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Mudra Jurnal Seni Budaya Institut Seni Indonesia Denpasar Jalan Nusa Indah Denpasar 80235
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MUDRA Jurnal Seni Budaya
Published by Institut Seni Indonesia Denpasar
ISSN : 08543461     EISSN : 25410407     DOI : https://doi.org/10.31091/mudra.v37i4.2084
Core Subject : Religion, Humanities, Education, Art, Social,
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences
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.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 496 Documents
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Ancestral Legitimization and Syncretic Islam in the Wayang Klithik of Gotanjung’s Sedekah Bumi Selviawati, Evi; Syahrial, Syahrial
Mudra Jurnal Seni Budaya Vol 41 No 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v41i1.3131

Abstract

Wayang klithik is a two-dimensional wooden puppetry tradition found in Central and East Java. In Gotanjung Village, Pati Regency, Central Java, wayang klithik is performed every year as part of sedekah bumi ceremony, a ritual to express gratitude for agricultural blessings. This study analyzes how wayang klithik in Gotanjung’s sedekah bumi functions as a ritual performance in which ancestral legitimation within a syncretic Islamic framework serves as a mechanism that sustains the tradition. It also examines how sedekah bumi and wayang klithik work together in reinforcing Gotanjung’s agrarian identity. Employing a performative ethnographic method, data were collected through field observations, interviews with key informants, and focus group discussions. The findings reveal that wayang klithik performance in sedekah bumi plays a crucial role in demonstrating the practice of tawassul through ancestral figures within syncretic Islam, providing a case study of how local cosmology and religious syncretism intersect to sustain cultural legitimacy. The study contributes to understanding how Islamic devotional practices are negotiated within a Javanese cosmocentric framework through ritual performance, offering insights for the preservation of both sedekah bumi and wayang klithik traditions.
Exploring Fear and Imagination: A Statement of Practice for “Parade Lorong Kosambi” Bastari, Rendy Pandita
Mudra Jurnal Seni Budaya Vol 41 No 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v41i1.3139

Abstract

This statement of practice addresses not merely as a representational theme in visual art, but as a methodological catalyst that shapes artistic perception, decision-making, and meaning-making. The practice-based research explores how fear acts as an experiential and affective condition within the creative process, supporting observation, visual intervention, and material articulation. Using a combination of photography and drawing, the artwork “Parade Lorong Kosambi” juxtaposes photographic realism with drawn imaginary figures to see how imaginative intrusion disrupts the stability of everyday spaces. This study is grounded in a theoretical perspective on memetic transmission, drawing from Richard Dawkins and Richard Brodie to understand fear-related imagery as culturally circulating units, alongside psychoanalytic insights to reflect on fear as an unconscious driver or imaginative projection. These theories serve as interpretive lenses rather than explanatory models, supporting reflective decision-making throughout the practice-led process. The creative methodology involves site-specific observation, photographic documentation of urban locations, visual experimentation through culturally inspired sketching, and material realization using mixed media techniques. Rather than empirically analyzing audience reception, this statement of practice focuses on articulating how fear operates internally within artistic processes and manifests through visual and material strategies. This study contributes to contemporary art discourse by positioning fear as a source of experiential knowledge production within practice-led research. By framing artistic creation as a methodological inquiry into affection and imagination, the work demonstrates how fear can act as a legitimate epistemic force in artistic research, without relying on audience-based evaluation.
Exploration of the Repentance Aspect of Pwahaci Dance in Seren Taun Ritual in Cigugur, West Java Swaradesy, Rufus Goang; Subiantoro, Ignasius Herry; Sundari, Nanda
Mudra Jurnal Seni Budaya Vol 41 No 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v41i1.3146

Abstract

Repentance shows man's awareness of his weakness before God. As weak creatures, humans should communicate with God to be grateful for the goodness given and also ask God for help. The provision of help from God to humans is depicted as beautiful, like a mother's love for her child. This research uses a qualitative approach with the main focus on the meaning of the Pwahaci dance repentance in the seren taun ritual in the Cigugur Kuningan community in West Java. Data collection was done by observation, interview, and literature study. The data obtained was then reduced to make it more focused, and an in-depth analysis was carried out using Hans Urs Von Balthasar's religious aesthetic perspective. The results of the data analysis are then presented in the form of scientific writing. The result of this research is that the figure of Dewi Pwahaci is understood as an intermediary between humans and God. Communication is done through a sacred dance, the Pwahaci Dance. This is manifested in the form of meditative Pwahaci dance movements full of truth, goodness, and beauty.
Decentralization vs Cultural Centralization: The Paradox of Dangdut Koplo in Indonesian Popular Music Aryandari, Citra
Mudra Jurnal Seni Budaya Vol 41 No 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v41i1.3173

Abstract

This study analyzes the paradox of decentralization and cultural centralization in contemporary Indonesian popular music through the case of dangdut koplo. Although post-2014 regional autonomy and digital technologies have expanded access to music production across Indonesia, this research shows the consolidation of a standardized Javanese koplo format as a dominant national template. Using multi-sited ethnography (2021–2023) in East Java, Makassar, Ambon, and East Kalimantan, combined with digital analysis of TikTok, YouTube, and Instagram, the study traces how rhythmic codification, platform circulation, and modular adaptation enable koplo to function as a musical lingua franca. Findings demonstrate that decentralized production infrastructures coexist with aesthetic convergence: standardized kendang patterns, visual framing, and mixing practices are widely reproduced, while regional melodic and vocal elements are layered onto a stable rhythmic structure. Drawing on Raymond Williams’ concept of cultural centrality, Homi K. Bhabha’s hybridity, and media ecology theory, this study proposes the concept of “standardized differentiation” to explain how structural uniformity coexists with patterned local variation. The research argues that digital and administrative decentralization reconfigure, rather than dissolve, cultural hierarchy in Indonesia’s contemporary music landscape.
Tapis Cloth Transformation: Process and Product Innovation to Increase the Competitiveness of Lampung's Creative Industry Hartono, Lili; Guntur, Guntur; Rustopo, Rustopo; Setiyono, Budi
Mudra Jurnal Seni Budaya Vol 41 No 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v41i1.3179

Abstract

Tapis cloth, with its unique and distinctive aesthetic value, has great potential to be developed into a culture-based creative industry. This study aims to analyze innovations in Lampung tapis cloth, especially in the manufacturing process and the resulting products, in order to encourage the development of the creative industry in Lampung. The main objective of this study is to identify and analyze innovations made in tapis cloth. This research is descriptive qualitative. Data collection used interview techniques, observation, and document analysis, with interactive data analysis methods. Innovations in the process and products of Lampung tapis cloth have a positive impact on the development of the tapis cloth industry in Lampung. With the use of more diverse materials and manufacturing techniques, such as wolfis cloth, velvet, and mixed decorative threads, as well as the application of ikat weaving and embroidery techniques, tapis cloth products become higher quality and more competitive. Innovations in tapis cloth products are carried out in aspects of the types and shapes of products made increasingly diverse. In addition, innovations in motifs that refer to old motifs with the addition of variations and modifications, as well as the creation of new motifs inspired by Lampung culture, make tapis cloth products increasingly unique and attractive. Innovations in the process and products of Lampung tapis cloth can encourage the development of the creative industry in Lampung Province.
Petulangan as a Field of Symbolic Production: Aesthetics, Knowledge, and Hierarchy in the Balinese Funerary Architecture Anadhi, Made Gede; Suyoga, I Putu Gede
Mudra Jurnal Seni Budaya Vol 41 No 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v41i1.3506

Abstract

This article examines the petulangan in Balinese cremation ritual (ngaben) as a material articulation of power, knowledge, and social distinction. Moving beyond symbolic-descriptive interpretations of ritual architecture, the study positions the petulangan as a performative field in which cosmology, hierarchy, and aesthetic production converge. Employing a qualitative interpretive methodology grounded in visual ethnography and discourse analysis, fieldwork was conducted in Gianyar, Bali, involving observation, visual documentation, and interviews with undagi (traditional architects), priests, and customary leaders. The analysis integrates the theoretical frameworks of Michel Foucault’s power–knowledge nexus and Pierre Bourdieu’s concepts of field, habitus, and symbolic capital. From a Foucauldian perspective, the regulation of iconography, proportion, and ritual procedure constitutes a regime of aesthetic orthodoxy through which cosmological truth is stabilized and spiritual legitimacy is disciplined. The petulangan operates as a ritual technology that renders authority visible and socially binding. Through Bourdieu’s lens, cremation aesthetics are understood as a visual economy of distinction, wherein economic, cultural, and social capital are converted into symbolic capital. Monumentality, ornamentation, and artisanal refinement function as strategies of prestige, reproducing social hierarchy through sacred art. The study argues that the petulangan is not merely an ephemeral funerary structure but an active agent in the materialization of cultural politics. Although contemporary economic transformation and commercialization reshape patterns of patronage, the symbolic grammar of hierarchy and cosmological authority remains resilient. Ultimately, Balinese funerary architecture demonstrates how sacred aesthetics simultaneously honour the deceased and reproduce the social order of the living.

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