;
<![CDATA[Hadawiyah Endah Utami]]>;
<![CDATA[Setya Widyawati]]>;
<![CDATA[Budi Setyastuti]]>;
<![CDATA[Nuryanto]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2798
<![CDATA[This paper presents the concept of rasa in Javanese culture embodied in Javanese dance. The ethnographic approach in the Ethnochoreology discipline used as a step in data collection was in-depth interviews with actors (dancers, choreographers) in a society with a Javanese cultural scope. The observation step in the data collection effort was carried out using the involved observation model or participant observer, completed by data collection through literature and relevant documents. The theoretical perspective and concept used as the basis for thinking in discussing the case study of the Ela-ela dance in this paper is the concept of rasa, as put forward by Paul Stange. Namely, that rasa is a "tool" or "means" of perception, or a "function" of "whisper of heart or intuition", and rasa in Javanese dance as expressed by Katarina Indah Sulastuti, that rasa in Javanese dance is an element that is integrated with the senses in the body in a comprehensive manner which involves: the sensibility of heart vibrations, sharpness of intuition, imagination, bodily intelligence, and understanding of Javanese culture. Javanese dance, in the example of the case study, the Bedhaya Ela-ela dance is a representation of the rasa in Javanese culture, namely that the Bedhaya Ela-ela dance is a form of dance that substantially depicts the life of the Javanese people and the culture of rasa which involves issues of ethics, aesthetics, and religion in Javanese culture.]]>
<![CDATA[Dress to Impress: Exploring Clothing Mechanics and Gender Performance in Mobile Game Empress’s Choice ]]>
<![CDATA[Adelia, Silvy]]>;
<![CDATA[Ayu, Hujuala]]>;
<![CDATA[Ariyanti, Lisetyo]]>;
<![CDATA[Kusumadewi, Kenya]]>;
<![CDATA[Arista, Cicik]]>;
<![CDATA[Xin, Wang]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 39 No 4 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v39i4.2832
<![CDATA[This study investigates how game mechanics influence gender performance through clothing choices in Empress's Choice. The game was first launched on mobile devices, chromebook, and tablets in June 2022. Players would be able to enjoy the game on a variety of platforms. This study employs content analysis to explore game mechanics and in-game elements, specifically focusing on how they affect the players' construction of their characters' gender. The analysis is limited to chapters featuring dressing-up and destiny event stages, where clothing choices are central to gameplay. Judith Butler's theory of performativity is a framework to examine whether the game reinforces traditional gender norms or encourages players to subvert them. The findings reveal that, despite the game's emphasis on player choices, the mechanics, especially those related to clothing and its associated features, still largely adhere to conventional gender expectations. The main character (player) is constructed to be female by repeatedly donning feminine clothes in mostly bright colors and elaborate accessories. All categories of clothing (type, color, and accessories) in the game have a particular bias towards traditional feminine elements. Therefore, during dress-up stages, players have limited choices in gender expression besides the feminine style dictated by the mechanics. However, the in-game actions, part of destiny events, show a contrasting experience. These events give players choices that impact the story without imposing specific gendered behaviors. This complexity indicates that limitations and opportunities to challenge gender norms exist in Empress's Choice through its game mechanics.]]>
