Mudra Jurnal Seni Budaya最新文献

{"title":"Literary Tourism: Maintaining Balinese Identity in 'Host-Guest' Interaction in Short Stories by Balinese Writers","authors":"I. Nyoman, Darma Putra, Ida Bagus, Jelantik Sutanegara Pidada","doi":"10.31091/mudra.v38i4.2471","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2471","url":null,"abstract":"The development of tourism in Bali with strong socio-cultural influences has inspired Balinese writers to create literary works about the interaction between Balinese people  (hosts) and tourists (guests), both in Indonesian and Balinese language. This study examines how Balinese authors maintain Balinese identity in host-guest interactions  featured in short stories by Balinese writers. The main object of research is the anthology of Balinese short stories Mekel Paris (Madame Paris, 2012) by IBW Keniten because all short stories in this anthology contain stories of interactions between Balinese and foreigners. Data from the short stories and interviews with authors were analyzed qualitatively using a tourism literary approach, an approach that uses anthropological tourism theory of host-guest contact  introduced by Valene Smith. The results showed that there are various forms of host-guest interaction expressed in the Mekel Paris anthology, namely harmonious, conflict, mutualistic, and transactional interactions. Although there are various forms of interaction, all of them have one goal, which is to convey the message so that the Balinese people are not carried away by foreign influences, but are firm in maintaining Balinese identity. In addition to enriching the discussion on how Balinese people maintain their identity, this article also contributes to the development of the study of tourism literature that is growing rapidly in Indonesia.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81496139","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":"Substituting The Synthetic For The Authentic: The Contribution of Rudolf Steiner’s Biodynamic Innovations in Advancing Yos Suprapto’s Traditional Knowledge of Local Agriculture","authors":"M. D. Marianto, R. Goodfellow, H. B. Prasetya, M. Purbasari","doi":"10.31091/mudra.v38i4.2364","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2364","url":null,"abstract":"In 1970, Indonesian President Suharto’s New Order Government formally adopted an international system of agricultural production known as ‘The Green Revolution.’ This required Indonesian farmers to adopt so-called modern farming practices as part of the first five-year national development program, which incorporated an emphasis on ‘Swasembada Pangan,’ or food production self-sufficiency. Chemical-based fertilizers, fungicides, herbicides and pesticides have been in continuous and widespread use in conventional farming in Indonesia ever since. Concurrently, international peer-reviewed scientific research has reported the detrimental effects of their widespread use on complex ecosystems, in particular, on pollinating insect populations such as bees. This situation greatly concerns many people, including Yos Suprapto, an Indonesian artist who articulates his social engagement through non-conventional creative practice. Since 2009, Suprapto has pioneered rice planting using the biodynamic agriculture (BDA) system developed in 1924 by the Austrian educator and innovator Rudolf Steiner. Yos Suprapto argues that, as with art, farming also requires innovation and novelty as well as an intimate understanding of human systems. This includes, an appreciation of the shortcomings associated with the modern world, namely reliance on complex manufacturing processes, often located abroad, and increasingly vulnerable and disrupted international supply chain networks. Farming, then, is Yos Suprapto’s ‘canvas’ and the colors he ‘paints’ are his crops and his ability to not just see the world as it is but as it should be. This study uses productive hermeneutic and aesthetic engagement theories to better understand why Yos Suprapto has insisted on implementing organic farming techniques and how he has also taken advantage of local oral traditions, local materials, and indigenous locally-produced rice varieties to increase harvest yields without the use of synthetic fertilizers and, in doing so, support and advance not only traditional knowledge and time-honoured cultural practices, but also local human food security.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72640566","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":"Dancing Cross","authors":"Ni Made Diana Erfiani, Nyoman Tri Sukarsih, I. G. Jayantini","doi":"10.31091/mudra.v38i4.2439","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2439","url":null,"abstract":"Religious symbol is the generic word for all kinds of religious signs of the divine. It includes myths and religious narratives, theological ideas, particular notions such as karma or sin which are defined in one or more symbol systems, religious acts such as liturgies or private meditations that move through and overlay various symbol systems, as well as architectural and artistic symbols with religious content, books, songs, devotional objects, and the like. Generally, it can be referred to a religious object and can bear a religious meaning. This study aims to identify the meaning of a contextualized religious symbol in the Bali Church which is known as ‘the dancing cross’. The theory applied in this study is semiotic theory which in this case is structural semiotics. The source of the data are texts that discuss about the cross symbol as well as the results of interviews with the creator of the dancing cross symbol, Nyoman Darsane. This study confirms that the dancing cross, which is widely used by Christians who are members of the Protestant Christian Church in Bali is considered as the product of regionalization or contextualization of the cross which is the crux of Christian life and worship. The shape of the dancing cross is transformed from the universal shape of the cross which is consisted of two bars leading to a T-shaped cross which base stem is longer than the other three arms but crooked at the bottom like a dancer who is in left agem position. The results of the analysis through the utilization of structural semiotics in terms of syntagmatic and paradigmatic relations revealed some important points namely the contrastive meaning of the cross before and after the time of Jesus Christ as the sign of shame which covers a curse, a stumbling block and foolishness and the sign to be glorified which covers salvation victory and obedience. Other important points to be revealed are the contextual shape of the cross that can be aligned as a dancer who is in left agem position and the contextual meaning of the cross which leads to the sign of obedience of God’s people or the disciples to carry or dance the cross in accordance with the example given by Jesus Christ.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88251177","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":"Influence of Various Factors on the Development of Karawo Traditional Textiles in Gorontalo Province, Indonesia","authors":"Hasdiana, I. Sudana, M. Sakakibara, Ni Kadek Karuni","doi":"10.31091/mudra.v38i4.2350","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2350","url":null,"abstract":"This study aims to clarify the influence of various factors on the development of traditional textiles, by examining the case of the development of traditional karawo textiles in Gorontalo Province, Indonesia from 1970 to 2020. This study employs a qualitative research method with a historical approach. Data were collected through historical documents, observation, interviews, and a literature review. Data were analyzed interactively with continuous comparisons during and after data collection. The results showed that the development of traditional karawo textiles from 1970 to 2020 can be further divided into three distinct periods: 1970–2000, 2000–2010, and 2010–2020. During each period, karawo textiles were influenced by various factors, both internal and external. The most influential internal factors were the emergence of craftspeople and designers as production bases and continuous innovation. The most influential external factors were the actions of government and commercial institutions. Government policies encouraged individuals and non-governmental organizations to contribute to the development of karawo textiles. Commercial institution influent the distribution and marketing of karawo textile products.  The study also describes the types of factors and their impacts. The study concludes that to ensure the sustainable development of traditional textiles, therefore those internal and external factors must consistently contribute from time to time.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81211895","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":"Developing Infographics as Wellness Education Media and Local Product Internationalization","authors":"J. Yuda, D. Wulandari, Y. Perwira, Karlina Denistia, Intan Mustika Sari, A. Priyanto","doi":"10.31091/mudra.v38i4.2146","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2146","url":null,"abstract":"Mental health and the concept of wellness have not been widely known by the Indonesian people, especially the millennial generation and Gen Z. Rumah Atsiri Indonesia (RAI) is an organization engaged in the creative industry sector that promotes wellness as their main theme. In its business, RAI strives to educate the public about the concept of wellness and introduce the benefits of essential oils as their product. To support these activities, attractive and effective means of communication and education are needed. Responding to this problem, the English for Creative Industry Research Group of the English Diploma 3 Study Program, Vocational School (SV), Universitas Sebelas Maret conducted a community service activity by developing infographics as educational media about the concept of wellness and essential oil products. The infographic was created using the ADDIE design method. Evaluation was done by distributing the developed infographics to get input from 129 respondents. The evaluation results show that the developed infographic media is effective and attractive in delivering educational content about wellness and essential oil product internationalization. Visual displays and dissemination media that are tailored to the target audience have succeeded in improving respondents' understanding of the concept of wellness and inspiring them to implement it, as well as to participate in sharing the created infographics.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"735 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79309333","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":"“Greget” in The Surabaya Ngrema Dance Performance Representation of The Value of The Fighting Spirit of Arek Surabaya","authors":"Wahyudiyanto Wahyudiyanto","doi":"10.31091/mudra.v38i4.2210","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2210","url":null,"abstract":"In the Ngrema Surabayan dance performance there is an expression called Greget. Greget that the audience felt are in form of vibrations when the dancers make movements. Suspected Greget is a dancer's interpretation work to present certain figures as a reflection of dance themes. This research uses a descriptive approach by applying technical and kinesthetic analysis of motion. Ethnographic methods are used as data collectors and compile narratives to realize an understanding of Greget. The results of the study explained that the Greget in Surabayan Ngrema Dance was formed by the quality of technique and kinesthetic. The technique as the application of the basic guidelines for the implementation of the motion presents kinesthetic that is a sense of gallant, agile, and authoritative. Sense of movement is the implication of a deep appreciation of the value of heroism. The value of heroism as a dance theme is represented by dancers from the Cakraningrat figure the regent of Madura. An imaginary expression of the spirit of struggle in the Ngrema Surabayan dance embodies the legitimacy of the Surabaya City hero identity.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"10 2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89901991","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":"The Utilization of Colonial Heritage in Tourism Development","authors":"Dewa Ayu Diyah Sri Widari","doi":"10.31091/mudra.v38i4.2444","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2444","url":null,"abstract":"The purpose of this study was to identify the utilization of colonial heritage as a tourist attraction in the development of tourism. The writing of this article uses a method of data collection through document studies. The use of colonial heritage in several countries raises different views. The understanding of inheritance in general is influenced by a variety of dynamics. The utilization of colonial heritage in the development of tourism in a country raises pros and cons among the local population. On the one hand, it has the view that the uniqueness of colonial heritage can be a tourist attraction aimed at obtaining income for the community and the country. In addition, colonial heritage can also be used as a regional or national identity. But other parties argue, colonial heritage can remind people of the past so that its use can cause unpleasant memories. The economic benefits arising from the development of the tourism sector are an important factor in building preservation decisions and acknowledging colonial heritage has an important role so much effort is made for conservation. Some colonial heritage still survives and reveals the country's history and the identity of its citizens, serving as administrative and business venues as well as tourist attractions.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80827323","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":"Screenplay of Asal-Muasal Tanah Jawa: A Prototype of The Babad Tanah Jawi Script Content Saving Through Adaptation","authors":"Irwan Sarbeni, D. Agustiningsih, Muhammad Tiffano Zetha El-Xavier","doi":"10.31091/mudra.v38i3.2200","DOIUrl":"https://doi.org/10.31091/mudra.v38i3.2200","url":null,"abstract":"Babad Tanah Jawi is one of the masterpieces of Javanese literature which contains kingdoms story in Java land which have been written in several versions. Javanese scholars deeply hopes that the constructive and forward-minded values contained in the Babad could be disseminated and studied by all levels of society, especially Java, in an easily understandable way and through a media that is close to society's daily, so that Javanese may recognize their original identity and avoid historical conflicts that come from non-primary sources. Therefore, Javanese scholars are very sorry when studies on the Babad always end up in formal writing that can only be accessed by a limited circle (academics). Responding to these problems, this research was carried on the behalf of studying the script text character of the Babad Tanah Jawi and adapt its Asal-muasal Tanah Jawa chapter content (The Origins of the Land of Java) to a screenplay (film script) as an act of salvaging the valuable content of the Babad script to a feature film. This research is presented qualitatively with ‘Adaptation’ method to compose the screenplay. The adaptation is an essential stage in filmmaking since a well-prepared film is largely determined by the quality of its creation guidelines (screenplay). This study resulted in fiction film screenplay. The screenplay is composed based on the hypogram script character of Asal-muasal Tanah Jawa which tends to present the story concisely so that the essence of the adaptation is emphasized on the clarity of the plot. To make each piece of the story in the Babad more logic and connected to each other, it is added some dramatical elements and events that are studied and concluded from external relevant sources of Asal-muasal Tanah Jawa. \u0000 ","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72720881","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":"Character Education in Panca Sani Pependetan Dance Creation","authors":"Ni Wayan Iriani, Ni Wayan Mudiasih","doi":"10.31091/mudra.v38i3.2452","DOIUrl":"https://doi.org/10.31091/mudra.v38i3.2452","url":null,"abstract":"The pependetan dance \"Panca Sani\" is a creative dance whose movements are based on a developed traditional dance. This dance describes the reception and expression of gratitude to the gods who descend into the natural world. The idea for this work was inspired by the Wayang Istri dance at the Pangrebongan Kesiman temple. Wayang Istri dance is a ngerebong traditional dance of the Kesiman people held at the Agung Petikan Pengarebongan Kesiman Temple, Denpasar. This ceremonial dance is held every 6 months and falls on Buda Cemeng Langkir Day. The movements and costumes are presented very simply by bringing a property of a rectangular shape made of cow/buffalo leather. The method of creating the \"Panca Sani\" Pependetan dance refers to I Wayan Dibia's concept in the Panca Sthiti Ngawi Sani creation methodology through five stages of the art creation process, as follows: inspiration/ngawirasa, exploration/ngawacak, conception/ngarencana, execution/ngawangun and the production/ngebah stage. 5 female dancers dance this Pependetan creative dance to express the characters in the dance: majesty, nobility, sincerity which is presented through the graceful beauty of the movements, and the costumes. The dance accompaniment uses a set of Gong Gede gamelan. Pependetan dance is a character education effort with the community to foster a conducive mood and moral formation for each individual involved in the world of education. Growing individuals as moral persons according to what is desired is the core of character education. The results of this work are expected to preserve the teaching and development of pependetan to form a positive attitude for the formation of good character.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88573859","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":"Jangkang Baris Dance in Sidatapa Village Study on The Meaning And Potential as Tourist Attraction","authors":"I. Trisnawati, Dedi Gusman","doi":"10.31091/mudra.v38i3.2370","DOIUrl":"https://doi.org/10.31091/mudra.v38i3.2370","url":null,"abstract":"This study aims to determine the meaning and potential as a tourist attraction for the Baris Jangkang Dance in Sidatapa village. This dance is very distinctive with the Balinese Aga culture which is different from Balinese culture in general. This research is qualitative in nature starting with determining the location in Sidatapa village. Collecting data using in-depth interviews, observation, and document studies. The results were analyzed using interactive analysis. The results showed that the Baris Jangkang Dance in Sidatapa village was popularly known as the Jangkang dance or war dance. This dance is used as a representation of the warrior spirit of the Sidatapa community in dealing with enemies who disturb the peace of the village. Baris Jangkang dance dancers are divided into two types of dancers, namely truna dancers (never dance) and surudan dancers (already dancing). Its position is divided into prabangsa (leader) and prawira (troop). The first potential could be watching dance and drum practice. The second is by watching live during the show. Third, selling various documentations of the Baris Jangka dance in various forms, such as VCDs, photos, clothes and as souvenirs for Sidatapa.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":"51 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82087769","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}