Mudra Jurnal Seni Budaya

Journal Information
ISSN / EISSN : 0854-3461 / 2541-0407
Published by: Institut Seni Indonesia Denpasar (10.31091)
Total articles ≅ 297
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I Nengah Duija, Rema I Nyoman, I Wayan Yudhasatya Dharma
Mudra Jurnal Seni Budaya, Volume 37, pp 173-185; https://doi.org/10.31091/mudra.v37i2.1825

Abstract:
Gianyar has abundant archaeological remains from the prehistoric era, especially during the classical era. This can be seen from the cultural remains in the form of artifacts, eco-facts, sites, and others, reflecting the brilliant past of Gianyar civilization. This study aims to determine the socio-religious activities etched into the relief art in the Pakerisan and Petanu watersheds. The data was collected by observing relief artworks in the Pakerisan and Petanu watersheds, supported by relevant literature studies and in-depth interviews with key informants. This relief provides information on socio-religious life in ancient Bali, inspired by beliefs in ancestors, Buddhism and Shivaism accumulated in Shiva Siddhanta. This study resulted in findings in the form of socio-religious activities in the Pakerisan and Petanu watersheds. The socio-religious activities in question are mental development activities, exercising self-control, studying the nature of oneself and the universe, and using various worship media by choosing a location near a water source. This reflects the wisdom of the ancient Balinese era in maintaining harmony between various understandings, oneself, nature, and the Creator.
Anak Agung Gde Alit Geria, I Made Bendi Yudha
Mudra Jurnal Seni Budaya, Volume 37, pp 212-218; https://doi.org/10.31091/mudra.v37i2.1910

Abstract:
Kakawin (manuscript), composed by Rakawi Made Degung from Sibetan Karangasem, received a positive response among lovers of classical Balinese literature, because it is full of Shiva-Buddhist philosophy which until now still lives side by side and harmoniously in Bali. This well-packaged, aesthetically pleasing Kakawin has an important position among the existing kakawin, because the content and unique presentation factor is the spirit of the times, namely the Shiva-Buddhist discourse that is typical of the Balinese model. This Kakawin was completed on Friday Paing Sinta, the 13th anniversary of the Saka year 1915 (1993 AD). The information implied in this kakawin epilogue is truly something unique that is rarely or never found in other kakawin. His Kakawin compositions, the writing of the number of years to the name of the pangawi (author) and its origin, are packaged in a unique way and explained in one last stanza of this kakawin. In addition to starting with the Manggala who worships the Goddess of Beauty (Saraswati) as the sacred God Brahma spouse, the Goddess of Knowledge, and the Soul of the script, at the end of his work, Pangawi begs before Him so that the world will be saved as well as its leader.
Benidiktus Candra Pamungkas, Udi Utomo
Mudra Jurnal Seni Budaya, Volume 37, pp 156-164; https://doi.org/10.31091/mudra.v37i2.1414

Abstract:
Gamelan Soepra merupakan alat musik Gamelan Jawa yang memiliki tangga nada diatonis kromatis milik SMA Kolese Loyola Semarang. Gamelan diatonis yang memiliki berbagai jenis instrumen tersebut mampu berkolaborasi dengan Alat Musik Modern. Hal tersebut memunculkan pengalaman bermusik yang baru terlebih pengalaman mempelajari cara bermain gamelan untuk generasi muda. Dalam paradigma pedagogi reflektif (PPR), pengalaman menjadi salah satu unsur utama dalam pembelajaran. Penelitian ini bertujuan untuk memahami pengalaman belajar Gamelan Soepra dan bagaimana proses siswa dalam mengalami pembelajaran Gamelan Soepra. Metode yang digunakan penulis dalam mengumpulkan data adalah observasi, wawancara dan studi dokumen. Pembelajaran Gamelan Soepra memberikan pengalaman langsung tentang apa itu Gamelan Soepra, bagaimana cara memainkan gamelan dan cara me-mathet, serta bagaimana siswa mampu membuka diri dan berlatih bermain musik secara berkelompok untuk menghasilkan musik yang harmonis. Siswa tidak hanya dilatih secara kompetensi bermusik, namun mereka juga dibentuk untuk menjadi pribadi yang terbuka, peduli, memiliki hati nurani, dan berkomitmen terhadap pilihannya. Penelitian ini diharapkan dapat menjadi sebuah referensi untuk mengembangkan metode belajar terutama pembelajaran musik.
Mulyanto Mulyanto
Mudra Jurnal Seni Budaya, Volume 37, pp 108-118; https://doi.org/10.31091/mudra.v37i2.1868

Abstract:
Batik has become everyday clothing for the people of Indonesia, many batik businesses have sprung up in several regions in Indonesia. The purpose of this study is to describe the minimum standards of aspects needed to establish a batik craft business. These aspects include capital funds, materials, equipment, employees, human resource management, production management, financial management, and marketing management. This qualitative descriptive research was conducted in several batik craft businesses on the island of Java. Twenty key informants consisted of 10 batik entrepreneurs, 3 motive designers, 3 batik makers, 1 stamper, and 3 color workers. The research data was collected through interview techniques, focus group discussion, document observation and study, then analyzed using interactive models. To establish a batik business with an initial production process for one month, a fund of Rp.37,350,000.00 is needed, 5 batik makers, 1 color dealer, an area of 100m2 and a building of 64m2. To establish a combination of stamp and writing batik business with an initial production process for one month, funds amounting to Rp 113,900,000.00, 4 employees, land 100m2 and building 69m2 are needed. The establishment of a batik business is estimated to be the main point of return for 7 months.
Mei Artanto
Mudra Jurnal Seni Budaya, Volume 37, pp 126-135; https://doi.org/10.31091/mudra.v37i2.1719

Abstract:
The musical arrangement is a process of developing and setting the musical aspects of existing songs, namely Lg. Rangkaian Melati by R. Maladi became a way to improve musical material in minus one intrusion keroncong. Efforts to improve musical material minusone through musical arrangements at the same time want to question: 1) what musical aspects become exploratory material in arrangements and 2) how the arrangement process is carried out. The goal is to find out the technical procedures of musical processing arrangements Lg. Rangkaian Melati by R. Maladi for seven keroncong instruments and find out what musical aspects have the opportunity to be explored more deeply to present a musical experience that varies in minus one keroncong instrument. Qualitative research methods and Practice-Based Research (PBR) are used in this article as investigative procedures in uncovering aspects of knowledge of the practice process and the results of the Arrangement of Lg. Rangkaian Melati for keroncong instruments. The results of the analysis found in this article are 1) two musical aspects can be used as exploratory material in the arrangement of Lg. Rangkaian Melati, namely harmony (chord movement) and melody (for auxiliary members and fillers), and 2) the process of exploration of musical aspects and arrangement work can be done systematically and structured through a five-step method of musical arrangements accompanied by systematic musicology perspective.
Joko Hariadi, Muhammad Arif Fadhilah, Azrul Rizki, Indah Fajarini
Mudra Jurnal Seni Budaya, Volume 37, pp 186-194; https://doi.org/10.31091/mudra.v37i2.1656

Abstract:
This research aims to revitalize the tradition of Tepung Tawar as a form of strengthening and protecting local culture in Malay society in Aceh Tamiang Regency. This is a qualitative study that uses descriptive methodologies. Data is gathered using various methods, including interviews, documentation, and field observations. Data analysis is accomplished by presenting and condensing data from interviews and observations. The data is processed by describing the information gathered during the interview and observation procedure in the field. According to the findings of this study, 12 subdistricts in Aceh Tamiang continue to use Tepung Tawar in a variety of processes. 4 sub-districts conduct Tepung Tawar processions only on specific activities, namely Banda Mulia, Sekerak, Seruway, and Tamiang Hulu subdistricts. In the four sub-districts, the revitalization of the tradition of Tepung Tawar was carried out in coordination with the Chairman of MAA, indigenous elders, and community leaders. After conducting interviews and observations, it was discovered that the process of revitalizing the Tepung Tawar tradition is carried out in five ways, namely (1) procurement of competitions in the community about the tradition of Tepung Tawar, (2) training the village youth about the procession of Tepung Tawar, (3) strengthening the traditional institutions to pay attention to the procession of Tepung Tawar, and (4) strengthening the traditional institutions to pay attention to the procession of Tepung Tawar. The preservation and maintenance of local culture, Tepung Tawar, is necessary to prevent degradation soon.
Robby Hidajat, Surasak Jamnongsarn, Muhammad Afaf Hasyimy
Mudra Jurnal Seni Budaya, Volume 37, pp 146-155; https://doi.org/10.31091/mudra.v37i2.1880

Abstract:
Penelitian ini didasari atas keraguan adanya pesan moral dari seni pertunjukan wisata, oleh karena itu dilakukan analisis tentang pesan moral seni pertunjukan wisata berlakon Ramayana di dua negara, yaitu Indonesia dan Thailand. Memperhatikan perkembangan seni wisata di Indonesia dan Thailand terus dikembangkan, salah satunya adalah lakon Ramayana. Pada mulanya lakon Ramayana, difungsikan sebagai baca untuk mengenal etika moral melalui tokoh, struktur, atau tampilan sebagai seni yang bersifat tuntunan, hingga kini telah berkembang sebagai tontonan untuk menghibur wisatawan. Amanat Pendidikan dalam seni wisata tentunya masih diperlukan, amanat apa yang dibutuhkan dalam penyajian seni wisata itu. Rancangan penelitian yang digunakan adalah deskriptif kualitatif dengan menggunakan pendekatan fungsional. Metode pengumpulan data berupa wawancara, dengan narasumber kunci yang terdiri dari penari, pemusik, pengelola pertunjukan wisata, dan pengajar seni di perguruan tinggi seni di Indonesia dan Thailand. Selain dari pada itu juga dilakukan observasi ke pusat seni pertunjukan wisata di Yogyakarta, Denpasar, dan Bangkok Thailand. Hasil penelitian ini menunjukan adanya pesan moral, (1) amanat berupa pesan moral kisah asmara (romantik), (2) amanat keteladanan wanita sebagai kekuatan laki-laki dan sekaligus kelemahannya, (3) amanat tentang hukum sebab akibat, yang bersalah pasti kalah, dan yang benar pasti akan jaya.
Ni Made Prasiwi Bestari, Agung Suryawan Wiranatha, I Gusti Ayu Oka Suryawardani, I Nyoman Darma Putra
Mudra Jurnal Seni Budaya, Volume 37, pp 136-145; https://doi.org/10.31091/mudra.v37i2.1938

Abstract:
The Ubud area has long been developed and is known as a cultural tourism destination. This is not surprising because Ubud has many artistic and cultural attractions to offer for tourists. However, in the last two decades, Ubud is also known as a culinary tourism destination. In fact, the Gianyar Regency government and the Ministry of Tourism and Creative Economy have promoted Ubud as gastronomic tourism. This article analyzes the role of gastronomic tourism in supporting cultural tourism in Ubud. Does the new Ubud label as gastronomic tourism fade the image of Ubud as cultural tourism or does it increase its charm and attractiveness? This qualitative study collects data by interview, observation, and literature study. They were analyzed from the light of creative tourism. The article concludes that gastronomy tourism such as cooking class and food festival that has developed in Ubud is a form of creative tourism that help in rejuvenating the image of Ubud as cultural tourism. This happens because food and all the cooking processes as well as all the stories and values system of local wisdom attached to the local foods are part of the culture. This article contributes in providing an understanding of strengthening the image of Ubud tourist destinations as cultural tourism through creative tourism known as gastronomic tourism.
Sari Wulandari, Guntur, M. Dwi Marianto
Mudra Jurnal Seni Budaya, Volume 37, pp 165-172; https://doi.org/10.31091/mudra.v37i2.1959

Abstract:
The Covid-19 pandemic has forced people to minimize their activities and choose essential things to do. Apart from maintaining personal and environmental hygiene, mental health is the priority. The RajutKejut Community is a group of female crocheters who yarn bombs with crochet works. RajutKejut received an invitation from the Jakarta Biennale 2021 to exhibit their work in a public space. Their work “Sesaji Nusantara”, presented a crochet installation in the form of flowers and crops arrangements, as an offering to God. Through crocheting in a quarantine atmosphere, a space for reflection and contemplation is formed. This is essential to consider that besides preserving quality intake, the body's immunity can also be increased by maintaining mental health and happiness. As a research question, how RajutKejut community through activity body by making communal crafts can create an understanding of themselves and their environment, which is an understanding that leads to the formation of mental health amid the Covid-19 pandemic. This study uses the phenomenological perception by Maurice Merleau-Ponty as an analysis method which is bodily experiences could help people to comprehend their world, particularly in the current pandemic situation. At the end of the discussion, this research shows that the pandemic conditions encourage people to look back at the past, realize their existence in present, and project themselves to plan their next steps. This can be realized by carrying out bodily activities consciously, which brings humans back to retrace their existence in the world as humans who have bodies that can 'make' to fulfill their needs, using their bodies, therefore that awareness of self and self-existence is awakened.
I Wayan Mustika
Mudra Jurnal Seni Budaya, Volume 37, pp 195-202; https://doi.org/10.31091/mudra.v37i2.1984

Abstract:
Knowing that Performing mask art is getting rare in Indonesia, It is interesting to find out how the art survives and becomes the cultural icon of the regency, in this case, the Performing Tupping in Kesugihan Village, Kalianda, South Lampung. Performing Tupping (Mask) art in Kesugihan Village, Kalianda, South Lampung Regency is a very essential folk art that has been rearranged with character forms from several types. It is interesting to find the history and its taxonomy, from just a village performance until it becomes South Lampung’s cultural icon. This article attempted to describe the taxonomy of Tupping in Kesugihan village, Kalianda, as a cultural icon of South Lampung. The qualitative research was conducted to answer these research questions: 1. How was Tupping’s taxonomy at the beginning and what characteristic did it represent. 2. How is the taxonomy of the modern Tupping and what is behind them. The data were collected through observation, interview, and literary study. Tupping at the beginning was simpler, with only a few characters. They mostly depict ugly figures. Tupping can survive because It has been used since Radin Intan’s reign, especially by her knights for disguising to fight the Dutch. Later in their daily life, Tupping was used for worshipping the spirit and the ancestors and performed as entertainment for the villagers. Taxonomically, There are some types of Tupping with each respective character and what each philosophically means. it also evolves from time to time to catch up with modernization and globalization.
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