Pub Date : 2022-10-17DOI: 10.31091/mudra.v37i4.2049
S. ., Aris Setiawan
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.
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Pub Date : 2022-10-06DOI: 10.31091/mudra.v37i4.1884
M. Maryono
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.
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Pub Date : 2022-07-08DOI: 10.31091/mudra.v37i3.2017
R. Widayat
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.
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Pub Date : 2022-07-08DOI: 10.31091/mudra.v37i3.2025
N. Pebryani, Tjok Istri Ratna, C.S., Putu Manik Prihatini
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.
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Pub Date : 2022-07-06DOI: 10.31091/mudra.v37i3.2006
I. M. Surada, I. N. Rema
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.
叶特碑文是8/9世纪巴厘岛研究和发现佛教神学概念的真实数据之一。这项研究的目的是确定巴厘岛佛教中的神学概念，这两种问题公式描述了Tathagata的概念和dharma教义的概念作为痛苦的接受者。本研究是一项定性研究，它的数据是通过对铭文和相关卷轴的观察和研究文献收集的。这项研究的结果是叶特碑文的发现，有五到七行诗，以及使用符号学理论分析的相关朗塔手稿。根据分析结果，我们可以发现Tathagata是席特哈尔塔摩(tabutama)或Bhatara Sri Sakyamuni的求助对象，他们已经获得了完全的启迪，摆脱了马拉的束缚。Tathagata解释说，人类需要通过学习佛法来追求幸福，以毫不犹豫地与mara分离，获得涅槃。
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Pub Date : 2022-07-01DOI: 10.31091/mudra.v37i3.1906
Suwarno Wisetrotomo, Pradani Ratna Pramastuti
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.
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Pub Date : 2022-05-10DOI: 10.31091/mudra.v37i2.1910
Anak Agung Gde Alit Geria, I. M. Bendi Yudha
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.
《Kakawin》(手稿)是由来自西藏Karangasem的Rakawi Made Degung创作的，在巴厘岛古典文学爱好者中得到了积极的回应，因为它充满了湿婆佛教哲学，直到现在仍然和谐地生活在巴厘岛。这种包装精美、赏心悦目的Kakawin在现存的Kakawin中占有重要的地位，因为其内容和独特的呈现因素是时代精神，即典型的巴厘模式的湿婆-佛教话语。该阁文是在阪历1915年(公元1993年)13周年的平新塔星期五完成的。这个kakawin后记中隐含的信息确实是独一无二的，在其他kakawin中很少或从未发现过。他的Kakawin作品，将年数写在pangawi(作者)的名字和它的起源，以一种独特的方式包装，并在Kakawin的最后一节中解释。除了以崇拜美丽女神(Saraswati)作为神圣的神婆罗门配偶，知识女神和剧本的灵魂的Manggala开始外，Pangawi在他的作品结束时，在他面前乞求世界将被拯救，以及它的领导者。
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Pub Date : 2022-05-09DOI: 10.31091/mudra.v37i2.1984
I. Mustika
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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Pub Date : 2022-05-09DOI: 10.31091/mudra.v37i2.1985
Dewa Putu Oka Prasiasa
The phenomenon of delivering messages through mural art occurs in the social life of the Indonesian people, and is used as a medium for social criticism in the public sphere. The purpose of this study is to find the meaning of social criticism that is carried out through the media of mural art and to find the shift in values that occurs in mural art. Based on the research objectives, this research is a qualitative research with a structuralist-constructivism approach from Pierre Bourdieu. Data were collected through observation and in-depth interviews with mural artists community. The theories used to understand, criticize, find meaning and find shifts in the value of mural art are the Habitus Theory and the Cultural Production Theory. This study found that social criticism conveyed through the media of mural art has an economic meaning, a meaning of community popularity, and a meaning of freedom. While the shift that occurred, this study found that mural art, which was originally an artist's expression as a monumental work, shifted to a commodified and contemporary work.
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Pub Date : 2022-04-29DOI: 10.31091/mudra.v37i2.1656
Joko Hariadi, Muhammad Arif Fadhilah, A. Rizki, Indah Fajarini
Penelitian ini bertujuan untuk melakukan revitalisasi tradisi Tepung Tawar sebagai suatu bentuk penguatan dan perlindungan terhadap budaya lokal dalam masyarakat Melayu di Kabupaten Aceh Tamiang. Penelitian ini merupakan penelitian kualitatif dengan menggunakan metode deskriptif. Pengumpulan data dilakukan dengan beberapa teknik yaitu wawancara, dokumentasi, dan observasi lapangan. Analisis data dilakukan dengan memaparkan dan mereduksi data hasil wawancara dan observasi. Data diolah dengan melakukan deskripsi terhadap data yang ditemukan di lapangan dari proses wawancara dan observasi. Hasil yang ditemukan dalam penelitian ini menyatakan bahwa 12 kecamatan di Aceh Tamiang masih menggunakan tradisi Tepung Tawar dalam beberapa prosesi. Ada 4 kecamatan yang melakukan prosesi Tepung Tawar hanya pada kegiatan-kegiatan tertentu saja yaitu Kecamatan Banda Mulia, Sekerak, Seruway, dan Kecamatan Tamiang Hulu. Pada empat kecamatan tersebut, kegiatan revitalisasi tradisi Tepung Tawar dilakukan dengan berkoordinasi dengan Ketua MAA, tetua adat, dan tokoh masyarakat. Setelah dilakukan wawancara dan observasi didapatkan hasil bahwa proses revitalisasi tradisi Tepung Tawar dilakukan dengan lima cara yaitu (1) pengadaan lomba-lomba dalam masyarakat tentang tradisi Tepung Tawar, (2) melatih pemuda desa tentang prosesi Tepung Tawar, (3) menguatkan lembaga adat agar memperhatikan prosesi Tepung Tawar, (4) mengadakan lokakarya, dan (5) membuat buku saku tentang prosesi Tepung Tawar dalam masyarakat Aceh Tamiang. Upaya pemertahan tersebut harus dilakukan untuk mencegah degradasi dan kepunahan budaya di masa yang akan datang.
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