Mudra Jurnal Seni Budaya最新文献

{"title":"Sate Renteng as a Cultural Tourist Attraction in Baha Tourism Village: Cultural Studies Perspective","authors":"Dewa Putu Oka Prasiasa, Dewa Ayu Diyah Sri Widari","doi":"10.31091/mudra.v37i4.2092","DOIUrl":"https://doi.org/10.31091/mudra.v37i4.2092","url":null,"abstract":"In the Hindu community in Bali, it is known that there are various kinds of satay that are used for complete ceremonies. One of the many satays is sate renteng or jerimpen from the Baha Tourism Village which has a unique value. Therefore, this study examines sate renteng or jerimpen in order to find the aesthetic value as well as the form, function, and meaning of sate renteng or jerimpen in the cultural life of the Baha Tourism Village community. This study found that the form of sate renteng or jerimpen at upakara in the Baha Tourism Village was formed with a banana tree trunk, on top of which satay was placed consisting of satay lembat, satay katik 3, satay katik 4, satay katik 5, satay katik 7, pipid, apit surang, kepuh stump, squeeze, penyeneng, chakra, umbul-umbul, pajeng, garuda, and kekuwung. As a complement to the offerings, you can get tumpeng 7, slashes, jerimpen jaja and gebogan. The function of sate renteng or jerimpen is as a means to ask for or get happiness and success, to be kept away from all dangers, and to always be successful in life. While the meanings contained in the making of sate renteng or jerimpen are the meaning of Tattwa Education (philosophy), Moral Education (ethics), and Ceremonial Education (ritual).","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"8 2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83652370","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Beralas Bumi Beratap Langit”: An Investigation of Creating Role and Space through Site-Specific","authors":"Abdur Rizky Akbar","doi":"10.31091/mudra.v37i4.1952","DOIUrl":"https://doi.org/10.31091/mudra.v37i4.1952","url":null,"abstract":"This article is devoted to the analysis of theatre performances “Beralas Bumi Beratap Langit” which uses a site-specific  method. Central to the site-specific approach is concern to the potential of unconventional spaces. The site-specific approach seeks to use the unique landscape properties of the site, locations selected based on their ability to amplify storytelling and form a clearer background for the actors in a theatrical production. This approach in theatre studies, especially with regard to actors and spaces, seems to offer breadth and bridges to the creating role and the flexibility which many representations come together, site-specific is then used as a method that helps in achieving character through learning and creating acting, from the Covid-19 pandemic intervention which changed at least most of the methods in learning acting and other creative processes. This article aims to investigate a site-specific approach that is personalized in the interest of providing insight or catalysts on the mode of acting and actors as subjects in theatrical performances. Using the ethnographic method, data were obtained on the creative process during the preparation of the show by the “Panggung Bercerita” theatre community. Practical investigation of a site-specific approach to the theatre stage method yields the following conclusions: 1) natural sets create an atmosphere of intimacy, 2) helps actors feel immersion into the world being played, and 3) provides rich and culturally relevant visualizations of the actor's image.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"53 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85815001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ramayana Ballet Performance's Allure at Purawisata Yogyakarta","authors":"Endang Caturwati, Een Herdiani, S. Tobing","doi":"10.31091/mudra.v37i4.2102","DOIUrl":"https://doi.org/10.31091/mudra.v37i4.2102","url":null,"abstract":"Indonesia is known for its Wayang Orang performances, especially in the areas of Surakarta, Yogyakarta, Semarang, Jakarta, and Bali. Among the Wayang Orang performances, there was a group that switched to ballet performances, which later became known as the Ramaya Ballet Purawisata Yogyakarta. The purpose of this study is to dissect more deeply the Ramayana Ballet Performance and the extent of its influence on people's lives. Purawisata's Ramayana Ballet, shown in full every night from 20.00–21.30 WIB since 1976 until 2001, won the 'Guinness Book of Records' (MURI) for its consistency in performing cultural performances for 29 years continuously. Consistency in maintaining the noble values of culture continues until August 10, 2021, when Purawisata's Ramayana Ballet is 45 years old. The method used in this research is a qualitative, descriptive analysis method that explores and understands the meaning of a number of individuals or groups of arts being studied. The results of the study show that the innovation strategies offered to the audience are: (1) Special Package Ramayana Performances; (2) Ramayana Edukasi; and (3) Regular Ramayana, so the Ramayana Ballet show still exists today. Even at regular shows, tickets with seating for 600 people are always full.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81547781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shadow Puppets In The Hands Of The Young Puppeteers: Loss Of Philosophy Value","authors":"S. ., Aris Setiawan","doi":"10.31091/mudra.v37i4.2049","DOIUrl":"https://doi.org/10.31091/mudra.v37i4.2049","url":null,"abstract":"This study aims to actualize philosophical values in shadow puppets performances for the puppeteer and the younger generation. The object of this research is a shadow puppets performance by young puppeteers in Surakarta and its surroundings. Recently, many young puppeteers have appeared arrogantly on stage, for example: standing up and trampling puppet with their feet, throwing puppet off the stage, cursing or saying rude things, exploiting sexual objects for jokes. Whether we realize it or not, one of the causes of this phenomenon is the gap in understanding the philosophical values of puppetry. Data collection methods in this study were the observation of performances and interviews, while to understand the meaning of symbols captured in shadow puppets performances, the method of understanding meaning was used. The notion of \"understanding the meaning\" in this context is how meaning can be captured from the puppeteers' expressions, either in the form of sabet (puppets movement), catur (puppeteer vocals), and music presented. The result of this research is an attempt to find the factors that influence the tendency of the young puppeteers to express freely. Finding the factors that influence the more youthful generation tends to like glamorous entertainment alone—actualizing philosophical values in shadow puppets according to the contemporary point of view. The ability of the puppeteers to present messages through shadow puppets performances should have direct implications for his personality, in addition to being a means of mass communication that can reach all levels of society (audience) in general. \u0000 ","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87886823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ekspresi Pragmatik Bedhaya Sukma Raras Sebagai Reaktualisasi Holistisitas Kehidupan Mikrokosmos-Makrokosmos Manusia","authors":"M. Maryono","doi":"10.31091/mudra.v37i4.1884","DOIUrl":"https://doi.org/10.31091/mudra.v37i4.1884","url":null,"abstract":"Tari Bedhaya Sukma Raras karya Hadawiyah Endah Utami yang digelar pada temu koreografer, terimajinasi dari sebuah perjalanan kehidupan manusia untuk menuju kematian. Bentuk komplementer komponen verbal dan nonverbal Bedhaya Sukma Raras pada dasarnya menawarkan konsep secara implisit dalam balutan ekspresi estetika tari tentang kesadaran manusia untuk selalu berbuat kebaikan dalam mengarungi kehidupan dunia yang bersifat fana untuk menyongsong kehidupan akhirat yang kekal penuh kebahagiyaan. Penelitian ini menggunakan metodologi kualitatif dengan strategi pengumpulan data: studi pustaka, wawancara, studi visual rekaman tari, studi audio rekaman musik, dokumentasi dan arsip transkrip verbal sastra tembang dan vokabuler gerak penari.  Hasil yang ditemukan adalah manusia hidup prinsipnya harus mampu menjaga keseimbangan kehidupan dunia maupun akhirat. Artinya secara mikrokosmos dalam memenuhi kebutuhan hidupnya manusia harus bekerja keras, mengutamakan kebajikan dan berdoa untuk mendapat petunjuk-Nya agar secara makrokosmos di akhirat diampuni dosanya dan dimasukan surganya Tuhan sang Pencipta.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90231486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dragon Ornaments in The Contexts of Batik Cloth, and The Cultures of Javanese and Tionghoa in Indonesia","authors":"R. Widayat","doi":"10.31091/mudra.v37i3.2017","DOIUrl":"https://doi.org/10.31091/mudra.v37i3.2017","url":null,"abstract":"This paper was created to discuss an interesting issue, dragon ornament in batik cloth, the value of its aesthetics, and its context to Javanese and Tionghoa (Chinese) culture in Indonesia. This paper attempts to answer several questions including what is a dragon ornament, why is a dragon ornament applied to batik cloth, how is it aesthetic, and how is the relationship between Javanese and Tionghoa dragon ornaments in Indonesia. This issue is approached using interpretation perspective, both specifically in the context of batik cloth and its aesthetics, as well as in a broader context of Javanese and Tionghoa cultures. The interesting findings show that dragon ornaments on classical batik cloth in the form of Javanese dragons and Chinese dragons have their respective characteristics. Dragon ornament is applied to batik cloth due to its visual beauty and meaning as a protector and symbol of power that is identical to the king or emperor. The two Javanese and Chinese dragon ornaments not only adorn batik cloth, but are also applied for the benefit of architecture and other art works. Specific findings indicate that Chinese dragon ornaments are more developed than Javanese dragon ornaments, especially for contemporary batik fashion. Another finding is that the Parang motif combined with the Chinese dragon looks aèng or strange but is favoured by the public. This article suggests that batik producers develop Javanese dragon motifs for contemporary batik (preservation with new functions). For researchers, in studying dragon ornaments, the use of Western and Eastern aesthetic approaches will complement each other and result in more comprehensive findings. Another phenomenon that is intriguing for future research is the presence of batik producers and online shops that offer batik products with a variety of motifs and patterns. It is an interesting phenomenon to be studied in terms of design and marketing.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74977702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Design Application for Balinese Songket Weaving Motif","authors":"N. Pebryani, Tjok Istri Ratna, C.S., Putu Manik Prihatini","doi":"10.31091/mudra.v37i3.2025","DOIUrl":"https://doi.org/10.31091/mudra.v37i3.2025","url":null,"abstract":"Songket weaving is an Indonesian cultural heritage that has been passed down from generation to generation. Every region in Indonesia has its own Songket weaving, depending on the region’s characteristics. Bali island is one well-known region in Indonesia for Songket weaving. In the past, Songket weaving in Bali was only made for caste members and the royal family. At that time, only people in the royal family were able to make Songket weaving. The songket weaving process in Bali was mainly performed using a weaving tool called cagcag. The songket weaving pattern (motif) was made using a sungkit technique—interlace between threads to create a motif. The making of the songket motif begins with arranging the thread according to the desired motif before the weaving process. Information about the motif was spread in Guun. In general, songket weaving in Bali island has tens to hundreds of Guun. The skills to break the desired motif into the Guun is quite a complicated process. Therefore, not many weavers master the process of making songket motifs. Most of the motif makers continue or imitate existing motifs. Currently, a motif maker who can make a motif from scratch is rare. In order to help break motifs into Guun, an in-depth understanding of the calculation of making songket motifs is required. Then, this understanding is transformed into an application that can help motif makers to visualize motifs into Guum. The design application will provide multiple benefits for the motif makers and serve as an effort of culture preservation by introducing a design application to make songket motifs for younger generations. Therefore, they are expected to contribute to making songket weaving motifs.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84304062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Theology of Buddhist Religion in Yé Té Mantra Instructions","authors":"I. M. Surada, I. N. Rema","doi":"10.31091/mudra.v37i3.2006","DOIUrl":"https://doi.org/10.31091/mudra.v37i3.2006","url":null,"abstract":"Prasasti Ye Te mantra adalah salah satu data autentik dalam mempelajari dan menemukan konsepsi teologi agama Buddha di Bali pada abad ke-8/9. Penelitian ini bertujuan untuk mengetahui konsepsi teologi dalam agama Buddha di Bali, yang dijabarkan dalam dua rumusan masalah yaitu tentang konsepsi Tathagata dan konsepsi ajaran dharma sebagai penghancu penderitaan. Penelitian ini adalah penelitian kualitatif, yang data-datanya dikumpulkan melalui observasi dan studi dokumen terhadap naskah prasasti dan naskah lontar yang relevan. Hasil penelitian ini berupa temuan prasasti Ye Te mantra yang terdiri atas lima hingga tujuh baris dan naskah lontar yang relevan, yang dianalisis menggunakan teori semiotika. Berdasarkan hasil analisis dapat diketahui bahwa Tathagata adalah panggilan untuk Siddhartha Gautama atau Bhatara Sri Sakyamuni, yang telah mencapai pencerahan sempurna dan terbebas dari jeratan mara. Tathagata menjelaskan bahwa manusia perlu mengusahakan kebahagiaan dengan cara belajar dharma untuk melepaskan diri dari mara tanpa ragu-ragu dengan batin yang tenang guna mencapai nirwana.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"40 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85277430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Filantropi Kemanusiaan Sebagai Praktik Seni untuk Survivalitas Para Pekerja Seni","authors":"Suwarno Wisetrotomo, Pradani Ratna Pramastuti","doi":"10.31091/mudra.v37i3.1906","DOIUrl":"https://doi.org/10.31091/mudra.v37i3.1906","url":null,"abstract":"Merebaknya virus corona baru atau pandemi COVID-19 telah menyebabkan krisis global. Krisis kesehatan, ekonomi, sosial, politik dan budaya menimbulkan efek domino, yang berujung pada krisis kemanusiaan. Sejak merebak di Wuhan, Provinsi Hubei, Cina sekitar akhir tahun 2019, virus tersebut masih berdampak radikal hingga saat ini. Globalisasi yang dahulu menyoal kecepatan, kemajuan, perayaan, keintiman, dan rasa kebersamaan, sekarang berbalik menjadi kelambatan, kemunduran, serta jarak fisik dan sosial. Negara dan aparatnya segera mengambil tindakan dengan mengeluarkan sejumlah peraturan, seperti kuncitara, isolasi diri, dan “tata krama” baru dalam bekerja dan bersosialisasi, dua diantaranya adalah cuci tangan dan memakai masker. Sejumlah komunitas mengalami stagnasi dalam kehidupan sosial, ekonomi, politik, budaya dan seni, termasuk menghadapi kemungkinan krisis bahan pangan karena menurunnya daya beli. Situasi ini menuntut inisiatif dan peran anggota komunitas, seperti para seniman, untuk turun tangan. Para seniman berkontribusi dalam memenuhi “kebutuhan dasar” komunitas dengan menyediakan masker dan makanan untuk keluarga berpenghasilan rendah serta Alat Pelindung Diri (APD) untuk tenaga medis, seperti perawat dan dokter. Selain itu, sejumlah proyek juga digagas seniman sebagai aksi filantropi kemanusiaan, antara lain “Dapur Aksi Berbagi”, “Dapur Aksi Tetandur”, “Rengeng-rengeng Sirep Pageblug Maskumambang” yang diselenggarakan LAURA, “Pentas Wayang Climen: Kolaborasi Dalang dengan Pelukis”, “Seni Nasi Bungkus”, “Konser Online Didi Kempot”, dan “Panen Apa Hari Ini”. Proyek-proyek tersebut dianggap sebagai filantropi kemanusiaan, yang dari perspektif seni rupa kontemporer, dikategorikan sebagai praktik seni. Penelitian ini bersifat deskriptif. Peneliti mengamati dan mencatat dengan cermat berbagai tindakan filantropi para seniman, dan kemudian mengelaborasi peristiwa yang terjadi. Risalah ini menjawab mengapa aktivitas mereka bisa dikategorikan sebagai praktik seni. Risalah ini juga membuka potensi wacana terkait hubungan antara filantropi kemanusiaan yang dilakukan oleh seniman dengan praktik seni.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"101 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80868324","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Stylistic-Aesthetic Epilogue Kakawin XX Century Made Degung Literary Work","authors":"Anak Agung Gde Alit Geria, I. M. Bendi Yudha","doi":"10.31091/mudra.v37i2.1910","DOIUrl":"https://doi.org/10.31091/mudra.v37i2.1910","url":null,"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.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85411762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}