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[Digital Photographies of Silek Rantak Kudo Dance : The West Sumatra Folklore Preservation ]]>
<![CDATA[Rustiyanti, Sri]]>;
<![CDATA[Listiani, Wanda]]>;
<![CDATA[Ningdyah, Anrilia E.M.]]>;
<![CDATA[Dwiatmini, Sriati]]>;
<![CDATA[Suryanti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 3 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i3.3087
<![CDATA[The Silek Rantak Kudo Dance, a rich expression of Indonesian folklore and cultural identity—particularly in West Sumatra—requires preservation. To support this effort, a photographic experiment was conducted to explore visual representations capable of conveying the folkloric elements embedded in the dance. Notably, there is a lack of scholarly literature on dance photography in Indonesia, making this study a pioneering contribution to the field. The experiment produced 66 photographs of the Silek Rantak Kudo Dance, with 10% selected for inclusion in a questionnaire aimed at evaluating whether respondents could effectively perceive the folkloric content. This research employed Visual Arts-Based Research Practices, with data collected through a literature review and questionnaires completed by 396 participants. Findings indicate that dance photography of Silek Rantak Kudo should emphasize traditional elements in both movement and visual representation to ensure its recognition as a traditional West Sumatran art form. Furthermore, the study demonstrates that photographic techniques—such as motion photography and posed imagery—can serve as effective tools for promoting and preserving the dance on social media among the Indonesian public.]]>
<![CDATA[Defining Vocal Aesthetic Parameters in Tembang Sunda Cianjuran: A Case Study of the PTSC DAMAS Competition ]]>
<![CDATA[Budiman, Arif]]>;
<![CDATA[Jaenudin, Nanang]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 3 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i3.3141
<![CDATA[This study develops a conceptual framework to define a distinguished panembang (vocalist) in Tembang Sunda Cianjuran based on a case study of the PTSC DAMAS competition. Employing a qualitative research design, the study integrates triangulation methods data, techniques, and sources to enhance validity. Data were obtained through in-depth interviews with 12 key informants (including judges, panembang, and cultural experts), field observations, and document analysis. The analytical framework is based on A.A.M. Djelantik's aesthetic theory and uses Miles and Huberman's interactive model for data analysis. The study identifies five core parameters: Bener (accuracy), Merenah (proportionality), Genah (melodiousness), Alus (artistic refinement), and Mulus (flawless integration), each with context-specific indicators. These findings offer a culturally grounded yet methodologically rigorous model for evaluating performance quality in traditional Sundanese vocal arts. The proposed parameters offer a foundational step toward developing a more objective, transparent, and accountable judging system.]]>
<![CDATA[Implementation of the BLU Policy at the National Gallery of Indonesia: Financing Model and Public–Private Partnership in Its Art Exhibitions 2024–2025 ]]>
<![CDATA[dewi, Citra Smara]]>;
<![CDATA[Nurjadin, Indira Estiyanti]]>;
<![CDATA[Adnyana, I Wayan]]>;
<![CDATA[Ramadhana, Rizki Ayu]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 3 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i3.3230
<![CDATA[This study examines the management of the National Gallery of Indonesia (Galeri Nasional Indonesia/GNI) in its transition into a Public Service Agency (Badan Layanan Umum/BLU). GNI was selected for this study as a state cultural institution that holds both national and international art exhibitions, potentially playing a role as a benchmark of contemporary Indonesian art. The transformation marks a significant shift towards an entrepreneurial spirit in institutional performance, directly impacting the management of art exhibitions. The study aims to explain and analyze the implementation of the BLU policy in improving GNI’s management while identifying internal and external challenges and opportunities. This study's novelty lies in using two case studies—Lini Natalini Widhiasi: Infinity Yin and Yang (2024) and Arkiv Vilmansa: Semesta Arkiv (2025)—as representations of the BLU implementation in practice. It employs a descriptive qualitative method with the theoretical framework of institutional entrepreneurship. The findings indicate that the BLU policy stimulates GNI to develop a more collaborative, innovative, and entrepreneurship-oriented management, which should be further strengthened through public-private partnership strategies and diversified funding sources.]]>
<![CDATA[Revitalizing Traditional Crafts: Bridging Cultural Heritage and Innovation in Indonesia's Creative Economy ]]>
<![CDATA[Hendriyana, Husen]]>;
<![CDATA[Rachmadi, Gustiyan]]>;
<![CDATA[Kudya, Komar]]>;
<![CDATA[Jahada, Caraka Aji Puja]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 3 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i3.3234
<![CDATA[The revitalization of traditional crafts represents a strategic approach to strengthening Indonesia’s creative economy, which is deeply rooted in its rich cultural heritage. This article examines the dynamic interplay between the preservation of traditional values and the pursuit of innovation, aiming to bridge the past and future within the practices of the creative economy. Employing a qualitative approach within an interpretative-critical paradigm, the study investigates the intersection of tradition and innovation. Design Thinking serves as the methodological framework for exploring how sustainable innovation can emerge from local cultural traditions while responding to global market demands. In the initial phase, a practice-based research methodology is utilized to uncover the fundamental values embedded in traditional Indonesian artefacts. Building on these insights, a practice-led research approach is then employed to develop a design model that translates traditional knowledge into applicable strategies for creating innovative works. In this context, practice-based research focuses on the creation of artefacts as a primary method of generating knowledge, while practice-led research emphasizes the development of new theoretical understandings through creative practice. The findings suggest that revitalization efforts grounded in local cultural values can foster a sustainable creative ecosystem, strengthen national identity, and stimulate community-based economic growth. These results underscore the importance of synergy among creative practitioners, government institutions, and local communities in shaping an inclusive and culturally grounded future for Indonesia's creative industries.]]>
<![CDATA[The Heroism Value in Totokng Dance at The Nurutni’ Ceremony Dayak Salako Community in West Kalimantan ]]>
<![CDATA[Slamet, Deni]]>;
<![CDATA[Tati Narawati]]>;
<![CDATA[Agus Budiman]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 4 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i4.2950
<![CDATA[This study aims to explore and analyse the heroism values embodied in the Totokng dance, a traditional ritual performed as part of the Nurutni’ ceremony by the Dayak Salako community in West Kalimantan. These values play a crucial role in shaping collective character and preserving cultural identity amid the pressures of globalisation and the ongoing crisis in character Education. The research is driven by the limited academic attention given to the dimension of heroism within the cultural expressions of the Dayak people, particularly in the context of rice harvest rituals. Adopting a qualitative method with an ethnographic approach, the study collected data through participant observation, semi-structured interviews, documentation, and literature review. Informants were purposively selected based on their direct involvement in the tradition. The findings reveal that the Totokng dance conveys heroism values such as courage, sacrifice, solidarity, responsibility, and loyalty. These values are expressed through symbolic movements, the social roles of the dancers, and the spatial design of the performance, all of which are rooted in spiritual and historical relationships. Rather than functioning solely as an aesthetic performance, the dance serves as a medium for transmitting values and as a tool for character Education grounded in local wisdom. These findings reaffirm the importance of preserving intangible cultural heritage as a key component of sustainable development and multicultural Education in Indonesia.]]>
<![CDATA[Cultural Materialism and Aesthetic Analysis of Ikat-Woven Sarong Production in Parengan Village, Lamongan, East Java ]]>
<![CDATA[Asmi Nusantari, Okta Viviana]]>;
<![CDATA[Fitriasari, Rr. Paramita Dyah]]>;
<![CDATA[Gustami, SP.]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 4 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i4.2998
<![CDATA[This research investigates the cultural and aesthetic dimensions of ikat-woven sarong production in Parengan Village, Lamongan Regency, East Java, using a material culture biography approach. The research addresses how traditional sarongs—particularly those with legendary patterns such as tempean, botolan, and putihan—function as cultural commodities shaped by communal production, religious practice, and regional identity. Drawing on Raymond Williams’ theory of cultural materialism and Edmund Burke Feldman’s aesthetic theory, the research analyzes the visual structure, motif repetition, and socio-cultural functions of the sarong as both a physical object and a symbolic medium. Data were collected through ethnographic fieldwork, including interviews, visual documentation, and observations in representative weaving centers. The findings reveal that sarong production in Parengan is not only a site of artisanal heritage but also a dynamic cultural practice influenced by commodification, Islamic traditions, and intergenerational knowledge transmission. The research contributes to the discourse on material culture by demonstrating how textile production reflects broader social transformations and cultural negotiations. It highlights the importance of integrating visual analysis and cultural theory to understand the evolving meaning and function of traditional craft in contemporary society.]]>
<![CDATA[Binary Gender in Yogyakarta Panji Masks: A Visual Semiotic Study ]]>
<![CDATA[Wijaya, Yasin Surya]]>;
<![CDATA[Subiyantoro, Slamet]]>;
<![CDATA[Mulyanto]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 4 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i4.3105
<![CDATA[This study aims to explore the aesthetic values of binary gender (femininity and masculinity) within the visual structure of Yogyakarta Panji masks through the lens of semiotics. The research employs a descriptive qualitative approach with a single case study. The object of the study is the Yogyakarta Panji mask, whose visual structure is analysed to uncover symbols that indicate femininity and masculinity values. Data sources include informants, places, events, and documents/archives collected through in-depth interviews, participatory observations, and content analysis. The validity of the data is tested using data source triangulation and informant review techniques. Data analysis is conducted using the flow model of analysis, which involves data reduction, data display, and verification. The results indicate that the visual structure of Yogyakarta Panji masks, when examined through a semiotic framework, contains signs/symbols and values of femininity and masculinity. These values of masculinity and femininity are also embedded in and have been transformed into various cultural artifacts within the context of Javanese culture. The findings highlight that Panji masks not only reflect aesthetic expressions but also serve as cultural signifiers that preserve, communicate, and reinforce traditional Javanese perspectives on gender.]]>
<![CDATA[Cultural Harmonization: Religious and Inter-Cultural Relations in Calengsai Arts ]]>
<![CDATA[Abdallah Putra, Aqiel Sifa']]>;
<![CDATA[Lutfi, Mutohar]]>;
<![CDATA[Fiani , Okta]]>;
<![CDATA[Prakoso, Rico Anggit]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 4 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i4.3114
<![CDATA[The existence of Indonesian cultures and arts are rich in thought that is extraordinary to be explored, one of them is the typical Banyumas performance art, namely Calengsai (Calung, Lengger, and Barongsai), which is a local wisdom with a myriad of exploration sides for the people. This research tries to re-explore a Calengsai from the perspective of religious and intercultural relations, which mostly previous researchers only focus on the cultural and tourism aspects. This re-exploration of religious and intercultural studies is focus on model of cultural harmonization which purposed to break the conflict in the inter-cultural aspect that exist in Calengsai. The descriptive qualitative analysis is applied on this research to help the researchers to explore the evidence of the data which taken from the field collection. The study finds that Calengsai acts as a ‘third space’ of cultural hybridity where Javanese and Chinese traditions met through shared spiritual rituals, offering a scientific contribution to postcolonial and symbolic-interactionist scholarship by revealing how art creates new intercultural meanings.]]>
<![CDATA[From Spark to Sculpture: A Practice-Based Exploration of Betta Fish Form Using Stainless Steel Rods ]]>
<![CDATA[Santoso, Miky Endro]]>;
<![CDATA[Tessa Eka Darmayanti]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 4 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i4.3122
<![CDATA[The development of three-dimensional creation techniques using metal materials, particularly stainless steel, provides opportunities for artists and designers to explore unique and aesthetically valuable organic curves, especially in functional objects such as furniture, interior accessories, public sculptures, and metal crafts. These biomorphic forms are chosen because they differ from common geometric shapes and can create visual appeal. This research aims to explore the application of the SMAW welding technique on stainless steel rods to create three-dimensional artworks with organically inspired forms. The study employs a practice-based research method, combining direct practice with result analysis to generate new knowledge. The technique used is Shielded Metal Arc Welding (SMAW), which utilizes heat from an electric arc between a shielded electrode and the base metal to melt and fuse the materials into a solid alloy. In this research, 4 mm diameter stainless steel rods were used as the primary material, and the process included preparation, welding execution, grinding, polishing, documentation, and practice-based analysis. The findings demonstrate the successful application of the SMAW technique in forming betta fish fins with organic curve characteristics. This work proves that practice-based research is an effective approach for generating artistic and design innovations through material and technique exploration. This research contributes to the development of experimental material-based metal crafts and enriches contemporary art discourse by creating original works through the innovative application of the SMAW welding technique to stainless steel rods in producing complex three-dimensional organic forms, such as betta fish fins, which have rarely been explored in previous studies.]]>
<![CDATA[Acehnese Culture-Based Artistic Experimentation in the Creation of the Artwork Imajinisan ]]>
<![CDATA[Fadhlan, Fadhlan]]>;
<![CDATA[Guntur]]>;
<![CDATA[Sunarmi]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 40 No 4 (2025) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v40i4.3486
<![CDATA[In Aceh, ancient gravestones, as well as the peusijuek ritual, are increasingly marginalized by modernization and infrastructural development. However, they contain profound symbolic, spiritual, and aesthetic values that remain underrepresented in visual arts discourse. This study aims to explore how local cultural phenomena, particularly Aceh's ancient gravestones and the peusijuek ritual, can serve as conceptual and visual inspiration in the development of contemporary painting techniques. Employing a qualitative method with hermeneutic and artistic practice approaches, the exploration process was conducted through field observations at gravestone sites, visual technique experiments using rubbing, washing, collage, and the gestural act of reutek as a form of spiritual symbolism. All stages were organized in a tiered structure, visualized through a triangular diagram, illustrating an integrative process from observation to visual affirmation. The results show that creating visual techniques based on local culture can produce an authentic and meaningful visual language, while also serving as a reflective medium on the dynamics of cultural preservation amid modernization. These findings affirm that exploratory documentation of the technique creation process plays a crucial role in shaping visual distinctiveness and strengthening the artist's identity within the landscape of contemporary Indonesian art. The study further suggests that experimental practices grounded in local cultural symbols not only enrich the discourse of contemporary painting but also offer a model for sustainable artistic innovation that bridges tradition and modernity.]]>
