Pub Date : 2023-08-08DOI: 10.31091/mudra.v39i1.2504
Theresia Widyastuti
Tiga Negeri batik began to be made in the late 18th century on the north coast of Java island but its dyeing process was made in three cities, namely Lasem, Pekalongan, and Surakarta. The term three refers not only to the number of colors but also to the combination of three cultures behind the style, namely Java, China, and Europe. This field research using qualitative methods aims to explore the possibility of developing Tiga Negeri batik through the use of natural coloring from plants. Data were collected through observation and interviews with batik artisans in Lasem, Pekalongan and Surakarta, as well as batik artisans who are also natural dye activists and who are members of the Indonesian Natural Dyers Association living in Kediri and Jombang. The result is that Tiga Negeri batik with environmentally friendly natural dyes can be achieved despite still having to use a small amount of artificial dyes, especially for the red color. This effort to return to natural dyes is mainly because this type of batik attracts the attention of international consumers in particular, and domestic consumers in general.
Tiga Negeri蜡染于18世纪后期在爪哇岛北部海岸开始制作，但其染色过程是在三个城市进行的，即Lasem, Pekalongan和Surakarta。“三”一词不仅指颜色的数量，还指这种风格背后的三种文化的结合，即爪哇、中国和欧洲。本实地研究采用定性方法，旨在探索通过使用植物的天然色素来开发尼日利亚蜡染的可能性。通过观察和采访拉萨姆、北加隆岸和苏拉arta的蜡染工匠，以及居住在Kediri和Jombang的天然染料活动家和印度尼西亚天然染料协会成员的蜡染工匠，收集了数据。结果是，尽管仍然需要使用少量的人造染料，特别是红色，但仍然可以实现环保天然染料的Tiga Negeri蜡染。这种回归天然染料的努力主要是因为这种类型的蜡染特别吸引了国际消费者的注意，而国内消费者一般。
{"title":"Uses Of Natural Dyes To Develop Tiga Negeri Batik","authors":"Theresia Widyastuti","doi":"10.31091/mudra.v39i1.2504","DOIUrl":"https://doi.org/10.31091/mudra.v39i1.2504","url":null,"abstract":"Tiga Negeri batik began to be made in the late 18th century on the north coast of Java island but its dyeing process was made in three cities, namely Lasem, Pekalongan, and Surakarta. The term three refers not only to the number of colors but also to the combination of three cultures behind the style, namely Java, China, and Europe. This field research using qualitative methods aims to explore the possibility of developing Tiga Negeri batik through the use of natural coloring from plants. Data were collected through observation and interviews with batik artisans in Lasem, Pekalongan and Surakarta, as well as batik artisans who are also natural dye activists and who are members of the Indonesian Natural Dyers Association living in Kediri and Jombang. The result is that Tiga Negeri batik with environmentally friendly natural dyes can be achieved despite still having to use a small amount of artificial dyes, especially for the red color. This effort to return to natural dyes is mainly because this type of batik attracts the attention of international consumers in particular, and domestic consumers in general.","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":"78916723","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.v39i1.2507
A. Munandar, M. Noer, Erwin, R. Syahni
The tourism sector plays a role in the economic development of Indonesia and serves as one of the sources of Regional Original Income. Generally, countries with potential coastal natural resources utilize maritime tourism as a tool to support their development, including in the Mentawai Islands Regency, West Sumatra Province. The tourism sector represents one of the economic development potentials in the Mentawai Islands Regency. Maritime tourism involves recreational activities conducted in marine or coastal areas, including beaches, islands, and oceanic regions, encompassing the surface, depths, and seabed. One of the potentials of maritime tourism destinations is the local wisdom specific to each region. Areas that adopt a community-based approach to the development of maritime tourism utilize social and cultural potentials as tools for its advancement. Therefore, this study focuses on the local wisdom of the Mentawai ethnic community on Siberut Island within the maritime tourism region. The research aims to identify, describe, and explain the local wisdom still applied in the daily lives of the indigenous Mentawai community on Siberut Island as a basis for the development of maritime tourism. The theory of local wisdom is used to analyze the forms of local wisdom. The research design falls under the non-experimental research design. Based on its nature, qualitative data is utilized in the study. From the discussion, it can be concluded that the South Siberut and Southwest Siberut sub-districts exhibit various forms of local wisdom. The forms of local wisdom include knowledge, technology, religious beliefs, culture, customs, and creative products of the community.
{"title":"Local Wisdom of The Mentawai Tribe Community on Siberut Island in The Vicinity of Maritime Tourism Area","authors":"A. Munandar, M. Noer, Erwin, R. Syahni","doi":"10.31091/mudra.v39i1.2507","DOIUrl":"https://doi.org/10.31091/mudra.v39i1.2507","url":null,"abstract":"The tourism sector plays a role in the economic development of Indonesia and serves as one of the sources of Regional Original Income. Generally, countries with potential coastal natural resources utilize maritime tourism as a tool to support their development, including in the Mentawai Islands Regency, West Sumatra Province. The tourism sector represents one of the economic development potentials in the Mentawai Islands Regency. Maritime tourism involves recreational activities conducted in marine or coastal areas, including beaches, islands, and oceanic regions, encompassing the surface, depths, and seabed. One of the potentials of maritime tourism destinations is the local wisdom specific to each region. Areas that adopt a community-based approach to the development of maritime tourism utilize social and cultural potentials as tools for its advancement. Therefore, this study focuses on the local wisdom of the Mentawai ethnic community on Siberut Island within the maritime tourism region. The research aims to identify, describe, and explain the local wisdom still applied in the daily lives of the indigenous Mentawai community on Siberut Island as a basis for the development of maritime tourism. The theory of local wisdom is used to analyze the forms of local wisdom. The research design falls under the non-experimental research design. Based on its nature, qualitative data is utilized in the study. From the discussion, it can be concluded that the South Siberut and Southwest Siberut sub-districts exhibit various forms of local wisdom. The forms of local wisdom include knowledge, technology, religious beliefs, culture, customs, and creative products of the community.","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":"73291955","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 : 2023-07-24DOI: 10.31091/mudra.v38i4.2337
N. Wirasanti
The beauty of Kalasan Temple façade can be seen from its variety of decorations known as the pearls of Central Java art in the 8th century AD. The artwork manifests in the aesthetics and artistic value of Kala-Makara, leaf tendrils (purnakalasa), paper paste, apsara-apsari figures. The purpose of this writing is to gain knowledge and insight about the decorative artistic expressions carved on the temples. The method used is qualitative research observing its form, content and meaning. The analysis uses contextual analysis, which is to look at the relationship between ornaments and their context by basing on the motion of lines, the shape of art objects, and rhythmic compositions. The discussion will use aesthetic theory, artistic value and symbol theory to be able to explain the form of beauty in the decorative art of Kalasan Temple. The result shows that the selection of ornamental art ornaments is combined with the right proportions, symmetry in the arrangement and precise processing to produce artistic expression in achieving transcendent ideas.
{"title":"Ornamental Art of Kalasan Temple in The Perspective of Art Philosophy","authors":"N. Wirasanti","doi":"10.31091/mudra.v38i4.2337","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2337","url":null,"abstract":"The beauty of Kalasan Temple façade can be seen from its variety of decorations known as the pearls of Central Java art in the 8th century AD. The artwork manifests in the aesthetics and artistic value of Kala-Makara, leaf tendrils (purnakalasa), paper paste, apsara-apsari figures. The purpose of this writing is to gain knowledge and insight about the decorative artistic expressions carved on the temples. The method used is qualitative research observing its form, content and meaning. The analysis uses contextual analysis, which is to look at the relationship between ornaments and their context by basing on the motion of lines, the shape of art objects, and rhythmic compositions. The discussion will use aesthetic theory, artistic value and symbol theory to be able to explain the form of beauty in the decorative art of Kalasan Temple. The result shows that the selection of ornamental art ornaments is combined with the right proportions, symmetry in the arrangement and precise processing to produce artistic expression in achieving transcendent ideas.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85347145","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 : 2023-07-24DOI: 10.31091/mudra.v38i4.2374
S. Nortey, R. Amoanyi, Emmanuel Donkor
The paper looked at historical antecedents of bricks industry in Ghana, its challenges and how governments and individuals have supported bricks advocacy in Ghana. The properties of clay minerals for structural products are tolerable among Ghanaian clays and though composite formulations have improve the suitability of the clay material for bricks production, its advocacy for construction in Ghana has not been fully pushed for. Through historical and descriptive methods, the study revealed that the brick industry in Ghana have suffered challenges such as poor management, limited technical-know-how, weak infrastructure, quality control and socio-cultural issues. Governments over the years have tabled good policies but implementation have been poor. The paper recommended among others that cottages and other projects such as public buildings, government affordable housing projects be built with bricks to encourage individuals to patronize bricks.
{"title":"The Brick Industry in Ghana: Historical Contexts, Advocacy and Way Forward","authors":"S. Nortey, R. Amoanyi, Emmanuel Donkor","doi":"10.31091/mudra.v38i4.2374","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2374","url":null,"abstract":"The paper looked at historical antecedents of bricks industry in Ghana, its challenges and how governments and individuals have supported bricks advocacy in Ghana. The properties of clay minerals for structural products are tolerable among Ghanaian clays and though composite formulations have improve the suitability of the clay material for bricks production, its advocacy for construction in Ghana has not been fully pushed for. Through historical and descriptive methods, the study revealed that the brick industry in Ghana have suffered challenges such as poor management, limited technical-know-how, weak infrastructure, quality control and socio-cultural issues. Governments over the years have tabled good policies but implementation have been poor. The paper recommended among others that cottages and other projects such as public buildings, government affordable housing projects be built with bricks to encourage individuals to patronize bricks.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82597685","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 : 2023-07-20DOI: 10.31091/mudra.v38i4.2490
Masyuni Sujayanthi, Nina Hartini
The negative impact of Covid-19 on children's character development calls for activities to restore social interaction that affects attitudes and behavior through Balinese Karawitan Art. The aim of such activities is to improve concentration and social interaction skills by applying the value of moral education in participating in Balinese Karawitan Arts activities. The implementation of character education values provides a correlation to children's growth and development using the mirror of effect theory, which refers to a person's character being influenced by his environment. The method used is a descriptive method by describing the phenomenon of the impact of Covid-19 as it affects the social interaction of children. Data collection was carried out by observation and interviews, the results of the research show that participating in Balinese Karawitan Arts activities at Sanggar Kertha Jaya brought positive changes to children's growth and development because, in addition to mastering Balinese gamelan techniques, the activities indirectly provided character education in an effort to instill the values of attitude and intelligence in thinking and appreciation. Recommendations: create activities that are able to increase social interaction while still implementing health protocols, especially in the arts that can shape the character of the nation's young generation.
{"title":"Balinese Karawitan Arts as a Media for Character Education and Preservation of Balinese Cultural Arts","authors":"Masyuni Sujayanthi, Nina Hartini","doi":"10.31091/mudra.v38i4.2490","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2490","url":null,"abstract":"The negative impact of Covid-19 on children's character development calls for activities to restore social interaction that affects attitudes and behavior through Balinese Karawitan Art. The aim of such activities is to improve concentration and social interaction skills by applying the value of moral education in participating in Balinese Karawitan Arts activities. The implementation of character education values provides a correlation to children's growth and development using the mirror of effect theory, which refers to a person's character being influenced by his environment. The method used is a descriptive method by describing the phenomenon of the impact of Covid-19 as it affects the social interaction of children. Data collection was carried out by observation and interviews, the results of the research show that participating in Balinese Karawitan Arts activities at Sanggar Kertha Jaya brought positive changes to children's growth and development because, in addition to mastering Balinese gamelan techniques, the activities indirectly provided character education in an effort to instill the values of attitude and intelligence in thinking and appreciation. Recommendations: create activities that are able to increase social interaction while still implementing health protocols, especially in the arts that can shape the character of the nation's young generation.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72843373","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 : 2023-07-20DOI: 10.31091/mudra.v38i4.2276
P. Purwandaru
The Japanese rice straw culture began in the Yayoi period approximately 2000 years ago. This culture can be found in almost all areas of Japan, including the Nagano Prefecture. One of the supporting elements of the rice straw culture development in this area is because it has been recognized as a potential rice farming area. Based on the historical evidence displayed in a number of museums, there are various traditional uses of rice straw for utility, ritual, and celebration needs. Unfortunately, the number of workshops and craftsmen is currently decreasing due to modernization. However, there are still several workshops that still exist and are actively producing rice straw crafts. Therefore, this research was conducted to understand various supporting aspects in the preservation and development program of rice straw crafts in Nagano Prefecture. From the mapping results in Otarimura and Azumino, it may be concluded that the character of the rice straw crafts produced those areas is through coiling and basket weaving methods. There are five elements that support the development of these crafts, namely human resources, production methods, design development, support from the government and private sector, and the market.
{"title":"Rice Straw Craft Preservation and Development in Nagano Prefecture, Japan","authors":"P. Purwandaru","doi":"10.31091/mudra.v38i4.2276","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2276","url":null,"abstract":"The Japanese rice straw culture began in the Yayoi period approximately 2000 years ago. This culture can be found in almost all areas of Japan, including the Nagano Prefecture. One of the supporting elements of the rice straw culture development in this area is because it has been recognized as a potential rice farming area. Based on the historical evidence displayed in a number of museums, there are various traditional uses of rice straw for utility, ritual, and celebration needs. Unfortunately, the number of workshops and craftsmen is currently decreasing due to modernization. However, there are still several workshops that still exist and are actively producing rice straw crafts. Therefore, this research was conducted to understand various supporting aspects in the preservation and development program of rice straw crafts in Nagano Prefecture. From the mapping results in Otarimura and Azumino, it may be concluded that the character of the rice straw crafts produced those areas is through coiling and basket weaving methods. There are five elements that support the development of these crafts, namely human resources, production methods, design development, support from the government and private sector, and the market.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85526805","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 : 2023-07-18DOI: 10.31091/mudra.v38i4.2038
Cicilia Indraningsih Jeno, Ni Made, I. Trisnawati
Gambuh is the oldest Balinese theatrical dance drama, with a rich repertoire of dance movements, music, dramaturgy, and costume design, making it the source of Balinese performing arts that emerged later. The main story is about the journey of Prince Panji to find his lover, Princess Candra Kirana. There are two important female characters, namely Condong (servant) and Putri (Princess), who have different social statuses but have a close relationship and play a key role at the beginning of the drama, making them the determinant of the success of the performance. The research aims to reinterpret the meanings contained in the Gambuh dance drama, especially the relationship between Condong and Putri, to offer a living interpretation of local wisdom, pass them on to the next generations, and contribute to building the character of the nation that has nobility and refinement of character. The research was conducted using a qualitative research method, including a literature review, participatory observation, and in-depth interviews in Batuan Village, Gianyar Regency, Bali. The research process begins with a formal description of the characters, dance movements, costumes, and antawacana (dialogue), then the symbolic meaning analysis is carried out using Aesthetic Theory and HG Gadamer and Paul Ricoeur's Hermeneutics approach. The results of the study show that the relationship between the two characters, Condong and Putri, carries the meanings of dedication, sincerity, ethics, and the strength of women - values that are local wisdom but very relevant to women today. The elements of Rwa Bhineda, which are two opposing forces, Trihita Karana, which is harmony with nature, God, and humans, and the Hindu concept of Satyam Sivam Shundaram, which embodies ethical and pure values wrapped in beauty in the Gambuh dance drama - are the essence of Gambuh that is relevant to the present day, making it universal, transcending time and distance.
{"title":"Symbolic Meaning Relationship between the Condong Character and the Putri in the Gambuh Batuan Dance Drama","authors":"Cicilia Indraningsih Jeno, Ni Made, I. Trisnawati","doi":"10.31091/mudra.v38i4.2038","DOIUrl":"https://doi.org/10.31091/mudra.v38i4.2038","url":null,"abstract":"Gambuh is the oldest Balinese theatrical dance drama, with a rich repertoire of dance movements, music, dramaturgy, and costume design, making it the source of Balinese performing arts that emerged later. The main story is about the journey of Prince Panji to find his lover, Princess Candra Kirana. There are two important female characters, namely Condong (servant) and Putri (Princess), who have different social statuses but have a close relationship and play a key role at the beginning of the drama, making them the determinant of the success of the performance. The research aims to reinterpret the meanings contained in the Gambuh dance drama, especially the relationship between Condong and Putri, to offer a living interpretation of local wisdom, pass them on to the next generations, and contribute to building the character of the nation that has nobility and refinement of character. The research was conducted using a qualitative research method, including a literature review, participatory observation, and in-depth interviews in Batuan Village, Gianyar Regency, Bali. The research process begins with a formal description of the characters, dance movements, costumes, and antawacana (dialogue), then the symbolic meaning analysis is carried out using Aesthetic Theory and HG Gadamer and Paul Ricoeur's Hermeneutics approach. The results of the study show that the relationship between the two characters, Condong and Putri, carries the meanings of dedication, sincerity, ethics, and the strength of women - values that are local wisdom but very relevant to women today. The elements of Rwa Bhineda, which are two opposing forces, Trihita Karana, which is harmony with nature, God, and humans, and the Hindu concept of Satyam Sivam Shundaram, which embodies ethical and pure values wrapped in beauty in the Gambuh dance drama - are the essence of Gambuh that is relevant to the present day, making it universal, transcending time and distance.","PeriodicalId":32449,"journal":{"name":"Mudra Jurnal Seni Budaya","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86845506","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 : 2023-07-11DOI: 10.31091/mudra.v38i4.2471
I. Nyoman, Darma Putra, Ida Bagus, Jelantik Sutanegara Pidada
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.
{"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":null,"pages":null},"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}
Pub Date : 2023-07-06DOI: 10.31091/mudra.v38i4.2364
M. D. Marianto, R. Goodfellow, H. B. Prasetya, M. Purbasari
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.
{"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":null,"pages":null},"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}
Pub Date : 2023-07-03DOI: 10.31091/mudra.v38i4.2439
Ni Made Diana Erfiani, Nyoman Tri Sukarsih, I. G. Jayantini
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.
{"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":null,"pages":null},"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}
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