Pub Date : 2024-02-01DOI: 10.31091/mudra.v39i1.2558
Kumala Dewi
Television advertising for children's formula milk is also a text produced from a certain ideological point of view, in the sense that advertising not only functions as a marketing medium for dairy products but also conveys ideology that can influence the mindset and decisions of the audience. This study focuses on analyzing the ideology behind television commercials for children's formula milk. The research aims to find out and provide an explanation of ideology in television commercials for children's formula milk. The method in this research is qualitative, with a textual analysis approach. The primary data is in the form of recordings of ten advertisements for formula milk products aired by several Indonesian national television stations. Secondary data was obtained through observation, literature study, online data searches, and questionnaires on the public as television viewers/consumers/parents. The results of the study show that the ideology behind the ten television advertisements for children's formula milk includes the ideology of idealism and consumerism.
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Pub Date : 2024-02-01DOI: 10.31091/mudra.v39i1.2558
Kumala Dewi
Television advertising for children's formula milk is also a text produced from a certain ideological point of view, in the sense that advertising not only functions as a marketing medium for dairy products but also conveys ideology that can influence the mindset and decisions of the audience. This study focuses on analyzing the ideology behind television commercials for children's formula milk. The research aims to find out and provide an explanation of ideology in television commercials for children's formula milk. The method in this research is qualitative, with a textual analysis approach. The primary data is in the form of recordings of ten advertisements for formula milk products aired by several Indonesian national television stations. Secondary data was obtained through observation, literature study, online data searches, and questionnaires on the public as television viewers/consumers/parents. The results of the study show that the ideology behind the ten television advertisements for children's formula milk includes the ideology of idealism and consumerism.
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This research aimed to inventory the cultural meaning of traditional ritual equipment and document the equipment used during the tradition of healing requests of Anak Dalam Tribes Batin Sembilan Muaro Jambi Regency as a form of effort to maintain local wisdom. Meanwhile, the research method in this research used a qualitative descriptive method with an ethnographic approach. Data collection techniques in this research used interviews and documentation, while data analysis techniques used data reduction techniques, data presentation and conclusions. The results of the research show various descriptions and documentation of the cultural meaning of the equipment used during the tradition of healing requests of Anak Dalam tribes in Batin Sembilan Muaro Jambi Regency as a form of effort to maintain local wisdom. The names of the tools used in this tradition include: Balai, sesaji, Balai Pengadap, Ancak Kembang, Dupo dan orang-orangan and these are large tools that are used in general while other tools used include: Bertih, Cace, Balai di atas balai, cengkraman, redap, bedak kramasan, nampan sirih tambang balai, kain andam, gambar koneng dan cawan.
本研究旨在盘点传统仪式设备的文化内涵，并记录巴丁森美兰省占碑县阿娜克达兰部落（Anak Dalam Tribes Batin Sembilan Muaro Jambi Regency）在治疗请求传统中使用的设备，以此作为维护当地智慧的一种形式。同时，本研究采用了民族志的定性描述方法。本研究的数据收集技术采用访谈和文献记录，数据分析技术采用数据还原技术、数据展示和结论。研究结果表明，巴廷森美兰穆阿罗占碑地区的阿娜克达兰部落在治疗请求传统中使用的设备具有不同的文化意义，是维护当地智慧的一种形式。在这一传统中使用的工具名称包括Balai、sesaji、Balai Pengadap、Ancak Kembang、Dupo dan orang-orangan，这些都是一般使用的大型工具，而其他使用的工具包括：Bertih、Cace、Balai Pengadap、Ancak Kembang、Dupo dan orang-orangan：Bertih、Cace、Balai di atas balai、cengkraman、redap、bedak kramasan、nampan sirih tambang balai、kain andam、gambar koneng 和 cawan。
{"title":"CULTURAL MEANING ON TRADITIONAL EQUIPMENT OF THE HEALING RITUAL TRADITION OF ANAK DALAM TRIBES IN THE BATIN SEMBILAN COMMUNITY, MUARO JAMBI DISTRICT: THE EFFORTS TO PRESERVE LOCAL WISDOM","authors":"Helty Helty, Julisah Izar, Liza Septa Wilyanti, Siti Maisaroh","doi":"10.31091/mudra.v39i1.2545","DOIUrl":"https://doi.org/10.31091/mudra.v39i1.2545","url":null,"abstract":"This research aimed to inventory the cultural meaning of traditional ritual equipment and document the equipment used during the tradition of healing requests of Anak Dalam Tribes Batin Sembilan Muaro Jambi Regency as a form of effort to maintain local wisdom. Meanwhile, the research method in this research used a qualitative descriptive method with an ethnographic approach. Data collection techniques in this research used interviews and documentation, while data analysis techniques used data reduction techniques, data presentation and conclusions. The results of the research show various descriptions and documentation of the cultural meaning of the equipment used during the tradition of healing requests of Anak Dalam tribes in Batin Sembilan Muaro Jambi Regency as a form of effort to maintain local wisdom. The names of the tools used in this tradition include: Balai, sesaji, Balai Pengadap, Ancak Kembang, Dupo dan orang-orangan and these are large tools that are used in general while other tools used include: Bertih, Cace, Balai di atas balai, cengkraman, redap, bedak kramasan, nampan sirih tambang balai, kain andam, gambar koneng dan cawan.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139528215","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}
Pub Date : 2024-01-16DOI: 10.31091/mudra.v39i1.2637
Eka Putri Suryantari, Ni Luh Putu Wiagustini, I Putu Sudana, Ni Ketut Rasmini
Cultural practices in society are greatly influenced by the extent to which they are able to provide benefits to those who practice them. One of the cultural practices that is still found in the heritage region of the city of Denpasar is called cingkreman. This is a culture-based and family-based financial planning and savings system. Cingkreman is based on an agreement between individuals to join a cingkreman group (sekaa). The period of participation for one period corresponds to the cycle of the Galungan holidays, namely 210 days. The novelty of this research is to bring to the surface the cultural practices that exist in society so that efforts can be made to preserve the tradition of cingkreman. This is qualitative research with an interpretive paradigm that uses an ethnomethodological approach. The aim of this research is to find out how the concept of Tri Kaya Parisudha (moral teaching about personal behavior) is applied to cingkreman and how this practice continues to exist in the midst of society. The data were collected through interviews and focus group discussions (FGDs). The research results show that the Tri Kaya Parisudha concept is practiced in the cingkreman system. The behavior of the members and coordinators of a sekaa, as reflected in the themes resulting from the stages of Garfinkel's analysis, reflects kayika parisudha (good acts), wacika parisudha (good speech), and manacika parisudha (good thought). The foundation of behavior based on these three noble attitudes of Tri Kaya Parisudha is able to produce cultural values which cause the practice of cingkreman to provide benefits to its practitioners. The benefits felt by these actors mean that cingkreman will continue to be practiced, and this is one of the reasons why the carrying out of cingkreman persists amidst technological advances which are slowly eroding existing cultural practices in society. Hofstede's cultural dimensions that are found in the practice of cingkreman include uncertainty avoidance, collectivity, and femininity. The dimension of power differences is not found because, in the practice of cingkreman, there are no differences between the participants in the social strata. Everyone has the same right to join the cingkreman group.
社会中的文化习俗在很大程度上受其能够为习俗使用者带来的利益的影响。在登巴萨市的遗产地区仍然存在的一种文化习俗叫做 "cingkreman"。这是一种基于文化和家庭的财务规划和储蓄系统。cingkreman 以个人之间加入 cingkreman 小组（sekaa）的协议为基础。参加的期限为一个周期，即 210 天。这项研究的新颖之处在于揭示社会中存在的文化习俗，从而努力保护 cingkreman 传统。这是一项定性研究，采用民族方法论的解释性范式。本研究旨在了解 Tri Kaya Parisudha（关于个人行为的道德教育）的概念如何应用于 cingkreman，以及这种习俗如何在社会中继续存在。数据是通过访谈和焦点小组讨论（FGDs）收集的。研究结果表明，Tri Kaya Parisudha 概念在 cingkreman 系统中得到了实践。根据加芬克尔分析法的各个阶段得出的主题，sekaa 成员和协调人的行为反映了 kayika parisudha（善行）、wacika parisudha（善言）和 manacika parisudha（善思）。建立在 "三善"（Tri Kaya Parisudha）这三种高尚态度基础上的行为基础能够产生文化价值，从而使 cingkreman 的实践为其实践者带来益处。这些行为者所感受到的利益意味着 "苦行 "将继续下去，这也是在科技进步逐渐侵蚀社会现有文化习俗的情况下，"苦行 "依然存在的原因之一。霍夫斯泰德提出的文化维度包括避免不确定性、集体主义和女性特质。没有发现权力差异维度，因为在 cingkreman 实践中，社会阶层参与者之间没有差异。每个人都有同样的权利加入 cingkreman 团体。
{"title":"A Portrait of Tri Kaya Parisudha in Cingkreman (Hofstede's Study of Cultural Dimensions)","authors":"Eka Putri Suryantari, Ni Luh Putu Wiagustini, I Putu Sudana, Ni Ketut Rasmini","doi":"10.31091/mudra.v39i1.2637","DOIUrl":"https://doi.org/10.31091/mudra.v39i1.2637","url":null,"abstract":"Cultural practices in society are greatly influenced by the extent to which they are able to provide benefits to those who practice them. One of the cultural practices that is still found in the heritage region of the city of Denpasar is called cingkreman. This is a culture-based and family-based financial planning and savings system. Cingkreman is based on an agreement between individuals to join a cingkreman group (sekaa). The period of participation for one period corresponds to the cycle of the Galungan holidays, namely 210 days. The novelty of this research is to bring to the surface the cultural practices that exist in society so that efforts can be made to preserve the tradition of cingkreman. This is qualitative research with an interpretive paradigm that uses an ethnomethodological approach. The aim of this research is to find out how the concept of Tri Kaya Parisudha (moral teaching about personal behavior) is applied to cingkreman and how this practice continues to exist in the midst of society. The data were collected through interviews and focus group discussions (FGDs). The research results show that the Tri Kaya Parisudha concept is practiced in the cingkreman system. The behavior of the members and coordinators of a sekaa, as reflected in the themes resulting from the stages of Garfinkel's analysis, reflects kayika parisudha (good acts), wacika parisudha (good speech), and manacika parisudha (good thought). The foundation of behavior based on these three noble attitudes of Tri Kaya Parisudha is able to produce cultural values which cause the practice of cingkreman to provide benefits to its practitioners. The benefits felt by these actors mean that cingkreman will continue to be practiced, and this is one of the reasons why the carrying out of cingkreman persists amidst technological advances which are slowly eroding existing cultural practices in society. Hofstede's cultural dimensions that are found in the practice of cingkreman include uncertainty avoidance, collectivity, and femininity. The dimension of power differences is not found because, in the practice of cingkreman, there are no differences between the participants in the social strata. Everyone has the same right to join the cingkreman group.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139618303","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}
Pub Date : 2024-01-05DOI: 10.31091/mudra.v39i1.2489
Pande Ketut Ribek, Ni Luh Gede Putu Purnawati, Ketut Muka Pendet, Ida Ayu Nyoman Yuliastuti
Loyalty is created based on the experience of consumers buying and consuming products, the factors that influence the emergence of customer loyalty so that they can carry out the right strategy for the survival of the company. brand image, product variety, and store atmosphere. The purpose of this study was to analyze the effect of brand image, product variety, and store atmosphere on customer loyalty. The population of this study are consumers who come to shop at least 2 times. The sampling technique is purposive sampling, this method uses the census method with a total of 102 fashion shop owners. Samples in this study were 102 respondents, with multiple linear regression analysis. Results of this study brand image has a significant positive effect on customer loyalty, product variety has a significant positive effect on customer loyalty, store atmosphere has a significant positive effect on customer loyalty in fashion stores in Bali.
{"title":"Brand Image Linkage, Product Diversity and Store Atmosphere to Customer Loyalty in Fashion Shops in Bali","authors":"Pande Ketut Ribek, Ni Luh Gede Putu Purnawati, Ketut Muka Pendet, Ida Ayu Nyoman Yuliastuti","doi":"10.31091/mudra.v39i1.2489","DOIUrl":"https://doi.org/10.31091/mudra.v39i1.2489","url":null,"abstract":"Loyalty is created based on the experience of consumers buying and consuming products, the factors that influence the emergence of customer loyalty so that they can carry out the right strategy for the survival of the company. brand image, product variety, and store atmosphere. The purpose of this study was to analyze the effect of brand image, product variety, and store atmosphere on customer loyalty. The population of this study are consumers who come to shop at least 2 times. The sampling technique is purposive sampling, this method uses the census method with a total of 102 fashion shop owners. Samples in this study were 102 respondents, with multiple linear regression analysis. Results of this study brand image has a significant positive effect on customer loyalty, product variety has a significant positive effect on customer loyalty, store atmosphere has a significant positive effect on customer loyalty in fashion stores in Bali.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139383064","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}
Pub Date : 2024-01-05DOI: 10.31091/mudra.v39i1.2505
J. Jamaludin, Anwar Subkiman, Edwin Widia
This paper aims to examine the symbolic aesthetic concepts that exist in Sundanese society and culture in West Java, Indonesia. The symbolic meaning that exists or is applied to forms that are known in art and design. With the method of interpretation and using Sundanese as a source of research, several expressions and proverbs are found that use the basic shapes, namely squares, triangles and circles. The results of this study indicate that there are symbolic meanings of the three basic forms which indicate that in Sundanese culture there is awareness of the existence of these basic forms and give them symbolic meanings. These basic forms are generally sourced from objects found in nature. The meaning of this basic form refers to a certain function that is applied according to the character of the basic form in its implementation. This symbolic meaning generally refers to efforts to create cultural values towards perfection. The meaning of this basic shape can be used for the meaning of the basic shape used in designs with a local cultural approach, especially in areas where the culture grows and develops.
{"title":"The Meaning of Symbolic Aesthetic of Basic Shapes in Sundanese Culture","authors":"J. Jamaludin, Anwar Subkiman, Edwin Widia","doi":"10.31091/mudra.v39i1.2505","DOIUrl":"https://doi.org/10.31091/mudra.v39i1.2505","url":null,"abstract":"This paper aims to examine the symbolic aesthetic concepts that exist in Sundanese society and culture in West Java, Indonesia. The symbolic meaning that exists or is applied to forms that are known in art and design. With the method of interpretation and using Sundanese as a source of research, several expressions and proverbs are found that use the basic shapes, namely squares, triangles and circles. The results of this study indicate that there are symbolic meanings of the three basic forms which indicate that in Sundanese culture there is awareness of the existence of these basic forms and give them symbolic meanings. These basic forms are generally sourced from objects found in nature. The meaning of this basic form refers to a certain function that is applied according to the character of the basic form in its implementation. This symbolic meaning generally refers to efforts to create cultural values towards perfection. The meaning of this basic shape can be used for the meaning of the basic shape used in designs with a local cultural approach, especially in areas where the culture grows and develops.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139382585","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}
Pub Date : 2023-11-03DOI: 10.31091/mudra.v39i1.2410
None I Komang Try Adi Stanaya, None I Made Gede Arimbawa
Augmented reality technology or more popularly known as AR is a technology that implements interactive multimedia concepts. Augmented reality technology is a technology that combines the virtual world with the real world in real-time, through electronic devices such as cameras, sensors and software, augmented reality is able to display virtual objects in both 2D and 3D form in the real world. In this study, it focuses on analyzing the appearance of the interface design or the main menu application user interface by implementing augmented reality technology, with the name of the application, Augmented Reality Baleganjur. The user interface display on the main menu of the Baleganjur Augmented Reality application has design elements that can be translated with different meanings and understandings, depending on the user's point of view. This is the basis of this research, where the appearance of the user interface design on the main menu of the Baleganjur Augmented Reality application has design elements that can lead to different interpretations of meaning and understanding. The purpose of this study is of course to reveal the meaning and understanding of the design elements in the user interface design display of the Baleganjur Augmented Reality application, by conducting an in-depth analysis using Paul Ricoeur's Hermeneutics. As for the results of this study, it can be concluded that researchers as hermeneutics have an important role in interpreting and offering solutions, which can later be used as a reference for repairing or perfecting design elements in the application user interface, so that these design elements can convey meaning and understanding in a comprehensive and detailed manner to users.
{"title":"Paul Ricoeur's Hermeneutic Analysis on User Interface Design for Augmented Reality Baleganjur Applications","authors":"None I Komang Try Adi Stanaya, None I Made Gede Arimbawa","doi":"10.31091/mudra.v39i1.2410","DOIUrl":"https://doi.org/10.31091/mudra.v39i1.2410","url":null,"abstract":"Augmented reality technology or more popularly known as AR is a technology that implements interactive multimedia concepts. Augmented reality technology is a technology that combines the virtual world with the real world in real-time, through electronic devices such as cameras, sensors and software, augmented reality is able to display virtual objects in both 2D and 3D form in the real world. In this study, it focuses on analyzing the appearance of the interface design or the main menu application user interface by implementing augmented reality technology, with the name of the application, Augmented Reality Baleganjur. The user interface display on the main menu of the Baleganjur Augmented Reality application has design elements that can be translated with different meanings and understandings, depending on the user's point of view. This is the basis of this research, where the appearance of the user interface design on the main menu of the Baleganjur Augmented Reality application has design elements that can lead to different interpretations of meaning and understanding. The purpose of this study is of course to reveal the meaning and understanding of the design elements in the user interface design display of the Baleganjur Augmented Reality application, by conducting an in-depth analysis using Paul Ricoeur's Hermeneutics. As for the results of this study, it can be concluded that researchers as hermeneutics have an important role in interpreting and offering solutions, which can later be used as a reference for repairing or perfecting design elements in the application user interface, so that these design elements can convey meaning and understanding in a comprehensive and detailed manner to users.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135868286","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}
Pub Date : 2023-11-03DOI: 10.31091/mudra.v39i1.2520
None Suhendi Afryanto, None Arthur Supardan Nalan, None Gustiyan Rachmadi
One type of gamelan art that is developing in West Java is Gong Rénténg which used to be often used in sacred ceremonial activities. The sacredness built into the art is inseparable from the belief system adopted by the community as its supporting community. Gong Rénténg's whereabouts then and now are experiencing dynamics of change which are quite important to study, especially his journey which was stopped for various reasons. Stagnant regeneration factors, changes in people's perspectives due to changes in belief systems, as well as the influx of imported arts that continue to intrude on traditional art life, are some of the main reasons this art has experienced ups and downs in its life. The research carried out has the style of cultural research involving key informants as triggers to explore the depth of the material. There are three models of cultural research as approaches taken by researchers, including; Life Story models, Grounded Theory, and Personal Narrative. While the research method used still uses qualitative research by taking locations in two different areas, namely: (1) Ciwaru Village, Cimalaka District, Sumedang Regency, and (2) Kedungsana Village, Plumbon District, Cirebon Regency. In Ciwaru village, the object of research is the art of Gong Rénténg Pusaka Langgeng, while in the village of Kedungsana it is the art of Gong Rénténg Ki Muntili. The results of the research conducted obtained the following information: (1) The Gong Rénténg Pusaka Langgeng art still adheres to adat in a standard way even though the next generation continues to decrease, and (2) The Gong Rénténg Ki Muntili art does two ways to keep it alive, namely ritual ceremonies as part of ancestral traditions are carried out as well as the process of inheritance with new interpretations.
在西爪哇正在发展的一种佳美兰艺术是贡兰，过去经常用于神圣的仪式活动。艺术所具有的神圣性与作为艺术支撑的社会所采用的信仰体系是分不开的。龚仁杰当时和现在的行踪都在经历着动态的变化，这是非常重要的研究，特别是他的旅行因为各种原因而停止。停滞不前的再生因素，由于信仰体系的变化而导致的人们视角的变化，以及不断涌入的外来艺术对传统艺术生活的侵扰，是这门艺术经历跌宕起伏的主要原因。所开展的研究具有文化研究的风格，以关键线人为触发器，探索材料的深度。研究人员采用的文化研究方法有三种模式，包括;生活故事模型，扎根理论和个人叙事。然而，研究方法仍然采用定性研究的方法，在两个不同的地区进行选址，即:(1)Sumedang县Cimalaka区Ciwaru村，以及(2)Cirebon县Plumbon区Kedungsana村。在Ciwaru村，研究的对象是Gong rsamentsaming Pusaka Langgeng的艺术，而在Kedungsana村，研究的对象是Gong rsamentsaming Ki Muntili的艺术。通过研究得到以下信息:(1)虽然下一代在不断减少，但Gong r材料与材料之间的关系仍在以一种标准的方式保持着，(2)Gong r材料与材料之间的关系有两种方式，即作为祖先传统的一部分进行仪式仪式，以及以新的诠释进行传承的过程。
{"title":"Gong Rénténg Transformation From Sacral to Profan","authors":"None Suhendi Afryanto, None Arthur Supardan Nalan, None Gustiyan Rachmadi","doi":"10.31091/mudra.v39i1.2520","DOIUrl":"https://doi.org/10.31091/mudra.v39i1.2520","url":null,"abstract":"One type of gamelan art that is developing in West Java is Gong Rénténg which used to be often used in sacred ceremonial activities. The sacredness built into the art is inseparable from the belief system adopted by the community as its supporting community. Gong Rénténg's whereabouts then and now are experiencing dynamics of change which are quite important to study, especially his journey which was stopped for various reasons. Stagnant regeneration factors, changes in people's perspectives due to changes in belief systems, as well as the influx of imported arts that continue to intrude on traditional art life, are some of the main reasons this art has experienced ups and downs in its life. The research carried out has the style of cultural research involving key informants as triggers to explore the depth of the material. There are three models of cultural research as approaches taken by researchers, including; Life Story models, Grounded Theory, and Personal Narrative. While the research method used still uses qualitative research by taking locations in two different areas, namely: (1) Ciwaru Village, Cimalaka District, Sumedang Regency, and (2) Kedungsana Village, Plumbon District, Cirebon Regency. In Ciwaru village, the object of research is the art of Gong Rénténg Pusaka Langgeng, while in the village of Kedungsana it is the art of Gong Rénténg Ki Muntili. The results of the research conducted obtained the following information: (1) The Gong Rénténg Pusaka Langgeng art still adheres to adat in a standard way even though the next generation continues to decrease, and (2) The Gong Rénténg Ki Muntili art does two ways to keep it alive, namely ritual ceremonies as part of ancestral traditions are carried out as well as the process of inheritance with new interpretations.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135868287","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}
Pub Date : 2023-11-01DOI: 10.31091/mudra.v39i1.2554
Dewa Putu Oka Prasiasa, None Ni Wayan Karmini, None Dewa Ayu Diyah Sri Widari
The development of a village into a sustainable tourism village is expected to be able to optimally meet cultural sustainability indicators. To realize cultural sustainability in the development of tourism villages in Bali, there are still challenges in strengthening culture such as the dynamics of authenticity and commodification, tourism political domination and hegemony, as well as strengthening traditional institutions. In order to increase the competitiveness of tourism, especially from the pillar of sustainable tourism villages, aspects of authenticity and commodification can increase their contribution to the local and national economy through the implementation of internationalization, traditionalization, and sacred versus profane; aspects of tourism political domination and hegemony through the implementation of policies related to the development of tourism villages; and aspects of strengthening traditional institutions through involving all levels of village society and community institutions in the village in relation to supporting the development of culture-based tourism villages, as well as revitalizing groups (sekaha-sekaha) that produce creative work to strengthen the development of tourism products in tourism villages and strengthen the image of a tourism village.
{"title":"Challenges of Strengthening Culture in the Development of Sustainable Tourism Villages in Bali","authors":"Dewa Putu Oka Prasiasa, None Ni Wayan Karmini, None Dewa Ayu Diyah Sri Widari","doi":"10.31091/mudra.v39i1.2554","DOIUrl":"https://doi.org/10.31091/mudra.v39i1.2554","url":null,"abstract":"The development of a village into a sustainable tourism village is expected to be able to optimally meet cultural sustainability indicators. To realize cultural sustainability in the development of tourism villages in Bali, there are still challenges in strengthening culture such as the dynamics of authenticity and commodification, tourism political domination and hegemony, as well as strengthening traditional institutions. In order to increase the competitiveness of tourism, especially from the pillar of sustainable tourism villages, aspects of authenticity and commodification can increase their contribution to the local and national economy through the implementation of internationalization, traditionalization, and sacred versus profane; aspects of tourism political domination and hegemony through the implementation of policies related to the development of tourism villages; and aspects of strengthening traditional institutions through involving all levels of village society and community institutions in the village in relation to supporting the development of culture-based tourism villages, as well as revitalizing groups (sekaha-sekaha) that produce creative work to strengthen the development of tourism products in tourism villages and strengthen the image of a tourism village.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135371683","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}
Pub Date : 2023-08-08DOI: 10.31091/mudra.v39i1.2431
Komang Indra, Wirawan
Calon Arang performing arts have been developing very well recently. It is proved by the held of many Calon Arang performances and the hectic news coverage and related social media uploads. In addition to the audience being enthusiastic about the show, the artists also continue to innovate and be creative in presenting interesting performances. However, the existing Calon Arang art is a sacred performance that has undergone many commodifications and deviations. Furthermore, there was a lot of chaos and even death. Therefore, a management system for the Calon Arang performing arts is needed that is in accordance with tattwa (philosophy), susila (ethics), and upakara (rituals), but at the same time, it provides sufficient space for artists to express their creativity, and can still present interesting shows to the public. This research was organized in qualitative descriptive method to formulate what factors need to be used as the basis for the management of Calon Arang performance. The research result shows that the preparation of Calon Arang performance management guidelines was not an easy thing because there were conflicts in mapping out the parameters to be used as the basis for managing the Calon Arang Show, both from an aesthetic and religious point of view. However, it is hoped that with the cooperation of various parties, initial principles can be formulated on how to manage the Calon Arang show.
{"title":"Reflections on the Governance of Calon Arang Performance: Between Contestation, Commodification, and Religion","authors":"Komang Indra, Wirawan","doi":"10.31091/mudra.v39i1.2431","DOIUrl":"https://doi.org/10.31091/mudra.v39i1.2431","url":null,"abstract":"Calon Arang performing arts have been developing very well recently. It is proved by the held of many Calon Arang performances and the hectic news coverage and related social media uploads. In addition to the audience being enthusiastic about the show, the artists also continue to innovate and be creative in presenting interesting performances. However, the existing Calon Arang art is a sacred performance that has undergone many commodifications and deviations. Furthermore, there was a lot of chaos and even death. Therefore, a management system for the Calon Arang performing arts is needed that is in accordance with tattwa (philosophy), susila (ethics), and upakara (rituals), but at the same time, it provides sufficient space for artists to express their creativity, and can still present interesting shows to the public. This research was organized in qualitative descriptive method to formulate what factors need to be used as the basis for the management of Calon Arang performance. The research result shows that the preparation of Calon Arang performance management guidelines was not an easy thing because there were conflicts in mapping out the parameters to be used as the basis for managing the Calon Arang Show, both from an aesthetic and religious point of view. However, it is hoped that with the cooperation of various parties, initial principles can be formulated on how to manage the Calon Arang show.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79641897","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}
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